TM Broadcast International #123, November 2023

NEWS - PRODUCTS

Titular noticia Texto noticia

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EDITORIAL In a world where the realms of sports, technology, and media converge, the pursuit of excellence knows no bounds. In this issue, we explore the dynamic intersection of these domains, exploring the latest breakthroughs and advancements that can boost broadcasters to innovate and reach larger audiences.

From the rugby fields to the quantum realm, from media protocols to cutting-edge tech tests, we leave no stone unturned.

First, TM International counts with Gary Shaw, the mastermind behind the HBS Rugby World Cup’s production, who takes center stage in an exclusive interview. As responsible for the delivery of one of the most prestigious rugby events globally, Shaw provides insights into the challenges and triumphs of organizing an impacting broadcast for such a relevant competition in a thrilling and enhanced way. From managing workflows to implementing innovative technologies, Shaw gives us a backstage pass to the intricate world of rugby event broadcasting.

Among these pages, our special article takes our readers on a journey into the realm of quantum computing. With the potential to revolutionize the way we process information, this field stands at the forefront of technological innovation. Asier Anitua, Business Development Manager in Telefónica Servicios Audiovisuales (TSA), unravel the mysteries

Editor in chief Javier de Martín editor@tmbroadcast.com

behind quantum bits, exploring the possibilities and challenges of a new era of computing power and how it could improve communications.

In the age of content delivery, managing media has become an art and a science. This is why Yeray Alfageme, our expert, has developed an in-depth report which explores the protocols that govern the ever-expanding world of digital media. From contribution to distribution, we analyse the systems and standards that underpin seamless media management, providing a comprehensive overview of the tools that can be used for broadcasters to shape the digital experience.

Communication is key in any endeavour, and in the world of events and media production, it’s paramount. We dissect the intricacies of intercom and talkback systems, shedding light on their role in orchestrating seamless communication within teams, hand in hand with Carlos Medina.

Finally, readers will be able to find Luis Pavía taking Blackmagic’s latest offerings to the lab for a rigorous trial. Pavía will put to the test ATEM TV Studio HD8 ISO mixer and Studio Camera 6k Pro camera, together with ATEM Camera Control Panel, to scrutinize the capabilities of Blackmagic’s tools, evaluating their performance in real-world scenarios.

Creative Direction Mercedes González

TM Broadcast International #123 November 2023

mercedes.gonzalez@tmbroadcast.com

Key account manager Patricia Pérez ppt@tmbroadcast.com

Administration Laura de Diego

Editorial staff press@tmbroadcast.com

Published in Spain

administration@tmbroadcast.com

ISSN: 2659-5966

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

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SUMMARY

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News

New chances for broadcasters and new ways of watching: HBS delivers the Rugby World Cup 2023 TM Broadcast brings its readers an interview with Gary Shaw, HBS Rugby World Cup project lead, who during the conversation unveils the technology being used to ensure World Rugby creates the best possible result for fans.

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Quantum Computing: Fiction or Reality?

Due to the latest technological advances, the realization of what until now was considered a chimera in computing is beginning to seem faintly possible; quantum physics applied to the information age generates concepts that seem distant in time, but perhaps not so much.

To begin with, we need to understand what quantum computing is and why it sounds a bit like science fiction or a TV series with Sheldon Cooper at the helm.

It is nowadays difficult to say when this technology will be available, but it seems to be closer than we imagined a few years ago.

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Contribution and distribution protocols in Broadcast environments An overview of the protocols for TV signal contribution in broadcast environments: ST2110, SRT, NDI and more.

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Intercom & Talkback Systems

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Test Zone: Blackmagic Design Studio Equipment

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NEWS | PRODUCTS

Riedel expands its live production offering with RiMotion R10 replay solution’s launch

RIEDEL RELEASES RIMOTION R10 REPLAY SOLUTION, EXPANDING ITS RANGE OF LIVE VIDEO PRODUCTION SOLUTIONS

Riedel Communications has

This software package expands

really mean it,” said Gregory

recently announced the launch

on Riedel’s RiMotion replay

Macchia, Vice President Business

of RiMotion R10, as an expansion

series. The R10 will be added

Development, Live Production,

of the company’s range of live

to the existing R6, R8, and R12

Riedel. “Why should budget-

video production solutions. Part

bundles providing six to 12 HD

conscious productions in

of Riedel’s family of software-

channels, and the R84 with up

based products for multicamera

to four UHD and eight HD 10-bit

colleges, stadia, or houses of

production, RiMotion replay

HDR channels. RiMotion R10

series has been integrated into

supports 10 video channels,

its portfolio after the acquisition

offering up to eight multi-format

of Simplylive.

camera inputs — including SDI,

The solution combines replay capabilities, including super-slowmotion (SSM) camera support, with a touchscreen interface. The RiMotion package also includes

SRT, and NDI — plus two outputs in a powerful and compact 1RU server. As with all RiMotion systems, the server can be combined with mini-PCs.

worship have to sacrifice on producing a great live production with lower quality replays? The RiMotion line brings the top-level replay experience to all levels of productions without breaking the bank. Today, we expand that offering with the R10, which packs our highest channel density in our compact 1RU

a conventional hardware-based

“When we say that we offer

server, and will revolutionize the

remote controller panel.

‘replay for everybody,’ we

replay market at this level.” 

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NEWS | PRODUCTS

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NEWS | PRODUCTS

Lawo ran a special event to launch new crystal Broadcast Console

Streamed live from its studio at Lawo’s headquarters in Rastatt/ Germany, the Special Launch Event took place on October 24th, 2023 and served to Lawo for unveiling its new crystal broadcast console for broadcast applications.

According to the company, the IPnative mixing system is based on the open Ravenna/AES67 Audioover-IP networking standards and complies with SMPTE ST2110-30/-31 for audio, as well as ST2022-7 for redundancy.

Powered by the Lawo Power Core Engine, crystal supports expandable I/O, accommodating AES67, MADI, analog, AES3 as well as Dante® audio sources and destinations.

The new console is available with 6, 8 and 14 faders, and with two

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distinct modes of operation — Power Core and Controller —.

The IP-native crystal is available in both a light and a dark finish.

Both versions allow users to tailor the desk to their needs. Adding optional Virtual Extensions increases the availability of immediate information for every function.

According to Lawo, the crystal Broadcast Console is almost silent, motorized faders and precise encoders permit flawless integration with program automation and playout systems, so it is adecuate for multiplelayer operations involving voice tracking, remote production, or DAW control. Programmable, color-coded LED button and encoder lighting highlights common control functions.

The Broadcast Console has helpful meter bridges, optional Virtual Extension modules feature full-HD TFT displays for extended information and touch control. Ember+ and HTML5 integration enables control of third-party hardware and software. crystal employs smart algorithms that speed up production workflows. The AutoMix function automatically maintains the balance of multimic productions, and AutoMix Grouping allows this automatic mixing to be applied to multiple independent source groups.

AutoGain, an automatic gain setting function, optimizes guest and host mic levels with a single button press.

Controller mode caters to requests for a small IP-native extension panel for mc² audio production consoles. A crystal Main or Fader module can be used as a control panel for an mc²/A__UHD Core-based backend. In Controller mode, crystal is a tool for second-row/grams mixer applications, as a dedicated control surface for an otherwise headless system, and for leveraging the shared processing options of a single A__UHD Core via a Pooling 4/8/16/32 license. crystal obviously also integrates with Home, Lawo’s management platform for IP-based media infrastructures. 

NEWS | PRODUCTS

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NEWS | STORIES OF SUCCESS

FIM World Supercross Championship to be delivered by Gravity Media Australia in partnership with SX Global To deliver coverage of the upcoming Australian round of FIM World Supercross Championship across multiple international territories, the broadcast and technology partnership between Gravity Media, global provider of complex live creative production and media services, together with SX Global is confirmed.

the all-screens production of

WSX – the FIM World Supercross

the World Supercross Australian

Championship – is the

Grand Prix at Marvel Stadium

supercharged combination

across 24-25 November.

of live action motorsport and

Gravity Media Australia will provide a sixteen camera coverage, including speciality cameras, in a broadcast and technical collaboration to deliver

the Seven Network in Australia,

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Both companies will deliver this coverage of the World Supercross Championship Australian Grand Prix across major international broadcast and digital platforms, including FOX Sports in the United States,

an elevated level of adjacent entertainment, including live music, pyrotechnics, freestyle motocross shows and more.

Marvel Stadium will be transformed into the ultimate dirt battlefield for an epic night of unmissable action and intense

DAZN covering Europe, India and

competition racing involving 10

Japan, and BT Sport in the United

teams and 40 of the best riders

Kingdom.

from across the globe.

NEWS | PRODUCTS

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NEWS | STORIES OF SUCCESS

A1 Telekom Austria Group leverages Actus Digital broadcast compliance and monitoring solution

Actus Digital, the solutions provider for broadcast compliance logging, quality monitoring, alerting, advanced editing, content repurposing, and AI-based workflows, has made public recently that A1 Telekom Austria Group is expanding its use of the company’s intelligent monitoring platform.

According to the company, thanks to the Actus platform A1 Telekom Austria Group can monitor its in-house quality of service as well as provide its broadcast customers with remote content monitoring, clips creation and export capabilities.

The operator is using the Actus platform for a diverse range of use cases such as for compliance recording; monitoring of loudness, SCTE-104/35, subtitle, multiple audio languages; as well as for technical monitoring and real-time alerts on audio, video, and metadata issues.

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Actus Intelligent Monitoring Platform interface with SCTE

Actus Digital’s platform offers a wider range of features compared with traditional broadcast monitoring systems. A1 Telekom Austria Group’s broadcast customers can remotely access the Actus platform.

A1 Telekom Austria Group is also using the Actus platform to improve its quality of service assurance.

NEWS | STORIES OF SUCCESS

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NEWS | STORIES OF SUCCESS

TNN counts with new broadcasting facilities in Bangkok powered by Qvest

As prime contractor for TNN, Qvest supervised the general project management over the equipment procurement process, and more steps before the final relocation and go-live of channel TNN16. This way, the project’s scope for Qvest covered a wide spectrum. The new newsroom, office area and three studios were crafted with an emphasis on a visual identity rooted in TNN’s corporate design. The new facilities of TNN are located at the significant True Digital Park 101. Around 250 TNN employees work in the two areas Events Hall (1,200 square meters) and Glass House (240 square meters).

The Qvest team orchestrated specialized companies as key partners to execute the project, such as Clickspring Design from

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the USA. The design firm was responsible for the facility’s architectural master planning, as well as the design of all interior spaces, including three main broadcast studios supported by media-rich, branded set design. For light design and all architectural tasks, Qvest worked with the German specialists at mo2 design.

hotspot of Bangkok.

The main objectives for the relocation of TNN were an uplift to a global broadcasting standard while providing a working environment focused on productivity, collaboration, and well-being of the employees. To meet these requirements while creating a suitable representation of the broadcaster, the new facilities were put into operation in the new location in this urban

and flows were implemented

Qvest orchestrated the project with its partners in two phases.

The initial phase involved master planning and concept design to lay the foundation for the subsequent design development and specification phase. Within the second phase, accurately incorporated curved shapes into the interior design. A focal point of the project was the integration of state-of-the-art broadcast technology. Qvest conducted a comprehensive technology review, identifying optimal solutions and providing general recommendations to enhance TNN16’s broadcasting capabilities. 

NEWS | STORIES OF SUCCESS

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NEWS | STORIES OF SUCCESS

HbbTV symposium 2023 counts with top speakers for the TV industry The themes around TV industry will be the latest developments in the connected TV industry, the disclosure of new products and services and the providing of exclusive insights in nextgeneration applications; in order to discuss them, top-level executives and experts from leading market players will be discussing them on November 28-29 2023 in Naples at the 11th HbbTV Symposium and Awards co-hosted by the HbbTV Association and Italian digital TV association Comunicare Digitale.

More topics will be covered such as an update on targeted advertising and dynamic ad replacement solutions enabling new monetisation opportunities for TV broadcasters, HbbTVbased audience and ratings measurement, the key role

TV Group), Richard Lindsay-

The second day will, for the first

Davies (Digital TV Group),

time, feature an unconference

Peter Neumann (Addressable

at which the participants will

TV Initiative), Leticia Noriega

decide on the agenda and topics,

Gonzalez (TP Vision), Francesco

actively shaping and driving the

Moretti (Fincons Group), Veit

discussions and conclusions.

Olischläger (BLM), Jason Patton

Ideas for unconference sessions

(Verance), Dan Racioppa

are being collected via an online

(MainStreaming), Philipp

platform: all HbbTV Symposium

Rotermund (wedotv), Daniel

participants are invited to submit

Silhavy (Fraunhofer FOKUS), Antonio Vince Staybl (Couchplay)

the topics and questions of most interest to them and which could form the basis of a session at

of HbbTV in the new DVB-I

and Pedro Valiente Echezarreta

specification and HbbTV driving

(Kineton).

the unconference. The HbbTV

The panel sessions and round

the 6th edition of the HbbTV

table discussions will be

Awards, featuring a wide range

Speakers include Louay

complemented by keynotes

of categories designed to acclaim

Bassbouss (Fraunhofer FOKUS),

held by Vincent Grivet (HbbTV

best practice and excellence

Cristiano Benzi (Eutelsat),

Association), Andrea Michelozzi

in the HbbTV community. The

Rafael Bermúdez Guijo (CCMA),

(Comunicare Digitale), Paul Gray

jury with industry experts will

Rainer Biehn (bmt), Alberto

(Omdia), Jon Piesing (HbbTV

select the winners from the

Bruno (Mediaset), Andrea Conte

Association) and Laura Aria

shortlists which have recently

(Publitalia ’80), Iva Dohnálková

(AGCOM). In the accompanying

been announced. The prizes

(TV Nova), Martin Fähnrich

exhibition, leading market players

will be awarded at a prestigious

(Panasonic), Romualdo Federico

will showcase new products and

ceremony in the evening of the

(Kineton), Ranjeet Kaur (Digital

services.

first conference day.

FAST Channels to explore new audiences.

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Symposium 2023 will also host

NEWS | STORIES OF SUCCESS

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NEWS | STORIES OF SUCCESS

Media Creation Hub for Blinx incorporates NDI, AI and Metaverse by Ideal Systems Blinx Chief Creative Officer Fadi Radi stated “Traditional broadcasters use a one-to-many communication model. Our digital platforms, however, will leverage personalization and interactive features to engage our audience more directly and meaningfully. blinx is data- driven and uses AI extensively to reach our audience through scientific methodologies.”

Dubai based Blinx, a GenZ-oriented media and news organisation for MENA region, debuts its Media Creation Hub, which has been succesfully integrated by Ideal Systems, as the company has made public recently. This new Hub creates multi-platform content to engage with digital native youth by being diverse, inclusive, and culturally relevant, and its facility includes a next gen metaverse / extended reality (XR) studio, as well as cutting-edge video production facilities and control rooms. The studios are fitted with the latest live production tools including Artificial Intelligence (AI) systems to assist content creators to craft content. The setup includes a complete 4K-ready audio and video chain facilitated by modern AI, NDI and Dante tools.

Blinx was created by Nakhle Elhage, well-known Arab

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broadcast journalist who stated, “Our aim is to attract Gen Z viewers and millennials who prefer getting all their information, whether news or entertainment on social platforms today,” says Nakhle.

“We bring the live production experience to multiple smart devices and screens, creating a holistic on- demand social ecosystem where MENA youth audiences will be able to find culturally relevant content at their fingertips.”

The core of Blinx’s operation is based on an end-to-end NDI/ Dante video/audio chain. The 4K system was designed and implemented through the partnership between Blinx and Ideal Systems teams who worked closely with a number of media technology manufacturers to create the state-of-the-art Media Creation Hub solution.

The blinx core video backend is NDI based on virtual NDI infrastructure from Sienna and NDI hardware from Kiloview, which provides a comprehensive suite of NDI processing tools.

Blinx’s integration of a redundant NDI router from Sienna and Densitron’s control system for seamless routing capabilities, form a fully redundant Tier-1 broadcast grade NDI core for the facility. For audio, Ideal provided Dante audio consoles and processing modules from Solid State Logic (SSL). A notable feature of the Blinx’s setup is the inclusion of XR studio sets and LED screens from Liantronics, providing a cost- effective solution for XR/ AR production. “We built an XR production studio with the help of fine pitch LED Display supplier LianTronics utilizing the latest LED Technologies and Mo- sys tracking,” explains Ayman Khatib Ideal’s Head of MENA Region.

Ideal provided Blinx with hybrid

NEWS | STORIES OF SUCCESS

MAM and NRCS systems,

as well as content creation. By

and adding media to their news

supported by cloud and AI

enriching video and media assets

stories in Dina.

services from AWS. Mimir, a

with metadata, AI helps improve

cloud-based video collaboration

searchability and the optimization

and production tool, forms the

of content for search engine

backbone of Blinx’s editing suite

ranking. Videos are transcribed

with various AI and production

into any language, making it

workflow tools, while Dina, a

easy to find assets based on

cloud newsroom tool, drives the

spoken words in transcripts,

news and editorial workflows

object and face detection, and

with Vizrt powered graphics and

many more parameters created

virtual studios. The integration of

by AI. Videos and images are

AI into Blinx’s operations helps

accessible from anywhere with an

various devices in the correct

with content recommendation

Internet connection, and reused

format, with different graphics

and creation, personalization,

across multiple applications in

sets on each one to fit the device

automatic tagging, and metadata

Blinx, such as ingesting video

optimized for how the viewers

generation and enrichment,

content over NDI, for searching

want to consume content.

To cater to younger audiences who prefer graphics-heavy content, Blinx employs Vizrt tools to create virtual sets, augmented reality (AR) graphics, and interactive elements. Remote production and automation tools enable Blinx to produce 4K ready content in the cloud, ensuring it can be delivered to

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NEWS | BUSINESS & PEOPLE

Krave Media’s MTRSPT1 Channel boosts its live sporting events’ distribution to CTV platforms with Amagi Krave Media and Amagi, company specialized in cloud-based SaaS technology for broadcast and connected TV (CTV), have establish an alliance in order to power motorsports channel, MTRSPT1, Krave Media’s flagship, for distribution of live events to leading CTV platforms such as Sling, LG Europe, Xiaomi, Samsung Australia and others.

Launched early in September, the channel uses Amagi LIVE to orchestrate premium live sporting events and Amagi CLOUDPORT for broadcastgrade, cloud-based playout. By

enabling global motorsports fans to watch live racing, this technology has helped Krave Media ultimately impulse the motorsports streaming experience.

MTRSPT1 is a 24/7 live sports channel delivering premium motorsports entertainment to a worldwide audience. Amagi CLOUDPORT enables Krave Media to simplify programming and streamline content workflows for CTV by offering comprehensive programming features. In conjunction with this tool, Amagi LIVE allows the

media company to remotely manage and dynamically produce diverse live event segments with low latency for their 24/7 linear channel.

This partnership with Amagi has addressed several key challenges faced by Krave Media; according to its claims, the company sought a technology partner capable of delivering high-quality playout, supporting live sporting events on a weekly basis for multiple motorsport racing events, and distributing content to a wide range of CTV platforms. 

Ateme fullfil ARIB compliance to enter the Japanese media industry The TITAN range of video

Global Standards Collaboration

“Japanese viewers are extremely

transcoders complies ofwith the

initiative and an organizational

sophisticated and expect the

Japanese video standards defined

partner of the 3rd Generation

best experiences,” said Gautier

Partnership Project (3GPP), ARIB

Vandomme, VP APAC at Ateme.

plays a crucial role in shaping the

“While large broadcasters remain

media landscape in Japan.

very popular in the country, many

by the Association of Radio Industries and Business (ARIB), Ateme has just announced.

This makes Ateme TITAN transcoders suitable for Japanese broadcasters.

The ARIB standard is now

are looking to adapt to changing expectations. Ateme has already

enabled by Ateme’s TITAN

been at the forefront of the

solutions, thanks to theiARIBr

transition to IP-based standards

compliance with ARIB

in other countries. We are thrilled

transmission, coding, subtitling,

to be able to help Japanese

experience with digital

and dynamic mode change

broadcasters in their quest for

technologies. As a participating

standards STD-B24, B32, B37,

greater efficiency and innovative

standards organization in the

and B39.

offerings.” 

ARIB is the Japanese standardization body that aims to enhance the broadcasting

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NEWS | BUSINESS & PEOPLE

STG acquires Avid Technology for $1.4B This strategic movement was previously announced on August 9, 2023, and approved by Avid stockholders on November 2, 2023, and finally was closed. At the begining of the month, Avid Technology, technology provider powering the media and entertainment industry since 1987, announced the completion of its acquisition by an affiliate of STG in a transaction valued at approximately $1.4 billion.

Avid stockholders will receive $27.05 per share, under the terms of the merger agreement. As a result of the completion of this transaction, Avid common stock

Nasdaq Stock Market. Avid is right now operating as a

ceased trading prior to the opening of trading on

privately-held company and remain headquartered in

November 7, 2023, and will no longer be listed on the

Burlington, Massachusetts..

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ADVERTORIAL

Vizrt: Pioneers in the new age of video In an interview with Pablo Herrero Delavenay, Commercial Director, and Vanessa Walmsley, Global Head of Customer Success, the Vizrt leaders share the organization’s mission for the future.

“It’s all about what the customers need to produce, and how we, along with our partners, can make that as simple and efficient as possible, working with two companies was overly complex,” remarks Herrero.

Vizrt recently united with the NewTek brand to form a new Vizrt, which sees it offer the most comprehensive single vendor portfolio in content creation. Vizrt cited on ongoing convergence of broadcast and proAV as another reason for bringing both brands, and product portfolios, together.

“It’s all about video,” he adds.

“It’s about communicating through video and catering to the needs of creators of video. It doesn’t matter if they are at the high end or low end, they are all asking for the same thing; good workflows, and super-efficient production with fewer resources.”

Now, Vizrt is the high-quality and easy-to-use platform that every professional storyteller can use to produce video for any channel. From the individual to the world’s largest

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organization, Vizrt is a onestop shop to support any size content creator.

Convergence of broadcast and proAV, and customer care Since the acquisition of NewTek by Vizrt in 2019, the organizations had focused on their respective broadcast and proAV markets, largely

operating separately. However, as Delavenay notes, there has been a shift in the market and Vizrt needed to adapt to those changes.

“The pandemic opened the opportunity to innovate at a rapid pace. Many of our customers were able to experiment with different technologies that previously were unthought of in their workflows. It didn’t matter

ADVERTORIAL

if the technology was ‘traditional broadcast’ or even ‘traditional AV’ – what mattered was reaching the audience via video.”

Post-pandemic, with the world shifting to a hybrid state – these solutions have stayed. In fact, they are looking to optimize them further.

Essentially, content creators of any variety need to produce more, have it cost less, yet have the high quality that an audience expects regardless of platform.

Herrero Delavenay explains further: “in the end, what we need to understand is what the customer wants to achieve in video production, and the best tools and team to help them succeed.”

Walmsley, who leads the Customer Success team at Vizrt, agrees, stating that there’s been continual changes within the media tech space in the past several years. This has heightened the importance of the relationship between the vendor and customers, as well as users.

“Media technology has been evolving exponentially,” she explains. “Companies often find they’re on a never-ending cycle of adaptation, which can be overwhelming. As a trusted advisor to our end users

VIZ MOSART USE WITH TRICASTER

and customers, it is our job to support them through the process. And this starts with trust and understanding.”

In the past few years, Vizrt has expanded its customer success branch which includes service, certification, support, and training via Viz University – all in an effort to be a 150-people strong organization and better support customer and users.

“What we do within customer success is more than customer service. We support the entire experience. We go beyond just how well a product works but also investing in people and training,” adds Walmsley.

Customers and end users will also now have access and

flexibility to buy the complete portfolio from Vizrt and its community of key partners.

Vizrt partners, which include all previous NewTek partners, can scale up their businesses by certifying and upskilling as experts in studio, graphics, automation, live production, cloud, and more – through Viz University.

“Our partners are a critical aspect of our business. We make technology; they help bring it to the wider world. They are the local experts that can support and help our users around the globe. With additional offerings through bringing all our solutions together, our partners have an opportunity to grow additional customer segments, increasing their revenues.”

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ADVERTORIAL

A PHOTO OF THE STUDIO AT SKY NEWS ARABIA, WHERE THEY USE VIZRT’S VIZ MOSART TO AUTOMATE THEIR STUDIO PRODUCTIONS

And according to both Herrero Delavenay and Walmsley, whether it’s helping customers, partners, or users, Vizrt’s future is all enabling video.

A new age of video consumption, a new Vizrt to lead the change Video production and innovation have always been of critical importance for Vizrt.

Two decades ago, born out of a need to display election data in a new way for TV2 Norway, resulting in the first 3D templated graphics system, Vizrt has grown into a video powerhouse. Now, content supported by Vizrt products is watched by over three billion viewers around the globe, daily.

Whereas back then, linear broadcast was the norm, now – video content live streamed,

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or on demand, especially on mobile devices - is much more popular.

On average, people spend 17 hours a week watching videos. YouTubers upload 500 hours of video content on the platform each minute.

And more video content has been uploaded to the internet in 30 days, than the major US television networks have broadcast in the past 30 years.

Arguably, Vizrt is in a leading position to usher in this new age of video consumption, after building its portfolio over the last 25 years through strategic M&A of innovative tools, and top talent within the media technology space.

“Today, everybody is on the internet. It is not just the streamers or the houses of

worship — it’s everyone, including the major broadcasters. And two people with the right technology can stream a cooking show on YouTube that looks nearly the same as prime time. Audiences just want consistency and quality, whether they are tuning in through Facebook Live or CNN. And Vizrt can help in covering it all, efficiently and effectively,” adds Herrero Delavenay.

Interestingly, Vizrt introduced new technologies to support streamers across its TriCaster line. By growing the portfolio 50%, it expands the accessibility of the powerful live production tool from the beginner to the top end broadcaster, demonstrating its commitment to support the entire content creation ecosystem.

ADVERTORIAL

Investing in futureproof technologies One of its other standout technologies worth noting is Vizrt’s HTML5 graphics solution, Viz Flowics. Vizrt acquired Flowics back in September 2022, announcing it at IBC. Cloud-native, webbased, real-time, easily customizable, controllable, and user-friendly – the solution is a favorite with the TriCaster customers since it is so easily integrated via LiveLink or NDI. According to Herrero Delavenay, the acquisition of the company by Vizrt was a perfect fit: “Flowics is a service.

A graphics system where you connect and use. There is no need for machines, no need for

installation and even no need for upgrades. It seems simplistic but many live graphics needs can be done this way. By adding MOS and native support to most of the NRCS systems, allow us to offer an efficient workflow.

A product like Flowics helps us reach everyone who needs to produce live graphics, no matter the size of the customer.”

With more major broadcasters

an even stronger offering to serve any creator.

It seems since its inception, Vizrt has been making moves to propel the video industry forward. As modern-day pioneers of the media tech frontier, this is certainly a company that is forging ahead to lead in these changing times – but we are left wondering one thing. So, we ask the Vizrt duo:

looking to move parts of their playout to the cloud,

What’s next for Vizrt?

and simultaneously smaller

“As one, unified organization, Vizrt’s teams are laser-focused on delivering the best solutions for all its customers, partners, and end-users, to continue to deliver innovative, impactful, user-centric software solutions – coupled with world-class customer service, support, and success,” notes Walmsley.

streamers wanting to add new ‘broadcast quality’ features to their shows, Viz Flowics is likely to become ever more popular. Because of its versatility, adding Viz Flowics to the Vizrt portfolio provides

A TECHNICAL DIRECTOR AT SKY NEWS ARABIA USING VIZRT’S VIZ MOSART STUDIO AUTOMATION SOLUTION TO PRODUCE ERROR-FREE SHOWS

“Our goal is more stories, better told. And we are always on the lookout for cool technology that complements this goal. So, if we fast forward here — we will continue to do exactly what we are doing. And we will probably continue to make acquisitions that accelerate our offering for our customers, partners, and end users – and that will keep us leading in the market,” concludes Herrero Delavenay.

To learn more about Vizrt, visit: - https://www.vizrt.com/

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SPORTS| HBS & RUGBY WORLD CUP FRANCE 2023

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SPORTS| HBS & RUGBY WORLD CUP FRANCE 2023

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SPORTS| HBS & RUGBY WORLD CUP FRANCE 2023

Keeping on with its collaboration with Rugby World Cup Limited (RWCL), HBS faces for second time the World Rugby Cup’s coverage, after successful broadcast of Rugby World Cup 2019 in Japan. Since 2019’s tournament, where HBS was a joint host broadcaster in its role with IGBS, new developments and advances in technology have been popping up so this year’s Rugby World Cup has become about the future of sports broadcasting itself more than about which team turns out the winner —at least for us.

TM Broadcast brings its readers an interview with Gary Shaw, HBS Rugby World Cup project lead, who during the conversation unveils the technology being used to ensure World Rugby creates the best possible result for fans.

Making HBS responsible for bringing the world’s biggest rugby event to fans around the globe seems a great move for viewers, as the 2023 Rugby World Cup’s coverage has delivered not just sporting emotion but an unprecedented viewer experience.

The technological innovation and the exhaustive planning have meant a great impact on how fans experience rugby. Moreover, these advancements offer rights’ holders new chances for engagement and monetisation.

A camera plan boosted by the addition of cable-cams, cine-style cameras and even drones for every match amused viewers and provided a more immersive experience for Rugby World Cup’s fans. Come with us and discover how HBS produced one of the biggest sports tournaments for the world to watch.

This is the second time

learnings that we took away

HBS is working with

from the 2019 edition, which

World Rugby on the host

was our first Rugby World Cup

broadcast of the Rugby

as a host broadcaster.

World Cup, could you tell us about the new advances

For 2023, we produce more

that are being included

content (approx. 2,000 hours

for this year’s coverage?

total), more feeds (a total of

What did HBS learn from

eight feeds, including isolated

the first time it covered

cameras), we use specialised

the event? What are the

cameras (cine-style, drone,

main characteristics of

cable camera, corner flag

HBS’ deployment for this coverage?

cameras and helicopter) and we have four standardised

This Rugby World Cup is

camera plans to cover all

all about building on the

matches of the competition:

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Bronze: 25 cameras (Pool Matches) Silver: 33 cameras (QuarterFinals) Gold: 38 cameras (Semi-Finals & Bronze Final) Platinum: 39 cameras (Final) We’re also enriching the digital offer with the addition of ‘digital first’ content creators, which sees HB content creators using mobile phones being given unparalleled access at the match venues to capture raw footage.

SPORTS| HBS & RUGBY WORLD CUP FRANCE 2023

What kind of equipment

favourite players, without

does HBS use for this

missing a beat of the action.

coverage? Are special cameras designed ad hoc for the production (cinema cams, pan-tilt-zoom)? In which manufacturer does HBS always trust?

Editorially, new cameras include cine-style cameras, drones and helicopter footage, offering the viewer

This Rugby World Cup is all about building on the learnings that we took away from the 2019 edition, which was our first Rugby World Cup as a host broadcaster.

Cine-style cameras are an editorial enhancement that provides a cinematic aspect to the match coverage, allowing the production team to capture more immersive footage of the players and fans, highlighting their raw emotions. Regarding manufacturers, we conduct

a comprehensive and

thorough benchmarking and

embedded coverage style

choose the product that is

with the aim of getting them

the most relevant for our

closer than ever to their

operations.

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SPORTS| HBS & RUGBY WORLD CUP FRANCE 2023

Regarding audio management, with which audio solution does HBS work? Is HBS going to include any new microphones to register audio from different angles?

The audio coverage of live sports is often overlooked, while it is a key component in the overall viewer experience.

This is even more the case for a sport like rugby, where the sound of the sport and the game magnifies the experience and the performance on the pitch.

The Multi-Channel International Sound (MCIS) is a broadcast-quality 5.1 television sound mix to accompany the high-definition coverage of each match.

It is a mix of at least 16 pitch microphones and five atmosphere microphones, including stereo and multichannel microphone arrays. The MCIS sound mix provides coverage of the game and crowd reactions, closely reflecting the picture coverage, but with the added enhancement and involvement that multichannel audio brings to the match coverage. The MCIS mix combines all sounds throughout the stadium, both on and off the pitch, from

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all camera positions – pitch cameras, Steadicams and tunnels; it also includes the Referee Microphone and TMO Microphone during a TMO review.

The Radio International Sound (RIS) is a broadcastquality stereo radio sound mix providing coverage of the crowd reactions, anthems, referee decisions and stadium sound suitable for live radio transmission rather than reflecting the camera shots. It is mono-compatible.

Broadcasters only need to add their own radio commentaries and presentation from their studios to produce high-quality tailor-made programming for their audiences, allowing them to follow their home nation without having to travel to the host country.

The Television International Sound (TVIS) is a broadcastquality stereo television sound mix and it is derived as a Lo/ Ro downmix of the MCIS and is mono-compatible.

The mixed sound accurately reflects the on-screen picture content and gives the viewer the best in current TV Rugby stereo audio coverage.

coverage? Which resources are you going to allocate there?

With which infrastructure does HBS count for the

We have OB vans at the venues, an IBC located in Paris, on the Roland-Garros

SPORTS| HBS & RUGBY WORLD CUP FRANCE 2023

compound, and a centralised nonlive production hub in the U.K. Using a centralised non-live hub allows us to use personnel already attached to this structure instead

We have OB vans at the venues, an IBC located in Paris, on the Roland-Garros compound, and a centralised non-live production hub in the U.K.

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SPORTS| HBS & RUGBY WORLD CUP FRANCE 2023

of having them travel to another base; it helps us limit the carbon footprint of the HB operations on this event, something that’s a strong commitment to the ‘Race to Zero’ carbon reduction campaign implemented

by World Rugby on its competitions.

What kind of production does HBS go for? Does HBS approach this coverage with IP technology or is it going to use a more traditional approach for this cup’s production?

We follow a partially remote model for this event, which

32

is facilitated by the use of IP technology for our broadcast contribution network.

For live coverage, the directors are operating at the stadium from OB Vans, but for nonlive production, we have a main hub located in the U.K. where all our post-production operations are taking place.

It’s important to note that the IBC remains a key part of our set-up, with our Master Control Room and our Quality Control teams located there to ensure the operations are centralised. The Team Match Official (TMO) Bunker is also located at the IBC.

What is the hardest issue HBS must overcome during a sport production / retransmission?

Not an issue, more of a challenge – the short turnaround on some Rugby World Cup stadiums, as they are also Ligue 1 and Ligue 2 stadiums used by the LFP for its 2023-2024 season, UEFA club competition or for hosting other events at the stadiums. We had to plan accordingly to ensure we could have enough time for set up and dismantling, as well as opportunities for the production teams to test out how the stadiums work on camera.

SPORTS| HBS & RUGBY WORLD CUP FRANCE 2023

However, as HBS is the line

Digital delivery (whether for

Our main contribution

producer for the LFP, we have

OTT or social media platforms)

network is made of a

the advantage of knowing the

is indeed a key service,

redundant fibre network

stadiums very well, both in

given current consumption

between each venue and

terms of technical set up and

trends. To reach these new

the IBC. It’s the main (and

aesthetics, which has made

audiences, we have developed

the transition easier.

a 360° digital offer, whose

dedicated) infrastructure we

cornerstone is white label Are HBS going to use any

content creation: we produce

innovation related to live

short clips, infographics,

graphics? If so, in what solution does HBS trust for this management?

We’ve used standard 2D

pictures that are language agnostic and multi-format to facilitate integration by rights holders.

graphics. There are no

A key part of our digital offer

augmented reality graphics for

for this Rugby World Cup is

the multilateral production, as

the addition of vertical ’digital

we have numerous animated flourishes within the graphics package using the event look and feel. There is a lot of movement provided by the usage of the Mobius graphic

first’ content creators. With access to the dressing rooms, bus arrivals, tunnel, as well as the option to position

zone, the content creators

is usable as near live by In recent times, there

broadcasters for their online

are a lot of strategies

audience.

World Cup’s through new

main Basic Stadium Feed (BSF) as a fail-safe set up if fibre contribution were to encounter issues.

How does HBS deliver the signal? The Rugby World Cup 2023 signal is going to be delivered in more than one format for the platforms?

perspective to viewers; it

delivered this Rugby

as a back-up option for the

areas and behind the try

event.

audiences; Has HBS

Additionally, satellite is used

final viewers in different

capture clips giving a unique

while attracting young

between both locations.

themselves by the warm-up

specially designed for this

for covering sports

use to transport IP streams

Content is then made available to rights holders on a dedicated platform for social media content.

From the stadium to the IBC, we use end-to-end uncompressed IP streams.

Rugby World Cup France 2023 is delivered following a HD/ SDR 1080p/50 and a UHD/ SDR 2160p/50 in 12G-SDI technical standard, with 5.1 Dolby Surround Sound, Stereo International Sound and Radio

or different formats as

What kind of protocols

International Sound. The

TikTok, on vertical 9:16

does HBS use to secure

World Feed comes in a 1080i

frames?

transmissions?

standard. 

33

TECHNOLOGY| QUANTUM COMPUTING

Quantum Computing Fiction or Reality?

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TECHNOLOGY| QUANTUM COMPUTING

Due to the latest technological advances, the realization of what until now was considered a chimera in computing is beginning to seem faintly possible; quantum physics applied to the information age generates concepts that seem distant in time, but perhaps not so much.

To begin with, we need to understand what quantum computing is and why it sounds a bit like science fiction or a TV series with Sheldon Cooper at the helm.

It is nowadays difficult to say when this technology will be available, but it seems to be closer than we imagined a few years ago.

By Rodrigo de la Moneda González, Marketing and Communication Telefónica Audiovisual Services, and Asier Anitua Valluerca, Business Development Manager Telefónica Servicios Audiovisuales

It all starts with the Qubits, the quantum version of bits: quantum computing allows to perform massive parallel calculations and solve problems that are beyond the reach of current systems. This technology has the potential to transform the broadcast sector, addressing challenges such as the optimization of video compression algorithms, improvement in the efficiency of transmission and dissemination of content or -which can truly be a paradigm shift- the integration of AI tools capable of, for example,

But, what is a quantum computer?

Starting with superposition,

A quantum computer is

qubit in this case, can be in

a machine that uses the

different states at the same

principles of quantum

time. Only when its situation is

mechanics to perform

observed and measured the

calculations. Unlike classical

system is “forced” to collapse

computers, which use bits to

, returning a single response.

process and store information

As an example of this

in the form of zeros and

behavior, let’s take the flipping

ones, quantum computers

of a coin as reference. While

use qubits (quantum bits).

the coin remains spinning in

These qubits are able to

the air, it is in an overlapping

take advantage of quantum

state in which there is a 50%

properties to perform tasks

chance that it will be either

that would take too long to

heads or tails, but without

run on a traditional computer.

opting for one or the other

we must clarify that this assumes that a particle, or

These features include

option. Only when the coin

creating ultra-personalized

superposition and quantum

lands and one or the other

content almost autonomously.

entanglement.

outcome is ascertained can

35

TECHNOLOGY| QUANTUM COMPUTING

IMAGE AUTOMATICALLY GENERATED

BY AI (QUANTUM COMPUTING DRAWN BY A FIVE-YEAR-OLD CHILD)

we observe what value has taken, since it has been forced to collapse in one of the two options.

Returning to qubits, imagine having to solve a complex problem with a multitude of potential solutions. In a classic computer it would be necessary to test each

36

possibility in series, one at a time, which would not be desirable in terms of time.

Thanks to superposition, qubits can adopt different values simultaneously (ones and zeros), thus allowing them to represent all possible solutions of a problem at once. This quality translates

into massive processing capacity, as the system can explore all solutions at the same time.

On the other hand, moving on to the second quantum feature, qubits can be entangled with each other, which means that the state of one qubit is intrinsically linked

TECHNOLOGY| QUANTUM COMPUTING

Quantum computers are especially efficient in certain types of operations, such as factoring large numbers, where classical calculations would be extremely slow.

to the state of another, even if

going unnoticed. This is

separated by large distances.

because entanglement causes

Any variation in the state of

any attempt to measure or

one member of the quantum

spy on the information to

pair will be reflected in the

affect the status of the qubits,

other, which is a potential

and consequently that of

application in the transmission

their pairs, which would alert

of information and problem

a receiver that someone has

solving.

attempted to intervene in the

For example, in certain

transmission.

quantum operations

It is important to note that

entangled qubits are used

not all problems benefit

to distribute information

from quantum computing.

between different parts of

Quantum computers are

a system in parallel, which

especially efficient in certain

can significantly accelerate

types of operations, such

the calculation process,

as factoring large numbers,

since the information travels

where classical calculations

instantaneously without

would be extremely slow. On

having to go through a circuit.

the other hand, traditional

In addition, quantum entanglement can be exploited in other fields such as communication security, to generate cryptographic

computers are optimal in performing everyday tasks and simple calculations that do not require as much power, such as web browsing.

keys that are impossible to

Returning to the operation

intercept or modify without

of computing, and having

understood its fundamentals, it is necessary to establish that qubits are not the only components within these systems. As in traditional computing, quantum computers operate through the use of quantum gates, a concept equivalent to that of logic gates. Unlike the latter, which operate based on what is known as Boolean logic, its more advanced counterpart takes advantage of the principles of superposition and entanglement to control the quantum states of the qubits (as in the example of the coin thrown into the air) and perform calculations in parallel. By combining these gates circuits capable of performing different operations can be created, so a correct design is key for building efficient algorithms.

To minimize the risk of involving flaws in the calculations, quantum computers have powerful cooling systems, since qubits need to operate under minimum temperatures close to absolute zero. On the other hand, the mechanisms for reading the state of the qubits are vital, since they are responsible for translating the quantum information resulting from the calculations into readable data. Finally, all this

37

TECHNOLOGY| QUANTUM COMPUTING

mechanism is orchestrated by a control unit, responsible for the coordination of calculations and other components through the execution of software specially designed for these environments.

How can this new technology affect the broadcast universe?

In the era of digital transformation, the audiovisual sector faces increasingly complex challenges. Production, distribution and transmission of content are beginning to demand a processing capacity that requires new technological solutions to make the entire process efficient.

With the rise of new platforms and the race in creation of quality content that captivates viewers, consumers in the industry are developing increasingly demanding standards. Users expect to encounter immersive experiences, Apple Glasses, metaverses, customized content and exceptional video, audio and sensor quality. All this with the idea of being able to access content when, how and where so desired.

38

We are facing a sector that needs solutions to meet and exceed, on the one hand, consumers expectations and, on the other, the technical challenges being faced. With this in mind, it is clear that it is essential to adopt and develop new technologies that provide effective solutions to these challenges.

From Big Data to the metaverse, these advances will facilitate the design of tools that, in addition to proposing solutions to existing problems, come up with new challenges and draw a promising horizon of possibilities. Among all these technologies, the advances in quantum computing stand out especially since, in one way or another, they will end up impacting the entire technological landscape and revolutionizing not only the telecommunications sector, but our way of creating, consuming and relating to content.

What use cases make sense with this technology?

Logically, this technology will begin to be used by a few privileged countries and with a greater focus on defense,

security and cybersecurity, both in communications and systems. However,as soon as progress is made it will become more accessible to other sectors. We understand that always in a PaaS (Platform as a Service) mode since possessing this technology in the medium term would not be possible due to the security inherent to non-quantum systems.

Imagining a possible use case, we could mention artificial intelligence systems for automatic audiovisual production in which the creation of ultra-customized

TECHNOLOGY| QUANTUM COMPUTING

content is another way to

For use cases that are

accelerate processing

generate content almost

harder to explain but

times; at this point, Volinga

instantaneously. For example,

equally useful in the long

is one of the solutions

term, new transmission and

that together with

communication protocols

Arquimea are evaluating its

based on quantum

implementation.

provide AI with a set of instructions to create cartoons with a story that is customized to the maximum, choosing the characters, moral, goals, focus and bias that are desired. The major production companies will then be able to manage with their characters’ copyrights so that consumers can create ad hoc stories with their favorite characters, intertwining them and their circumstances, as if they were different multiverses.

QUANTUM COMPUTER (AI GENERATED IMAGE)

entanglement could sprìng up imitating the use given to this by quantum computers.

Protocols could be designed that allow a practically instantaneous transmission of audiovisual information from

 Impact on Blockchain: improvement of algorithms, higher speed in transactions (the number of transactions per second could increase, but this

one device to another.

depends on different

Other use cases that we could

of the Blockchain itself,

find, among many others,

which implies a continuous

would be:

validation of transactions

 More efficient and difficult to intervene information encryption techniques, since any attempt to modify the qubits could be notified almost immediately and

issues such as design

and new blocks being added to the chain), quantum cryptography, scalability of Blockchain networks.  Recognition and analysis

greater calculation capacity

of content: identification of

is available (this involves a

patterns and preferences,

higher complexity). At this

segmentation of the

point, Spanish companies

audience, classification of

such as Arquimea are

content according to types

already offering quantum-

of audience, customization

proof encryption of the

of platforms and content.

future; thus, they enable facing the security of the future under the threats of quantum computing.

 Virtual and augmented reality: simulation of more complex, interactive and realistic virtual

 Apply AI for 3D scanning

environments (virtual

and modeling of scenes

objects, scenarios for

and objects , on which

presentations, films, series,

quantum computing could

etc.). 

39

TECHNOLOGY| PROTOCOLS

40

TECHNOLOGY| PROTOCOLS

Contribution and distribution protocols in

Broadcast environments An overview of the protocols for TV signal contribution in broadcast environments: ST2110, SRT, NDI and more

By Por Yeray Alfageme, Business Development Manager at Optiva Media an EPAM company

In the exciting world of broadcast,

demand services. Each of them

where innovation and technology

has its own features and benefits,

are advancing by leaps and

and it is important to understand

bounds, keeping up with the

how they work and when it is

latest advances in contribution

most appropriate to use each of

protocols and signal distribution

them.

is critical. In this article we will explore some of the most relevant protocols in broadcast environments, such as ST2110, SRT, NDI, DASH, HLS, RTMP and

We’ll start by talking about the ST2110 standard, which has revolutionized the way in which video, audio and data signals

many more.

are handled in IP television

These protocols play a key role in

environments. We will explore its

the transmission and delivery of

architecture and how it enables

audiovisual content in real time,

transmission of multiple medium

whether for traditional television,

and high-quality streams in real

Internet transmission or video-on-

time.

production and distribution

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TECHNOLOGY| PROTOCOLS

We will then dive into the SRT (Secure Reliable Transport) protocol, which has gained popularity due to its ability to ensure a safe and reliable delivery of video signals over the Internet. We will see how SRT uses error correction and selective broadcast techniques to ensure robust, low-latency transmission.

We will continue our journey with NDI (Network Device Interface), a protocol developed by NewTek that allows the transmission of high quality video and audio through a local area network (LAN). We will explore its applications in live production environments and how it has simplified connectivity and interoperability between different devices.

In addition, we will analyze the DASH (Dynamic Adaptive Streaming over HTTP) and HLS (HTTP Live Streaming) content distrivution protocols, widely used in video transmission over the Internet. We’ll look at how these adaptive streaming technologies work and how they’ve improved the viewing experience for end users.

We cannot fail to mention the popular RTMP (RealTime Messaging Protocol), widely used for the real-time

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ST2110 integrates effectively with other protocols and standards that are common in the industry, such as SMPTE ST2022-6 for transmission over IP networks and AES67 for audio interoperability over IP transmission of multimedia content over the Internet. We will explore its architecture and relevance in the current context of live video streaming.

provides greater flexibility and scalability, as each element can be handled and processed individually.

The ST2110 standard uses the IP (Internet Protocol)

ST2110

transport protocol for the

The ST2110 protocol has played a revolutionary role in changing the way video, audio and data signals are managed in IP-based broadcast contribution and distribution environments. ST2110 is a standard developed by SMPTE (Society of Motion Picture and Television Engineers) that defines a set of technical specifications for transport of real-time media streams over IP networks.

of streams. This allows the

One of its main features is an approach based on separate streams, which means that video, audio and data are transmitted as separate streams, unlike traditional methods that used to encapsulate all components in a single stream. This

routing and transmission interconnection of equipment

TECHNOLOGY| PROTOCOLS

from different manufacturers and the integration of systems into a common network infrastructure. In addition, the protocol leverages standard Ethernet networks, reducing deployment costs and facilitating migration to IP environments.

In terms of signal quality, ST2110 offers excellent fidelity and uncompressed accuracy. This protocol supports video resolutions up to 4K and beyond, as well as high-quality audio, including tools for immersive formats such as surround sound. In addition, ST2110 achieves

low latency, which is critical in real-time applications such as live broadcasts or interactive productions.

ST2110 is designed for production environments.

Due to its orientation towards uncompressed environments where large bandwidths are required -for example more than 1 Gbps in HDSDR signals- it is practically unfeasible for content distribution. Almost the entire production environment in IP works with this protocol and it is true that -especially in large events and productions- it can be used to contribute

between production centers over large-bandwidth private networks, but it is not recommended or at least appropriate.

In addition, ST2110 integrates effectively with other protocols and standards that are common in the industry, such as SMPTE ST2022-6 for transmission over IP networks and AES67 for audio interoperability over IP. This encourages compatibility and collaboration between different systems and ensures flexibility in the choice of equipment and technologies, at all times within a controlled,

43

TECHNOLOGY| PROTOCOLS

high-capacity network environment, such as a mobile unit or production center.

SRT (Secure Reliable Transport) SRT is an open-source transport protocol developed

by Haivision and specifically designed to overcome the challenges of streaming video over the Internet. With its combination of error correction and selective retransmission techniques, it achieves secure and reliable delivery of video signals, even in environments with packet loss, high latencies or fluctuations in bandwidth.

One of its outstanding features is the ability to dynamically adapt to network conditions in real time. By using smart flow control and congestion control algorithms, this protocol can automatically adjust transmission rate and amount of error correction according to network conditions. This ensures optimal transmission quality and minimizes the effects of packet loss.

Another important advantage is its focus on safety. The protocol uses end-to-end encryption to protect the confidentiality and integrity

44

identity of the participants in the transmission and control

SRT is primarily used in content distribution or in contribution between distant production sites where connectivity is achieved via the Internet

who can access it.

SRT is primarily used in content distribution or in contribution between distant production sites where connectivity is achieved via the Internet. In these

of the transmitted data, which guarantees privacy and prevents possible attacks or tamperingwith the signal.

In addition, SRT includes

environments, the SRT facilitates the delivery of broadcast content to multiple destinations such as TV stations, Internet streaming service providers or video-

authentication and access

on-demand platforms. The

control mechanisms, which

protocol is easily integrated

make it possible to verify the

into existing distribution

TECHNOLOGY| PROTOCOLS

systems and adapts to different bandwidth and latency requirements, thus making it ideal for live streaming environments or sporting events.

Furthermore, SRT has become a widely adopted industry standard, supported by numerous equipment manufacturers and service providers. This guarantees interoperability and compatibility between different solutions and ensures flexibility in the choice of equipment and technologies.

NDI (Network Device Interface) Developed by NewTek -now Vizrt- NDI is a protocol that enables the transmission of high-quality video and audio, as well as ancillary data, over an IP network in its broadest sense. NDI is designed -like ST2110- for production environments but, due to the compression it performs on the signal, it can be used to distribute signals in certain controlled environments although, as we have commented, its main aim is to simplify connectivity between different devices in a live production environment and facilitate interoperability between them.

One of the main advantages of NDI is its software-based approach, which means it can be deployed on existing systems without the need for

One of the main advantages of NDI is its software-based approach, which means it can be deployed on existing systems without the need for additional hardware

additional hardware. Thanks to NDI, any compatible device or application can become a video/audio source or destination on the network, which provides great flexibility and ease of use.

In addition, it is intended for use in standard Ethernet networks, due to its adaptation to existing bandwidths and technical features. One feature that exemplifies this fact is that an HD-SDR signal takes up less than 1 Gbps of bandwidth, making it possible to use a single Ethernet connection between the piece of equipment and the network.

The NDI protocol also offers low latency, which is crucial for live production and realtime collaboration. This means that changes and adjustments made to a video or audio source are quickly reflected at destinations, with no noticeable delays. This feature is especially valuable in production environments where synchronization and real-time response are critical issues.

As we have pointed out, the NDI protocol is geared towards contribution, more specifically to production environments. Its use in

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TECHNOLOGY| PROTOCOLS

distribution environments is not as common, although it is possible, since it does not have such advanced error correction mechanism or adaptation to variable bandwidths as SRT or others.

NDI’s compatibility with a wide range of devices and software has contributed to its growing popularity in the broadcast industry. Many equipment manufacturers and software developers have adopted the NDI protocol in their products, thus ensuring interoperability and compatibility between different solutions.

RIST (Reliable Internet Stream Transport) Developed by the RIST Initiative -which brings together multiple industry players- RIST is a transport protocol that uses the Internet for contribution and distribution of multimedia signals in real time. Its main goal is to overcome the challenges associated with transmission over the Internet by guaranteeing reliable and low-latency delivery.

One of its key features is the focus on transmission reliability. This protocol uses error correction

46

RIST standard implements flow control and congestion control mechanisms to ensure efficient and adaptive transmission techniques such as selective retransmission and lost packet recovery to ensure the integrity of the transmitted data. This allows robust transmission even in networks with packet loss, variable latency or congestion, which is very common in the Internet.

In addition, the RIST standard implements flow control and congestion control mechanisms to ensure efficient and adaptive transmission. These mechanisms monitor and adjust the amount of data transmitted based on network

TECHNOLOGY| PROTOCOLS

access control mechanisms, which make it possible to verify the identity of the participants in the transmission protect it against malicious attacks.

As its name suggests, RIST is 100% oriented to the distribution of content through the Internet. Of course, it can be used in contribution and production environments, but it was not developed for this. This protocol is especially reliable, perhaps with a higher latency than similar distribution protocols, but with extra security and robustness.

conditions, thus avoiding saturation and bottlenecks.

This ensures optimal use

It should be mentioned that RIST, although quite widespread -that’s why we include it here- is not as popular as more modern protocols such as SRT or simpler ones such as RTMP or DASH.

of available bandwidth and minimizes the effects of network congestion.

Security is another major concern in broadcast transmission and RIST also addresses this aspect. The protocol offers end-to-end encryption options to protect the confidentiality of the transmitted data. In addition, it includes authentication and

Zixi The ZIXI protocol emerged as an advanced solution for the contribution and distribution of content in broadcast environments over the Internet. Developed by ZIXI, this protocol focuses on ensuring reliable and low-latency delivery without compromising the quality of

the content transmitted by adapting to the situation of the network at all times.

One of the key features of ZIXI is its bandwidth management capability. By using smart algorithms, the protocol can dynamically adapt transmission rate and compression of the video stream based on network conditions. This ensures optimal use of available bandwidth and enables high-quality transmission even in environments with fluctuations in bandwidth.

In addition, it features advanced error correction and selective retransmission mechanisms to ensure the integrity of the transmitted data. This allows the protocol to recover lost or damaged

One of the key features of ZIXI is its bandwidth management capability.

By using smart algorithms, the protocol can dynamically adapt transmission rate and compression of the video stream based on network conditions.

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TECHNOLOGY| PROTOCOLS

packets in real time, minimizing the effects of packet loss on the quality and consistency of the transmitted content.

Low latency is another crucial aspect in real-time broadcast transmission and the ZIXI protocol addresses this concern effectively. The protocol has been designed to minimize latency in video and audio transmission, enabling real-time collaboration and interaction between different contribution and distribution points. This is especially valuable at live events, where accurate timing is essential.

It also offers a complete solution for the security of the transmission. This protocol supports end-to-end

48

encryption, thus ensuring

by more modern protocols

the confidentiality and

such as SRT, but there are still

integrity of the transmitted

many environments in which

data. In addition, it includes

ZIXI is a key protocol.

authentication and access control mechanisms to protect against unauthorized access and ensure the authenticity of participants in the transmission.

Dynamic Adaptive Streaming over HTTP (DASH) The DASH protocol is based

By its nature, ZIXI is primarily

on the HTTP standard and

used in distribution

uses adaptive streaming

environments or as a

techniques to deliver

contribution between live

multimedia content efficiently.

events and production

Instead of streaming a single

sites. In fact, there are many

video stream, DASH splits

manufacturers that have

content into smaller segments

implemented their own

and delivers them to the

protocols based on ZIXI,

receiving device over standard

since the latter can serve

HTTP connections. These

as the basis for other more

segments can have different

advanced implementations. It

resolutions, bitrates, and

has been gradually replaced

compression formats.

TECHNOLOGY| PROTOCOLS

One of the main advantages of DASH is its ability to adapt dynamically. The protocol constantly monitors network conditions and receiver device capabilities, and then adjusts video quality in real time to ensure smooth and seamless playback. Thus, the content automatically adapts to the network connection and the capabilities of the device, optimizing the viewing experience for each user.

Another key feature of DASH is its support for multiple video formats, such as MPEGDASH, HLS and Smooth Streaming. This enables content providers to tailor their broadcasts to different devices and platforms, thus ensuring broad accessibility and a consistent user experience across a variety

One of the main advantages of DASH is its ability to adapt dynamically. The protocol constantly monitors network conditions and receiver device capabilities, and then adjusts video quality in real time to ensure smooth and seamless playback.

of devices, from smart TVs to mobile phones.

And of course, this is 100% aimed at distributing content to end users via the Internet.

Obviously it can also be used in more controlled IPTV networks, but its potential is fully realized when content has to be delivered to millions of end users having different devices each. Obviously, DASH relies on CDN networks for such distribution.

In addition, this standard offers significant benefits in terms of storage and scalability. Content segments are cached on the client side, thus reducing the load on streaming servers and facilitating efficient delivery to a large number of concurrent users. This makes the DASH standard a cost-effective option for mass distribution of online content.

The DASH protocol also allows users to pause, fast-forward, or rewind content seamlessly.

Thanks to segment-based delivery, users can jump to any point of the content without the need to download the entire video file whenever the origin of the CDN allows.

This provides greater flexibility and comfort for viewers, enhancing their viewing experience.

HTTP Live Streaming (HLS) The HLS standard uses the HTTP protocol to stream multimedia content in small, adaptive segments, in similar way to DASH. Content is divided into fixed-duration segments; these are stored on source servers and delivered to the receiving devices over standard HTTP connections via CDN networks. These segments can have different resolutions, bitrates, and compression formats. This allows for dynamic adaptation based on network conditions and device capabilities.

One of the key advantages of HLS is its compatibility with a wide range of devices and platforms. This protocol supports web browsers, mobile operating systems and streaming devices, ensuring users can access content seamlessly from a variety of devices, whether mobile phones, tablets, smart TVs or computers.

HLS also offers an optimized viewing experience through adaptive streaming. The protocol constantly monitors network conditions and receiving device capabilities, and then adjusts the most suitable video quality in

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TECHNOLOGY| PROTOCOLS

real time to ensure smooth and seamless playback.

This means that users will experience optimal video quality based on their network connection and the capabilities of their device.

Another important advantage of HLS is its ability to handle interruptions and fluctuations in the network connection.

If a momentary outage or decrease in network quality occurs, this standard can be seamlessly switch to lower video quality to avoid interruptions in playback.

This ensures that viewers can enjoy the content without trouble, even on networks with bandwidth limitations.

In the same way as DASH, HLS is completely oriented to distribution of content over the Internet, OTT and IPTV environments. Together with DASH they are the most widespread protocols and, I would venture to say that, due to its very high compatibility with almost any device, HLS is the most popular protocol on the Internet for distribution of streaming content.

Furthermore, HLS offers benefits in terms of storage and transmission of content on demand. Content segments are cached on the

50

One of the main advantages of RTMP is its low latency.

The protocol has been designed to minimize the delay between streaming and playback of content, making it ideal for live applications where accurate synchronization is essential. client side, thus reducing the load on streaming servers and facilitating delivery to a large number of concurrent users.

This makes the HSL standard a a scalable, profitable option for mass distribution of online content.

Real-Time Messaging Protocol (RTMP) RTMP was developed by Macromedia (now Adobe) and has become a de-facto standard for live streaming and real-time interaction on the Internet. This protocol uses a persistent connection between the transmitting server and the receiving client, allowing for continuous and reliable transmission of the multimedia content.

One of the main advantages of RTMP is its low latency. The protocol has been designed to minimize the delay between streaming and playback of content, making it ideal for live applications where accurate

synchronization is essential.

This allows viewers to enjoy real-time events, such as sports broadcasts or concerts, without significant delays.

In addition, the RTMP standard offers high-quality media transmission. The protocol enables content delivery in different formats and bitrates, ensuring smooth playback and optimal video and audio quality. This is especially important in broadcast environments, where content quality is paramount.

RTMP is also known for its ability to adapt to network conditions. It can dynamically adjust the transmission quality based on the available bandwidth and fluctuations in the connection. This ensures stable and uninterrupted transmission, even on networks with bandwidth limitations or unreliable links.

In terms of application in broadcast contribution

TECHNOLOGY| PROTOCOLS

Conclusions In this technical outreach article on contribution and distribution protocols in Broadcast environments, we have explored several major protocols and their role in streaming and delivering audiovisual content in real time. Each of these protocols has unique features and specific benefits, and it is important to understand how they work and when it is most appropriate to use each of them.

The ST2110 protocol has revolutionized the way in which video, audio and data signals are handled in IP television production and distribution environments. Its approach based on separate flows provides flexibility and scalability and integration with the IP protocol and standard Ethernet networks facilitates interoperability and migration to IP environments.

The SRT protocol has been noted for its ability to ensure the safe and reliable delivery of video signals over unreliable networks. With error correction and selective retransmission techniques, the SRT achieves robust, low-latency transmission, dynamically adapting to network conditions and ensuring the privacy of transmitted data.

The NDI standard has simplified connectivity and interoperability in broadcast environments across local area networks. A software-based approach allows integration into existing systems without expensive additional hardware and its low latency and ability to transmit ancillary data enrich live production.

and distribution environments, it offers flexibility and compatibility with a variety of devices and platforms.

Content providers can use RTMP to stream video and audio signals from different sources such as studio cameras, mobile production units or live streaming applications, to streaming and distribution servers.

The RTMP protocol is also widely used in broadcast distribution through online platforms and streaming services. It allows content providers to deliver live streams or prerecorded content to a wide audience, thus providing an interactive, real-time viewing experience.

Although RTMP has been widely used in the past, it is important to mention that its popularity has declined in recent years due to the emergence of more modern and efficient protocols, such as HLS and DASH. However, it remains relevant in certain use cases and specific environments that require low latency and real-time transmission. 

On the other hand RIST has emerged as a reliable and efficient solution for the contribution and distribution of content in real time over unreliable IP networks.

Error correction and flow control techniques ensure the integrity of the transmitted data, and its focus on security safeguards the confidentiality and integrity of the signal.

Focusing more on Zixi distribution, the protocol of protocols, along with DASH and its sibling HLS are the most widely used in the industry by far. Old-timer RTMP has also been surpassed by SRT and is falling into oblivion, this being only slowed down by a practically universal compatibility, although hampered by reliability and stability problems that SRT does not have.

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TECHNOLOGY| INTERCOM & TALKBACK SYSTEMS

RIEDEL BOLERO

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TECHNOLOGY| INTERCOM & TALKBACK SYSTEMS

The success of communication in teamwork

INTERCOM & TALKBACK SYSTEMS

By Carlos Medina, Audiovisual Technology Expert and Advisor

Behind the shooting of a film, a macro-concert, a musical, a festival, a play, an award ceremony, a radio/television program, a mapping show, lights and sound..., there is shared and basic equipment so that everything runs as smooth as possible: an Intercom/Talk Back set, which we can subdivide in turn into Intercom & Talkback Tools and Intercom & Talkback Systems.

Any Intercom/Talk Back set involves using equipment and solutions for the transmission of orders through sound internally, that is, to be exclusively used by the human team involved or taking part in the relevant project, job and/or event. The word ”intercom” is a juxtaposition of the terms “internal” and “communication”, little explanation is required here.

In this article we wil be focusing on getting to know a bit more about what we call Intercom & Talkback Systems. That is, we are leaving aside Intercom & Talkback Tools, and therefore all pieces of equipment, solutions and devices such as walkie-talkies (PMR446; ATEX; TETRA) or applications for converting our mobile phone

into a walkie-talkie with the PoC (push to talk over cellular) service that uses the telephone networks through standard VoIP protocols.

Intercom & Talkback Systems, as indicated in the name itself, is a system made up of various components. This solution is the most widespread system and it is normally based on installations combining a base station with external stations (remote desktop stations, also known as desk stations, together with their relevant control and user panels) that in turn receive connectivity with the various communication spots, also called belt packs, which normally come with a headset.

The base station, together with the external stations, is the communications hub in fixed installations (such a TV set, a theatre, an auditorium...). Line intercommunication (twowire, shared) may be found, as well as others using a digital array or equipped with IP technology, thus turning into a smart remote station.

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TECHNOLOGY| INTERCOM & TALKBACK SYSTEMS

HOLLYLAND SOLIDCOM M1

As for belt packs, these are autonomous units (wired or wireless) equipped with a microphone and a headset, volume controls for hearing and talking and a call alert LED. Headsets or headphones come in various configurations: open or closed, with an earmuff or with two, and with a condenser or electrect microphone (headset).

simultaneous, continuous

Features to consider for Intercom & Talkback Systems are: full duplex (two-way conversations); immediate,

16-bit DSP technology; 48 kHz

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communication without any licensing or communication costs associated; working with several different channels thus enabling creation of groups (with the possibility of choosing between talk, broadcast to all or mute channels); using HD voice (7kHz broadband); two-thread and/or four-thread operation; broadcast (XLR 3) connectivity; audio processes involving 24 bits/sample; and externally monitored listening.

In addition, IP-based intercoms feature configuration and control software along with AES67 compliance for audio streaming and AoIP sources (such as Cobranet, Dante.

Ravenna, LiveWire or Q-LAN…), SMPTE 2110 protocol, balanced signals, unbalanced digital inputs and/or S/PDIF. At present, wireless intercom systems can be either analogue or digital, although manufactures and users are increasingly choosing the latter type. In this regard,

TECHNOLOGY| INTERCOM & TALKBACK SYSTEMS

it must be said that digital wireless allows operating at 1.9 GHz on the so-called ICM (or ISM) band ranging from 2.4 GHz to 2.48 GHz (three RF channels) or on the unlicensed 5 GHz UNII band (up to fifteen RF channels).

Very important is the capability of the base station to extend coverage through the number of relays with which it can be connected.

Currently, there are applications that convert an Android and/or Apple device into a fully functional intercom control panel with absolute freedom of movement within the area covered by the WiFi network.

We can find on the market various manufacturers that offer scalable models and configurations, ranging from the simplest and most

AEQ XPEAK

common one, such as using a channel (party-line), followed by dual-channel systems (A and B); up to more complex configurations where dozens of channels, user groups, etc. are included, which must be configured for belt packs that can participate in 1, 2, 3, 4 or more communication units (these can be direct users, channels or groups).

In this area of manufacturing and design of Intercom & Talkback Systems only a few companies that stand out, so let’s meet some of them:  Since 2014, every year, the Spanish company AEQ together with KROMA present a very remarkable product catalogue in the field of Intercom & Talkback Systems, such as the novel intercom user terminal TP9116, a world premiere

designed to ensure a high level of broadcast audio quality with the Conexia and crossNET matrices and with the Xpeak intercoms.  The company HOLLYLAND (Shenzhen Hollyland Technology Co., Ltd.) introduces Syscom 1000T4B, a full-duplex intercom system with four belt packs and headphones; or Solidcom C1, a headphone system with full-duplex wireless intercom, which embraces the advanced DECT 6.0 technology, which is truly wireless and autonomous operating in the 1.9 GHz frequency band, thus providing a reliable transmission range of up to 350 m radio. Since 2013, this company has grown to be recognized as a leading provider of premium wireless products.  GLENSOUND ELECTRONICS LTD, based in Maidstone Kent (UK), has been designing and manufacturing audio transmission equipment since 1966. Glensound’s areas of expertise include commentator systems, IFB/four-wire systems, mixers, ISDN units and mobile phone systems for

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TECHNOLOGY| INTERCOM & TALKBACK SYSTEMS

broadcasters. The Beatrice R4 model is a robust 4” 1RU rack-mount intercom with crisp audio, designed for broadcast, theater and professional audio applications, that uses the reliable and proven Dante network audio streaming protocol to enable realtime distribution of uncompressed audio over standard networks. It is AES67 compliant as well.  RIEDEL COMMUNICATIONS, founded in Wuppertal - Germany (1987), is a leading provider of live production tools in the worlds of media, sports and entertainment. Hardware

and software solutions range from distributed video and audio networks, to intercom and playback solutions as well as WAN and MPLS applications.

Its Bolero solution is a completely new wireless intercom system capable of supporting up to 250 belt packs and 100 antennas in a single deployment; specifically the Standalone 2110 (AES67) allows users to configure a standardsbased IP network (SMPTE 2210/AES67).  RTS Intercom Systems (Burnsville, Minnesota - 1975) is an industry leader in the design

and manufacture of professional intercom solutions. From systems used for smaller in-house productions, to Advanced Digital Audio Matrix (ADAM) systems for coordinating broadcasts of major networks covering the world’s biggest events.

RTS is dedicated to innovating in the future of global communications. Its latest generation of advanced digital audio array and keyboard panel products is based on the exceptionally powerful and flexible OMNEO IP technology for media streaming and system control. OMNEO has been quickly adopted as the

RIEDEL BOLERO BELTPACK

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TECHNOLOGY| INTERCOM & TALKBACK SYSTEMS

CLEAR-COM ENCORE ANALOG PARTYLINE SYSTEMS

new performance standard by major network customers to coordinate broadcasting for the most important events across systems of unparalleled size and sophistication.

RTS offers the widest variety of matrix interfaces on the market: RVON (VOIP), MADI and OMNEO (Dante plus OCA, AES70), connecting via Ethernet CAT-5e/6, fibre and analogue copper.  Company DATAVIDEO, in search of new markets, is also offering solutions such as the 8-channel ITC-100 intercom system in a standard 19” 1U rackmountable base unit with a communication range of up to 200 meters.

 Another major company is Clear-Com® (USA – 1968), part of HME (1971), a world leader in professional voice communication systems for live productions.

It has developed and marketed proven intercom technologies, such as Analog Partyline, Digital Matrix, Digital Wireless and IP communications systems for broadcast stations, production trucks, and worship and entertainment venues. The DX series, partyline Bis analogue intercom or IFB systems enable clear, reliable and scalable communication solutions.  Another Spanish company, ALTAIR, was born in 1986 with the aim of combining

innovation, high precision and quality with first-class technical service and customer service. More than 25 years later, with a competitive product catalogue and a renewed image, ALTAIR has become a company of reference in the field of professional sound. This company offers us in its catalogue the E-200 solution, a wired intercom system with the possibility of feeding up to 60 belt packs from the Central unit; the wireless intercom system under the WBS-200 base station, which operates with the WBP-200/WBP210 wireless belt packs; an Intercom matrix as the new programmable Altair MTX-416 unit that

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TECHNOLOGY| INTERCOM & TALKBACK SYSTEMS

allows us instant access to its 5 preset memories.

Each memory determines the distribution of up to 16 intercom lines over the 4 available intercom channels; and IP communication systems, the IpCom series, with 128 users and a configuration capacity of up to 128 groups and 32 CUE Light. It is a scalable system and it supports standard IP LAN networks.

Each and every one of the aforementioned companies has an ultimate goal when it comes to offering Intercom & Talkback Systems solutions: achieving an effective, clear, direct and interference-free communication between the different members of a work team.

Technology usually helps to achieve this purpose, but it is essential to make the different users of an Intercom & Talkback Systems aware of the importance of following a series of recommendations and/or advice that have little to do with the technology used and but do have an impact o the final results: • Only messages/orders understood at the first try are efficient.

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• The use of short and specific messages/orders, such as a command to be at the ready or to keep silent.

• The use standard orders and protocols approved by the set of professionals, thus avoiding customization of

• Any information that may hurt the sensitivity of the various users being interconnected is not conveyed. Conflict issues (politics, religion, sports, gossip, matters relating trade unions,...) are to be avoided.

messages (communications tuning).

• Intercommunication systems and devices are not toys for personal use and their proper operation is a must, knowing all their functions and capabilities handed over to issuers and receivers by the relevant manufacturer.

• Intercommunication means that everything is being heard, so any messages outside a professional context giving rise to such communication must be avoided.

• Conversations must be simple, clear, decisive, where proper comprehension of the message sent from talker to listener is crucial.

• Dissemination of commands that are mistaken or made up, which may cause doubts and/or false communications is avoided.

VA 361 PRODUCTIONS USES RIEDEL’S BOLERO WIRELESS INTERCOM TO DELIVER SUPERIOR-QUALITY SOLUTIONS FOR LIVE EVENTS

TECHNOLOGY| INTERCOM & TALKBACK SYSTEMS

• Be careful with the tone of communication. Always adopt a normal, soft, conciliatory tone that conveys calmness and confidence.

• Know how to listen and have in mind who will receive the message being given, as on many occasions there will

be several receivers. This entails not interrupting communciation processes.

• Do not leave communication lines open if absent. Always take care to let everyone else knows we are no longer present or using the communication system.

• Always reply if required to do so in the communication process, in accordance with the message and coding protocols put in place.

In sum, the importance of communication is everyone’s responsibility, in order to remove or avoid any elements, phenomena, variables and situations that do not favour a constant, clean and efficient flow. Which is known as noise (both technical and in communications).

Communication flows at work turn out successful when the technical means are adapted to the needs.

And let us not forget some other recommendations such: as checking the power supply (batteries or network), testing buttons, microphones and listening devices, tweaking parameters such as power and volume, carrying out some prior tests and determining the role of each participant in the communication process.

Decision-making and dissemination of communication and/or operating orders have an impact on individuals and/or groups of people that can be classified as follows: • Management professionals (production, security, protocol teams, content directors and editors, agencies, representatives, authorities…).

• Professionals involving more technical profiles (lighting staff, stage managers, sound and video operators, rigging crew, videocamera operators…).

• The arts team (musicians, singers, presenters, actors and actresses, coreographers, dance crew…).

• And above all, when there is presence and participation of an audience, which may require to receive orders or instructions.

But, without a doubt, the right choice of a specialized manufacturer or Intercom & Talkback Systems is a guarantee for success in communication within teamwork. 

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TEST ZONE| BLACKMAGIC DESIGN

Blackmagic Design Studio Equipment Synergy. 1 of 2.

Yes. Today we use a title such an abstract concept that describes those situations in which the whole is more than the sum of its parts. Let’s see how many benefits we can derive as we combine the right pieces of this puzzle, and how interesting it can be from a profitability point of view.

By Luis Pavía

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This will be a slightly more extensive, somewhat different lab as compared to the usual ones. We will split it into two parts because in addition to discussing the equipment and their possibilities individually, we will go a little further by delving into everything that is possible to achieve, the synergies that we can derive when using them in combination. And we can already tell you that the tour will be extensive and rewarding.

For this, we have relied on three elements: two that are fairly new, presented this year; and one that has been a little longer on the market, all of them from Blackmagic Design.

The most recent ones are the ATEM TV Studio HD8 ISO mixer and the Studio Camera 6k Pro camera, to which we add an ATEM Camera Control Panel.

Thinking about the appropriate configuration for a real live environment, naturally more cameras will be required- as well as other additional elements of different types- to carry out the different projects that we undertake in the best conditions.

But this basic kit is enough to develop this laboratory that, thanks to the range of prices to which Blackmagic has got us used to, opens the possibility of setting up a studio or a live performance in places where until now were just unthinkable in view of technical complexity and/or budget-related reasons.

We will devote this first part mostly to the mixer and its possibilities; while the camera, the panel and all the possible synergies and new markets will be make up the second part. Let’s go for it!

Communication, and all the ways to carry it out, continue to thrive, and even more so in these times where the internet and the immediacy of access to all kinds of information are decisive elements when it comes to spreading our message to our audience. Whatever the message, and whatever the audience, the better the quality and care put into its creation or broadcast, the easier it will be to keep our audience with us. And even better if we manage to increase it.

Therefore, having the possibility of setting up a television studio with all

its functionalities, all the necessary tools to generate quality content, and being able to do it at a more than competitive price, is the reason why this set opens possibilities not only to producers with more limited budgets, but also makes it accessible to dozens of entities, institutions and organizations that probably had it on their list of unattainable dreams. And if we also make it portable, we will have a mobile unit in the trunk of a regular car!

This opens an interesting field for additional forms of monetization of on-demand services for small producers and organizations.

Going into the descriptions of the equipment, the mixer is the core of any production study. It is the main hub where all our signals arrive to be corrected, synchronized, sequenced, mixed, superimposed and to do everything that is necessary, before their release as a broadcast. These signals can come from cameras, computers, recorders with prepared contents, various additional sound sources such as microphones, players or mixers. And the purpose is to create the final image that we want to broadcast. Either by

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adding effects, layers, labels or any other element that will be enriching for our content.

Although when we go into more detail, we will see that not only do we have the functionalities that can be expected in an advanced mixer such as returns and tally, but also many more such as an integrated audio mixer, the possibility of remote control and management of cameras, direct broadcast in streaming formats or the ability to record the signals to further edit the broadcast at a later stage.

The camera, the set of cameras in a real studio, is

62

also essential, but in reality it

tasks are also linked to or

is only one of the sources of

directly handled by the mixer.

information that we are going to use, and we will also need to have those other sources available to incorporate all these additional contents.

And not just contribute content to central control. For a studio camera to be really useful, it must have additional equipment or functionalities so that operators can carry out their work. These

Then, another item that improves production efficiency, and which we have also counted on, is the remote camera control panel. A device traditionally known in television lingo as RCP (Remote Control Panel).

Not to be confused with CCU (Camera Control Unit) which may have some functions

functions include the return

in common. Its mission is to

of the program signal, the

enable a single professional

broadcast indicator usually

to take care of all the image

known as “tally” and some

and color settings for all the

means of intercommunication

cameras from the central

between operators and

control, thus providing

central control. Some of these

visual unity and allowing the

TEST ZONE| BLACKMAGIC DESIGN

operator of each camera to concentrate on the framing, focus and follow-up of the action.

Once the three elements that make up our scene have been appropriately defined, let’s go with the general presentation of camera and remote, since we will analyze the mixer in this article too.

The camera was introduced as a novelty earlier this year, shortly before Las Vegas NAB 2023, as an evolution of its 4k Pro predecessor.

This model retains the 7-inch HDR screen with parasol and touch functionality to directly manage all menu

and configuration options.

The bayonet changes to an

It also retains the SDI In/Out

EF type, for which we have

and HDMI Out connections,

a greater variety of optics

Ethernet with PoE+ power

available on the market.

in addition to video, audio,

It features electronically

intercom, tally and two-way

operated ND filters that are

control through a single cable,

adjustable both from the

the two USB-C ports with

on-screen menu and from

various uses, the two analog

the optional zoom and focus

audio XLR inputs, the 5-pin for

remote controls, or most

intercom, and the mini jacks

ATEM equipment.

for micro and headphones.

Among the novelties to

In addition to all these

highlight, the USB ports now

features in common with

allow 6k signals up to 60p in

its predecessor, this model

raw format to be recorded on

can be distinguished by its

external disks, which will later

super-35 size 6k sensor, which

allow a live show to be further

clearly improves sensitivity

edited with maximum quality.

and detail, as well as providing

The Ethernet port allows to

a different visual narrative.

directly encode the camera

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signal to broadcast platforms.

But also towards ATEM mixers through data networks with return, tally and intercom, thus creating a network of remote connections in a very simple and efficient way.

And if told this way, as a mere enumeration of features, the scope of some of them may have gone unnoticed.

Let’s explain: the fact that the mixer return signal has remote control, tally and intercom functions integrated in just one device results in a considerable simplified infrastructure.

Therefore, having all these functionalities in a fairly reasonable budget camera, through an infrastructure as simple and economical as an SDI cable, does facilitate the installation and even the mobility of these equipment units in places where previously, simply on account budget constraints, this would have been unthinkable. And that is where having a mixer that integrates them is one of the synergies that are worth highlighting.

Regarding the remote control of cameras, the Camera Control Panel that we had available for our laboratory is probably best known for

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having been on the market longer. This is the equipment that allows us to make all the adjustments related to lighting, quality and color response of the image, as well as the settings for optics if the selected lens supports this functionality.

The 4 independent RCP controls allow handling up to 8 cameras, thus making it extremely easy and quick to change both the camera selection for each individual module, as well as the 4 of them together as one.

modules integrated in the

In this case, the peculiarity is to find a controller configuration with 4 physical

But let’s get into all the

same console, when the usual configuration is to find them in independent modules. It may seem unnecessary, but the truth is that the price of this set is very similar to that of many individual modules, which multiplies efficiency and versatility without increasing purchase costs. In addition, the connection is extremely simple by means of a single Ethernet cable to the mixer.

Again, the mixer continues to centralize efficiencies.

features and technical details of our powerhouse: the mixer.

TEST ZONE| BLACKMAGIC DESIGN

The version in our laboratory is the Studio HD8 ISO, which features the possibility of internal and independent recording of each one of its 8 inputs. As a reference for those who may have other needs, there is a simpler variant (HD8) that dispenses with the possibility of internal recording, as well as a higher one for UHD signals (4K8), although it also dispenses with the possibility of internal recording. In any of the three instances, they are type 1 M/E models, with 8 SDI HD inputs on 20-port prior/program buses.

In addition to conventional operation by means of its own controls, the mixer can also be operated remotely from a computer (or several) thanks to the free control software ATEM Control, and which can be located on an adjacent table or distributed in distant locations, as long as both can connect over the internet.

We will analyze the software a little later, but it is important to note at this time that all image processing is always done on the dedicated hardware inside the mixer itself, thus avoiding delays and ensuring the quality of the result.

We have 8 SDI HD inputs that support resolutions up to 1080p60 , with their respective outputs that, as we have already mentioned, include program return, remote control, tally signal and intercom. All these extended functionalities are provided whenever we work with compatible equipment such as the Blackmagic Studio and URSA camera ranges.

In addition to the external inputs, up to 20 still images and up to 4 video sequences or motion graphics can be loaded into the mixer ready to select and launch from the two integrated players. These behave just like another input on the buses, as do the two color generators also built-in.

And if the motion graphics have an alpha channel for transparency, we can use this alpha channel as a mask for other signals regardless of their original content.

Logically, if we have Hyperdeck type players, these will behave as another source of SDI signal on the buses, with the incentive of having the possibility of controlling them from the mixer itself.

As expected in equipment of these features, we also have connections for a

synchronizer or an external time base, although this is not essential, since internally all signals will always be converted and synchronized to the output format without the need for this equipment.

Again for further simplicity, but without creating restrictions if we need the functionality to synchronize with other equipment in a larger studio.

For monitoring at the central control we have an output, HDMI in this case, which directly generates the multiviewer. It can be configured to our liking by displaying between 4 and 16 screens simultaneously with any of the mixer contents.

In addition to the dual program signal SDI output, we have two auxiliary outputs that allow us to send up to two additional and different outputs in parallel to the main program. These auxiliary outputs will be of great help to us for multiple purposes, since they allow routing the signal from any internal or external input, the previous and program outputs, replicating the multiviewer, or making a clean signal output, without overprints.

Examples of interesting use would be, for example:

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sending the speaker of an auditorium the content being presented, even allowing a counter to be superimposed and making the image visible only on the speaker’s monitor, regardless of the program output. Or a direct camera output or an advance output. so that the colorist can make the adjustment on the cameras without interfering with the main production.

Or to fine-tune the setting of a key in studios with virtual scenarios. Or have the signal without overprints to offer the broadcast through other channels in the group. Or to keep the program recorded “clean” by external devices.

Or… for so many other uses.

Still in the image processing part, we have 4 keyers for input. What are they about? They are 4 additional independent layers that can be superimposed on the input images through the usual methods: luminance, chrominance or with cropping and/or scaling patterns.

That they are input keyers means that they are linked to each entry at different times so that, for example, the composition of a person in their virtual stage or the overprinting of labels on people or places, appear and disappear together with their corresponding image.

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Unlike output keyers, traditionally recognized by the DSK (Down Stream Keyers) acronym, of which we also have 2 more, whose distinct feature is that they remain superimposed even if we switch between the different inputs. This would be the classic example of a channel’s logo, which remains stable during broadcasts while switching between all the input signals.

The mixer function that allows to combine inputs would be located between the input (upstream) and output (downstream) keyers, which offers us all the usual means

for fades, curtains and all usual and configurable effects in all the relevant settings, such as shape, size, blurring, edges, etc. depending on their type.

But we have a specific function that solves a situation that could otherwise turn out quite complicated. The socalled “supersource” allows us to compose and treat a background signal with 4 overlapping windows as a single channel. Of course, the five contents can be video images from any source and the windows are configured in size and position, although there are predefined

TEST ZONE| BLACKMAGIC DESIGN

templates that, again, greatly simplify the task. It is the image style that, for example, we see in e-sports sessions in which we are simultaneously viewing the action and up to 4 players.

In terms of audio, we also have a much more powerful and versatile built-in mixer than it might seem at first glance. In addition to each camera’s own audio that will be embedded with its relevant SDI signal, we have a couple of additional inputs in the two most common formats: XLR and RCA. What is not so common is adding another 16 extra stereo channels in

MADI format to this set. That is, a set of dedicated digital audio channels that get there through a single SDI connector.

integrator available in its

And what are they for?

Well, the most efficient use will be to connect a set of microphones or other audio sources to a MADI converter/ integrator, which provides us with all the channels available for individual handling but reaching us from the studio through a single SDI cable. Again, simplification and economy of resources without limiting functionality or versatility. By the way, Blackmagic also has a MADI

well as the compressors,

catalogue.

In each and every one of the channels we have a parametric equalizer, as expanders and filters that we could need to produce the best possible audio quality.

All these possibilities are managed from the panel itself, but this would be an instance of a function that will be easier and more intuitive for us to operate via software.

In addition, the same screen and button panel section that is used to control the audio mixer changes its functionality to control colorimetry,

In terms of audio, we also have a much more powerful and versatile built-in mixer than it might seem at first glance. In addition to each camera’s own audio that will be embedded with its relevant SDI signal, we have a couple of additional inputs in the two most common formats: XLR and RCA.

sensitivity, white balance, etc. of the cameras. And, if the lens allows so, also iris, focus and zoom.

The list continues to grow because we still have some important panel features to share. We have already mentioned that this “ISO” model that we have had the opportunity to test can independently record all inputs internally. ISO stems from “isolated”. If we decide to use this functionality, up to two internal SSD disks can be available for recording these contents.

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But even better is the fact that, in addition to the inputs with their corresponding references and time codes, a production EDL is generated.

This is recorded in a DaVinci Resolve “.drp” file, which facilitates two very important aspects: in the first place, being able to edit later to improve or correct any detail of a live production with minimal effort. And secondly but not less important: if we have recorded in parallel on each camera in native raw format, once the ingest has been made, the program can be remastered with a much higher quality and, again, with minimal effort.

Also noteworthy is the direct ability to stream. Simply by connecting it to a router with internet access, we will be able to broadcast our program without the need for any other equipment or additional software, just by configuring the address (URL) and entering the password for our channel or platform.

How do we connect it to the router? The mixer features a 4-port Ethernet switch that would allow us to significantly expand our configuration. In a simple case, in addition to the router for internet access, we would connect the camera

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control panel. And since the

program output as if it were a

panel has two ports, the

simple image source, such as

computer with the software

a webcam.

would be in that position, thus leaving two Ethernet ports free. To these two ports we could connect some of the color panels, or other sources such as cameras or the output of other mixers.

Although it can also be used in the reverse direction, by connecting one of the USB

On the panel we find a section dedicated to intercom functions, with its usual independent channels for the studio and engineering areas.

Thanks to this, we have this function also covered without the need for additional equipment or infrastructure.

ports on the panel so that

One last thing about the

any computer recognizes the

panel: the only aspect to

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mean that we are done with

and camera control, several

its functionality, because

computers can be connected

virtually all functions can be

simultaneously to have the

performed from the software.

tasks separated.

And because the software performs the panel’s remote operation, while playing no part on signal processing, the response is always instantaneous. And this is the perfect time to remark some

What is undoubtedly true is that there are certain functions that will be easy to carry out on panel, such as doing the production by means of the touch buttons

peculiarities.

without having to look away

While it is true that virtually all

mouse, if we do not have

functions can be performed interchangeably, and even simultaneously and in parallel between the software and the panel, there are some very specific tasks that can only be achieved from the panel. Such as, for example, assigning a color to certain buttons.

Others, on the other hand, can only be performed via

from the screen to place the an assistant with us. Or via software, such as tweaking audio filters, where a graphical panel of frequencies and levels will be more descriptive than a simple numerical adjustment by means of a knob.

To finish with this first part, we will only add that the touch

comment that it is powered

software, such as uploading

and feel of all the buttons and

through 220v and/or a

from a computer the files that

switches convey assurance

are to be stored for use by the

and confidence, as well as a

players.

sense of long-term reliability.

standard 4-pin XLR battery socket, which is useful both for powering the mixer and for using it as a backup/ safety device when working in slightly more compromised

As we can see, none is critical and they can be used to prevent, for example, the use of graphics other than

environments. And, like other

those assigned if only access

equipment units, it has no on/

to the panel is possible. On

off switch. It is turned on or off

the other hand, and since the

simply by supplying or cutting

functionality of the software

off power.

is split between the four

Having said all this does not

audio mixer, media access,

main blocks: video mixer,

And in this regard, it should also be noted that the mixer being a compact unit in which the cables are connected directly to the panel itself, it is reassuring to know that there are spare parts for possible repairs in the event of an accident that could damage any of the internal plates.

To be continued. 

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