NEWS - PRODUCTS
Titular noticia Texto noticia
EDITORIAL What is the future of our industry? The answer to this question is not simple. In fact, it has become more complex lately. Two years of pandemic have caused the industrial models of our sector to change completely. And this is, indeed, one of the reasons of its complexity. We have told you about it in these pages. Changes in work models, collaboration at all levels, remote work, IP infrastructure settlement, social distance, eco-awareness, etc. The start of the new decade was not easy, but our industry was able to react and all this has become our present. Despite all the eﬀorts, total normality has not been possible. Events, as important as the international trade fairs, could not be held in the traditional way, which is face to face. This prevented all of you, for two long years, from coming together to share practices, observations and advice. However, the time has come. IBC, in its 55th edition, will once again be held in person. At last. We will all crowd the halls of the Amsterdam RAI Center to decide together the future of our industry. Are you going to miss it?
Editor in chief Javier de Martín email@example.com
In this special issue, we oﬀer you a complete report on the European event of the year: IBC 2022. Our editorial staﬀ has been devoted to extract all the information about the innovations of the major companies that shape the international scenario. You will also find several interviews with some of our friends in which, in detail, they will analyze all the issues surrounding this highly anticipated event. A perfect example of these innovations that will help determine the future of our industry is the recent renovation that RTVE has carried out on one of its main Production Centers. This complete issue shows the second part of the full report we did more than a year ago. The SDI to IP migration project in Sant Cugat is an example of what our industry is capable of. Not only at a technological level, but also at a social level. We highlight this particular fact because the future of our sector depends, first and foremost, on all the professionals who are part of it. At IBC 2022 we will meet again to share impressions in person. Everything is coming back to normal. And, this way, we all will shape our future.
Creative Direction Mercedes González
TM Broadcast International #109 September 2022
Key account manager Susana Sampedro firstname.lastname@example.org
Administration Laura de Diego
Editorial staff email@example.com
Published in Spain
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
NEWS IBC 2022 Amsterdam is once again the center of the broadcast world Returning to the IBC halls fills us with excitement. At last, after two complicated years, normality has reached Amsterdam’s RAI. And with it, all of us, speakers, companies and members of this great industry will stroll again through the carpeted corridors of one of the most important fairs in the world’s broadcast industry. TM Broadcast International will take part in this edition as a media partner -you can visit us at booth 7.P42- and when you are there, we will tell you first-hand all the news presented in the venue’s corridors.
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IBC 2022: Interview with
IBC 2022: Interview with
IBC 2022: Interview with
IP INFRASTRUCTURES RTVE: experience on IP HD production and conclusions More than a year ago we published in our magazine the approach adopted by one of the most advanced innovation projects in our continent. That project sought to evolve one of Europe’s most important public televisions into the future of broadcast communications. On these pages you will find the experience gained by RTVE (Spain’s TV and Radio Corporation) producing, for months, HD broadcast content on an IP infrastructure, as well as their own conclusions on this transition.
IA, machine learning and the “Make Movie” button
NEWS - PRODUCTS
PlayBox Neo launches Media Gateway for content delivery and distribution PlayBox Neo has recently announced new releases. The addition to its broadcast range is Media Gateway. This solution allows the reception, transmission and conversion of broadcast signals for delivery and distribution. Signals can be sourced from and converted to SDI, NDI, SRT, UDP or RTP. Media Gateway also has a Screen input which allows video and audio content to be grabbed from a desktop and delivered as live feed. All uncompressed outputs and the encoder allow frame-rate, Up/Down and Cross conversion as well as aspect ratio conversion plus generation of black, bars and freeze on the output when there is no signal. Video can be delivered with an alpha channel where supported. Every input can be delivered to one or many outputs in the same domain. The IP decoder supports both Multiple and Single Program Transport Streams.
“Media Gateway is a software solution, based on the PlayBox Neo Suite platform, which can be can be installed on-premises or in the cloud,” says PlayBox Neo CTO Stanislav Petkov. “It is designed to maximize eﬃciency by simplifying the daily tasks of media delivery and distribution companies.” Media Gateway is equipped to perform a wide range of delivery and distribution tasks: SCTE-35 and SCTE-104 interstitial insertion cues are cross-converted and transmitted to the output. Closed captions are crossconverted between CEA608 and 708 and the frame-rate converted when required. Active format description data can be inserted into the baseband SDI video signal or compressed transport stream when required. A browser-based multiviewer displays video with audio bars for all
inputs, including visual and audible alarms alerting operators to black frame, freeze frame and lost signal. Automatic changeover of the compressed transport stream, can be activated based on missing signal, under or over bitrate. Signal switching can also be performed automatically if black or freeze is detected on the decoded output. Black, bars or freeze frame can be generated on an output when there is no signal on an input. Automatic or manual switching of MPEG transport streams can be performed via switch groups including the ability to switch multiple streams at the same time. Every switch in an assigned group has multiple inputs and one output which can be sent to multiple streaming destinations. This allows switching of all main sources to backup sources or to an external feed, for example. Each switch group can have multiple switches.
NEWS - PRODUCTS
NEWS - PRODUCTS
Ross Video launches new evolution of its Ultrix solution: FR12, ready for UHD Ross Video has recently launched the new version of its Ultrix Router. It is the 12G ready Ultrix FR12. The device is designed for routing, multiviewer and signal processing platform for studios, OB vans and flypacks. Its key features are: The software is pay as you go. No additional hardware is required and users can add new features through additional software licenses. The solution is 12G ready. Ultrix natively supports 12G throughout the entire chassis. This means it’s ready for UHD. Ultrix supports SDI, fibre and IP signal I/O. It is designed to mix and match as user needs and it is transport agnostic. The Ultrix platform is production in a box. Video/ audio routing, multiviewers, audio processing, frame synchronisers, clean/quiet switching, UHD gearboxing, production switchers, audio
mixers and more all unified in one single chassis. Due to its size, base feature set and software capabilities, owners save significant money on upfront capital costs. Additionally, the advanced architecture provides significant ROI in terms of power, cooling, shipping, and space costs. The FR12 boasts up to 288 x 288 SDI ports with a 6144 x 6144 TDM audio fabric, up to 288 frame syncs, 288 clean quiet switches and up to 48 x 100 PIP multiviewers. It also has up to 8 SDPE blades that can be configured as a single 8ME Ross Acuity switcher, 8 independent Ross Carbonites or even a 4ME Acuity and 4 independent Carbonites.
Director of Product Management for Hyperconverged Solutions at Ross Video, Todd Riggs, explained, “When we launched Ultrix we had 1RU and 2RU frame sizes. A couple of years later we brought the 5RU frame to market. Today, with the launch of the FR12, our award-winning platform makes a huge leap forward, one that will rock the world for a wide range of markets.” He continued: “In the past, a traditional system could use around 500 rack units. Now with the FR12, you’re looking at only 14 rack units for the equivalent solution. Less hardware also means less power consumption, so while a typical system could consume 52,300 Watts, the FR12 equivalent system would only consume 2,400 Watts. Less hardware also means far less cabling – hundreds instead of thousands – and significantly less weight as the FR12 tips the scales around 100 lbs or 45 kg as opposed to a traditional system’s massive 6284 lbs or 2850 kg!”.
NEWS - SUCCESS STORIES
NEWS - PRODUCTS
LiveU deploys 5G multicamera encoding capabilities in fixed and vehicular infrastructures with LU810 and LU610S fiber and satellite-based productions. They can also serve as a content source for the LiveU Matrix cloud IP management and LiveU has recently
single camera LU610S
announced the LU810
and LU610S. Both are
the latest additions to
LiveU’s 5G product suite,
production encoders with
complementing its portable
support for 5G, 4K and
multi-cam LU800 and latest
compact LU300S unit. All
of these solutions can be
These tools use LiveU’s Reliable Transport (LRT) protocol for IP bonding and feature multi-camera capabilities, and they are
controlled from anywhere via the LiveU Central cloud management platform interface.
distribution solution. “Our goal was to take our proven 5G 4K technology and multi-cam capabilities and bring them into our vehicle and fixed location solutions and we’re proud that we have managed to achieve this quickly. Our involvement in EU 5G projects and tests with leading global telecom operators continue to
LiveU’s new vehicle encoder
play a critical role in our
solutions bond multiple
ongoing 5G research and
internal 5G/4G modems,
LiveU 5G product
with WiFi and Ethernet.
Gideon Gilboa, Chief
platform provides the
The new fixed location
Product Oﬃcer at LiveU,
business flexibility to
encoder solutions oﬀer
said. “With flexible
run any live production
point-to-point and point-
connectivity options, these
workflow. Available in
new encoders can support
two configurations, the
over wired connections.
any traditional or cloud
multi-cam LU810 and
It is an alternative for
designed for vehicle or fixed location.
NEWS - SUCCESS STORIES
NEWS - SUCCESS STORIES
The Japanese rental company Dream Inc. has expanded its services with a mini OB van equipped with Riedel Riedel Communications has recently announced that Dream Inc. has expanded its service oﬀering with a new mini OB van. The vehicle is built over a MediorNet signal distribution and processing system and a Bolero wireless intercom system, both from Riedel. Riedel was an easy choice when it came to outfitting our OB van with a communications infrastructure,” said Kei Koyama, Intercom Operator at Dream Inc. “The company’s products are very popular worldwide and have a proven track record of delivering low latency, reliability, and stable transmission — all of which are critical for the events industry. With the MediorNet and Bolero systems in place, we’ve greatly expanded our business by going from being an audio-only company to one that allows
our customers to deliver all aspects of live event coverage.” The system deployed consists of two MediorNet MicroN media distribution network devices and two MediorNet Compact realtime networking stage boxes. Five Blackmagic cameras and return monitors are connected to the MicroN devices. Audio, intercom, remote cameras, and the ethernet control signal for remote cameras are connected to the MediorNet Compact devices. For intercom capabilities, the OB van is equipped with four Bolero
antennas and 18 beltpacks. “Dream Inc. has been using our Bolero wireless intercom system for several years, and we couldn’t be more excited that the company has branched out into other aspects of live event coverage with MediorNet,” said Takako Konishi, Senior Sales Manager, Japan, at Riedel Communications. “The company’s new OB van has already been successfully utilized at several highprofile events — including the world sports events in Japan — and we can’t wait to see where it’s deployed next.”
NEWS - SUCCESS STORIES
NEWS - SUCCESS STORIES
Qvest implements its cloud-based video editing solutions in Mediacorp’s Channel News Asia (CNA) workflows Mediacorp, Singapore’s national media network and largest content creator, has recently expanded its capabilities with a cloud video editing solution from Qvest. New virtual editing suites also pave the way for Mediacorp to implement more eﬃcient, collaborative, and remote workflows at Channel News Asia (CNA). Mediacorp, based in Singapore’s innovative high-tech cluster “onenorth”, employs over 2,500 professionals, including more than 300 journalists and engages over three million people in Singapore daily across the four national languages of English, Chinese, Malay and Tamil. Their CNA team can now work outside of premises, thanks to integrated cloud editing workstations. Central cloud management via the qibb integration platform enables access
to integrated and locationindependent, predefined programs and functions, such as Adobe Premiere Pro. The PC-over-IP protocol, powered by the cloud workstation’s dedicated GPU, provides an appropriate experience when using the integrated applications. The cloud system is based on qibb, managed as a platform-as-a-service. The cloud architecture, individually configured to meet Mediacorp’s requirements, has been tailored for HD resolution editing. Mediacorp can customize the
functionalities of the cloud environment with additional services at any time. Thomas Müller, Qvest Group CTO: “Ever-faster production cycles in the media landscape and limited resources, both in the technological supply chain and in terms of skilled staﬀ, call for new solutions. Thanks to the possibilities and potential of our cloudbased editing workflow, the newsroom gains flexibility – while ensuring the highest journalistic standards. We are proud to be able to support the Mediacorp team with this solution on a sustainable basis.”
NEWS - SUCCESS STORIES
NEWS - SUCCESS STORIES
Croatian broadcaster OIV renews its FM radio infrastructure by relying on GatesAir
GatesAir has recently announced that is working with Croatian broadcast network operator OIV to modernize national FM radio infrastructure for public broadcaster HRT (Croatian Radiotelevision). Above the simple renovation, the broadcaster also wanted to reduce costs related with its infrastructure. OIV has upgraded five transmission facilities with GatesAir Flexiva FAX aircooled radio transmission systems, including sites near the capital city of Zagreb and the towns of Rijeka, Dubrovnik and Makarska. OIV anticipates additional upgrades in the coming years, with a Flexiva
FAX system installation planned near the town of Split in 2023. OIV favoured a transition to transmitters with solidstate technology. The company selected SmartAV, partner of GatesAir, which handled all logistics including transport of the Flexiva transmitters. Each location includes four or five Flexiva FAX transmitters in redundant 3+1 or 4+1 configurations, with power levels ranging from 5 to 10 kW. Bruno Cigrovski, Head of Radio Network Department for OIV, confirms that energy eﬃciency was an influential driver of the initiative – and that the Flexiva transmitters are
already paying dividends through lower power consumption. “We have done the math for the Flexiva performance at Ucka, which is the transmission site serving listeners in and near the town of Rijeka,” he said. “After replacing our old system with GatesAir’s 10kW Flexiva system, our monthly energy consumption dropped by 11,800 kWh. We are now saving 1500 Euros each month.” Smart-AV will handle all maintenance and service post-commissioning, including the procurement and delivery of spare parts as required. “One of our main challenges in Croatia has been eﬀectively cooling higher power transmitters, particularly 10kW systems,” Cigrovski said. “Smart-AV has provided excellent service and creative insights into properly ventilating high-power transmitters, and GatesAir has really helped us solve that problem with a new generation of higheﬃciency transmitters.”
NEWS - SUCCESS STORIES
NEWS - SUCCESS STORIES
EI Towers relies on Imagine Communications technology to create the International Broadcast Center for the Italian Serie A soccer league Italian communications and broadcast transmission specialist EI Towers’ has recently created a new International Broadcast Centre (IBC) to broadcast the 2022-23 season of Italy’s football Lega Serie A. The IBC has been built
feeds, with commentary in English and Italian, as well as with Arabic language for international satellite and fiber distribution to all rightsholders spread all
on IP technology from
over the world.
To support the varying
The broadcast hub centralises contribution and distribution of audio, video and data in Italy and around the world for broadcasters and rightsholders. Located in Lissone, north of Milan, the IBC will collect 12 primary signals and 12 backups, from each stadium in the country for all matches in Serie A TIM, the Coppa Italia and the Supercoppa. Graphics, replays and branding will be added at the IBC before being distributed
facilities at each stadium and the requirements for international and multiplatform distribution, EI Towers used a hybrid technology platform that could embrace legacy SDI content and IP signal processing using both SMPTE ST 2022-6 and ST 2110. The platform also needed to support 4K UHD and HDR, as well as 3G-SDI (1080p50), and deliver in diﬀerent frame rates. They selected Imagine’s Selenio Network Processor (SNP).
via fiber links to Italian
The 1RU SNP is able
broadcasters. EI Towers
to handle conversions
also provides international
between ST 2110 and
SDI, including 12G SDI as required; up-, down- and cross-conversion between HD/UHD and SDR/HDR formats; and automatic changeovers to maintain on-air output. SNP also oﬀers a low-latency, HDR-capable production multiviewer personality, SNP-MV, which enables content from diﬀerent video formats and HDR systems to be integrated into a display environment. Fabrizio Falcini, head of systems engineering at EI Towers, says, “Imagine Communications has provided us with signal routing and management for some time, but their Selenio Network Processor delivers a whole new level of elasticity and scalability that we needed to meet the complex requirements of EI Towers’ mission-critical sports content.”
NEWS - BUSINESS & PEOPLE
Amsterdam is once again the center of the broadcast world Returning to the IBC halls fills us with excitement. At last, after two complicated years, normality has reached Amsterdam’s RAI. And with it, all of us, speakers, companies and members of this great industry will stroll again through the carpeted corridors of one of the most important fairs in the world’s broadcast industry. TM Broadcast International will take part in this edition as a media partner -you can visit us at booth 7.P42and when you are there, we will tell you first-hand all the news presented in the venue’s corridors. IBC has rightfully earned a reputation of being one of the most pragmatic fairs on the world scene. The professionals who attend do so with the willingness to take the pulse to the pace of development of the most cutting-edge technological developments. But this fair is different to the rest because everything is views from the standpoint of practicality. Innovation must go hand in hand with a real application and at IBC this requisite is of shared interest. On the 9, 10, 11 and 12 September, Amsterdam will be flooded with thousands of people from all over the world eager to share and learn about all the developments, news and trends that we have already been describing in our magazine. As part of this industry, TM Broadcast International will travel to this European city which, for a few days every year, becomes the center of global broadcasting to reflect and become a loudspeaker of everything that will mark your professional development in the coming years. Until then, our editorial staff has carried out research into the novelties that we will get to know during these long-awaited days of the year. Therefore, you will find below an in-depth catalogue on participation, novelties and products showcased by all those manufacturers attending IBC who have shared this information with us. Thanks to this catalogue, you will be able to plan your visit. See you in Amsterdam.
Actus Digital Actus Digital will showcase at IBC 2022 (booth 7.B40) its innovations related to compliance logging, quality monitoring and alerts, advanced editing, content repurposing, and AI-based workflow solutions. “By enabling competitive analysis, editing, trimming to new media platforms, and AI-based audio and video analytics, the Actus platform drives greater eﬃciency and cost savings for media companies,” said Sima Levy, CEO of Actus Digital.
Actus Digital will showcase its browser-based multiviewer and integrated alerts, new tagging and metadata options, and automated clip capabilities based on diﬀerent types of metadata, rules and scheduling. New enhancements for OTT monitoring will also be showcased on the Actus 8.5 intelligent monitoring platform, ensuring viewers get the best quality of experience while enabling media companies to comply with key regulations. In front of IBC 2022 visitors, the company will
showcase new AI options on its intelligent monitoring platform.
Ad Insertion Platform Ad Insertion Platform (AIP) will highlight its capabilities at IBC, stand 5.C49. The company is demonstrating its DAIConnect platform as a solution for managing server-side ad insertions (SSAI) for live and ondemand content. The technology enables dynamic and personalized insertion of video
Actus Digital will showcase its browser-based multiviewer and integrated alerts, new tagging and metadata options.
advertising via HLS and MPEG-DASH protocols. The platform includes components such as: Ad Break Composer for creating, editing and applying rules for each ad break and each user; DAI Manifest Manipulator to manipulate and manage the HLS or MPEG-DASH manifest for each user to enable one-to-one targeting ad insertion as well as provide a monitoring interface for quality control; DAI Optimizer to optimize the monetization of the created ad inventory across AIP’s ad network; and DAI Insights for storing, analyzing and processing data coming from AdTech components or the video delivery part.
Ateliere Creative Technologies Ateliere will participate at IBC2022 with presence on booth 5.G12. The will oﬀer a cloud-native, multi-tenant software as a service (SaaS) solution that enable to manage media assets and the media supply chain from concept to consumer. Ateliere solutions run on Amazon Web Services (AWS).
Solutions on stand include: Ateliere Connect, a solution that gives users the tools to manage media assets, optimize content libraries, and orchestrate production and delivery of title/content packages to OTT; and Ateliere Discover; a tool that allow content owners to power up a power up a branded streaming service and orchestrate delivery across their own branded video app or major over the top (OTT) marketplace.
Ateme Ateme will be back at IBC on booth 1.D71 to showcase its end-to-end solutions for video distribution - from contribution to CDN - as well as its monetization options, including dynamic ad insertion and 5G. On show Ateme will demonstrate contribution encoder/decoder using SRT and RIST, 2110, JPG XS distribution links to the cloud. The company will also demonstrate its ability
to protect premium content through BISS-CA, with separately encrypted audio channels integrated with watermarking technologies. On the other hand, they will showcase DVB-I solutions to reach customers on any screen by mixing broadcast and broadband to add customer experience channels. In addition, visitors will learn how to migrate their DVR platform to the cloud. The company participation at the show will also consist of a demonstration showing next-generation video coding, VVC, at low latency at booth 10.D46 in the UHD Forum, using Ateme encoders and an LG 20222 TV. Finally, Ateme’s press release has highlighted that they will create a video game demo on cloud communications through the Blacknut platform. In addition, and also related to the cloud, it will show its functionalities in immersive
3D video environments of the company Vimmerse related to the metaverse.
Black Box Black Box will present products and new releases at IBC 2022. Visitors can check them in person at stand F42 in Hall 8.
Emerald® KVM over IP Matrix Switch.
The recently announced Black Box Emerald GE leverages technology to enable multiple users to connect simultaneously and control a virtual machine as they would a physical system. With low bandwidth requirements, the system supports remote access through both local and wide area networks (LANs and WANs).
users the flexibility to connect to both physical and virtual machines from any location at any time, which allows for optimized studio infrastructure and workflows. The company will showcase Black Box Boxilla KVM manager as well, and also, diﬀerent Black Box video wall processing solutions.
The Emerald VUE 4K multiviewer unites KVM switching with quad multiviewing to enable simultaneous monitoring of four DisplayPort video sources across two screens at exceptional 4K60 image quality.
Other product showcased at the show are the Black Box Emerald KVM-overIP platform, which serves as a scalable universal access system, giving
Broadcast Solutions is eager to travel to Amsterdam. Visitors can find them at two stands: 0.A01 and 10.C35. The first one is one of the largest outdoor stands of the trade fair. This will be the home base of the company and there their professionals will show examples of its systems integration portfolio. The company has two OB vans on display.
Another of the exhibits they will showcase at the fair is their ability to generate VAR systems. Several of these systems have been installed in diﬀerent sports leagues. At the show they will be installing these systems and also showcasing the ability to make them in a van. Broadcast Solutions also runs its own product development departments. One example is hi human interface, a truly intuitive control software for broadcast and media technology. This solution is presented on a unique stand at IBC: 10.C35. In addition, the company is also presenting meshLINK: its wireless transmission system. Finally, Birds Camera Solutions, part of the group, is presenting new ranges of aerial cameras with which to produce 3D content.
Bridge Technologies Bridge Technologies will attend RAI in Amsterdam (booth 1.A71) where they will be demonstrating their range of broadcast monitoring solutions. The company will also focus on the first public demonstration of their new 6.1 software solution harmonising the full suite of Broadcast IP probes. The 6.1 release integrates what was previously two separate components; namely probe and extractor software, and allows for both to be deployed across embedded, appliance or software solutions. The release improves the capacity of the probes range, increasing OTT and ETR, and content monitoring from 100 streams to 1000. In addition, the ability to receive and transmit SRT (Secure Reliable Transport) has been included. Bridge Technology’s new version allows the VB246 input card to accommodate six ASI inputs in parallel, giving a total of 13 in one unit. With the addition of JPEG XS decoding, QoE
metrics (and timeline display where valid) for OTT streams, content checks for ASI and RF streams (including freeze and black frame detection), and improved terrestrial monitoring of DVBT/T2 (including T2MI checks, frequency measurements and modulation checks), version 6.1 brings versatility to the full suite of Bridge Products.
Calrec At IBC 2022, Calrec will exhibit at booth 8B57, multiple independent consoles from a pair of redundant ImPulse IP cores, as well as physical control surfaces and headless consoles running Calrec Assist on a PC. Calrec ImPulse.
ImPulse is a DSP engine with native SMPTE 2110 connectivity. It is compatible with the Calrec Assist web interface, as well as Calrec’s Apollo and Artemis consoles. It provides immersive 3D path widths and pans for next-generation audio with built-in 3D pan and height controls, flexible panning and downmixing. This solution allows up to four independent mixing environments to be run from a single core, remotely and each independent mixer can access up to 1458 paths. Calrec Assist is a browserbased interface that creates a virtual console environment. It is compatible with the Calrec product range. The Calrec Type R will be located
on the same IP network, as will the Brio console, both connected via an IP Gateway. For the first time at IBC, Calrec will showcase the Type R Talent Panel and GPIO box. The first one is a unit that allows guests to switch between multiple sources via its highresolution TFT and adjust headphone volume with a dedicated rotary control. Connections are made via standard CAT 5. Calrec’s new GPIO unit for the Type R is a 1U box that oﬀers 32 GPOs and 32 additional GPIs for interfacing to external systems such as playout, phone systems, codecs, etc.
Canon Canon Europe has announced its presence at IBC 2022. Specifically, visitors to the show can learn about all its exhibits in Hall 11, Stand C45. This company’s space, according to its communication, will reflect the growth of remote and virtual production systems. Canon will showcase Canon’s Live Image Production Ecosystem, XR studio and
Canon - E20-50 mm T2,4 L F FP.
VR solutions, in addition to being able to test new products, such as the EOS R5 C, XF605 and PTZ cameras, in its test area. Regarding remote production solutions, Canon will present its customizable multicamera oﬀering. It ranges from large format to PTZ cameras. The configuration is customizable. The latest PTZ cameras are compatible with various IP protocols, they will be combined on the booth with high-end cinema cameras using Canon’s XC protocol. In collaboration with MoSys, Canon will demonstrate the capabilities of its XR software communicates with lens and camera data.
Demonstrations will show how a high-resolution LED background can react when using the camera and lens. Canon will deploy an entertainment zone based on virtual reality content. The content oﬀered to visitors is captured with the EOS R5, EOS R5 C cameras and the RF 5.2mm f/2.8L DUAL FISHEYE 5.2mm f/2.8L lens. The experiences have been produced by the company Invelon.
Dalet Dalet will exhibit solutions related with Dalet Flex media logistics, Dalet Pyramid next-generation news solutions and Dalet Galaxy broadcast workflow platform. Visitors could
disguise disguise booth at IBC features a full 12 x 3 meter LED extended reality (xR) stage powered by disguise rx II real-time rendering nodes and vx 2 media playback servers, complete with the latest release of Polygon Labs’ Porta software. Visitors can see all this at stand 2.A35 in Hall 2. Dalet Flex.
learn about all these products at booths 1.MS1 and 1.A47. Dalet Flex is a cloudnative media logistics solution used by media organizations to produce, manage, distribute and monetize content. At the trade fair, the company is going to present either Dalet Flex for teams, the SaaS and multitenancy oﬀering, or Dalet Flex for enterprises, the tailor-made media and content supply chain platform. Dalet Pyramid, a tool related to the company’s Unified News Operations solutions, will also be
presented. Dalet Pyramid combines cloud services with advanced mobility, a state-of-the-art user interface, web-based collaboration tools and Storytelling 360. Complementing the Dalet Flex and Dalet Unified News Operations presentations, they will also showcase the Dalet AmberFin media processing solution; the Dalet CubeNG toolset for designing, managing and broadcasting 3D graphics; the Dalet Brio high-density broadcast I/O platform; the Dalet Media Cortex AI services platform; and Dalet OnePlay, the automated production solution.
The stage will enable visitors to get hands-on with creating real-time UHD content using the same innovative tools as Netflix, Amazon Prime, and ITV. It will also feature LED technology from ROE Visual, Ncam real-time camera tracking, and Canon digital camera equipment. Throughout the show, disguise technical experts will also be hosting regular talks on the xR stage. The conferences will verse about creating data-driven and augmented reality graphics that presenters can see and even interact with - all in real-time; how to build Extended Reality environments that can turn traditional studios into expansive
virtual environments; the benefits of managing an entire studio while working collaboratively in the cloud using the Polygon Porta software; and how to distribute live, synchronous content of any type to any screen and at any resolution using disguise’s cluster rendering technology.
Dream Chip Dream Chip will be attending IBC 2022 (Booth 10.C31) with the intention of showcasing upgrades which have been made to their AtomOne range.
be for lenses, RCP or accessories. Visitors to the booth will be also able to talk with the Dream Chip team about the range of ntexts in which Dream Chip cameras have been deployed; in and on motorsports vehicle, mounted on competitors in mountain-course cycle races, sky mounted on drones to capture winter sports competitions, on American football touchdown lines, and mounted upon the net in major global Tennis tournaments. Outside of sports deployment, the Dream Chip range has potential for remarkably
Mainly, the booth will show a demonstration of the upgrades made to their AtomOne SSM500. It will be focus on the addition of IP control, along with the integration of Broadcast Solutions’ meshLINK. The rest of Dream Chip’s range of cameras will also be on display. Dream Chip will be seeking to present to customers attendees the remarkable flexibility that is oﬀered within the range, with a focus on wide-ranging third party integration, whether that
Dream Chip - meshLINK.
diverse applications in the field of ProAV (including as PTZ cameras in worship and education), as well as cinematographic film and TV production.
EVS EVS will be exhibiting in Hall 10, booth A25. As major new features, the company will present its MediaHub SaaS. Also on show will be the latest enhancements to MediaInfra, MediaCeption and LiveCeption, designed to overcome the challenges associated with OBs and flypacks, as well as sports, news, entertainment and generalist production facilities.
The MediaCeption solution is designed for production asset management. Several of these integrations will be showcased, including with editing suites such as Adobe, Avid and Blackbird Video. Other updates to the solution include ingest of additional video formats such as UHD XAVC Long GOP and SRT video streams when operating with the XS-NEO software-defined server. MediaHub is a cloud-based content distribution and sharing service platform. The platform is designed to support content owners in virtualizing the physical infrastructure of an IBC and monetizing their content. MediaInfra will be a focal point at the EVS booth. Built on an IP backbone and leveraging EVS’ Cerebrum and Neuron product lines, MediaInfra Strada oﬀers a progressive and secure path to IP with continuous SDI support. Products related includes Neuron COMPRESS, which oﬀers real-time JPEG XS compression, as well as Neuron PROTECT, which provides intelligent backup switching for fully redundant broadcast infrastructures.
farmerswife farmerswife will be showcasing Cirkus, its SaaS task and project management solution, and the latest version of the farmerswife tool at the trade fair. Visitors can see them in action on stand 6.A23. The cloud-based Cirkus solution gives media organisations access to a wide range of resources at a competitive rate to address their specific project requirements. This tool allows users to schedule, assign and manage projects and tasks; track status and report time; and collaborate anywhere, with anyone, including freelancers, by coordinating resources and sharing files in one central hub. It also features the ability to create custom templates. Cirkus accommodates all devices and is available on macOS, iOS, Android and as a web app. In addition, the company will be showcasing the latest version of farmerswife scheduling, management and reporting tool. farmerswife and the Cirkus tool can work together or as standalone products. When used
together, farmerswife can provide in-house scheduling, resource management and financial reporting, while Cirkus acts as the collaboration platform to share detailed information with distributed teams both internally and externally.
FOR-A - FR-3100EX.
FOR-A has announced that it will showcase its range of IP production solutions powered by AMMUX’s broadcast-optimized transport technology at IBC 2022 (booth 2.A51). They will also showcase practical implementations of live and UHD event broadcast solutions built on NDI connectivity. Finally, it will showcase the latest product innovations in its portfolio of switch, router, server and playout solutions, as well as its Integrated Live Production System. FOR-A will have a dedicated demonstration of its hybrid live production solution,
which supports both SDI and NDI. Built on updated versions of its HVS-490 video switcher and newly installed HVS-NIF card, the demonstration will showcase a live hybrid production solution that supports both SDI and NDI, as well as incorporating sources such as multiple Zoom feeds.
Harmonic Inc. Harmonic returns to IBC to showcase its latest innovations to accelerate streaming services and simplify broadcast workflows. Specifically, the company will showcase cloud-native and onpremise solutions. Visitors can learn about this company’s portfolio at booth 1.B20. They will showcase new developments in the VOS 360 SaaS platform for applications such as watermarked, targeted adsupported sporting event broadcasting in UHD HDR;
VOD and linear streaming experiences with scalable targeted advertising; UHD HDR FAST channel creation; and the deployment of complex broadcast jobs with full support for broadcast, branding, statistical multiplexing and aﬃliate distribution in the cloud. It will also showcase applications for XOS Advanced Media Processor and Spectrum X Advanced Media Server. These include targeted advertising to broadcasters with DVB-TA support; edge processing units; optimized DTT distribution with a new DVB-SIS (single illumination system) oﬀering; and expanded video over IP capabilities with NDI. Apart from all the work shown in its own booth, this company will be doing diﬀerent collaborations with the aim of showing its capabilities. Some of the joint work will involve Microsoft Azure, AWS, Viaccess-Orca, Nagra or LG.
Imagine Communications Imagine Communications will showcase its Selenio Network Processor (SNP), coupled with the Magellan Control System, capabilities. The solution allows the transition to UHD and HDR workflows over traditional IP networking fabrics. The company is showcasing them at stand 2.B49. Imagine will demonstrate the latest SNP features, including DSP-enabled advanced audio processing algorithms, new audio routing features and coordinated switching of 8K signals to support multistream 8K workflows. The company also continues to enhance its JPEG XS connectivity oﬀerings. Also at IBC2022, Imagine will introduce major feature upgrades to the Magellan Control System ― including support for the latest versions of Cisco Nexus Dashboard Fabric Controller (NDFC)
Imagine Communications - Selenio Network Processor.
and the Arista CloudVision Extension (CVX) Media Control Service (MCS). It also adds a northbound protocol translation service, easing the integration of multi-level SMPTE ST 2110 systems into environments that expect a single-level database or one-to-one mapping. Kiloview - N50.
Kiloview Kiloview has announced the products it will be exhibiting at this year’s IBC. Anyone interested can visit the company’s space at booth 7.B60. Recently, they have announced that it is in the process of growing to expand IP-based broadcasting. The new N50 is the latest in Kiloview’s range of high quality, low latency NDI converters. It is a
CUBE X1 is a device
support for video sources
focused on NDI multiplexed
for time synchronization;
distribution. The device
real-time display status
is the lightweight version
of storage, CPU, RAM,
of the NDI CORE MAX,
temperature and bitrate,
equipped with dual 10GbE NICs, which can achieve 16 channels of 1080p60 resolution NDI source inputs and 32 channels of 1080p60 resolution NDI source outputs simultaneously. Its interface is displayed on an
etc. The new LinkDeck series is a professional console that oﬀers the possibility to manage the remote control of NDI Multiview Player, NDI CORE, Intercom System and other software systems.
integrated LCD screen.
Finally, the D350 4K
converter for both SDI
CUBE R1 is a new hardware
to NDI and NDI to SDI,
version related with NDI
a multi-decoding device
the N50 supports direct
Recorder software. It oﬀers
transmission of USB to NDI
up to 4Kp60 preview and
decode up to 9 channels
signals by integrating both
recording; up to 9 CH video
of 1080p60 video streams
NDI and NDI|HX (including
preview and recording in
simultaneously with full
NDI|HX3) into a single
synchronized state; 1/4/9
support for NDI HX and NDI
multi-view; NTP server
H.265 video decoder is that supports resolutions up to 4Kp30 and can
Magewell Magewell returns to Europe on stand 7.A40 at IBC2022. The company will showcase capture, conversion and transmission solutions that connect signals, software, streams and displays. USB Fusion video capture and mixing hardware allows users to combine camera and wired screen-sharing and camera sources in live presentations. It performs
Magewell USB Fusion.
two HDMI inputs and a USB webcam input. The system is able to switch sources or combine two inputs into one output. It has a USB 3.0
Pro Convert AES67 is a
AES67 (including support
multi-format audio encoder, decoder and I/O interface device. It can convert IPbased audio between
Marshall - CV620-TBI.
for the SMPTE 2110-30 specification), NDI (with AAC compression). The device can also encode analog audio into AES67, NDI or SRT streams. The latest updates to the Ultra Encode family will be showcased as well. The last addition is the new Ultra Encode AIO. They support H.264, H.265 and NDI |HX encoding, as well as protocols such as SRT, RTMP, RTMPS, RTSP and HLS. Ultra Encode can also be combined with Magewell’s Pro Convert decoders for media transport. They can be managed through the Magewell Cloud software.
Marshall Marshall Electronics is going to showcase its latest addition to its hardware portfolio. At IBC 2022 the company will show its novelties at 11.C23. There, the company will debut its new camera: the CV620-TBI. The camera is designed to auto-track and follow presenters by movement methods with AI accuracy. Above this capacity and also related with AI technology, the PTZ uses new facial recognition features and intelligently learns motion dynamics of the subject and anticipates movement.
There are two models, the CV620-TBI (black) and CV620-TWI (white). Both are built around new highly sensitive Sony sensor technology with 20x optical zoom range of 5~110mm starting at roughly 60° angle-of-view. These new PTZ cameras feature simultaneous HD outputs of 3GSDI, HDMI and IP ethernet connectivity with up to 1920x1080p resolution at 60fps. Also boasting 340° horizontal range of movement and 120° vertical tilt, the CV620TBI provides a large viewing area for the new autotracking feature.
MediaKind MediaKind will exhibit its novelties at the international trade show IBC 2022. The company will welcome visitors on stand 1.09. The portfolio encompasses media solutions and services for live video contribution and distribution, direct-toconsumer (D2C) streaming platforms, advertising, rights management and
content personalization, high-eﬃciency cloud DVR, content management, and TV and video distribution platforms. The company will also illustrate its managed cloud applications and their ability to alleviate operational, knowledge and business barriers to each operator’s cloud transformation journey. MK Engage, MediaKind’s cloud platform, supports live video production, broadcasting, streaming,
monetization, audience engagement and oﬀers customization through its client SDK. Visitors will also be able to see MediaKind’s PRISMA technology in action. This solution unifies advertising and linear rights across broadcast and IP delivery channels. While watching the race car demonstration via their mobile device, visitors will receive targeted ads inserted into the live stream. As part of the
experience, each day, their luckiest visitors will have the opportunity to receive a prize from the “Track the Ads” challenge.
Nagra NAGRA, a Kudelski Group company, will showcase its range of innovations, demonstrations and customer successes from across the Kudelski Group, at the IBC in Amsterdam, Stand 1.C81. The company’s theme is “Explore the Possibilities Beyond the Horizon” and they will demonstrate diﬀerent perspectives. OpenTV Video Platform enables content aggregation strategies. It leverages the behavioral and artificial intelligence capabilities of NAGRA Insight. With this, users can predict changing consumer behavior. NAGRA’s direct-to-TV solutions, including TVkey Cloud, will open new channels to market. This technology allows users to extend services by containing all services in a single application with a common user experience.
Net Insight Nimbra 1060.
They will also showcase their anti-piracy solutions and NextGuard’s watermarking capabilities. NAGRA Active Streaming Protection control panels and dashboards will also be on display.
Net Insight Net Insight has made an important announcement for the IBC show. On this occasion, they will present to the public the advances they have made in the Nimbra 1000 platform. This development introduces ST 2110 simplifying the adoption of all-IP workflows and safeguarding high-bandwidth media applications up to 100 Gbps and beyond. Visitors can learn about these new developments at booth BS18. “We want to help customers on their journey to IP, regardless of whether they
need to integrate into a new IP environment or upgrade an existing Nimbra network,” said Crister Fritzson, CEO of Net Insight. With Net Insight’s enhanced suite of ST 2110 features on the Nimbra platform, customers can now run WAN network applications up to 100 Gbps and beyond, including processing capabilities such as JPEG XS, JPEG 2000 and MPEG4. It includes Net Insight’s IP Media Trust Boundary for security management and full conversion between ST 2110, ST 2022-6 and SDI. In this way, the Nimbra 1000 platform can act either as an IP gateway with up to 100 Gbps aggregation, or as a fully ST 2110-compliant MSR network. Net Insight’s IP Media Trust Boundary is a media safeguarding application that keeps media secure, monitored and compliant
as it is transported across network domains. Some of the key features included in Net Insight’s Trust Boundary are real-time IP media monitoring, media protection, traﬃc control, stream replication and the ability to scale up to 256 streams over a 100 Gbps network connection.
Pebble Pebble will attend IBC2022 locating its booth in Hall 8,
Stand B75. The company
Pebble’s Integrated Channel
will demonstrate its suite of
solution oﬀers audio, video
solutions including Pebble
and graphics functionality in
format to meet the needs
Channel and Pebble
for ingest, channel branding
Pebble Automation is a solution delivering
multi-channel playout requirements.
functionality at a scale that
Pebble Remote provides
suits any operation, with
24/7 secure remote access
the ability to flex and adapt
to mission-critical control
as the customer’s channel
of playlists, as well as
count and workflows
consolidating control access
across several playout sites.
Pronology - StreamFile Core.
Pebble is also looking forward to showcasing its solution Pebble Control for the first time at a major industry show in Europe. It is an IP connection management tool. It is designed to make IP connectivity as simple as SDI.
Pronology Pronology debuts an updated version of its StreamFile Core Enterprise web-based software solution. The company will be part of the NDI Central Pavilion at Vizrt Group’s booth at IBC 2022 (Stand 7.CO1). The latest improvements
to StreamFile Core enable SRT streams to be edited in Avid Media Composer, Adobe Premiere, and other edit systems with no video transcoding. The platform features a refined distributed architecture, as its various modules can run in diﬀerent geographic locations both in the cloud and on-prem. StreamFile Core integrates both NDI and Haivison SRT, providing increased IP and streaming capabilities. The tool has the ability to record ProRes and DNx with both .mxf and .mov wrappers. The solution also has the ability to create, record and share multi-views of live streams. Additionally, each user can customize their
own multi-view templates and tailor their screen to the camera angles or other feeds.
Quicklink At IBC 2022, Quicklink will debut Cre8, a video production tool designed for in-person and hybrid events. Visitors can learn from that at stand 2.B28. The Cre8 solution combines tools required to create productions for connecting with your global audience and delivering content. Into the solution, users can capture and introduce sources, such as cameras, microphones, videos, or NDI sources. They can also
integrate remote guests from Quicklink Studio (ST55), Zoom, Microsoft Teams, Skype, WhatsApp, FaceTime, Facebook Messenger, Discord and Slack. In addition, with Cre8, users can broadcast productions to multiple physical, digital and social destinations, stream simultaneously to any platform and any other destination via RTMP or SRT.
Quantum Quantum professionals will attend IBC trade show in Amsterdam in 7.C39 stand. They will show how to re-invent production workflows, empower fastmoving content teams, and build an archive. The aim is to make content readily available for new projects and monetization. Their solutions are available cloud, on-premise, or on
hybrid models. Quantum will showcase large-scale content archive solutions powered by ActiveScale, CatDV, and NVIDIA technologies; F-Series, its storage solution; and H4000 Essential; shared storage and media asset management solution that works in a facility or remotely and can be set quickly.
Qvest - Booth design.
Qvest Qvest will demonstrate its developments on stand C25 in hall 10 of the RAI in Amsterdam. In dialog with Qvest experts and live at demo pods, visitors can learn about services and products for the media and broadcasting industry. The company’s focus is on core topics relevant to the digital media supply chain. Qvest team members from all areas of expertise will outline concrete solutions and approaches for companies of all sizes and budgets in the industry. This includes both technological and organizational aspects on topics such as: Eﬃcient use of budgets, risk minimization, optimal use of specialists and
technology, as well as approaches to innovation and sustainability. Qvest will underline seven core topic clusters: migrating to the cloud; designing and implementing allIP infrastructures and workflows; protecting data with content and cybersecurity, as well as intellectual property and rights management; data and analytics and digital asset management; transforming newsrooms and live production environments; creating agile organizations; plus software development and UX design. As an European premiere, they will also present its cloud-native editing
solution. It is based on Techtriq’s qibb integration platform, which enables cloud-based multimedia workflows. As an additional innovation, Qvest will present at IBC the latest development of Makalu cloud playout automation.
RED RED DIGITAL CINEMA will exhibit the newly released V-RAPTOR TM XL 8K VV camera system at IBC in Amsterdam, booth 11.B38. The company will also introduce RED Connect, a license-enabled feature that allows delivery of full resolution, live R3D video streaming via RED’s V-RAPTOR and V-RAPTOR XL camera systems.
The V-RAPTOR XL system features RED’s current flagship V-RAPTOR 8K VV + 6K S35 multi-format sensor inside of a largescale-production ready XL camera body. This camera system features multi-format 8K sensor. The model, as well as the V-RAPTOR and the compact RED KOMODO 6K camera, oﬀers network-based camera controls, remote lens and shading control, and compatibility via r IP or fiber solutions.
RED will also present RED Connect with partners NVIDIA and Media.Monks. NVIDIA and RED will produce a live 8K R3D broadcast stream over SMPTE ST2110, rendered in real-time using state-ofthe-art NVIDIA RTX GPUs and NVIDIA networking technologies. RED and Media.Monks will enable visitors to experience realtime virtual reality with 2x V-RAPTOR cameras, each feeding an 8K R3D video stream into an ATEM
Constellation, which will output onto high-definition VR headsets.
Rohde & Schwarz and Pixel Power Rohde & Schwarz, together with Pixel Power, is going to demonstrate the enhancements and new releases t IBC 2022 edition on booth 7.B21. First of all, the company will unveil a new transmitter
solution that has not been released to the press and will be shown to the public for the first time on September 9 at a special closed-door event. Visitors will see live demonstrations of Rohde & Schwarz platform agnostic studio production, playout and transcoding capabilities. In conjunction with Pixel Power, they will give visitors a look at how its Studio Production, Post Production, Delivery and Distribution solutions meet customers’ requirements. Everybody at the show floor will see the latest CLIPSTER platform and SpycerNode SC storage solution in action.
Pixel Power will present Playout, Branding and Automation workflows via the public cloud (AWS) as well as showing its on-premise solution. This system provides a portfolio for playout and transmission suites with integrated, software defined, virtualizable PRISMON monitoring and multiviewing. Rohde & Schwarz will partner with Qualcomm Technologies to illustrate how the two companies are driving forward 5G Broadcast/Multicast with an end to end live streaming demonstration during the show.
Ross Video Ross Video will be present at booth 11.B10 and will focus on oﬀering a personal experience to visitors. The goal is to get collaboration and facilitate in-person conversation, to connect with the community and unlock innovation. The company is presenting the new version of its Ultrix Router: FR12. The FR12 boasts up to 288 x 288 SDI ports with a 6144 x 6144 TDM audio fabric, up to 288 frame syncs, 288 clean quiet switches and up to 48 x 100 PIP multiviewers. It also has up to 8 SDPE blades that can be configured as a single 8ME Ross Acuity switcher,
8 independent Ross Carbonites or even a 4ME Acuity and 4 independent Carbonites. “We’ve missed the inperson environment that IBC oﬀers the industry, and we’re excited to attend the physical event in Amsterdam”, says Jeﬀ Moore, Executive Vice-President at Ross Video. “Throughout the last two years, we have communicated the advancements in our
oﬀerings directly with our customers, but we believe that there’s still a place for face-to-face connections, which allows for diﬀerent levels of communication and understanding.” “Our participation in the IBC Show will continue to be driven by the comfort level and needs of our staﬀ, business partners, and customers,” stated Moore. “This is about them, and we believe the time is right for the resumption of large trade shows.”
SDVI SDVI is present at stand 5.C69 and the company will showcase developments in media supply chain optimization and also introduce new partners in the Rally application services ecosystem and provide examples of business transformation enabled by the SDVI Rally media supply chain platform. Rally Insight and Rally Connect are two services.
First one is a data analytics and visualization service, and Rally Connect is a content exchange service. These two services extend the value of the Rally platform in ways that are meaningful to supply chain optimization: first, by adding new levels of intelligence to help spot optimization opportunities, and second, by interconnecting supply chains between business partners to eliminate duplicate work as content moves from one company to another.
Sennheiser has highlighted AMBEO two-channel spatial audio. It oﬀers an immersive audio experience with standard stereo speakers. It can be used as a replacement for stereo, as it does not require more bandwidth. In an active configuration, booth visitors will be able to compare the AMBEO experience with a standard stereo mix.
SDVI this year introduced Net-Zero Supply Chains, formally making complete carbon-neutrality a standard and permanent feature of its cloud-based Rally media supply chain optimization platform.
Sennheiser AMBEO VR Mic.
Sennheiser, Neumann and Dear Reality Sennheiser, Neumann and Dear Reality will exhibit all the solutions they have developed for media and entertainment industry. Visitors can discover them at booth 8D50.
IBC will be the first European trade show where visitors will be able to get a first-hand look
at the upcoming EW-DX line. This range has low latency, spectrum-saving equidistant frequency spacing and an ultra-wide input dynamic range. It has advantages such as its higher switching bandwidth of 88 MHz, AES 256 encryption, e-ink displays and many more. On the monitoring side, visitors will be able to familiarize themselves with the new NDH 30 openback studio headphones. The centerpiece of Neumann’s studio monitor range is the new KH 150 with AES67 option, which predestines this monitor for broadcasters’ AES67 workflows. Featuring an AES67-based Neumann 5.1.4 monitor setup with the new KH 150 and two KH 750 DSP subwoofers, the live demo section of the booth will feature virtual mixing sessions by Dear Reality. Visitors will be able to follow an immersive mixing process using Dear Reality’s dearVR SPATIAL CONNECT VR controller and the dearVR PRO spatializer.
Solid State Logic Solid State Logic (SSL) will present the latest workflow advancements to System T for on-premise and remote audio production for news, sports and live production at IBC 2022, booth 8.D68. In addition, SSL will also be showcasing a range of production tools for content creation, post and audio production, featuring advanced DAW integration and control. Tempest TE1 and TE2 engines incorporate scalable pay-per-use DSP licenses. Software licenses are available for five diﬀerent processing packages. These options are arranged according to the total number of supported mono All-Paths equivalent channels, from 85 to 800. System T is a solution that focuses on collaborative work, and that performs support for multiple standards and formats including ATSC 3.0, Dolby Atmos and MPEG-H. A partnership with Sennheiser AMBEO adds on-board conversion support for the AMBEO VR microphone. It builds on Audinate’s Dante technology to provide the Dante API that manages audio routing of SSL network I/O and more than 3000 third-party AoIP products. They allow transmitting and subscribing ST 2110 or AES67 streams on the same Dante interface.
Spin Digital Spin Digital Video Technologies GmbH will be part of the highly anticipated international event IBC 2022. The new products highlighted by the company are the VVC video encoder for live UHD (4K and 8K) broadcast and streaming applications and the result of its collaboration with the Fraunhofer IIS Institute: software solutions for encoding, streaming and playback of live video and audio using the VVC/H.266 and MPEG-H Audio codecs.
The VVC encoder can bit-rate downscale as a live UHD HEVC encoder would while providing the performance needed to process 4K and 8K video in real time. What you get is the ability to stream multimedia over the Internet in UHD formats with very high quality and very low bit rate. It has optimized for the latest generation of Intel Xeon Scalable processors. On the other hand, Spin Digital has added MPEG-H Audio to its encoding and live playout solutions. Thanks to the new software, UHD video (4K and 8K) using VVC can now be encoded in real time, along with MPEG-H audio.
Synchronized Synchronized will be showcasing the capabilities of its Smart-Video platform at IBC 2022 in stand 2.B39H. The company’s debut at IBC will focus in showcasing IVI platform. This solution transforms linear and passive videos into interactive videos as flexible and powerful as hypertext. It does this using proprietary AI/ML tools to
understand the content of a video and enrich it with immediate usable metadata. Once enriched, videos are as hypertext document, with search, indexing, browsing, and web capabilities. IVI features demonstrated at IBC: Smart-Thumbnails, video thumbnail creation automation, and Smart Ad-breaks, automatic placement for ad breaks in a video. Robert Cloudt, Chief Revenue Oﬃcer, Synchronized, commented, “We are tremendously excited to be joining the industry for the first time as an exhibitor at IBC and demonstrating how our innovation is delivering reliable automation of repetitive manual editorial tasks while maintaining a consistently high-quality user experience and expanding monetization opportunities for broadcasters.”
Telestream Telestream is going to showcase at IBC 2022 (Booth 7.C16) its portfolio of solutions related with production and postproduction teams.
This event will be the presentation of the latest acquisition completed by the company. This is Encoding.com, whose joint solutions with Telestream amplify media processing services in the cloud. Attendees will see the enhancements in media processing and workflow automation feature new HDR capabilities in the Vantage Media Processing Platform, significant updates for Lightspeed Live Capture such as ST 2110 with NMOS, and a next generation captioning product, Stanza. Present in the booth as well, the solution Argus will be debuted for the first time. The latest version of the PRISM waveform monitor family features IP switching and post production format support, including DCI 4096x2160 4K sources. The latest versions of DIVA and Kumulate content management solutions will be on display with a new user interface for DIVA and support for the Archive eXchange format.
Telos Infinity VIP.
Telos Alliance Telos Alliance has announced a customerfocused attendance at IBC. Visitors can found the enterprise at Hall 8 Stand #A44. The Telos Alliance exhibit will feature a team of audio and broadcast experts ready to collaborate with visitors on projects and concepts, as well as oﬀer unique insight into how hardware, software or a hybrid combination allows them to enhance capabilities or solve problems in their facilities. The new approach to Telos Alliance solutions matches the proactive dynamic the company is taking on. “We are committed to oﬀering
our customers exceptional services that go beyond the traditional pre-sales and post-sales support for which we are well known,” assures Marty Sacks, Executive Vice President of Sales, Marketing and Strategy for Telos Alliance.
next generation of its IDN (Internet Delivery Network). Trade show visitors can learn how it works at 5.B72. The upgraded IDN features more automation for eﬃciency, greater network flexibility, higher bandwidth, and lower latency.
“As we continue to provide more solutions to the industry, IBC 2022 is the perfect event at which to showcase our ongoing work across a wide range of file-based and real-time media workflows, including virtualization to empower our customers to broadcast without limits”, conludes Sacks.
Telstra’s IDN is a softwaredefined, cloud-based platform enabling the transport of video content and live broadcast streams to any registered endpoint across shared networks like the public internet.
Telstra Telstra Broadcast Services (TBS) is launching the
The IDN upgrade follows TBS joining the SRT Alliance. By collaborating with the SRT Alliance, TBS is able to broadcasters of any size with flexible, cost eﬀective and robust ways to manage their content.
The Switch The Switch will present in a private meeting room in the IABM Lounge, Hall 4, Level 2 at IBC 2022 their capabilities to the world. The enterprise will showcase its Cloud Video Services platform, MIMiC. MIMiC’s latest developments are in production and include: adding the ability to support both clean and dirty feeds, and support for multiple output aspect ratios for the same production. The Switch will have a private meeting room in the IABM Lounge at IBC 2022 (Hall 4, Level 2). There, guests are invited to learn how the company enables live content owners to produce and deliver content.
Viaccess - Orca Viaccess-Orca (VO) is going to demonstrate their objective related with providing sustainable technologies that support TV services for the long run. The will prove it through its TV platform, featuring the VO Secure Video Player
and advanced capabilities such as Targeted TV Advertising, analytics, and TV monitoring. The company will also showcase its content protection and Anti-Piracy Services. Visitors can find them at stand 1.A51. VO’s service delivery platform, together with content protection and DRM capabilities, a multiplatform player, customizable TV apps, analytics, AI-based targeted TV advertising, monitoring, recommendations, and more; provides users with an end-to-end solution for delivering content. It has a unified backend, targeted TV advertising, TV monitoring and analytics, and Multiscreen TVaaS apps that show the VO Secure Video Player on a smartphone, tablet, and STB with live and VOD targeted TV ad insertion. On the security side, the company will demonstrate how its Anti-Piracy Services are customizable set of security services that includes AI-based dynamic watermarking, monitoring, breach detection, password sharing, and legal investigation into piracy for
both live and on-demand content on the web and for IPTV services.
Videosys Videosys Broadcast has announced its participation at IBC. Visitors will be able to find its recently upgraded wireless 4K video and camera control system at booth 11.B05. Epsilon is an integrated solution that has been designed to simplify the installation and operation of regular radio camera systems in all areas of outside broadcast and studio production. It is conceptually similar to regular CCU systems. Following the latest upgrade it has a 12G output. It consists of two dual-channel fiber receive modules, RF receiver and decoding options in HD H264 or H265 up to 4K. In addition to the 12G SDI upgrade, Videosys Broadcast has also added TSL TallyMan capabilities. Users of its products can now benefit from the control system with tally and UMD data available from the company.
Videosys Epsilon System.
Yospace Yospace will demonstrate the latest advances in its technology on its stand (#5.A47) at IBC 2022. The company is showcasing a new orchestration system and non-linear live streaming designed to maximise the monetisation opportunities and user experience of live sports. Yospace’s orchestration solution for live sports enables rights-holders to power linear OTT channels up and down for each event. On the other hand, the company’s non-linear live streaming functionality
enables viewers of live events to rewind a live stream. Advertising is dynamically replaced at the point an ad break is viewed, with accurate impression reporting, even when the viewer is in non-linear playback mode.
Zixi Zixi’s professionals will be present at Amsterdam IBC on several ways. Visitors can find them and their products at stand 1.D81. At the booth, they will be showing: Live Events Optimized Scheduling & Operational Management in ZEN Master; Zixi-
as-a-Service (ZaaS); Zixi Broadcaster v16 Debuts with Enhanced Performance & Zixi AgentZ Telemetrics; Actionable Analytics, Data Visualization and RCA Reporting with Zixi Intelligent Data Platform (IDP); AWS Support Delivers New Control Plane Options Across AWS MediaServices; and finally and special announcement. The company is one of the supports of the IBC Accelerator Lab participating in two IBC Accelerator Innovations Projects. On the other hand, they will take part in two diﬀerent panels. On Thursday, September 8th Zixi will be the title sponsor of the Devoncroft Executive Summit at Amsterdam’s Tuschinski Theatre. The core theme will be the trends that are shaping the future of media technology. On Friday, September 9th CEO Gordon Brooks will moderate a panel in the IBC Showcase Theatre with representatives from customers such as Paramount and NEP for a discussion of how Zixi innovation has solved specific problems of live event management.
IBC 2022, interview with
Actus Digital What are you most looking forward to at IBC 2022? Actus has always been an opinion leader in the industry. We constantly expand the boundaries and use cases a monitoring solution can do for the customers. We will show at IBC, besides the ongoing new options and improvements for compliance monitoring (like support for new protocols being used like SRT or 2110), that the future of compliance is not, and cannot be anymore, only for technical and mandatory
the broadcast and also by other market segments for intelligent content monitoring. As a few examples we will show at IBC: more options in Actus content re-purposing Clip Factory PRO, for simple and fast content publishing to social media, VoD, OTT with new automation options, or new AI options for automatic metadata generation such as speech to text and translation that allows intelligent searching and keyword alerts, or new OTT monitoring options, to pinpoint of any issue in the distribution chain or with
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PRO uses the compliance
diﬀerent departments of
What are your objectives? This is the first IBC after three years. Since COVID started, Actus growth has been phenomenal, with many new customers that have purchased our solutions. IBC will be an excellent opportunity to meet them all in person as well as meet our existing and new partners. Our intelligent monitoring platform includes new workflows, and IBC will be a good opportunity to update everyone. A great result will be to present our new solutions, additional use cases we support, technological improvements and meet as many customers and partners as possible. IBC is also a great place for us to meet more potential vendors with products
we can integrate with, to
result of IBC for us is to
also love to hear about new
provide enhanced solutions
learn from the customers
ideas/requirements of the
to our customers. A good
about their road map,
customers. This has always
result will also be to
and new requirements /
been our D & A – to listen
meet new customers and
technologies they would
to customers: they have
partners and present our
need and expect from our
the best ideas, we have the
solutions. Another good
solutions to support. We
best expertise to develop it
and this is what makes our
potential integration with
products from the
products better. We also
our products, people that
expect to learn in IBC about
would like to learn about
more trends of the industry and new technologies the industry is moving forward to. Who is welcome to your booth at IBC?
monitoring solutions and future versions, and anyone that has requirements for any of our solutions: compliance logging, technical alerts, multiviewer, advanced editing and
What diﬀerentiate our products is the fact that we are not only a compliance and monitoring solution but provide other workflows outside the monitoring arena, such
Almost anyone! Almost
clipping, ads detection or
as advanced editing and
any IBC visitor can be a
other AI options such as
clipping workflow to the
potential customer or a
speech to text, etc.
social media platforms, or AI options such as ads
potential partner. We of course welcome all our
How do you set out
detection, speech to text
existing customers and
your stall, how do you
and more. We will have
partners , vendors that see
various monitors, each
focusing on our unique
solution for digital media.
solutions related to these
solutions, beside the
Using the same “box” is
compliance and monitoring.
cost-eﬀective and provides more options because each
What diﬀerentiates IBC
What is the novelty you
workflow uses the other
from other international
want to highlight the
data. We also see more and
more customers purchasing
This year we see many more requirements for OTT monitoring. For this reason, we have done some major technological development to provide unique OTT monitoring tools to save the customers significant cloud resources and work in the most optimal technological method for the cloud. Apart from your
our clipping solution as a standalone, as they do not have regulatory compliance requirements. I think this has to do with positioning ActusDigital as not only compliance monitoring. What are the most recognizable technology development trends in your industry?
IBC gains more visitors than most of the other international trade shows due to a few factors, in our opinion. The size of the show is amazing which oﬀers the visitors a huge variety of vendors to visit and learn about. Any serious vendor in the industry presents at IBC, which attracts a huge number of visitors.
Two industry changes in
IBC is known to attract
the last year. One is the
visitors and vendors from
dramatic growth in OTT
all over the world, unlike
services that require more
many of the other shows
OTT monitoring tools to
that attracts visitors for
In many cases, customers
deal with the MBR and
the specific area. We also
prefer Actus compliance
multiple distribution points
believe that IBC location
monitoring because our
quality of service. The
is an optimal sport to
package goes beyond
second is more AI-based
most people that makes
compliance to embrace
workflows for automation
the trip feasible, beside to
content monetization and
and automatic metadata
European of course, but
repurposing for social
generation. Actus will
also to people form Asia
media. We provide a
present at IBC new
highlights, what other innovations are you showing at the trade fair?
IBC 2022, interview with
disguise Interviewee: Grigory Mindin, General Manager for Broadcast, disguise
What are you most looking forward to at IBC 2022? IBC will be huge this year with more attendees than ever before and a flurry of innovation happening, not only from disguise, but from our partners and in the content and technology community at large. We have seen some major technology advancements in the past year, particularly when it comes to virtual production. I am most looking forward to the inperson conversations we will be having at the booth, on the conference floor and at the many events happening throughout the show. This is the best way to get a pulse of what’s happening in the broader market. It is also the first IBC I will be attending as disguise’s General Manager for Broadcast so I am excited
to talk about the latest innovations that have come from disguise’s acquisition of Polygon Labs. We are making it easier than ever before for broadcasters to turn their traditional sets into immersive virtual environments and I am excited for people to see it! What are your objectives? Our objectives are, in essence, to connect with people and build new relationships. We also want to showcase some amazing new developments we’ve made since acquiring Polygon Labs at the beginning of 2022, including how Polygon Porta’s cloudbased platform ehichg can help broadcasters and production companies control entire studios from the lights to the tracking, LED walls and media playout, all in one place.
Who is welcome to your booth at IBC? Anyone who wants to tell compelling stories is welcome to join us at the disguise booth (2.A35). Creative and technical teams working in broadcast and production will be able to take particular advantage of disguise solutions. With the acquisition of Polygon and the launch of our latest products: px and Porta 2.0, disguise is now the ultimate controller for Unreal Engine graphics, allowing broadcasters to easily be able to take advantage of extended reality. We are providing a full end-to-end workflow for broadcasters and production studios so, if you want to make your shows more engaging using real-time graphics, come and visit us! What is your strategy to attract the public to your new products?
We are giving showgoers a sneak peek into the future of visual storytelling. The disguise booth features a full 12 x 3 meter LED extended reality (xR) stage powered by disguise rx II real-time rendering nodes and vx 2 media playback servers, complete with the latest release of Polygon Labs’ Porta software. The stage will enable visitors to get hands-on with creating real-time UHD content using the same innovative tools as Netflix, Amazon Prime, and ITV. The stage will also feature LED technology from ROE Visual, Ncam real-time camera tracking, and Canon digital camera equipment. Throughout the show, disguise technical experts will also be hosting regular talks on the xR stage, demonstrating its groundbreaking capabilities in virtual production for broadcast. These talks will explore topics such as: - Creating data-driven and augmented reality graphics that presenters can see and even interact with—all in real-time. - How to build Extended Reality environments
that can turn traditional studios into expansive virtual environments, with no post-production or green screens required. - The benefits of managing an entire studio while working collaboratively in the cloud using the Polygon Porta software, which can automatically match studio lighting conditions to graphics, managing tracking, and more. - How to distribute live, synchronous content of any type to any screen and at any resolution using disguise’s cluster rendering technology. Our xR stage will also host a session with guest speaker Michael McKenna, CEO and Co-Founder of
global virtual production studio Final Pixel, exploring the rise of the Virtual Art Department. During this session, attendees will learn about Final Pixel’s approach to creating real-time virtual production content on set for the likes of Netflix, Discovery, and Channel 4, and their new partnership with Hogarth, the WPP global creative content production company. The session will also explore how the Final Pixel Academy is inspiring the next generation of talent to support this, including teaching 500 students aged 11-18 how to build their first MetaHuman. What is the novelty you want to highlight the most?
We want to mainly speak about the launch of our Porta 2.0 software and px hardware which is a cloud-native control system for broadcast graphics. Together, they enable broadcasters to seamlessly create, control, and collaborate on real-time graphics directly from a web browser. Porta 2.0 and px will automatically match studio lighting conditions to graphics, manage tracking, control LEDs and more, all in one place. These new developments have major impact as, for the first time, broadcasters will be able to manage dynamic content in an easy and eﬃcient way, without developers or specialists, thus overcoming some of the major barriers broadcasters face when introducing Unreal Engine graphics in their productions. Engineered to power Unreal Engine vanilla graphics, the px is a high-performance render hardware that works seamlessly with Porta. It is ideal for graphics and video components, including AR,
CG graphics, green screen virtual sets, MCR graphics and more. The disguise booth will feature a full extended reality (xR) stage with the new Porta 2.0 software so visitors can get hands-on experience creating realtime UHD content. Porta 2.0 will be controlling xR, AR, CG and ticker graphics all from a single eﬃcient web browser interface. Apart from your highlights, what other innovations are you showing at the trade fair? If you are curious about introducing immersive, photorealistic graphics and using extended reality in your productions, then you are in luck. We have a full xR stage powered by disguise with industry-leading LED from our partners ROE as well as camera tracking from ncam. Visitors can see how all elements work together to create immersive productions. Also, we will show just how easy it is. Virtual production and extended reality are making major waves in the broadcast industry and we are here to drive it.
We are also excited that our extended reality platform is up for a CSI award for Best Sports Broadcast or Streaming Innovation. The awards ceremony will be held on the 9th of September 2022 and we will be attending and raising our glass to all other nominees. What are the most recognizable technology development trends in your industry? There are three major developments in broadcasting: The first is the move to Cloud. Broadcasters are increasingly embracing greater eﬃciency, better resource utilization, and the overall cost-eﬀectiveness of remote production. Onpremise software is moving to the cloud and, with that, many business models for this technology are becoming SaaS models. The second is the changes to content delivery and the wide popularity of OTT services like Netflix and Prime video. In order to still grab audiences and interest, broadcast
depending on who is watching. In the past year, disguise has powered major broadcast productions and coverage for ITV and Eurosport for events like the Olympics, the Euro 2020 football tournament and the VMAs, we know that this technology is shows need to be adapted
taking advantage of using
for multiple formats and
real-time graphics in their
appear in many languages,
productions. This allows
rather than broadcasted
them to shoot in multiple
once on linear TV. Making
locations all from one
content that appeals to targeted demographics and audiences as well as making sure content is repeatable across multiple platforms is so important.
set. With the integration of tools like Polygon Porta, they can use these graphics in their everyday broadcast workflows without needing specialist developers. Using Unreal
becoming mainstream and will change the broadcast industry. What diﬀerentiates IBC from other international trade shows? IBC is heavily focused on education and learning which makes it somewhat diﬀerent from other tradeshows. With over 100+
The third major change
Engine vanilla graphics in
is the use of graphics,
production to appeal to
in particular, real-time
new audiences and get
graphics in production.
maximum impact with a
Thanks to ubiquitous
broadcast studio is now
real-time engines like
easy to achieve. Studios
Unreal Engine, the
and broadcasters can also
speed of GPUs and LED
introduce AR graphics in
can ever call a tradeshow
materials becoming more
their productions, making
relaxed). I feel there is a real
aﬀordable and better
it even more engaging and
spirit of community that you
quality, filmmakers and
don’t necessarily always get
broadcasters can now start
the types of graphics,
at every tradeshow.
free session across three show floor theatres, I am excited to learn more about what is next in broadcast and production. I also love how relaxed it is (if you
IBC 2022, interview with
Konstantin Knauf, General Manager, Qvest.
What are you most looking forward to at IBC 2022? It’s the people and the variety of discussions and topics in such a short timeframe, which you only have at a trade show like the IBC. Our business is always so much tech-driven. But for us at Qvest, it is first and foremost a people’s business. It’s always about solving business challenges
with the help of technology, or to ease actual workflows with better solutions. So meeting the people “behind the problem” on management, operations and technology level is great. This trade show is the perfect opportunity to catch up and present our Qvest portfolio, which has changed quite a lot since last IBC. Nothing can replace a face-toface meeting, so I’m really looking forward to taking some time to talk and see familiar faces as well as new ones and exchanging ideas with them. What are your objectives? Getting in exchange with other attendees of the IBC is my top priority. Earlier this year, we have re-organized the Qvest company structure for
even closer contact with our customers. Since then, my colleague Jawid Mahmoodzada and myself are responsible for our company’s European business, particularly in the area of consulting and systems integration. So, one can say, that is just a perfect timing now to be at Europe’s most important trade fair for media technology and content and get new impulses and insights at the various booths and presentations at the IBC. Who is welcome to your booth at IBC? Qvest is recognized as a General Contractor in systems integration projects as well as consultant in the media transformation, so we generally welcome everybody at our booth. Seriously, the Qvest booth
at IBC2022 was designed to oﬀer many opportunities for exchange – be it at digital demo pods, in meeting rooms, or at our famous Qvest Bar. For the latter we were already well known at previous IBC editions and, I can say this much, we will continue the popular traditions. With our experts from all worldwide teams of the Qvest Group, we will address several core topics along the digital media supply chain. And since this aﬀects literally every single IBC participant to some extent, I am looking forward to welcoming many visitors at our booth. What is the novelty you want to highlight the most? At this year’s IBC, we have news and updates on both Qvest services and products. Regarding services, we will present for the first time ever the complete, worldwide portfolio of the company group. For this, Qvest experts from all our specialized teams in Europe, Australia, Southeast Asia, the MENA region,
and the United States are on site. They will explain in detail, how we support the media and digital transformation journey of our customers end-toend. As this means today more cloudification and more software integration and development, but also more organizational change, we have strongly invested here in the right experts to support our clients on this journey. The second main topic we will emphasize, is the “product side” of the business – and not just with one, but two product premieres. For the first time at an event in Europe, we will showcase the new Qvest cloud-native editing solution in live demos. This solution is tailored to the needs of broadcasters, publishers, network agencies and post-production specialists. The second new product at our booth is the latest development stage of the Makalu cloud playout automation, which visitors can also experience in a live demo and get insights by our experts.
Apart from your highlights, what other innovations are you showing at the trade fair? To me, innovation often gets tangible as a result of a collaborative project work with the customer. It’s always about the individual approach to master a challenge with new tech and workflow solutions. That’s why we focus on seven central Qvest topic clusters at IBC: All-IP infrastructures and their workflows, migration to the cloud, protection of data with content and cyber security, newsrooms transformation, data & analytics and digital asset management, agile organizations and organizational change, and also software development. These topics represent just some of the many expertise fields of our Qvest team members, who you can meet at the IBC. And if you take some minutes at our booth for a talk with one of my colleagues, you will realize the huge potential for innovation here.
What are the most recognizable technology development trends in your industry? I think, there are two trends that clearly stand out and will be major topics at IBC2022. Firstly, we see the trend towards All-IP infrastructures. This is definitely a wide field with many possibilities and certainly no ‘right or wrong’. At Qvest we consult our customers very intensively here, because
the best solution is only the one with the perfect fit to the individual needs and actually addressed the business or operational problem of our customer and considers technology as a means to an end. The second major topic is cloudification. This technology has much potential, especially in the media and broadcasting branch. We will present our latest products and services in this field at IBC2022 with live demos and expert
talks. By doing so, we meet the request for change in this field, because many of our customers have a need for transformation in the context of cloud – whether in the area of infrastructure, workflow or at application level. And also here, the technology is super attractive, it is quite easy to start with – but for a large media organisation this is not all. How do I compare solution options, how do I impose proper cloud governance,
and how do I predict and manage my costs? This is all things which become very diﬀerent from a CAPEX investment in a video router or a couple of playout servers. So beside the technology knowledge, we like to bring this holistic view to the table to ensure project success and low risk for our clients in the cloud transformation. What diﬀerentiates IBC from other international trade shows?
Since Qvest is a worldwide operating company with oﬃces all around the globe, we attend quite a few trade shows, congresses, and other events throughout the year. One aspect, that makes the IBC so special for me, has to do with convenience and sustainability. Because many Qvest team members can easily travel from our headquarters in Cologne, Germany, to Amsterdam with the high-speed train, powered by 100% green energy and with the
opportunity to remotely work during the travel. Another aspect is the nice balance of insights and sight-seeing. At IBC, I really appreciate this great combination of exchange at the trade show halls, getting new impulses during the conference sessions, and being so close to the city center of beautiful Amsterdam, where it so nice to spend an evening with customers or colleagues from Europe and all over the world.
RTVE SANT CUGAT
RTVE: experience on IP HD production and conclusions More than a year ago we published the approach adopted by one of the most advanced innovation projects in our continent. That project sought to evolve one of Europe’s most important public televisions into the future of broadcast communications. On these pages you will find the experience gained by RTVE (Spain’s TV and Radio Corporation) producing, for months, HD broadcast content on an IP infrastructure, as well as their own conclusions on this transition. The SDI environment, a technology that had been the basis of mass communications in our civilization for many decades, has become outdated. It’s time to switch to IP. Internet, fiber and simultaneous connections; increased broadband, increased quality, faster,more flexibility, etc. All these capabilities are offered by fiber. For these reasons, RTVE proposed the migration of one of its largest Production Centers -Sant Cugat’s in Barcelona- from SDI to IP. Through the voices of its main managers, Jesús García Romero, Technical Director at TVE; and Miguel Ángel Corral, Head of Facilities, Engineering and Studio Support Projects and Mobile Units at RTVE; we all got to know about this project in our pages. Today, these same professionals return to TM Broadcast International to share with the world what have been the achievements of this project, its stepby-step development, troubleshooting issues and the conclusions they have reached after putting it into practice.
RTVE’s facilities in Sant Cugat have already seen some months of HD production on IP infrastructure and in this month of June have reached full operation. An extensive article in issue 140 of this magazine throughly dealt with the concept idea and design criteria adopted for such a deep-rooted technological migration. A project that earlier this year (March) has been recognized and awarded by the Professional Association of Technical Engineers of Telecommunications of Madrid. It is now time to make an assessment and reflect on what it has meant to shut down the old, well-established SDI video environment and get fully into in a new, unknown, fully-IP environment. A leap designed with no way back; without a safety net other than the commitment, talent and collective enthusiasm of RTVE’s engineers and technical managers, in addition to the equipment integrators and the manufacturers. A transition that was already seen coming and not without difficulties, but one that has finally managed to achieve the expected goals and that for the rest of the production center, as in Toy Story- will continue to ‘infinity and beyond’. At the time of writing these lines, the Sant Cugat facilities already have four IP-technology sets in operation, two of them dedicated to news and the other two to programs as iconic as ‘Saber y Ganar’ (a very well know RTVE’s quiz show). Resources are reallocated throughout the day according to the programming of each of the four studios. This flexibility is one of the great advantages of the adoption of this technology. At RTVE we are already experiencing these benefits from the IP universe every day. A universe which will soon be joined by the EVS recording systems and the Chyron Prime graphics platform.
RTVE SANT CUGAT
The RTVE team attended the collection of the COITT award in Madrid. From right to left: Francisco José Collado (Deputy Director of Support and Engineering of Studies and Mobile Units), Víctor Sánchez García (Director of Media and Operations TVE), Miguel Ángel Corral (Engineer Responsible for the IP Project), Carles Balaguer (Head of the Sant Cugat Central Control ervice), José Luis Muñiz Viejo (Director of Production and Media) and Jesús García Romero (Television Technical Area Director).
The operating experience in the IP environment There is no doubt that the switch to more modern control rooms, with well-crafted lighting and high-definition, highperformance equipment, has been a very positive experience for operating technicians. For them, the equipment arranged in the controls and in recording sets shows the classic look
and feels they are used to. All elements of an SDI installation are replicated by their IP counterparts. Their workflows are the same and their procedures for reacting to failures are the also identical. Such is the example of the typical emergency mixer, based on a matrix singlebus acting as a preselector, perfectly simulated by a panel in the orchestration and control system, which with an identical way of operation
acts as a preselector between the mixer sources while oﬀering the same PGM video output on which the PGM audio is embedded in a subsequent processing. The flexibility in the distribution of resources that allows to adapt machines size to production needs of and the features provided by new equipment satisfactorily expand the options for operation and
monitoring. The slight diﬀerences they have to handle are basically operational in regard to the old SDI equipment. But no one among the operational staﬀ perceives the radical change made in the underlying technology. Nor do operators detect the delay required by the system processing, somewhat greater than that employed by the prior equipment. This delay is masked under proper adjustment of audio delays in monitor outputs to the studio controls. Where clean switching between videos is necessary, the double-subscription method to ‘make-beforebreak’ sources is responsive enough, so users have no reason to complain.
Management and IP technical support experience The experience of the technical staﬀ in charge of the daily management of the system and troubleshooting or modifications in the basic architecture of the installation are not as simple and pleasant as the experience of the operating staﬀ. The technical team
at Sant Cugat and the engineers of the integrated Telefónica Audiovisual Solutions are the ones who are essentially dealing with the countless adjustments that such a radical technological change implies, especially if we consider that, in general, our broadcastworld mindset is not formed nor accustomed to the intrinsic aspects of IT infrastructures. RTVE is a pioneer in the deployment of IP production technologies. These have proven to be mature, but not everything is yet completely resolved. The diﬃculty in recognizing the source of a problem and the exact point of failure generates a logical reluctance in those who need an assurance that we can successfully resolve the incident with the least possible impact on the broadcast. The redundancy is true, and it has been proven that it works, although not all computers oﬀer it completely. Technical staﬀ needs tools to quickly make out the root cause of the problem being analyzed; this requires agile and simple data presentation. But the myriad of parameters in some pieces of equipment
and in the system in general does not make it easy -at least until the gathering of enough experience and intense training provide the necessary skill to our technicians. Conscientious labelling is required not only at end-device level, but also for identification
RTVE SANT CUGAT
of flows, mnemonic inputs and outputs, etc. And it is expected that progress in these installations will lead manufacturers to increase the performance of their tools, thus enhancing their capacibilities for presentation and access to information.
When all this information is managed by an orchestration system that must have access to it and process it at a very low level, it is very important that communication between devices and broadcast controllers is quick and reliable. The user panel must be available
and respond to certain actions as quickly as required by the technicians, in addition to returning a report that the action has been executed. Software panels for broadcast controllers allow designing the operating interface to the user’s liking, which, at the click of a button, can
reallocate the technical resources available at the studios quickly and without touching a single cable. The panel development tool is enormously powerful but at the same time it is complex to handle. The design of panels with simple functions is truly accessible to support technicians. But a very specialized technician profile is required when the functionalities to be
implemented are very elaborate. The wide array of buttons and functions available, including those based on combinational logic, where crossing points statuses, GPI/Os or values of parameters and alarms exposed by IP devices are involved, open up very attractive management possibilities, unthinkable until now in
a traditional installation. From the training and support provided by the manufacturers, from the experience that is gathered along the way and from the ingenuity of our technicians, new tools will spring up that will enable to achieve excellence in the management of the system. From the beginning, attempts have been made to set the proper
RTVE SANT CUGAT
parameters for the system (registration of signals and devices, checkpoints, groupings by families and colors, labeling and organization of resources, direct access to groups of signals...) to make it easier to create the panels and develop functionalities. But the addition of new devices and some other issues will continue to be complex without the
aforementioned figure of an expert developer of the control system. It is found that work remains to be done so that flow orchestration tasks within the network and those relating to configuration and control of all broadcast devices are perfectly merged in a single management system. Some limitations and greater automation to
avoid manual procedures will be solved through better integration at logical level with the network and flow controllers. In addition, given the current state of IP technology, implementation of NMOS protocols must also continue to evolve and improve. As for the experience of the technical head of the studio, in charge of carrying out the resource derivation
actions, both regarding internal resources (between controls and sets) and external resources (between studio environment, sets and central control), for the previous configuration of the studio, their main tool are the control software panel and the tools for the specific subsystems (intercom, cameras, web access to the devices) that allow to verify that the assignments are carried out according to their decisions. What has been learned from the experience gathered in this regard is that it is vitally important
to define the appearance of the interface from the outset, paying particular attention to the size of the elements with which it interacts so that the labelling will be visible, taking into account that this panel will be presented on a small touch screen, and that the layout of the objects follows a logical distribution that favours a correct interpretation of the connection chain. Likewise, the design must be adapted to the type of objects that the system can handle so that the panel is practical for the functionality being pursued.
Another kind of learning has more to do with the fact that every design of a software interface is going to be continuously subjected to an ongoing debugging, arduous work that forces to continuously review the panel’s performance, especially when it has multiple buttons and pagination between sections; any bugs spotted must be analyzed and fixed. The support and maintenance personnel are the most directly confronted with troubleshooting or modification and expansion
RTVE SANT CUGAT
greater attention in order not to inject signals or connect devices to the network that can saturate it (this is already handled by the host/flow policiies we have in place), although it is true that there is a greater dependence on the assistance of the manufacturer/integrator (at least during the first few months).
works of the installation’s base architecture. They needs device analysis and diagnosis tools as well as signal flow tracking. It also requires having in place the procedure for replacing cards or blades, which can no longer be the immediate action that we were familiar with in the classic installation, when determining factors come into play such as preserving the IP addresses where the system intends to find both the device at management and control level, and the flows it emits against multicast addresses. The task is, therefore, more complex and requires
In this process, the network engineer, who like the broadcast engineer, must be involved and retrained, takes the spotlight. Together they must learn about each other’s trade and operate together in this new vision of IP broadcast installation.
Experience of the RTVE engineering team in the implementation of the project Having an integrator with experience in projects of this type has been the key for the success of the project. TSA had already carried out the installation for SIC television in Portugal and that has allowed thm to address certain issues with valuable knowledge. Problematic aspects of the installation,
such as the design of the PTP synchronization system, which requires a very careful design, have been under control from the outset. It has been possible to verify, through measurements carried out with the Tektronix PRISM analysis platform, that the parameters gathered indicate a stable system and an adequate failure behavior. This synchronism generation system, also by Tektronix, is in fact the source of synchronisms for all RTVE at Sant Cugat, both the IP part and the rest of the in-house equipment. The design of the network architecture also deserves special mention. Here Cisco has easily solved the scheme proposed on file through its IPFM (IP Fabric for Media) product, and the monitoring and management tools (DCNM) demonstrate how the network works smoothly, keeping the load of the links between network electronics far from their maximum capacity. The protection provided by the NMB (Non-Blocking Multicast) algorithm has proven to be eﬀective, keeping the load of the links conveniently distributed among them and allowing the system to work without stress and recover from
link failures in an optimal fashion. Device control might have impacted the course of commissioning systems, being the stakes placed on the NMOS specifications as a global solution for the future, but also proven that implementations at the time being are not complete as situations appear in which patching SDP files is common. The control system does not receive confirmation of those patches, thus impacting the loading of presets. Situations that require additional work and where manufacturers rise up to the challenge more or less quickly -fixing faults reliably- which is what must necessarily come first. And, in the meantime and teaming-up, other agents in the system provide temporary workarounds while the deficiencies spotted are being resolved. Getting used to the design tools is not eas, especially when relying on experience gathered with other types of interfaces. This does not mean that the tool is not valid, but sometimes it does not meet the technician’s aims. This profile expects to find something similar to what it has been handling and this, due to diﬀerences
between brands or the way of managing resources that were not previously there, adds complexity to manageability. We should point out the diﬃcult times in which the project had to be coordinated, the conditions imposed by the worldwide COVID-19 pandemic, which have seriously limited attendance, and the according eﬀect on commissioning, training, on-site actions. In many instances remote connections had to be used, which, although has allowed to continue operations, there will always be a feeling that things are quite not the same, as many of the topics that can be dealt with face to face, have been left somewhat unfisnished. Despite the diﬃculties, we can presume to have achieved a very good degree of integration, with generally good satisfaction rates. Of course, it is proven that it has involved a much greater initial configuration eﬀort than the traditional commissioning of an SDI installation, but we are sure it will be later rewarded by the benefits of working under IP.
And the involvement of manufacturers will play a significant role here. In addition to the release by the JT-NM (Joint Task Force on Networked Media) of the standards that make up the standards and recommendations that will govern the development of the systems -after reaching the necessary degree of maturity- the relevant time for adoption, implementation and testing by broadcast equipment manufacturers must be added. Annual fairs in the audiovisual field, such as
RTVE SANT CUGAT
the outside in order to raise awareness among broadcasters about the time to show firm commitment for this new environment.
NAB Show, IBC and BIT Broadcast, are a good meeting point where the diﬀerent brands announce their advances, as well as serve as a testing laboratory where to demonstrate if the implementations are eﬀective and compliant with the standards. Forums such as ‘IP Showcase’ evaluate the latest releases published by manufacturers for their equipment and serve, through the reports they publish with the results regarding test compliance, as a thermometer facing
Even so, once the decision has been made, the path to be taken is not an easy one and it is always expecta that the engineer will have to face situations that require resorting to workarounds to overcome aspects regarding implementation of the standards and recommendations that are not completely refined. The situation forces both manufacturers and engineers to narrow their fields of action in order for one to contribute needs for proper integration to the other. These needs are sometimes presented as functionalities that, having to be met, are not (nonmature development), and in other occassions arise as something more specific in workflow that governs the broadcasters’ way of working, something that broadcasters do not want to give up and try to analogize with the new equipment for eﬀectiveness of operations, such as the multi-subscription of signals.
Faced with the circumstances surrounding the Sant Cugat project, compromise solutions have been reached: on the one hand, assuming ways of working not followed so far; and on the other, relying on the arrival of more or less future developments depending on the roadmap of the relevant manufacturer in the consideration of solutions for such cases. The experience in this aspect is positive, because although all that glitters is not gold, we can safely state as a conclusion that a firm commitment has been observed on the part of the manufacturer, not only with the standards, but with the setting of equipment parameters to cater to the customer’s needs. Which, on some occasions, must be adapted to the timing of the manufacturer who, prudently, will not launch onto the market a new release until quality criteria are met, or until said release does not have the scope (range of equipment on which it brings an improvement) that corresponds to projections.
The experience of the engineering team of integrator TSA Telefónica Servicios Audiovisuales S.A. has been the company in charge of carrying out the HD renovation of the Sant Cugat Studios by using IPbroadcast video technology. Our experience in the industry as a pioneer in the execution of projects in Europe with this SMPTE 2110 and SMPTE 2022 IP video technology, allows us to face with assurance a project of this size and importance for the public entity. The basic pillars for an audiovisual integrator in the execution of projects of this type are the design of the network infrastructure and the synchronization of all the equipment involved in the use of the PTP (Precision Time Protocol). For network architecture, TSA (Telefónica Servicios Audiovisuales) chooses and relies on CISCO as IP partner in this project to jointly carry out the design and implementation of the entire network structure associated with the four recording studios undergoing full renovation.
As for PTP, we work with Tektronix synchronization equipment as standard generators, whose reliability and eﬃciency are widely known in all SMPTE IP video and broadcast environments. The synchronism generators referenced with GPS signal not only power the PTP reference of CISCO network electronics for the synchronization of all IP broadcast video equipment, but also serve as a black burst and longitudinal time code pattern generator for the rest of TVE’s installations in Sant Cugat. For the PTP architecture we use two synchronism generators within the same domain but configured with diﬀerent priorities. These generators serve as a pattern for CISCO network electronics. In the proposed architecture, CISCO routers function as boundary clocks of the end-devices connected to them. One of the challenges we faced at the beginning was to adapt the configuration of each electronics to the features required by each of the end devices. Each switch works as boundary clock in onestep or two-step modes.
The type of PTP and its configuration in each of the switches conditions the maximum number of devices to be connected in each of them; important data that must be taken into account when carrying out the network design so as to ensure a correct generation of the clock signal in the most demanding scenarios. The design of the network infrastructure by CISCO and TSA guarantees at all times the conditions required by TVE in the specifications sheet providing for creation of two distinct work areas for the four television studios at Sant Cugat.
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The studios are arranged in pairs (studies 1-2 and studies 3-4) and the flow of information associated with each pair is processed by the CISCO network electronics allocated to them.
servers alongside network electronics, whose main function is to ensure an adequate flow of information through the links that join the diﬀerent network electronics.
A flow of media and information exchange between the studios and the central control of the Sant Cugat facilities is also contemplated. This flow is limited by the bandwidth conditions set by TVE. To ensure this and oﬀer a network monitoring system at all times, CISCO and TSA implement two CISCO DCNM (Data Center Network Manager)
The flow is ensured through the links, by continuously monitoring the traﬃc that goes through them and establishing a series of policies that will allow us to distribute the flows symmetrically through said links. In case of failure of one of them, the signals for the remaining ones will be re-routed, thus avoiding the loss of service at all times.
As an addition to the DCNM (Data Center Network Manager), TSA integrates LAWO Smartdash and Smartscope servers in Sant Cugat, thus enabling TVE to monitor the quality of IP audio and video streams in a more traditional way. This LAWO system not only monitors the flow of data through the electronics but also the quality from a technical point of view of broadcast television. NMOS (Networked Media Open Specification) has been the industry’s promise for the standardization and universalization of IP videoaudio streams between broadcast television
manufacturers for many years. In this project TVE and TSA have committed to the implementation of these to carry out the project. All manufacturers involved in the project have expressed their inequivocal commitment to carry out the necessary developments for the control of their products through this protocol. The status of NMOS developments on the equipment selected for the project has been mostly mixed. At the beginning of the project, a proof of concept was implemented in Sant Cugat where the compatibility of each of them with the rest of the manufacturers was evaluated and the necessary compromises were reached to carry out the project successfully. At this point in the project, each of the manufacturers assumed the status of the NMOS developments for each product and expressly committed to TVE for the implementation of the necessary improvements to fill the gaps detected in its products, improve compatibility with the new standard or correct unwanted behaviors that some products showed at this point.
Several months after this pilot (from November 2020 to February 2021) the installation and commissioning of the first pair of studios -3 and 4was completed. At this point, the TVE staﬀ at Sant Cugat had the opportunity to test the workflows for the new studios and controls and propose the necessary improvements or updates in configuration and in the software designed to measure for the tehcnical management of all the equipment and associated signals. This period of time was critical for the Sant Cugat personnel to have the opportunity to test the possibilities of the system and undertake the necessary changes in the operation for management of the equipment. Since then, the Sant Cugat’s studios carried out several ‘Saber y Ganar‘ programs, being the first programs ever produced in Spain with IP broadcast video technology. After this, daily production of the territorial disconnections for Catalonia with L’Informatiu and the production of the Tokyo 2020 Olympic Games continued.
Production of these two was a success and meant a turning point in the history of Spain’s Television as TVE became the first television network in our country to performs coverage of this type with IP broadcast video technology. At a working level, operation of an IP broadcast video infrastructure does not diﬀer much from a traditional SDI installation. Equipment renovation includes workflow improvements and changes, as does the renovation of any broadcast equipment in a traditional facility. The biggest change and challenge arising in the IP video installations is the transformation of the staﬀ managing the resources to adapt to the new tools and technologies involved in the project. Management of an IP broadcast video infrastructure is associated with the need for a new figure. A video engineer with knowledge of networks and of the new IP broadcast video transport infrastructure. It is a paradigm shift similar to the one that emerged
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V_matrix Gateways and DMV (Multiviewer).
with digital writing, which in turn gave rise to the necessary figure of the Media Manager. A person with video knowledge capable of managing the new information flows that the new technology brought about. In the case of IP broadcast video, it is necessary to create a figure with video technical knowledge, who in turn has a knowledge of the network infrastructure deployed and is able to adapt to the new management tools, as well as to the technology that is available for management and configuration, through the orchestrator, of all the
information flows for which this role is now responsible. Prior to the installation and commissioning of the production controls, the TVE technical staﬀ received an initial training on the VSM control system that functions as an orchestrator of the production flows. This ‘pretraining’ allows customers to evaluate the system’s possibilities, have a first contact with it and define the requirements around which the device control panels will be designed for the routing of signals and calls to studio presets or configurations.
The orchestrator allows the routing of signals and the creation of work presets that allow a quick reconfiguration of the studios from one production to another. Being an open system that allows for wide possibilities, it is very important to limit as soon as possible the scope of what a customer needs or wants to achieve with it. An IP video broadcast system allows for multiple possibilities in every way. Re-labelling of signals, organization of the same in families, association of cameras to diﬀerent CCUs or diﬀerent sets, association
of robotics to camera chains, etc. The possibilities are multiple and varied and, generally, the best results are achieved following the ‘less is more’ principle. Although the possibilities of reallocating equipment and re-labelling them are multiple, it is interesting to define at the beginning which elements will be shared and which ones will be liable to change so as not to complicate the system’s design too much. For example, the fact that all the cameras in a set can work with any CCU and on any set does not mean that it should be so, it is preferable to allocate fixed resources for each of them. With virtual cameras we will deploy a certain number of them for each set and they are reallocated only when an issue comes up or when it is necessary to add more cameras due to production needs. Starting from these initial situations will allow us to distribute resources more eﬃciently and define the mechanisms for reallocating them much faster than if we choose not to allocate a minimum number of elements such as those ‘usually fixed’ for each occasion. Having a greater number of possibilities
at our disposal does not therefore imply achieving greater eﬃciency if resources are not allocated in a previously well-thought way. One of the major drivers of this project has been the situation created worldwide as a result of COVID-19 pandemic and the subsequent lockdown of a large part of the population everywhere. Since the beginning of the project, most commissionings of equipment associated with it have been carried out remotely and the trainings have been carried out in a positive way through videoconferencing.
recorded. This opens the possibility for any RTVE staﬀ technician to have the chance to review the content in the future and have access to a updated training, which is very useful given the size of the programs for each of them and the wide variety of equipment deployed in the new facility.
Although the situation for the commissioning of the equipment has not been ideal, this working methodology has allowed some specialists in each area to be available for longer periods of time. The setting-up of multiple connections to work remotely with the equipment has also made it possible to be more eﬃcient when resolving the issues that have occurred during the first stage, prior to the proof of concept.
RTVE has taken the first step in its transition to the broadcast world based on IP technology and has done so while being aware that the development of this technology is a fact as undeniable as inevitable. Market movements have long pointed to IT infrastructure as the ideal signal transport layer for the business. The development of broadcast orchestration and control systems adds the necessary level so that all signals that circulate through the network can be taken where each specific production requires it, revealing itself as an essential agent that provides functionalities that were unknown so far.
Due to this particular situation, virtually all the trainings have been
Despite having devoted two years to a thorough study prior to this venture,
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experience shows that not everything is as promised, and there are gaps that hinder a total and complete integration between elements that are still at the development stage, not because of lack of interest from the manufacturer, but because the regulations defining the rules of the game are not yet written in full. The important thing is that it is clearly perceived that all players -manufacturers, broadcasters and integrators-move in giant steps towards the IP age. With this first and complete production infrastructure fully running on IP
technology in Spain, RTVE has explored a filed thats is now not so unknown, with the aim to become, as a publicly owned television, a reference in the audiovisual market. Experience with Lawo equipment IP Audio It is noteworthy in this project how the audio solution evolved with respect to IP. At first, in fact, the renovation of the audio system had not been contemplated, since it the plan was simply to integrate it through gateways, but after having analyzed the workflows and the
advantages of integration and given the fact that the equipment available for audio was close to its end of cycle, a decision was made to approach the solution as another item in the project. It is important to highlight, for those who are in such a dilemma, that leaving out of the renovation the consoles and the audio system can greatly complicate the integration and redundancy of the systems and the solution as a whole. Nowadays, with the systems already in operation, we are aware of the great benefit of having audio within the IP infrastructure.
It was decided to adopt an audio solution that was ST2110 native and compatible with ST2022/7 working environments so as to be able to gain access from the audio network itself and without the use of any external interface to all network flows. In addition, it should allow all system resources to be shared across any of the consoles. It is obvious that the great advantage of integrating audio into the IP infrastructure is that the system will be compatible with the formats. For this reason, it was so important that they should comply with these protocols and not to consider a network with the use of proprietary protocols, because this would have meant having a system in a parallel network -but not integrated- and therefore, despite being IP, it would have meant replicating the same problems as in an analog environment for purposes of integration and redundancy. Finally, a decision was made to implement a network of four consoles with stagebox for connection of external audio sources by using an ST2022/7 media network and a redundant control network.
The systems share a DSP core, and can be easily expanded by license, which facilitates future scalability.
environment but with the simplicity of analog systems.
Contemplating this scenario, it was logical to think of a Lawo solution using 56 MKIII mc²56 MKIII surfaces that ease the complex workflows of RTVE and provide the necessary tools for a mix of quality and access to all the resources in the system in a fast and simple way, thus being able to even preview in the faders’ displays the video signals from which these channels are deembedded.
One of the peculiarities of an IP system is that you have to think about the solution in an order, let’s say, diﬀerent than we could propose for a standard baseband installation. The concept must be designed based on the choice of the orchestrator/ broadcast controller and once this has been defined, the rest of the systems can be considered. It is a requirement that all devices being added to the solution be compatible with this system.
With the system already in place it is obvious that this goal was achieved, and that the chosen audio solution allows easy access to all the sources in the system, thus achieving the main goal: working in a 100% IP
Thanks to the previous work carried out in the studio for the systems and analyzing the solutions existing in the market, a
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solution based on VSM was chosen since it was not only an assurance for versatility but also for the know-how that the integrator of this solution could contribute to the final solution that it is one of the true secrets of success. An IP installation requires a prior work for definition and coordination between all the manufacturers present in the final solution in order to establish the operating standards and, failing that, to look for alternative workflows so that the solution is viable. VSM ensures this integration as it is capable of connecting to a wide range of products and solutions and establishing the flows for the solutions to work with the level of customization required by the end customer. The end user of the solution seeks to work in a safe, transparent environment for the more or less complex engineering processes, in this case IP. So we can say that based on the opinion of these users we have achieved the aim of designing a control solution that adapts to their needs and makes workflows even more flexible. This was the challenge, making sure that for these users
the technology behind their solution was not a stigma. V_matrix Gateways and DMV (Multiviewer) In an installation that is not completely brandnew and in which it is necessary to integrate with other areas that still have equipment running on other technologies, the solution must contemplate a part of gateways/ converters that will allow us to work with all that equipment. Once again, and as in the process of choosing the orchestration system, we had to look for the gateways that would allow us to work with all the systems, whether IP or baseband, and also that would provide us with the necessary processing capacity in an installation like this. V_matrix, Lawo’s Software define Hardware (SdH) solution, allows us to achieve precisely this goal. It should also be borne in mind that when we mention IP streams, we no longer make reference to the number of signals, but to bandwidth, and therefore we had to find a solution that would allow us to work with these legacy sources and a bandwidth capable
of handling IP resources and integrating with an adequate connection density to the network infrastructure. In addition, this solution also allows us to configure the DMV multiscreens in a completely dynamic way. Therefore, under the same hardware platform we can have distinct DMV systems. This gives rise to an important step in the concept of VM management and going deeper into the IP concept where everything is part of a larger network, nothing is excluded, everything is integrated. V_matrix also allows us to grow in the future with the integration of other systems and the management of processing resources and, in the near future, as some tools and/ or connections become 100% IP, it will allow us to allocate resources to other processing or MV functionalities, simply by changing the license of the C100 interfaces. Telemetry (SMaRT) The great challenge we face when undertaking an IP solution is to get all the elements under control and this implies having the
right telemetry tools that will help us have a real-time view of the systems and their workflows. In a baseband installation, given the relevant connection density we can easily track the signals, each of them related to a physical cable, but in an IP installation this becomes more complex: density is completely diﬀerent, since now we are going to work with IP flows in diﬀerent bandwidths that can contain not one but several signals simultaneously, which implies that disconnecting a cable (fiber) to track a signal is something that becomes unfeasible. In addition, in an installation we have a synchronization system based on PTP that we have to keep always monitored. For all this and in order to keep streams under control, a telemetry tool becomes a must in an IP environment. The challenge with these systems was to find a solution that would allow us to have real-time information of each and every element within the network, but in a close and easy viewing environment for broadcast users. Lawo’s SMaRT solution allows us for real-time network status
monitoring to be able to analyze flows in an easyto-understand, friendly graphical interface. It also allows us to maintain an event database for later analysis in order to apply corrective maintenance. We really think of a telemetry tool as a status monitor, but in an IP installation this tool is our very eyes. In case of any failure in a system, both in baseband and IP, the time that can elapse between issue and its solution is crucial; if we have a telemetry solution, we have the right tool to see in a minimum space of time what the problem can be and fix it. Without such tool, this becomes a much more complex task.
Grass Valley Equipment Experience Cameras Crosspoint S.A.L. has been the company in charge of carrying out the renovation of the HD cameras at the Sant Cugat studios using IP broadcast video technology. Its involvement as a Grass Valley distributor and the involvement by the manufacturer itself,
their support and training services throughout the installation, pilot and commissioning processes, have allowed an integration, commissioning and intuitive use of the camera system in a scenario as challenging as the first full-IP installation for the production of content among Spanish TV stations. Due to the type of work carried out in the studioslocated at the Sant Cugat production center, the quality and operability of the camera system are clearly one of the most relevant and fundamental pillars of this complete renovation and migration project based on SMPTE2110 IP transport technology. Grass Valley LDX 82 camera heads oﬀer exceptional image quality, are capable of working in HD (1080i50 and 720p50) and 3G (1080p50) resolution, as well as performing image capture with extended sensitivity range and colorimetry (HDR/WCG according to ITU-R BT.2020). In terms of operability, a first decisive factor in the solution’s architecture is the Direct IP transport technology that allows to create an Ethernet network of video and audio data
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formed by camera heads and base stations. Working in a SMPTE 2022-6 IP environment with a 10G transmission channel, it facilitates full bi-directional connection without the need for additional wiring, including transporting control or auxiliary Ethernet data in a seamless way to facilitate the operation of other systems (robotics, prompters, etc.). Management of the camera-base station connections from the Orchestrator System provides the project with a unique flexibility and operability, where any camera in any set can be connected to any base station (XCU) without any manual action or change of wiring. This is only allowed by Grass Valley Direct IP technology. The advanced version of this Direct IP+
transmission technology, which can coexist on the same network, allows identical flexibility, using video compression, in WAN networks for connectivity with a remote platform. Another basic factor in the project has been integration within audio and video signal transport environments by IP and the interoperability with the other elements: mixer, multi-screen, recording system, etc. In this sense, the XCU Enterprise UXF oﬀers complete integration capacity in a SMPTE 2110/2022-7 environment, meeting all the needs of operation and synchronization. Video Mixer Another key element for the successful development of this project has been
the flexibility and reliability provided by the control multiformat production mixers of the Maverik range. Sant Cugat has two Kahuna 9600 electronicsframes, each of them serving two studios simultaneously. These electronics include a total of five full mix/eﬀects banks, with eight keyers per M/E, plus four 3D DVE processing channels available at any point of the mixing process and can reach up to 120 inputs and 64 outputs, these being fully compatible with SMPTE 2110 standards and also supporting NMOS IS-04 and IS-05. For each of the four studios that are part of this technological renovation work, a Maverik panel comprising three mixing banks has been included, with 40 buttons for direct
access to crosspoints per bank, and a section dedicated to the control of auxiliary buses. The diﬀerential feature of Grass Valley’s Maverik control panels is that they are fully modular and customizable, with a complete catalogue of modules oﬀering diﬀerent functions, which can be combined in any proportion and in any position. One of the most important capabilities of Kahuna
mixers is their MakeME technology, which oﬀers the possibility of dynamically allocating resources for each M/E: programmable outputs, keyers, buses, etc., allowing configuration of up to 4 logical M/E banks for each physical M/E card, which can be allocated individually to each control panel connected to the network. The large capacity of resources per M/E bank, combined with MakeME technology, makes it possible to create and
configure independent M/E banks according to the needs of each production, as well as the allocation of branding or labeling layers independently for diﬀerent outputs of the same program, and in a diﬀerent output format if necessary. Added to this is the possibility of configuring multiple logical mixers within the same Kahuna electronics, which at operating level behave as totally independent mixers. All this is controllable from
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UHD/4K) and FormatFusion 4 technology (SDR or HDR). Kahuna has the ability to simultaneously oﬀer any of the main outputs in any definition, 4K/UHD, 3G 1080P, high definition 1080i/720p and standard definition, SDR or HDR (HLG, PQ, S-Log 3) using the same electronics and the same control panel. There is no limit on the number of inputs or outputs in terms of the formats used and it does not add any additional delay to the input or output signal. IP-SDI/HDMI Monitoring adapters
any external control system, which facilitates operations to RTVE and allocation of resources according to each production. Finally, worth highlighting is the actual multiformat working capability in Kahuna mixers, which make possible to seemlessly mix any input signal format, at any output, performing internal conversion with FormatFusion 3 technology (SD, 1080i/720p, 1080p,
Another of Crosspoint’s proposals came in the field of monitoring. For the monitoring and transport of signals between diﬀerent locations, FusioN adapters from the German manufacturer Riedel have been used. Based on SFP technology from Embrionix, these small boxes allow conversion of 3G/HD-SDI/ HDMI signals to IP SMPTE 2110 and vice versa, also managing embedding and encapsulation of audio channels between the two technologies. Their small
size allows them to be set in locations such as the back of video monitors, making these monitors one more element in the media networks with IP signal transport and connection redundancy. Or in locations with low signal density, such as production booths, for conversion of SDI/IP signals and connection to media networks where their conversion channel eﬃciency versus economic cost was decisive. Riedel FusioN boxes come with 3 or 6 slots. On the one hand, the media network connection SFPs are installed in these slots, either 10G or 25G, and with single-mode or multi-mode fiber optic connectivity. In addition, they can be sized with SFPs (gateways) that enable conversion of 12G/3G/HDSDI signals to SMPTE2110 or vice versa; or even from SMPTE 2110 to HDMIv2.0 for direct connection of the monitoring screens. The control of signal subscriptions can be carried out both by the NMOS protocol and by the Ember+ protocol finally used in the integration with the controller system.
IA, machine learning, and the “Make Movie” button In recent years, perhaps in the last decade already, the use of what is commonly called artiﬁcial intelligence or, more precisely, advanced algorithms for analysis -including machine learninghas become widespread, passing from the consumer market to the professional environment. The sophistication of this kind of techniques has reached applications such as focusing or even recognizing and replacing objects on the scene. By Yeray Alfageme, Business Development Manager at Optiva Media an EPAM company
What is AI? Defining artificial in an objective way is always something controversial. And even defining intelligence is a daunting task, but let us try. An artificial intelligence algorithm is basically a program that performs certain operations considered more an area for human intelligence. So, what is human intelligence? Well, according to Oxford Languages, intelligence is the capacity of the mind that allows us to learn, understand, reason, make decisions and
form a certain idea of reality. This does little to help our goal, so let us give an example. When deciding within a scene, for instance, where to place the focus point, the scene and its components are intrinsically analyzed and the role of them within the story being narrated is then determined, the focus point within the scene being placed and modified. This process, so intuitive when it comes down to focusing but also complex to explain, can be performed by an
algorithm that performs such analysis and decides to modify the optics in order to provide the desired focus point. This is artificial intelligence: It analyzes, interprets, and decides to perform an operation based on a given situation. And this has numerous applications in our industry.
We decide, not the machine The example about focusing was long ago on cameras and even reached mobile phones with enough calculation capacity to perform it. Not to confuse with auto-focus, it is not the same thing. Auto-focus doesn’t analyze the scene or decide to change the focus point in a proactive way, as it just follows specific parameters and takes nothing else into account, that being the reason why it is so hated by any decent professional. We decide what to do with our take, not the machine.
techniques to these automatisms that help us to achieve a better composition and, in the end, increased quality of our content, the reluctance is not such, especially when we see the result. Another application of these kinds of techniques is -when dealing with postproduction or editingsubstitution or inclusion of objects in a scene. This is really a tedious task because it requires frame-by-frame image processing, and often it’s not so easy to do it.
However, when we apply more advanced
This task, so arduous for any publisher and post-
producer that takes pride on being such, is not so hard for an algorithm, which will recognize a certain silhouette, shape, or pattern of an object; and then will follow it up and replace it frame by frame throughout the scene. What it would takes us hours, for an algorithm is a matter of seconds. And this has implications not only for the post-production process, but also for the shooting itself. If not, we have to wait for a clear day with nice clouds to travel to the location to roll out and do the shooting with
We do not only have an algorithm that “inflates” the image to add more definition by interpolating pixels, but one it is able to interpret the sequence and add what is missing while keeping the genius of the original. In this way possibilities open up, such as being able to convert content from 4:3 to 16:9 without the muchhated pillar boxes.
all our equipment. The flexibility gained and the obvious cost savings throughout the process are significant. Although this should not lead us to the point of shooting in any circumstances and taking home the dangerous phrase, “this will be easily sorted out during postpo,” because that would be a bad mistake.
of an actor playing a historical character is real and the quality obtained is not at all amateurish. In other words, let us not make use of the new possibilities that AI oﬀers us only to save, that would be too gross, but let us improve our content by doing so.
But having the possibility of improving the scene we have shot by eliminating a plane cruising through the skies in the 15th century or the watch on the wrist
Another major application of AI is reformatting. And this is not only understood as scaling an image, but as a complete change in the image’s own format.
Beyond image touch-up
Coloring of old images is also a field into which AI has penetrated and in which does it a great job, in this case, in close cooperation with manual operation. Let’s say that a frame is manually colored and, from there, the algorithm is able to extrapolate the rest of the colors in the sequence; I insist, always respecting the original version. If this process were not done automatically, it would take hours and days of work -like in the old days- to color just a few seconds or minutes of material. Again, we are not just talking about costs, but about achieving a better result in less time.
Less is more And finally, I think it is worth highlighting a field that has not so much to do with content but with its analysis: Metadata. Any shooting requires at least several terabits of storage available, just in case. Because it is not uncommon to generate a thousand -no mistake, a thousand- times more raw content than is actually going to be used in the editing process. And this is not only a matter of storage, but also of cataloguing, as well as of searching and using that material. There is too much. But if we allow an algorithm to perform the right search within the content, this can be minimized and simplified considerably without the risk of losing the right material. And I’m not just thinking about properly cataloguing the material and searching through keywords. No, I am referring to the algorithm’s the ability to analyze the scene, view the composition of the scene and, thanks to its automatic learning
capability, distinguish between a correct shot or an incorrect one -whether technically in terms of exposure or focus or the action itself. Although this really sounds like sciencefiction, it is technically possible and if we do not want to delete anything from the content that we recorded because we could get the shivers, at least let us get help in choosing the material to use in our editing. It is very likely that the shots that the algorithm may have rated as fivestar shots, for example, are the best and most readily available. Can you imagine how much time this saves in the editing room? Even multiple versions of the same content could be made with minimal eﬀort.
Let’s go further beyond And from this last step to making the leap to the magical “Make a movie” button, there is no technological chasm, but just a mental one. A few years ago I used a
simple app -I won’t say the brand for obvious reasons- in whose hands I would leave the pictures and videos that I used to take with my simple mobile phone, and this app was capable of analyzing them, pick the best footage, mix and add music to it order to synchronize the composition to the beat in minutes. My mobile would get a little hot, but that was it. Obviously, this greatly trivializes the notion and I know that my use of this tool was very simple and in a controlled environment: Music videos of family holidays. Nothing to write home about. But it is true that, until I discovered it, I used to spend hours editing those videos, and do you know what? In 90% of instances, I never tweak the automatic editing that the algorithm does -and my viewers, family and friends love it. In this controlled environment, being able to have the content edited quickly really adds more value, having all the material with a nice, good
and become more extensive. Its progress is unstoppable, so whoever tries to is going to be blown away. There will always be someone who uses it only to save costs. That’s like using a Swiss knife just to cut bread –almost an insult to the tool– but it’s inevitable.
finish, even if not optimal. You may not get the best of results -in many cases I would not achieve it either, because I am not a video editor, I am quite far from being so, indeed. At present, I do not think the same concept is so far away in our professional field. Perhaps not in all environments, I am sure not in certain compositions in which emotions, intra-story or the type of editing fall out of the established path- it is there where what is truly exceptional is created- but in 90% of cases I see it feasible and even adequate. Why should someone spend hours and hours in a monotonous,
repetitive environment, performing the same task over and over again with similar content to edit -a cut, news or the clip in question- according to the parameters set? Why can’t our algorithm friend do this, and that person take on more human tasks like thinking about the next story, format or emotion to convey to the viewer? That is the added value of AI, not just cost savings.
Conclusion AI, or machine learning, should not be thought of as a threat to our work or industry, doing so would be terribly wrong. It’s something that’s already here and its applications are going to increase
If we really make use of this kind of progress as it deserves, by commissioning machines to perform mechanical tasks and allowing people to perform human tasks again, we will realize that the potential it has goes far beyond and we will all benefit from it. Only a few examples have been given here -even happy ideas- of where we are heading and where we can get to, but I doubt that nothing here is already or will be on the desk -or at least on the roadmapof many manufacturers and innovators who are players in our market. Change is a risk, but embracing that change rather than rejecting it will make everything easier.