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04 TM Broadcast International #38 October 2016
TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 14 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43
Published in Spain
IBC 2016 Highlights
During the past few years the industry has talked a lot about many new things such as 4K, IP and HDR. All of these technologies provide benefits depending on the content, the distribution and the audience. All of them will get established in the media market. We canâ&#x20AC;&#x2122;t consider 4K as the best resolution always, as well as IP is not always the best solution (neither SDI) and so with everything. Several years of coexistence between different technologies such as IP and SDI are approaching with many different ways to produce contents and distribute them. Along the history of broadcast and television market there has been disruptive innovations like the change from black and white to color or the tapeless revolution among others. But maybe we are not going to suffer again that kind of changes, so welcome to the world where almost everything can turn real. Now, more than ever, the content will determine which is the most appropriate technology for each case.
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PA N S H O T
DIGITAL TV AND FM RADIO IN VIETNAM TO USE GATESAIR SYSTEMS AND SERVICES GatesAir announced three important wins in Vietnam that signifies the over-the-air TV and radio transformation taking shape across the Asia-Pacific region. An aggressive early adopter of DVB-T2 digital television, national broadcaster Vietnam Television (VTV) recently placed two orders for transmitter network expansions. The first project comprises four GatesAir Maxiva™ UHF solid-state high-efficiency transmitters— three ULXT liquid-cooled models and one UAXT aircooled model—for unspecified VTV channels. The second project is specific to VTV5, a specialty channel serving ethnic minority communities. That project comprises two Maxiva ULXT liquid-cooled transmitters. On the radio side, like many global regions Vietnam is investing in existing FM infrastructure with improvement and expansion projects. Voice of Vietnam (VOV), the national radio broadcaster, recently ordered five Flexiva™ air-cooled solid-state transmitters—two 5kW and three 10kW models—for VOV4, which serves as the broadcaster’s Ethnic Languages Channel. All three projects also include turnkey equipment, installation and commissioning services to ensure a unified process from start to finish. TMBi - 6
“As Vietnam moves toward its 2020 target to complete its national DVB-T2 network rollout, we are working closely with our regional channel partner, Broadcast Information Development Corporation – Joint Stock Company (EMICO., JSC), to accelerate transmission system expansion projects for VTV,” said Darren Frearson, vice president of sales, EMEA and APAC for GatesAir. “Additionally, our global expertise in managing AM, FM and digital radio network deployments worldwide ensures that VOV will receive turnkey systems that can be quickly delivered and deployed, with ongoing ease of operation and maintenance. Above all, our high-efficiency solutions will help ensure the ideal balance
of low total cost of ownership and high performance over the lifecycle of the transmitters.” “The new Maxiva liquidcooled transmitters are highly stable and, more importantly, will save VTV money,” said Mr. Thanh. “They use so much less power and are very easy to maintain. We see this as an important technological development from GatesAir in support of lower-cost operations. We see many opportunities with GatesAir moving forward, including multichannel DTV services across the remaining DVB-T2 rollout, and many new transmitter installations following the selection of a digital radio standard.”
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CRESTRON AND MICROSOFT® PARTNER ON NEW SKYPE® FOR BUSINESS SOLUTION FOR MEETING ROOMS Designed to simplify meetings Engineered from the ground up to easily integrate with a broad range of meeting rooms, the Crestron Skype Room System features: A touch controller that manages the Skype Meeting HDMI® and Crestron DigitalMedia™ inputs and outputs Six (6) USB ports to connect audio devices, a camera, and other accessories
Crestron announced it has partnered with Microsoft® to create Crestron’s Skype Room System, a powerful, professional solution built for Skype for Business, which brings an HD audio video experience to small and midsize meeting rooms and spaces, as well as conference rooms. Work like you’re in one place; quickly and easily join meetings, make phone calls, instantly share content in room and remotely, all from an elegant touch screen console device. TMBi - 8
“Working closely with Microsoft, we’ve natively integrated Skype for Business with our AV and room control technology to make a collaboration system that can be easily deployed in huddle rooms and conference rooms across the enterprise. This system can be managed on the network, and provides the seamless, intuitive Skype for Business experience to any meeting space,” says Fred Bargetzi, Crestron Chief Technology Officer.
Cresnet® port to add an occupancy sensor for automation and room usage reporting “The next generation of Skype Room Systems will bring the Skype Meeting experience to millions of meeting spaces, which today have only displays and conference phones” says Zig Serafin, Corporate Vice President of Microsoft. “Crestron’s new Skype Room Systems will benefit everyone who is looking to bring the Skype for Business meeting experience to every meeting room.”
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MATCH TV TO CREATE STUNNING SPORTS COVERAGE WITH AVID STUDIO SUITE The solution enables Russian public sports broadcaster to create graphics and promotions for global sporting events Avid® announced that the Russian public sports broadcaster Match TV, is relying on the MediaCentral® Platform and the Studio Suite for the creation of world-class graphics packages for national and global sporting events. Avid Invictus uses sensorand image-based tracking technologies to overlay any type of graphic object to any precise location in any live sports event. Graphic overlays can include commentary, advertisements, TMBi - 10
sponsorship messages, and more. Match TV uses 3Designer authoring software and the 3DPlay graphics solution to deliver captivating 2D and 3D real-time brand graphics and on-screen content. “We broadcast coverage of many different sports and need to cover them all in a slick and relevant way to stand out from the competition,” said Dmitriy Granov, СЕО of Match TV. “With ever increasing competition for viewers,
broadcasters must present highly engaging content to win and retain an audience.” “The seamless integration between market leading Avid solutions within the Avid MediaCentral Platform enables sports broadcasters like Match TV to offer sophisticated and appealing programming across a wide range of sports,” said Ofir Benovici, senior director, Broadcast Products at Avid.
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IKEGAMI COLLABORATES WITH ROSS VIDEO’S DASHBOARD OPEN NETWORK CONTROL AND MONITORING PLATFORM
The Ikegami HDL-45E is a multi-purpose HD camera with three 2/3-inch 2.3 megapixel AIT CCD imagers, an LSI processor and high quality 14-bit analog to digital converters. It can be used in lighting levels down to 0.065 lux without frame accumulation, or 0.00054 lux with frame accumulation. Applications include 3D video rigs, pole cameras and security. Ikegami has developed the interface for DashBoard, an open platform from Ross Video for facility control and TMBi - 12
monitoring allowing the POV camera to be controlled over a TCP/IP network. The DashBoard enables users to quickly build unique tailored CustomPanels that make complex operations simple, providing control and monitoring within the openGear and DashBoard Connect ecosystem. “This compatibility with Ross Video's DashBoard system gives Ikegami camera operators a wider range of choice in the way they control the HDL-45E,” comments Hiroshi Akiyama, Division
Deputy Director, Marketing Division `of Ikegami Tsushinki Co., Ltd. "It works particularly well with the Ross Video robotic pan/tilt system." “We are very proud to have Ikegami integrating control of their cameras in DashBoard,” said Greg Quirk, Product Manager for DashBoard at Ross Video. “This is exactly what the open DashBoard platform was created for as it allows partners to create control interfaces for their devices to simplify workflows for end customers.”
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NEP EUROPE ORDERED FIVE NEW UHD OB VANS FROM BROADCAST SOLUTIONS Broadcast Solutions GmbH took orders for five new UHD OB Vans from NEP Europe, one of which will be likely Europe’s largest one. Four of the OB Vans will be 8-12 camera vehicles, while the fifth will be a triple-expanding trailer capable of handling more than 30 cameras. The smaller models will be based on Broadcast Solutions’ Streamline Family concept with pre-configured and nearly “off-the-shelf” OB Vans. With the Streamline OB Vans the German company changed building an OB Van from a project to a product. The results are short delivery times and standardized overall designs, key for fast setup times during productions. The four smaller production
Broadcast Solutions at IBC 2016
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vehicles will either be based on the S8, as used for HD34K, or the S12 4K, used for UHD-41, Broadcast Solutions developed for NEP Germany and NEP Switzerland recently – based as well on the Streamline Family. HD34K being NEP’s latest UHD OB Van works with up to 8 UHD cameras, and goes on air soon after IBC. NEP Switzerland’s UHD41 is on production with Swisscom Teleclub, that produces part of its coverage of Swiss football in UHD since July using the Broadcast Solutions built 12camera UHD-41 truck – a Streamline S12 with a new concept, using a new room layout but a typical Streamline audio/video system. Both trucks have Grass Valley switchers and
use the 2SI (two sample interleave) Quad Link format of UHD. For all new OB Vans NEP Europe opts for the full 4K approach as Paul Henriksen, President NEP Broadcast Services Europe, points out: “We see 4K is starting to develop in Europe, and now is the time to stop building normal HD OB Vans.” Stefan Breder, Broadcast Solutions’ CEO, enthused: “After we have just delivered six Streamline OB Vans (two as 4K versions) to NEP Europe within this year, we are very pleased with NEP’s new order. Even more since one of the five new trucks, which is part of the order, will be one of Europe’s largest OB Vans.” The decision for using the Streamline based OB Vans results in fast delivery times and similar overall designs. Since schedule is demanding, work on the trucks will start within in the next few weeks. Timing is paramount to this project and Broadcast Solutions is confident to deliver in time – HD34K only took three months from order to delivery. Over the last five years Broadcast Solutions has built more than 20 OB Vans for NEP in total.
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KMOS SELECTS BROADSTREAM SOLUTIONS FOR PLAYOUT ON FOUR CHANNELS BroadStream Solutions Inc. has announced that KMOS-TV, PBS station owned and operated by the University of Central Missouri, has selected its OASYS integrated playout platform to streamline playout operations for its four broadcast channels.
KMOS serves the citizens of central Missouri with highquality educational content and experiences online, overthe-air, and throughout their communities, as well as acting as a real world learning environment for UCM students. The station previously used an aging Sundance, Omneon solution that was end of life and wanted to take the next step beyond traditional hardwarebased master control to a more leading edge software solution that was agile, flexible and easy to launch. After seeing OASYS in action they knew it was the right choice to serve as their playout platform for today and beyond. Running on commoditybased IT hardware, OASYS will provide a more efficient way of operating that will consolidate and streamline the station’s master control functions and standardize operations to save time and resource. The new platform will also allow for easier operator cross training. The OASYS integrated TMBi - 16
playout platform has a flexible and scalable architecture designed to incorporate optional software modules that tailor the solution to specific operations and functions for different channels. Each software piece operates independently to increase resilience and reliability. The KMOS-TV solution was customized with a full suite of OASYS software including Player, Graphics Extension, Redundancy Manager, Streaming Agent, File Checker, Global Media Library, Maker and OASYS Designer and supported by a 64TB NAS, 4 channels of HD playout and eight ingest channels with full redundancy and an upgraded BXF traffic interface from Myers
Josh Tomlinson, Interim Director of Broadcasting Services and Assistant Director for Technology KMOS-TV commented, “It’s amazing to me how far we have come. We were up and running with the BroadStream OASYS system On-Air in less than 30 days. I have been running so fast and so hard that I haven't stopped to think that the system hasn't even been in house at KMOS for 3 months and I can't imagine a time not having it”. “We had some major competition to win this contract with KMOS and we’re very pleased that our product offering, solid support structure and high standards have triumphed,” said Herbert Brenninkmeijer, President and CEO, BroadStream Solutions Inc. “BroadStream Solutions is gaining traction very quickly in the US local TV market and we’ve got some more exciting technology to come that will help advance our customers’ businesses even further.”
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MOBILE VIDEO DEVICES AND PTZOPTICS FORGE DISTRIBUTION PARTNERSHIP Located in Downingtown, Pennsylvania, PTZOptics is best known for high-quality broadcast PTZ cameras used in the fast-growing live streaming market. MVD will kick off the distribution launch with a live product presentation event hosted on YouTube, September 30th at 2PM EST. The presentation will be followed by a questionand-answer session open to the public. MVD is the exclusive distributor for premier video capture device manufacturer Magewell, and the partnership with PTZOptics will create new synergies while expanding MVD's offerings in the space. Magewell's high-quality capture cards interface seamlessly with the PTZOptics cameras' HD-SDI and HDMI video outputs, commonly used for live production.
applications. Surprising to our team, our HD-SDI camera models are our fastest-selling models. Many of our customers are extending their HD-SDI connections and using HD-SDI capture devices from Magewell to reliably bring those signals into their computers or adapt those video signals to USB for web-based video conferencing and softwarebased video production."
Paul Richards, Director of Business Development and Chief Streaming Officer for PTZOptics, said: "We have recommended Magewell capture cards for years now for a couple of interesting
The professional AV market is also experiencing significant growth in the live streaming market which PTZOptics serves. Major global companies such as Google and Facebook are
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pushing live streaming to the forefront of their platforms, stimulating unprecedented growth. Margaret Wilman, Channel Development for PTZOptics said: "It's amazing what has happened in the past 12 months with live streaming. Businesses small and large are finding out that their customers want to consume live and on-demand video. Our products help them look professional and take video production in-house." "We're excited to add PTZOptics cameras to our distribution roster," said Darryl Spangler, President of Mobile Video Devices. "Their products complement our existing lines such as Magewell, and this partnership will enable us to offer our resellers even richer solutions for live streaming production. PTZOptics and Magewell already have a loyal following of mutual customers and technology partners, and we look forward to working closely with PTZOptics to expand their market reach."
PA N S H O T
SILVERDRAFT AND DIGITALGLUE TO DISTRIBUTE OF SUPERCOMPUTERS TO THE FILM INDUSTRY IN THE SOUTHEASTERN US optimized for Autodesk Flame®. DigitalGlue will represent all the Company’s products.
Silverdraft Supercomputing, LLC has signed DigitalGlue as its newest reseller. Built to power the most intense workflows, Silverdraft’s Devil and Demon supercomputers deliver unsurpassed performance and results for artists and designers working in rendering, VFX, transcoding, animation, immersive VR, and visualization. “At Silverdraft, we consider ourselves to have a premium brand, and for that we need industry leading representatives out there working with our solutions,” said Tim Tiscornia, Silverdraft president. “Our business relationships are as much about integrity as they are about technical know-how. From the moment we met Sean Busby and Tim Anderson, the principles of TMBi - 20
DigitalGlue, we were impressed with the way they conduct their business and the level of commitment they exhibit towards their vendors and their customers. So far, everyone we’ve met at DigitalGlue falls into that same mold; the kind of people we want to do business with. We are confident that DigitalGlue will represent our brand the way we want it presented to our customers.” The announcement follows the launch of three groundbreaking members of its Devil/Demon family earlier this year, including the Devil GPU Supercomputer - the world’s first compact GPU accelerated supercomputer; the Demon VR - the first VRoptimized ultra-workstation for professional applications; and a Demon configuration
“DigitalGlue has earned an outstanding reputation for quality and service by aligning with only best-ofbreed solutions,” said Tim Anderson, company CEO. “Silverdraft, the most advanced graphic computational supercomputer in the industry, fits right in with our select group of partners. We are delighted to offer our post-production customers products that will allow them to unleash their inspiration and drive their creativity to new levels with phenomenal results.”
Tim Anderson, DigitalGlue’s CEO
PA N S H O T
WOODEN CAMERA ACQUIRED BY THE VITEC GROUP The acquisition highlights the company’s dedication to manufacturing premium camera equipment to enable exceptional image capture and sharing
Manfrotto BeFree compact tripod is tested in the field by prestigious landscape and sport photographer Adam Barker on a journey through the picturesque landscapes of California
Wooden Camera will be incorporated into the Vitec Group’s Creative Solutions business unit, complementing other brands. Wooden Camera was founded in 2011 by Ryan and Elizabeth Schorman. Their first product, the A-box, converted the RED Epic’s 3.5mm audio output to XLR and quickly became an indispensable tool on set. All of Wooden Camera’s products are designed, assembled, and shipped from
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their Dallas, Texas facility. “Just like their products perfectly fit the modern camera, Wooden Camera fits
perfectly into Vitec’s business, right alongside the other game changing brands that have joined us over the past four years,” said Nicol Verheem, CEO of Vitec’s Creative Solutions. “We have fantastic synergy in our products, end-users, channel partners, and even other vendor relationships. Like Teradek, SmallHD, Offhollywood and Paralinx, Wooden Camera is a young, innovative company whose fresh ideas not only make creating content easier, but more affordable. I’m delighted to have Ryan and Elizabeth on board to help lead us towards the future of content creation.” “We are excited to become part of The Vitec Group and feel that our product line and culture fits perfectly with Vitec's premium brands. Customers already turn to Wooden Camera when they need to mount a SmallHD monitor, Teradek transmitter, Anton Bauer battery, and other items. Now as an official part of the group, we look forward to many new possibilities,” commented Ryan Shorman, founder of Wooden Camera.
PA N S H O T
CALREC AND JAA.S FORM NEW PARTNERSHIP Calrec Audio has announced JAA Systems Sdn Bhd (JAA.S) as its exclusive distributor for Malaysia, Singapore, and Indonesia. Headed by David Chan, JAA.S has a proven track record in audio-mixing consoles for broadcast and is very well-respected in the region. "It is an honour to work with a manufacturer with the kind of heritage Calrec has. Calrec is at the forefront of technology and has enjoyed success in many regions
around the globe," said Chan, director at JAA.S. "We aim to make Calrec just as successful in this territory too. Historically Calrec has not been as well-known in Southeast Asia, but with the recent addition of the Brio console to its range, we aim to provide broadcasters with the same high-end feature sets and networking capabilities Calrec is renowned for at an affordable price point." "I am very excited about this new relationship," said
Anthony Harrison and David Chan
Anthony Harrison, international sales manager for Calrec. "David's team of experienced engineers means broadcasters in the region can be confident they'll get a level of support equal to the quality of their consoles."
PA N S H O T
FIRST MULTI-CAMERA 4K UHD FLYAWAY INSTALLATION FOR GLOBAL UNIVERSAL MUSIC GROUP BUILD COMPLETED BY ATG DANMON ATG Danmon UK has formally commissioned the first of an international network of five-camera UHD flyaways for Universal Music Group (UMG). The project centered on the design, configuration and testing of a complete 4K production system housed in flight cases which can be deployed rapidly anywhere in the world. A second installation, at the world famous Abbey Road Studios in London, is now under way and will be completed later this year. "This project is centred on UMG's drive to open new opportunities for recording artists and songwriters through the development and production of film, TV, theatrical, live events and digital video," comments Michael Frey, President of Operations & Advanced Media. "We are building state-of-the-art video production and delivery resources to ensure UMG artists and their fans are connected utilising unrivalled technology." "While this initiative gives us industry-leading capabilities to shoot and live-produce staged events in 16-bit raw 4K, it also embraces every aspect of the broad spectrum available in today's market. Using integrated mobile technology, our artists can capture video and audio content whenever and TMBi - 24
From left to right: Ray Mia of Universal Music Group with Russell Peirson-Hagger and Jonathan Hughes of ATG Danmon
wherever they choose, providing fans deeper and richer access to our artist's stories across the breath of digital, mobile and social platforms available around the world." "We selected ATG Danmon, following a careful evaluation of the system integrators in the market, because they understood our vision. This business is about people and relationships and their team
worked hard to forge an ongoing partnership with us, providing technical and operational focus that continues to be a critical factor in meeting the projectâ&#x20AC;&#x2122;s exacting deployment deadlines." "This partnership will play a key role in enabling us to produce our industry leading content faster and cheaper while remaining technically ahead of the game. Striking
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the right balance between leading-edge technology and commercial practicality is critical, but for us 4K is just the beginning."
or combining high resolution audio with high dynamic range video required a very robust and farsighted set of technical solutions."
control gallery. One of the cameras mounts onto a Ross robotic pan and tilt head, the other four being configured for manual operation."
"Our content goes out on a wide variety of platforms. Theatrical, internet streaming, broadcast, discrete physical media and social media â&#x20AC;&#x201C; it's any device, anywhere. We worked closely with ATG Danmon to select the best palette for the practical production challenges we will face. With our live output, issues like capturing a performer wearing dark blue 300 metres away in full clarity
Jonathan Hughes, Head of Systems Integration at ATG Danmon, adds: "The flyaway includes five Sony PMW-F55 compact camcorders capturing 16 bit RAW 4K direct to solid-state memory cards. Grass Valley fibre optic links connect via SMPTE fibre from each camera to a power unit. The multichannel feed is then combined into single-mode fibre for easy connection to a production
"The system is equipped to allow creation of 1080/24p a high definition proxy from each camera chain. The proxies will be used to make an edit decision list for postshoot 4K conforming. Also included is audio processing for Dolby Atmos which is steadily being adopted by cinema owners around the world."
PA N S H O T
DALET STREAMLINES INTERNATIONAL DISTRIBUTION WITH INTRODUCTION OF DALET XN IMF MAKER
Built on the media processing capabilities of Dalet AmberFin, new Dalet xN IMF Maker service reduces complexity and costs for multi-version content publishing for program prep workflows; available as an on-demand service via Amazon Web Services and Microsoft Azure
Dalet Digital Media Systems has simplified the creation of IMF bundles for international distribution with the release of Dalet xN IMF Maker, which is available today as an ondemand service through Amazon Web Services (AWS) and Microsoft Azure Marketplace. Leveraging the world-class media orchestration and processing capabilities of the Dalet AmberFin platform to aid complex program preparation and versioning workflows, TMBi - 26
Dalet xN IMF Maker is the first and only solution on the market for generating comprehensive IMFcompliant packages on demand and inexpensively. “Dalet AmberFin is the reference platform for media processing when it comes to orchestrating the creation of IMF-compliant bundles for international distribution,” comments Matthieu Fasani, senior product manager at Dalet. “We have wrapped the
powerful AmberFin capabilities and our extensive knowledge of IMF workflows into an easy-to-use, ondemand service backed by the high-performance infrastructure of both AWS and Microsoft Azure Marketplace. Just specify the content and metadata, and within a few clicks, Dalet xN IMF Maker will create the bundle you require. It’s that effortless.” IMF bundles generated by
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Dalet xN IMF Maker support all the advanced features of IMF, including captions/subtitles, audio labelling and IMF metadata insertion in MXF. Fasani adds, “What sets Dalet apart is the breadth and depth of our IMF offering for program preparation. Should you have a constant demand, you can build a fully orchestrated APIdriven IMF workflow with Dalet AmberFin on or off premise or, for less frequent need, leverage the app-style Dalet xN IMF Maker. Both options will give you IMF bundles using industryleading AmberFin video
transcoding technology, ensuring your JPEG-2000 files are flawless, regardless if they are created from ProRes, XDCAM, or other industry formats.” With a few clicks, users can specify the source files (video, audio, captions) and the metadata (core metadata, audio layout, caption languages) then trigger the workflow. Dalet xN IMF Maker will retrieve the information and automatically generate IMF bundles based on the provided data that are compliant with the IMF standard. Each step of the
workflow can be monitored via the well designed, webbased interface. “Media companies required to generate IMF bundles do not need to understand the complex details of IMF, as the xN IMF Maker handles the entire process for them, automatically,” explains Fasani. “In addition to the technical convenience, these facilities do not need to invest in expensive single task products to generate IMF bundles. Instead, they can use the on-demand IMF Maker and ‘pay as you use’ when needed.”
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TRANSVIDEO WINS A CINEC AWARD FOR ITS STARLITE HD5-ARRI MONITOR-RECORDER Transvideo have been chosen to receive the prestigious Cinec Award this year for its StarliteHD5-ARRI monitor-recorder in the category of Camera Technology / New Digital Capturing Tools. The Cinec Award is a unique prize for TMBi - 28
outstanding achievements and innovations in the fields of motion-picture technology and postproduction. The prizes were judged during the Cinec Expo in Munich by industry experts that included Hollywood cameraman Klemens Becker and lighting
director Stuart Gain. The Starlite HD5 ARRI is just one of a series of innovative high technology monitor products from the French manufacturer Transvideo which have raised the role of the monitor to
become a multi purpose unit capable of recording dailies and metadata, generating PDF reports, and equipped with quickly accessible practical tools to aid all those involved in the fields of cinematography and broadcast. The Starlite HD5-ARRI goes one step further by adding the facility to control key camera functions from the touch screen interface of the monitor directly for the popular ARRI cameras AMIRA and ALEXA-Mini. Constructed from aviationgrade aluminum, the rugged StarliteHD5-ARRI monitor is the size of a smartphone and weighs less than 200 g. Jacques Delacoux, CEO of Transvideo and sister company Aaton-Digital said "We are very honoured to receive a Cinec Award this year. This award is a direct result of the hard work put in by all the team at Transvideo, who continue to innovate and bring exciting new products forward. This is an important achievement for us and we are proud that the Starlite HD5-ARRI is receiving this great industry recognition. It is the third Cinec Award received by our group, one in 2010 for the CineMonitorHD-3DView and its stereoscopic tools, the other for the AatonDigital Audio recorder
CantarX3 in 2014 and now this one." Just prior to Cinec, at IBC 2016 Transvideo launched the new Stargate monitor recorder, a landmark 7” new generation high end monitor-recorder offering new technology and functions in a compact and rugged, camera-mountable package. Stargate is full HD, 4K/6G compatible, and is an essential production tool for directors, DOPs, focus-pullers, technical directors, engineers and others involved in cinematography and broadcast. New also at IBC, StarliteRF is a 5” lightweight 3G-SDI touch screen OLED wireless monitor-recorder with builtin wireless receiver, supplied with the small but powerful transmitter TitanHD2 Tx. It’s a state of the art, unique system giving a reliable connection in seconds, and already being adopted by the motion picture and broadcast industries as well as rental companies. The wireless video connectivity is low loss and without any transmission delay.
IBC 2016 HIGHLIGHTS
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The key issue this IBC has been the large quantity of new equipments ready to be shipped, not just prototypes. Please, enjoy this selection of the best new stuff that we have seen in Amsterdam.
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ANYWARE VIDEO Interview with Xavier Picat, CEO: What is showcasing Anyware Video at IBC 2016? We are showing a 4K playout solution as a Channel TMBI - 32
in a Box that has already been tested by two premium TV channels in France. They are using it currently to broadcast the Premiere League and also regular channels. It’s a complete “in box” solution with graphics, subtitling, audio shuffling, etc, that is able to do the same things as in HD. There is also a virtualizing and streaming solution with an IP input and
an IP output. All of our solutions can be controlled by using a client’s web that it can be used through Android, IOS and Windows, so is very easy to deploy and it can be used remotely. Such a good thing for big broadcasters because is very interesting to them to have an easy way to access, control and also feedback from a new channel. We have a
monitoring tool which is used to see the live feeds directly from the browser, without any need to install it in any playout company. So the idea is to have an easy system, very easy to use, very easy to deploy, and very powerful for any kind of broadcaster. We have made some tests on Olympics, recording live feeds from satellites in IP and broadcast them directly from our server, we were able to switch from regular SDI signals and streaming adding graphics and some production.
Is a software based solution? We are a software company but we do provide hardware depending on the system that we are requested. We work mainly with distributors and integrators in France, but mostly we are having partnerships worldwide with distributors, so they can be trained to install the software and locally maintenance. We are making that kind of training in order to be able to provide a turnkey solution. Also other small companies can use it for Web TV or that
kind of channels. We can just adapt our business model also for them. So you are mainly searching dealers at IBC Yes, we are looking for dealers in many countries an IBC is a good opportunity for us to show them what we can do. Many of them are coming with some customers in order to show them the system, and they can try it also if they want. We are trying to work with local business partners to achieve a worldwide market. We have an office in Japan and another in Dubai,
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AJA KUMO 6464
we are France based but we look worldwide. Also in Japan we are looking for distributors, because of the time zone.
Japan is also an interesting country because of 4K, 8K, Tokyo Olympic games…
AJA Video Systems has announced at IBC two new Mini-Converters supporting IP-based video and audio workflows. The company simultanoulsy announced free v12.5 Desktop Software with new features for KONA IP that improve redundancy and reliability in Broadcast IP pipelines, including SMPTE 2022-7 support for protection switching.
Exactly, it is a country with a very interesting point of view. We have also deployed our first system in Japan so that is good reference for the whole Asia region. How is it going this IBC? Is getting pretty well for us and we have seen a lot of new people that are quiet impressed by what we are showing. And that´s good news because there is a lot of interesting solutions as we can see, but we do support a lot of stuff and we have a very comprehensive solution compatible with lots of resolutions, codecs, and new things like HDR. TMBI - 34
AJA Expands IP-Based Workflow Technologies
IPR-1G-HDMI decodes VSF TR-01 and other JPEG 2000 streams, and formats the data for output on a full-size HDMI 1.4 interface. IPR-1GSDI decodes VSF TR-01 and other JPEG 2000 streams, and formats the data for 3GSDI BNC output. The rugged, fanless converters support a range of HD and SD formats,
and are designed for several point-of-use applications ¬– including source monitoring, digital signage and video walls. Key features include: embedded and RCA analog audio outputs, a full 10-bit pixel processing pipeline, LAN control and status, and a USB 2.0 Mini-B Connector for simple network setup with AJA eMini-Setup Software. AJA v12.5 software adds SMPTE 2022-7 to KONA IP, which offers a seamless protection switching experience. It allows users to send the the same uncompressed data stream from the top and bottom SFP+ cages onto two separate networks for easy routing of video over IP networks. New v12.5 software support for KONA IP also includes HDR 10 metadata support in AJA
Control Panel. Support for SMPTE 2022-2 workflows with JPEG 2000 is planned for future updates.
New KUMO 6464 Compact SDI Router AJA Video Systems introduced KUMO 6464, its new compact 3G-SDI router with 64 3G-SDI inputs and 64 3G-SDI outputs for high quality, cost effective signal routing in a small form factor. KUMO 6464 facilitates long cable runs, minimizes signal interference and fits seamlessly into an array of
production environments â&#x20AC;&#x201C; from OB trucks and edit suites to corporate video installations and beyond. The extremely compact KUMO 6464 offers the ability to route video with embedded audio to BNC outputs with auto reclocking of SDI rates. It joins AJAâ&#x20AC;&#x2122;s family of KUMO routers, which includes KUMO 3232, KUMO 1616, KUMO 1604 and the KUMO CP Control Panel. These compact 3G-SDI routers feature powerful signal control and support for full broadcast specifications through 3G-SDI, allowing
high-quality signal routing for a range of facilities and budgets. Each KUMO product is designed to exceed SMPTE standards and offers unique noconfiguration set up via BonJour as well as simple remote operation via LAN connectivity using an embedded web server. KUMOs can be configured for ganged dual and quad port routing, allowing multiple inputs and outputs to be grouped together for DualLink, 4K and UltraHD workflows.
Avid MediaCentral® Platform
Key KUMO 6464 Features: Standards up to 3G-SDI: SMPTE-259/292/424 Quad-Link, Dual-Link, 4K/UltraHD with multiport SDI switching for 2 or 4 sources at once Connectors: 64 BNC inputs and 64 BNC outputs Impedance: 75 ohms Reference Input: Analog Color Black (1V) or Composite Sync (2V or 4V) Looping, Nonterminating Auto Re-clocking SDI rates: 270/1485/2970 Mbps Auto Bypass of Re-clocker Pass through rates: 3 Mbps TMBI - 36
– 3 Gbps 1x RS-422, Grass Valley Native Protocol 10/100/1000 Ethernet (RJ45), Embedded web server for remote control, REST API “From production to post, broadcast and AV, today’s facility environments demand the flexibility to route signals within a single architecture, and KUMO 6464 offers an ideal solution. It brings users the same quality, value and reliability as our other KUMO products with the added benefit of a 64 input/64 output,” said Nick Rashby, President, AJA Video Systems.
ROI-SDI ROI-SDI is a powerful scanconverter in a Mini-Converter form factor. It offers flexible image scaling, Region-ofInterest and image rotation capabilities, with 3G-SDI input and simultaneous 3GSDI and HDMI outputs. ROISDI makes it easy to customize video signals to meet a range of display demands; users can rotate source signals, define a portion of an image or reframe the source image from any 3G-SDI signal. Running AJA Mini-Config software on a computer, ROISDI users can also select a Region-of-Interest in realtime and on-screen, and have full
control over how that region is scaled to the output resolution, delivering the cleanest picture quality possible. Key ROI-SDI features include: 1x 3G-SDI BNC Input 2x mirrored processed outputs (1x 3G-SDI BNC and 1x HDMI) 1x clean 3G-SDI BNC loop out 1x USB port for device configuration via free AJA Mini-Config software running on Mac or Windows
Support for a range of video formats including 1080p, 1080i, 720p, 625i and 525i 2-channel analog RCA audio outputs; embedded 8-channel SDI audio; and 2-channel or 8-channel embedded HDMI audio
C10DA The C10DA is a miniature, cost-efficient 1x6 analog distribution amplifier with support for NTSC, PAL, BiLevel reference within an incoming analog source, AES and LTC designed for distribution needs in a range
of markets around the world engaged with SD workflows. The C10DA can also be used to distribute Tri-Level reference for HD workflows when an external reference is fed into the video input.
AVID Avid® introduced at IBC the next-generation newsroom, based around a complete story-centric workflow including multiple Avid solutions and new feature enhancements for modern newsroom management and news production. This new
Avid MediaCentral | UX
story-centric workflow puts the story at the center of news operations spanning from planning to delivery, and provides the tools news teams need to plan, gather, create, collaborate, manage and deliver news to a wider range of viewers across multiple platforms. With this wide-ranging holistic approach, the story is now the center of all planning and delivery, allowing for more dynamic and organic storytelling and greater workflow agility--both inside and outside the newsroom. “The consumerization of content creation and distribution is causing a radical shift in the news TMBI - 38
industry, putting pressure on newsrooms to extend their reach across a multitude of diverse outlets and devices to stay relevant,” said Avid Chairman, President and CEO, Louis Hernandez, Jr. “Additionally, fierce competition drives the need to create the best possible content, faster than other organizations. Our nextgeneration newsroom builds on the openness and integration of the Avid MediaCentral® Platform to solve these key issues — all with the efficiency, media access, remote collaboration, and multiplatform engagement that today’s competitive news environment demands.”
The new story-centric workflow enables teams to quickly find and access the media and information they need to tell multiple angles of a story and increase viewer interest. Content can be pushed across a variety of platforms as the story evolves, including on-air, online, and on mobile devices. Audiences can get up-to-the-minute information and contribute to live broadcasts through social media interaction. News teams can move away from traditional rundown-driven workflows and increase their ability to react to changing information. Additionally, the story-
centric workflow gives users the ability to: Boost newsroom efficiency with a more streamlined and integrated workflow for delivering breaking news across multiple outlets— without changing existing infrastructure Find and access content across all accessible media databases and across social channels to tell a
story in multiple ways and keep viewers engaged—no matter how they view
story topics and different angles using the right people and gear for the job
Inform and interact with global audiences on social media, including Facebook and Twitter, to collect, filter, moderate, and air their posted content in stories to increase engagement
Create and deliver stories more quickly from the field and share content with other teams
Manage newsroom talent more efficiently by assigning work based on
Keep news teams connected and informed on the latest story developments—no matter where they are Create a story once and
deliver it quickly across multiple channels, devices, and platforms automatically Get more value from existing infrastructure as the workflow continues to evolve and extend across more products and partner integrations in the future The products that comprise the story-centric workflow include MediaCentral®| UX, iNEWS®, Interplay® | Production, Media | Distribute, Media Composer® | Cloud, Maestro, and Social Media Hub. MediaCentral | UX is the hub and catalyst in the storycentric workflow, so customers who already have an iNEWS and/or Interplay | Production system can now manage every facet of a news story from a single user interface. Several new panes within MediaCentral | UX facilitate this workflow and TMBI - 40
integrate with other platformconnected solutions such as iNEWS and Interplay | Production. These new panes include the Assignment Pane, Elements Pane, Calendar Pane, and Trending Pane. MediaCentral | UX now has integrated panes for Maestro and Social Media Hub, providing seamlessly integrated graphics management and social media interaction.
BLACKMAGIC DESIGN Acquisition of Fairlight Blackmagic Design announced at IBC its acquisition of Fairlight, which creates professional digital audio products for live broadcast event production,
film and television post production, as well as immersive 3D audio mixing and finishing. Fairlight has an impressive history of designing and manufacturing integrated audio control surfaces and software that are renowned for their speed, flexibility and exceptional sonic quality. Fairlight Live products feature consoles that are designed for the most demanding onair and live productions, giving customers leading edge audio processing and control surfaces that range from 12 to 60 faders, along with audio I/O interfaces with full redundancy for mission critical work in broadcast facilities, outside broadcast trucks, performing arts venues and houses of worship. For post production solutions, Fairlight creates
everything from compact desktop audio post systems to large format mixing consoles with dedicated controls. Fairlight audio engines can deliver up to 1000 tracks which lets customers create complex productions without premixing, along with a massive 64 channels of monitoring.
Acquisition of Ultimatte Ultimatte is known worldwide for delivering broadcast quality realtime blue and green screen
removal hardware that is used in studios around the world to seamlessly composite reporters and talk show hosts into virtual sets. Almost every newscaster and weather reporter stands in front of a green or blue screen while delivering the news and weather. For the past 40 years, Ultimatte has been the industry standard hardware and software used to key these people in front of weather maps, stock charts, and other info graphics. In fact, many broadcasters use Ultimatte to place entire news teams, weather reporters, talk
show hosts, sports commentators and more into completely virtual sets. Ultimatte uses advanced 4:4:4:4 image processing and provides enhanced matte controls that lets customers accurately separate the subject from the background. Customers also get matte correction features, indirect and direct lighting features, spill suppression tools, edge artifact controls and more, all in realtime. Ultimatte was founded in 1976 and has won an Emmy for their realtime compositing
technology, a Lifetime Achievement Award from the Academy of Motion Picture Arts and Sciences, as well as an Oscar. “Ultimatte’s realtime blue and green screen compositing solutions have been the standard for 40 years,” said Grant Petty, Blackmagic Design CEO. “Ultimatte has been used by virtually every major broadcast network in the world. We are thrilled to bring Ultimatte and Blackmagic Design together, and are excited about continuing to build innovative products for our customers!” TMBI - 42
DeckLink Mini 4K models These new cards are available in two models, DeckLink Mini Monitor 4K and DeckLink Mini Recorder 4K and both models support all SD, HD and Ultra HD formats up to 2160p30. DeckLink Mini 4K models are available from Blackmagic Design resellers worldwide for only $195 each.
and 12-bit RGB video, along with the latest Rec. 2020 color and support for high dynamic range (HDR) formats and HDR metadata. Both DeckLink Mini 4K models are fully compatible with the Blackmagic Desktop Video SDK, making them perfect for OEMs or developers that are building custom playback or recording solutions.
The new DeckLink Mini 4K models are low profile 4 lane generation 2 PCI Express cards that include 6G-SDI and HDMI 2.0a connections. This means the high quality connections support broadcast quality 10-bit YUV
DeckLink Mini Monitor 4K delivers better than broadcast quality SDI and HDMI monitoring and playback in all formats up to 2160p30, making it incredibly popular with editing and color correction customers who
work with systems such as DaVince Resolve. The outputs automatically switch between all video formats, making it perfect for use with televisions, professional monitors and the latest HDMI projectors. In addition, support for HDR playback makes DeckLink Mini Monitor 4K the world's most affordable HDR playback solution available. sources like decks and cameras to their computer. The low profile design of DeckLink Mini Recorder 4K
makes it incredibly versatile and ideal for integrating into mobile live capture environments and outside broadcast trucks. Both models work with uncompressed and compressed video in open standard file formats such as QuickTime and DPX so they are compatible with virtually all professional editing, color correction and visual effects software. That means customers can use the DeckLink Mini 4K models with software such as
DaVinci Resolve, Fusion, Media Composer, Final Cut Pro, Premiere Pro and more.
Major New Video Assist 2.2 Update The new Video Assist 2.2 update lets customers save DNxHD and DNxHR files in MXF containers which improves compatibility with Avid systems running on Windows and removes dependencies on the .mov file format. In addition, customers can now choose between DNxHD 220, 145
and 45 bit rates, or between DNxHR HQ, SQ and LB formats when recording. The Video Assist 2.2 update also adds false color monitoring exposure tools to the Blackmagic Video Assist 4K. False color exposure tools make it easier to properly set exposure in different parts of the image by highlighting specific color ranges of luminance with a solid color overlay. For example, green indicates neutral grey, while pink tones are good references for skin, which is typically one stop over neutral grey. Using false color helps camera operators keep exposure consistent from shot to shot. In addition, Video Assist 2.2 update also expands the options for focus assist so customers can now choose TMBI - 44
DeckLink Mini Recorder
whether they want to see red, green, blue, black, white or traditional focus peaking indicators. This makes it easier for customers to accurately adjust focus in a wider range of scenes and under a variety of different lighting conditions. Customers will now also have the ability to manually control the screen orientation and turn off the auto rotate feature which makes it easier for customers to use Blackmagic Video Assist 4K with handheld gimbals and other equipment designed to move the camera and rig simultaneously.
“Customers love the new Blackmagic Video Assist 4K and it has become an indispensable part of every filmmakers toolkit,” said Grant Petty, CEO, Blackmagic Design. “This new update is exciting because it gives customers more recording and file compatibility options than ever before, along with some incredible new monitoring tools that will help filmmakers properly expose their shots and focus them more quickly than ever before so they can shoot with confidence!”
BLUEFISH444 NEW KRONOS RANGE OF VIDEO, AUDIO, DATA I/O CARDS
sporting and outdoor events, the KRONOS range is also recommended for single and multi-card support enabling 8K/4K/2K imagery presented across one or more screens or projectors.
The new line extends the feature set of Bluefish444’s Epoch video cards, which support up to 4K 60 frame per second workflows. KRONOS is developed for additional workflows requiring Ultra HD up to 8K, high frame rates up to 120fps, high dynamic range and video over IP.
KRONOS adds video processing technologies including resolution scaling, video interlace and deinterlace; hardware CODEC support, SDI to IP and IP to SDI conversion, and continues to offer the 12-bit colour space conversion and low-latency capabilities of Epoch.
With these capabilities, Bluefish444 cards are developed to support all areas of TV and feature film production, post, display and restoration, in addition to virtual reality and augmented reality. For use in theme parks, music concerts,
“With the choice of HD BNC SD/HD/3G connectivity, or SFP+ connectivity enabling greater than 3G SDI and Video over IP across 10Gbps Ethernet, the KRONOS range will suit today's demanding requirements and cover emerging technologies as
they mature,” states Tom Lithgow, Product Manager, Bluefish444. He continues, “4K ultra high definition, high frame rate and ultra-high frame rate video, high dynamic range, video over IP, and hardware assisted processing are now available to OEM developers, professional content creators and system integrators with the Bluefish444 KRONOS Range.” HDMI 2.0 I/O, additional SMPTE 2022 IP standards and emerging IP standards are earmarked for future support via firmware update. KRONOS will offer the choice of SDI I/O connectivity with the KRONOS ēlektron featuring eight high density BNC connectors capable of SD/HD/3G SDI. Each HD BNC connector is fully bidirectional enabling
numerous configuration options including eight input, eight output, or a mixture of SDI input and output connections. The KRONOS optikรณs offers future proofing connectivity with three SFP+ cages in addition to two HD BNC connectors for SD/HD/3G SDI I/O. The SFP+ cages on KRONOS optikรณs provide limitless connectivity options exposing greater than 3G SDI, IP connectivity across 10Gb TMBI - 46
Ethernet, and flexibility to choose from numerous physical interfaces. All KRONOS cards will have an 8 lane Gen 3 PCIe interface to achieve the fastest full duplex DMA. KRONOS will provide access to high bandwidth UHD, high frame rate and high dynamic range video IO and processing, across traditional SDI and also emerging IP standards such as SMPTE 2022.
CHYRONHEGO ChyronHego Acquires Hybrid ChyronHego announced that the company has finalized its acquisition of Hybrid, a leading manufacturer of virtual reality and robotics solutions for the digital media and broadcast industries. Based in Paris, Hybrid offers a comprehensive line of
advanced tracking and trackless virtual studio and robotic camera-head technologies. “ChyronHego’s acquisition of Hybrid is exciting news for both of our companies, and it comes at a pivotal time in the industry as broadcasters increasingly embrace all-IP, softwarebased workflows. We are continuing to expand our company’s vision to provide the premier software suite for live, end-to-end video content creation, and Hybrid fills an
important role in that strategy,” said Johan Apel, president and CEO, ChyronHego. “Now, we’ll be able to offer our customers best-of-breed technologies for building extremely compelling, visually striking, and realistic virtual sets. Plus, with Hybrid’s state-of-the-art instrumented camera heads, we’ll be able to offer a truly complete solution that is also applicable in sports.” Hybrid’s
virtual studio tracking solutions provide real-time, precise camera motion within 2D or 3D computergenerated backgrounds. From hand-held camera movements to pan-tiltzoomfocus, Hybrid employs an open and scalable solution for tracking virtual reality, whether using Hybrid’s precise motion-tracking
Hybrid VS Tracking Product-Hero
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robotic camera support or interfacing with third-party tracking systems. Hybrid also offers a trackless virtual set system that uses fixed camera signals on a green screen to enable virtual camera motions such as virtual roll, pan, travelling, and crane movements. In addition, Hybrid provides an augmented reality solution that enables broadcasters to enrich their presentations with 3D objects and animations that track perfectly with the motion of the camera. “Joining the
Channel Box 5.1 Master Control GUI SF
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ChyronHego team is a tremendous step forward for our company and our customers. Hybrid and ChyronHego share a mission to develop solutions that allow the digital media market to produce value-added content with a consistent integrated workflow,” said Olivier Cohen, CEO, Hybrid. “Hybrid’s solutions are a perfect fit with ChyronHego’s CAMIO Universe ecosystem of integrated, software-based tools to support producerdriven content creation. As a recognized leader in the
broadcast graphics marketplace, ChyronHego will add best-in-class capabilities to our solutions and provide the market presence we need to take our technologies to the next level.”
ChyronHego Solutions Now Support NewTek’s NDI™ Protocol for Video Workflows Over IP Networks ChyronHego announced that its entire line of broadcast solutions now
supports NewTek’s Network Device Interface (NDI™) protocol, an open technology for live-production video workflows over Ethernet networks. NDI enables multiple video-compatible products to communicate, deliver, and receive broadcast-quality video over standard Ethernet. The protocol offers extreme encoding efficiency and the performance needed to handle large numbers of high-quality, lowlatency, and frame-accurate video streams. ChyronHego and NewTek have been working closely together since 2012, when ChyronHego integrated its industry-standard Lyric™ graphics software with NewTek’s TriCaster® system using an early version of what is now NDI. NewTek has since evolved NDI into a royalty-free standard to be used by any broadcast operation to connect video
technologies over Ethernet. “Software-driven IP workflows are quickly becoming ubiquitous in video production,” said Michael Kornet, executive vice president of business development for NewTek. “NDIenabled devices and applications, such as ChyronHego’s entire line of products, exponentially increase the video sources available for live production, creating efficiencies and opportunities for customers that did not previously exist. NDI is the most widely adopted IP technology on the market, epitomized by the millions of customers with access to it today.” “As the broadcast and media industries continue to migrate to all-IP, softwarecentric operations, NDI is a very important initiative,” said Sören Kjellin, chief technology officer, ChyronHego. “NDI is the first
open technology and videotransport solution aiming to combine the needs of professional broadcast with the capabilities of off-the-shelf IT technologies. In essence, NDI makes it possible to run an entire video operation off a standard IP network infrastructure, which allows for significant production creativity as well as economies of scale.” With support for NDI across the entire ChyronHego product line, the popular suite of ChyronHego video products — such as Lyric, Live Compositor, Prime, Paint, and Virtual Placement — is able to see and access content from all other devices, allowing more sources than ever before to be used in customers’ liveproduction workflows. “As NDI is an enabler for virtualization of hardware, comprehensive NDI support is a natural step in TMBI - 49
ChyronHego’s CAMIO Universe, an end-to-end software ecosystem that shifts the focus to producers and content, from proprietary networks and specialized hardware,” Kjellin said. “NDI might not be the one and only silver bullet, but its simplicity is truly disruptive. By tearing down the wall between the broadcast operation and the much bigger world of IT, NDI leverages technologies that have evolved over several decades, and the standard is field-proven for broadcast across thousands of productions.”
DEJERO LIVE+ EnGo encodes IP video and bonds all available networks, including cellular, Wi-Fi, Ethernet and satellite, to deliver exceptional picture quality with extremely low latency. At IBC, Dejero demonstrated the latest enhancements that provide news crews with greater connectivity options when reporting live from remote locations. This includes new European and global roaming packages that enable users to either lease a dedicated roaming unit, or add a roaming standby option to
their existing LIVE+ EnGo transmitter. The new userchangeable SIM module allows a field operator to quickly and easily switch between different sets of SIMs in a LIVE+ EnGo. This enables optimal performance in the local cellular network environment. The modular design of the transmitter also supports the use of new, more advanced modems as they become available. This latest version of the EnGo supports modems designed for use across multiple geographic regions instead of just one region. This provides
LIVE+EnGo by Dejero
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LIVE+ Gateway by Dejero
international reporting teams optimum connectivity when they use the transmitter around the world. LIVE+ EnGo can now be used as a ‘hotspot’ to help users in the field connect all their mobile devices to the Internet from virtually any location, eliminating the need to carry additional portable hotspot or pocket router devices. Since its launch, EnGo has already been used extensively by news crews to deliver flexible live reporting from events including the UEFA Euro 2016 football championships in France, the attacks in Nice, and the 2016 Olympic Games in Rio. “I work in the business of fast news delivery and with Dejero’s EnGo I can be ready to report live from the International Criminal Tribunal in the Netherlands one day and then be in Brussels the next day to cover the aftermath of Britain’s EU Referendum,” commented Dejero user Peter Van der Struijs. As the owner of a
freelance camera company, Van der Struijs Audio & Video, whose main client is the Netherland’s RTL Nieuws, Van der Struijs comments, “A key feature for me is just how easy it is to swap out the SIMs as I move from region to region or country to country. I love this unit and I recommend the LIVE+ EnGo to all camera operators covering news and indeed any live broadcast.” To simplify the management of the EnGo transmitters in the field, Dejero’s LIVE+ Control cloud management system gives studio technicians the ability to locate, monitor performance, and remotely control transmitters from a web browser. They can also preview incoming feeds and route both live and recorded content to on-air playout and online distribution workflows. “The highly portable LIVE+ EnGo transmitter reduces the complexity involved in managing SIM cards on the go and provides improved performance for mobile news teams by enabling them to
leverage 4G networks,” said Dejero’s CEO, Brian Cram. “In order to provide additional connectivity from the field, the system’s new ‘hotspot’ capability can be used to connect all remote devices to the Internet.” Cram added, “The European roaming packages in particular will be of interest to IBC visitors, as they provide an affordable, easy to use option for news crews covering stories across Europe.”
Dejero Previews LIVE+ Core with New Features at IBC2016 LIVE+ Core 4.1 enables IP output from a LIVE+ Broadcast Server in the MPEG-TS format as an alternative to standard SDI playout. Dejero users can easily set the desired output on the Broadcast Server directly from LIVE+ Control, Dejero’s cloud-based management system. This latest update allows broadcast crews in the field to use their LIVE+ EnGo TMBI - 51
Dejero - LIVE+Control Dashboard
mobile transmitters to create a ‘hotspot’, connecting all their devices to the Internet to support editing, fact checking and communication while in remote locations. Crews no longer need to carry an additional portable hotspot or pocket router. This latest version of LIVE+ Core also supports multichannel audio. This enables more audio inputs from a variety of microphones, or allows transmitting of multiple languages. The software is now capable of supporting two, four or eight channels of audio, and features a TMBI - 52
proprietary prioritization algorithm that intelligently manages bandwidth to preserve video quality as the number of audio channels increases. The update also enables broadcasters to transmit up to 20 Mb/s over Ethernet to maintain the highest possible video quality. This is particularly useful for high motion action shots. These new features are in addition to the closed captioning capability, enhanced congestion control functionality, and GV STRATUS integration added to Core 4.0 released earlier
this year. “The industry is rapidly transitioning to IP and continues to embrace network bonding solutions for transporting video and data from remote locations. To address this, we continue to expand the capabilities of our software to ensure our customer’s IP workflow and connectivity needs are met,” said Brian Cram, CEO of Dejero. “We are committed to consistently delivering new and enhanced software updates to our customers, as demonstrated by our latest features introduced at IBC.”
Digigram Introduces blu by digigram blu by digigram is a suite of cloud-based services including end-to-end management of content contribution from journalists, expert voice talents, and remote presenters, as well as live user-generated content from the qualified broadcast or web radio audience. A cost-effective, centralized web service designed for the professional broadcast environment, blu by digigram makes it simple and easy for virtually any authorized user to establish a high-quality bidirectional communication with any remote contributor with internet access. “blu by digigram brings the cloud inside the studio; it doesn’t stop at the door like codec or switchboard solutions,” said Martin Dutasta, product owner at Digigram. “This first-of-its-kind broadcast-focused service unites a cloud-based SaaS application with a professional audio interface to improve the user experience dramatically. With this unique ‘no fuss, no hassle’ pay-as-you-go model for managing and processing contributed content from an array of sources, broadcasters can dedicate more time and resources to creating the compelling, timely, and relevant
programming that drives their success.” The new protocol-agnostic contribution platform features the blu by digigram software as a service (SaaS) and the blu Connect studio interface.
Together these elements facilitate instant and secure IP audio contribution over the cloud or via traditional realtime modes of communication (phone or IP codecs), along with optional cloud-based audio TMBI - 53
DPA Necklace Microphone Black 47mm
processing and media recording. Staff within the studio simply connect to the blu by digigram web platform and use its contacts interface to launch a full duplex contribution link between a remote correspondent and the blu Connect interface in the studio. Contributors accept the communication by clicking on the link sent by email or SMS to their PC or Android smartphones. In addition to providing users on both sides of the link with audio controls, the web platform offers tools with which the editorial team can manage the contributor community and enrich recorded media with additional contextual metadata. Built on rugged embedded technology and Digigramâ&#x20AC;&#x2122;s three decades of engineering expertise, the blu Connect broadcast-grade audio/data interface features both TMBI - 54
AES/EBU, AES67, and highquality analog I/O. The plugand-play system automatically connects to the blu by digigram service over an encrypted connection, and contributions links are generated without the need for network/IT configuration or knowledge. Encrypted audio between the studio and any potential contributor ensures security across diverse sources of content. The subscription-based services within blu by digigram not only enable radio and web broadcasters to reduce their capital expenditures, but also allow them to scale web services as needed. For example, users can extend the systemâ&#x20AC;&#x2122;s capabilities quickly and easily by adding concurrent contribution links, connecting with a traditional audio-over-IP (AoIP) codec, or adding new functionality to accommodate future services. blu by digigram
integrates readily with existing apps, web sites, or other contribution portals.
DPA MICROPHONES To be successful, the sound engineer has to make the talent shine every time. This means delivering consistently high quality audio that is easy to work with further down the broadcasting chain. Having the right tools is essential and this is where DPA Microphones come into play. From the broadcast studio or OB van to the solitary journalist reporting from the field, DPA Microphones has the right solution. The broadcast industry cuts unnecessary and timeconsuming processes to optimize workflow, while ensuring the speech intelligibility of the broadcast. This process puts a lot of
pressure on the equipment used, as well as the people handling it. The easier the solution, the better, because it leaves broadcasters free to focus on producing the right content and delivering the message correctly, not battling with audio issues. Microphones from DPA require little or no EQ’ing to secure high-quality sound. Just connect the microphone and the interview can begin. “For many years – and all over the world - DPA has been the preferred choice for broadcasters demanding the highest sound quality from microphones with a very small footprint,” states DPA’s newly appointed Product Manager, René Mørch. “Although large crews on site are often now replaced by just one or two people, that point of view hasn’t changed
– indeed quite the opposite as journalists focusing on the story want to bring very high quality live or recorded content to the table.” DPA has many types of microphones that cover broadcasters’ needs. The bodyworn d:screet™ Miniature Microphone series offers lavalier microphones, including heavy-duty versions that are designed for a hard life on the road. Elegant bodyworn d:fine™ Headset Microphones get up close to the sound source, ensuring high speech-intelligibility, and some variants even come with integrated in-ear monitors. There are many choices for booming applications, including the amazingly lightweight shotgun mics from the d:dicate™ Recording Microphone series. Other
broadcast offerings include the d:facto™ Interview Microphone and the easy-touse mobile d:mension™ Surround Solution.
FISCHER CONNECTORS On the company’s stand we discovered the recently launched single fiber optic connector FO1, the ultraminiature high-density connector MiniMax 06, and the Fischer Rugged Flash Drive USB 3.0. With these three new products, Fischer Connectors continues to drive innovation in the connectivity market – both electrical and optical – in addressing the current trends in high data transmission, miniaturization, ultraruggedness and further
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solutions easy to use even in the field: 1. Smaller and smarter: new single fiber optic connectivity solution, easy to clean even in the field The Fischer FiberOptic Series has been extended with a new single fiber optic connector, FO1, a miniature, lightweight, rugged connectivity solution which is easy to use and ensures premium optical performance in harsh environments. With IP68 sealing (mated) and UPC & SM APC polishing, FO1 is available either in pre-configured reels or integrated into custom assemblies. 2. Small, smaller, smallest: new ultra-miniature connector in Fischer MiniMax™ Series. The ultra-miniature high-density Fischer MiniMaxTM Series, awarded “Best of 2015” by TM Broadcast International, has been extended with an even smaller connector, MiniMax 06, which can combine up to 12 signal and power contacts in a footprint of just 10 mm. Rugged and easy to use, it ensures premium performance even in harsh environments and is ideally suited for handheld or body-worn applications when space is limited. 3. Safe transportation and storage of sensitive data in TMBI - 56
fischer minimax series plug
harsh environments with USB 3.0. The miniature and lightweight memory stick Fischer Rugged Flash Drive, now available in USB 3.0, has proven to be the durable solution for people on the go who need to download and securely transfer confidential video, audio and data from devices used in extreme environmental conditions or in hard-to-reach areas.
IHSE IHSE announced that Avid®’s latest Pro Tools® | S6 modular control surface includes integrated KVM switch support based on the IHSE network protocol. Pro Tools | S6 console users can now enjoy the benefits of integrated KVM control to make setup and configuration faster and easier. Through the S6 Master Touch Module, the central hub of the S6
surface, users can control the Draco tera | S6 KVM switch to select between multiple Pro Tools workstations or other digital audio workstations (DAWs). IHSE’s KVM solutions have been part of many Avid-based audio-mixing studios around the world for several years, including Wildfire Sonic Magic, Technicolor Sound, Deluxe, Todd Soundelux, and Electric Entertainment. With over 1000 Pro Tools | S6 systems operating in leading studios and production facilities worldwide, and more than 35,000 users, Avid has created the industry’s most open architecture for thirdparty connectivity, enabling comprehensive solutions for content creation, management, and distribution. The integration of IHSE’s API for network control of KVM switching further expands Avid’s partner ecosystem.
“The IHSE KVM integration with the Avid S6 system was something we were very keen on. It enables the workstation monitor to literally ‘follow’ what you're working on as you work on the control surface,” said Jonathan Wales, CEO, Wildfire Sonic Magic. “Everyone loves it here, and we are thrilled with such integrations.” “Pro Tools | S6 delivers efficient workflows for fast precision mixing, and with the IHSE KVM, it’s now faster and easier to set up and configure than ever before,” said Tim Carroll, vice president of product management for Audio at Avid. “We selected IHSE’s Draco tera as our preferred KVM solution because of its ultra-fast switching, intelligent scalability, and simple user
The Draco tera
interface. The performance of the KVM is so fast that the audio-mixing engineer cannot perceive that a switch has actually been made.” During the development process, the IHSE engineering staff worked closely with Avid’s technical team to support KVM protocol development, implementing the necessary features and connectivity between the Draco tera | S6 KVM switch and the S6 master console. “The Avid technical team is a remarkable group of talented individuals, and we were impressed with their ability to quickly integrate the API for our KVM system,” said Enno Littmann, managing director of IHSE. “This combined solution enables audio professionals to instantly switch Pro Tools sources, allowing them to focus on their jobs, rather
than be distracted by the equipment or wait for a system reconfiguration to be carried out for them. Individual studios can be assigned as required, operators will work more effectively and valuable assets can be better managed; with greater efficiency and security.”
LAWO Lawo and AVT Put Callers On-Air via Ember+ and AES67 Broadcasters can now connect the popular line of AVT broadcast hybrids and talkshow systems to their Lawo radio consoles using an all-AoIP audio and control path, thanks to AVT’s addition of AES67 and Ember+ to their VoIP, ISDN and POTS phone products. “Our mutual TMBI - 57
clients have been asking for an AoIP connection to Lawo consoles,” says AVT Sales Director Wolfgang Peters. “Now they have it! The presence of AES67 and Ember+ within AVT phone systems makes it easier than ever for broadcasters to put truly outstanding caller audio on the air.” Ember+ is an open-source control developed by Lawo and made available to manufacturers free of charge. Combining Ember+ with the AES67 networking standard creates a complete AoIP audio + control solution for TMBI - 58
professional broadcast hardware and software devices. “An all-IP connection means even tighter integration between AVT phone systems and Lawo radio consoles,” says Lawo’s Stephen Türkay, Senior Product Manager, Radio OnAir. “Even though Lawo uses RAVENNA AoIP, and AVT is equipped with Dante networking, AES67 is the common language both can speak. System setup is easier, thanks to the direct AoIP connection between AVT and Lawo equipment. And AVT’s Ember+
implementation means operators will see the benefits of even better control during phone-heavy radio shows.”
KICK 2.0 Lawo has extended the capabilities of its patentpending ball tracking technology for close-ball audio pickup for sports such as soccer, rugby and American football. The system provides transparent sound and excellent ‘kick-tonoise’ ratio, significantly reducing crowd noise. It also ensures a consistent audio level without noticeable fades
for seamless inclusion in a broadcast mix, delivering a mix that is 100% repeatable from match to match and remains highly accurate even after 90 minutes of play. With an intuitive graphical user interface for easy adjustment of all parameters, including the placement of microphones, their polar patterns and microphone prioritization, KICK is available as a software-only solution for productions using Lawo mc² mixing consoles, as well as a hardware bundled solution for
productions using consoles from other manufacturers. In addition to the mixing automation, the 2.0 version of KICK can be supplemented with Lawo’s new motorized microphone stands, which are remotely controlled by the software and allow the mics to automatically follow onfield action. KICK 2.0 requires a standard host PC (running Windows 7 or Windows 8) for the host application, and an HTML5 capable browser for the user interface. An optional Lawo mc² Micro Core hardware processing engine is
available for interfacing micro core to third-party consoles via MADI and RAVENNA/AES67. The mc² Micro Core can be controlled by a variety of external studio control systems, as well as Lawo’s touchscreen mxGUI software, making it perfect for smaller automated applications where external control systems trigger operation – such as automated newsrooms. Other applications include small routing with DSP processing, as found in installed sound systems.
Lawo mc2 56xc
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RƎLAY Virtual Radio Products at IBC “RƎLAY was the talk of NAB,” says Lawo Radio marketing specialist Clark Novak. “In fact, it won a ‘Best Of Show’ award because broadcasters instantly understood that RƎLAY could help save them money and time by replacing expensive rack-mounted audio processors, phone systems, codecs and streaming encoders with inexpensive software.” RƎLAY VRX is a multi-touch TMBI - 60
enabled virtual mixing software that acts as a “virtual radio environment”, hosting software apps that eliminate the need for expensive hardware peripherals. Taking advantage of computer virtualization technology adapted from the IT industry, RƎLAY VRX lets engineers replace physical consoles, and entire racks of accessory gear, with a single desktop or laptop PC — with significant cost savings. RƎLAY is perfect for remote kits, field journalists, fast setup of on-location studios,
webcasting — even as a replacement for older studio hardware or as a permanent personal studio. RƎLAY VRX4 (four-fader) and VRX8 (eight-fader) software can be used alone, or bundled with a Lawo OnAir 4 audio interface for professional mic, line, AES3 and RAVENNA / AES67 I/O. A heavy-duty RƎLAY backpack with space for a laptop, mic and headphones is included in these bundles. RƎLAY VPB lets broadcasters take full advantage of software
virtualization to replace hardwired broadcast peripherals with flexible software apps whose services can be routed anywhere in your facility. With RƎLAY VPB, racks of costly, power-hungry, single-purpose equipment can be replaced by a single off-the-shelf PC. RƎLAY VPB, with its instantly-familiar “patch bay” interface, hosts and coordinates inexpensive broadcast apps from Lawo partners — multi-line VoIP phone apps, remote codec apps — even sophisticated multi-band final audio processing. RƎLAY VPB can be used to build servers that
supply audio processing, phone, codec or streaming services to an entire radio facility, or a dedicated server that replaces nearly all the hardware peripherals in a single studio. “Unlike expensive hardware devices, software apps can be easily scaled up when you need more services,” notes Novak. “Need more phone lines? Add another app to your RƎLAY VPB phone server. Want to encode multiple Web audio streams at multiple streaming bit-rates? RƎLAY VPB can handle it. Create a wholeplant Meter wall to comply with EBU R128 and ATSC
A/85 loudness standards. Or, load a PC with RƎLAY VPB, your favorite playout system, editing software, codec app and audio processing to create a complete Virtual Radio Environment. You can’t do that with standard rackmounted hardware!”
Lawo demonstrates Core values at IBC Lawo has developed a software-defined IP core routing and processing platform based on established data center principles – flexibility, fabric computing and COTS
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economics are leveraged to provide a completely virtualized real-time broadcast production infrastructure. V__matrix uses multiple cores connected to a high-capacity COTS switch with redundant 10GE and 40GE connections to form a distributed IP routing and processing matrix with frameaccurate, clean switching – just like a legacy baseband matrix. Employing generic highcapacity core processing blades, software-defined Virtual Modules can be loaded to create any required functionality, enabling entire workflows to be remapped in minutes as requirements change from production to production. Core processing blades are housed in 1, 2 or 3 RU frames, with physical connectivity to legacy SDI equipment provided through optional V__matrix I/O cards using Lawo’s VSM Broadcast Control and Monitoring system as the control layer. The system supports switching and routing of signals both in the IP and SDI domains, and includes the Lawo Routing Layer Control for video routing with frameaccurate clean switching in the IP domain, as well as control and monitoring for existing legacy SDI infrastructure and third-party IP equipment. Use of an IP-based platform allows V__matrix to be TMBI - 62
deployed anywhere from an OB truck or TV studio to a broadcast operation center to create a virtualized core infrastructure for live production. Since the capabilities of the system and the functionality of the signal chains are not defined by physical connectivity of hardware modules, routing and processing can either be decentralized and spread over one or more facilities or centralized in a fixed facility or OB truck. Function-agnostic core processing hardware allows an operator to build complex workflows by simply loading and running the appropriate Virtual Modules, which can be changed on-the-fly during runtime as production demands change. By cascading multiple Virtual Modules together, the V__matrix can be scaled linearly up to thousands of SDI I/O and audio/video
processing functions for unparalleled flexibility, versatility and cost-efficiency. Lawo CEO Philipp Lawo says: “V__matrix delivers a truly future-proof core infrastructure based on open standards with significantly less rack-space, lower power consumption and fewer restrictions for the broadcast operation. We are very excited to be able to offer the ability to transform any broadcast installation into a flexible, future-proof production facility, addressing a wide range of workflows and supporting the transition to a totally IP-based environment.” V__matrix is fully based on open standards in-line with the AIMS roadmap: SMPTE 2022-6/-7, VSF TR-03/04, AES67 plus SMPTE VC-2 and Ember+ and ensures the customer’s transition to a total IP-based broadcast environment.
MILLER Miller arrow FX
MILLER CAMERA SUPPORT DEBUT OF ARROWFX The arrowFX Fluid Heads
are designed to be employed in high-definition television broadcasts, where augmented reality effects are inserted into the picture during live broadcasts. The arrowFX also delivers highprecision pan and tilt positioning information for
cinema-quality visual effects productions in feature films and commercials. By employing robust, highresolution magnetic encoders integrated into the fluid head, arrowFX can precisely monitor and communicate, in real time, the exact position TMBI - 63
counterbalancing a step forward, resulting in repeatable, accurate and rapid setup. It allows users to work quickly and efficiently by letting them focus less on finding the right setup and more on the creative aspects of their work. CB PLUS provides a total of 16 positions of counterbalance to choose from. This new feature makes the new arrowFX Series the ideal choice for any broadcast where frequent and fast rigging is required.
of the fluid head with zero latency. “More live television productions are further adapting to augmented reality effects in real time,” says Charles Montesin, global sales and marketing manager, Miller Camera Support Equipment. “With increasing demand for higher quality, more realistic and attractive digital effects we believe that technology should not be a barrier to TMBI - 64
creativity. IBC is the perfect platform to showcase this new technology.” All arrowFX Fluid Heads, including the arrowFX 3, arrowFX 5 and arrowFX 7, feature a pan resolution of 1,589,246 counts per 360 degrees and a tilt resolution of 491,520 counts per 180 degrees. A brand new feature of the arrowFX line is CB PLUS, a unique sequential counterbalance design that takes traditional
Additional features include the ability to remove the clamp stud to easily mount the head on flat-base surfaces, such as sliders. When extra tripod rigidity is required, a Mitchell Base adaptor can be fitted. Each arrowFX model comes with a 120mm sliding travel plate to help quickly rebalance changing camera payloads. Precision pan-tilt movements, supported by ball bearings, help deliver silky smooth starts and fluid, soft-stop actions. Precise floating pantilt calliper locks ensure bounce-free on-off locking. Illuminated controls allow users to work no matter what conditions they are in. The arrowFX 3 boasts a payload range of 1 - 19kg (2.2 - 41.8lbs), 16 positions of counterbalance and 5+0 pan and tilt drag positions. It is designed for lighter cameras used in ENG, documentaries and EFP applications. The
arrowFX 5 has a wide payload range from 2 - 21kg (4.4 - 46.2lbs), 16 positions of counterbalance and 7+0 pan and tilt drag positions. It is designed for larger ENG and EFP applications, including documentaries, drama and television commercials. Finally, the arrowFX 7 has a payload range from 6 - 25kg (13.2 - 55.1lbs), 16 positions of counterbalance and 7+0 pan-and-tilt drag positions. It is designed for heavier rigs, including in-studio and OB applications.
NEWTEK NewTek Debuts FirstEver Production System Designed Specifically for IP Video NewTek introduced at IBC the NewTek IP Series, a softwaredriven, modular video production system with virtually limitless access to video sources and video mixing options. Designed to work cohesively in an ecosystem, the NewTek IP Series is the first large production system designed for IP video while also fully
backwards compatible with SDI; using separate scalable high-performance components for the mixing and control, input, and output of sources allowing virtually unlimited scalability. Video, audio, and control signals from these components are transferred digitally using NewTekâ&#x20AC;&#x2122;s Network Device Interface (NDIâ&#x201E;˘) technology allowing multiple video systems to identify and communicate with any other system over a standard computer network. The result is a fully customizable IP workflow solution with the flexibility to handle the most
IP Series FamilyHQ v31
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demanding production needs. “Built from the ground up to take advantage of modern IP infrastructures and softwarebased video processing, this new product line, the NewTek IP Series, is the first fully scalable production ecosystem ever, and represents a true paradigm shift in the way live mixing technology works,” said Dr. Andrew Cross, president and chief technology officer for NewTek. “With distribution of TV content flowing unstoppably over IP, it only makes sense that production does the same. Many see it coming, only NewTek can deliver a complete solution today.” With the NewTek IP Series, current and future resources can be integrated through an interconnected production workflow using commercialoff-the-shelf network infrastructure. Implementing NewTek’s industry leading live production software, NewTek IP Series users have access to more workflow possibilities and expansion capabilities. Additionally, facilities and organizations don’t have to abandon existing investments in SDI infrastructure or implement high-priced, high-bandwidth networking to migrate to IP. The nucleus of the NewTek IP Series is the NewTek VMC1 Video Mix Engine capable of switching up 64 source channels, including 44 external inputs (each with key TMBI - 66
and fill) and full mixing control with 8 M/Es with full re-entry, plus PREVIZ. Each Video Mix Engine includes integrated compositing, a sophisticated macro automation engine,
and the most flexible and scalable effects system available with almost unlimited matting, DVE, transitions, overlays, virtual sets, real-time data and much
more. Multiple NewTek VMC1 Video Mix Engines can be placed on the network allowing for both expansion and full redundancy as needed, keeping up with
demands of any size of production. The NewTek VMC1 4S Control Panel is the tactile interface that connects the operator to single or multiple engines for precise control of the production. Paired with the VMC1 Video Mix Engine over a network, the NewTek VMC1 4S Control Panel offers comprehensive functionality with four independently assignable stripes and premium hardware mechanics that are intuitively arranged and ergonomically designed to ensure optimal live performance. The NewTek VMC1 IN Studio Input Module allows up to 4 SDI or IP inputs per module recognized by the NewTek VMC1 Video Mix Engine. Modules can be added at any location on the network to increase camera/source count as necessary. Adding new dimensions to production operations, each module includes a multiviewer with return video feed and capability to ISO record to network storage. The NewTek VMC1 OUT Studio Output Module is a 4 channel multiformat modular video delivery hub that can reside anywhere on a network.
New NDI version 2 NewTek™ announced today a second-generation Network Device Interface (NDI™) technology with a host of new advanced features,
performance improvements, and full compatibility with all existing versions of NDI. Among the enhancements in NDI version 2, available in Q4 2016, is support for all modern operating systems (Windows®, Linux®, macOS™) and mobile devices, the latter making NDI the first software IP video production standard to fully embrace the mobile market. NDI uses about 1/15th of the bandwidth of other IP standards, allowing it to run on existing network infrastructure. NDI-enabled devices and applications are already in the hands of millions of customers, and continue to generate tremendous industry momentum since its introduction at IBC last year. The NDI software development kit (SDK) has been downloaded more than 1,000 times with hundreds of companies integrating NDI into their commercial products, with full interoperability between all products guaranteed. “Broad adoption across the industry has greatly exceeded our expectations since we introduced NDI as a royaltyfree SDK one year ago,” said Dr. Andrew Cross, president and chief technology officer for NewTek. “The advanced features we’re introducing with NDI version 2 continue our march towards softwaredriven IP-based workflows that we believe are the future TMBI - 67
of live production. By making sure that this works on existing infrastructures and on mobile devices, we assure the technology is immediately relevant to users.” NDI provides an end-to-end solution that includes both an SDK for developers and tools for end users. In this spirit, NewTek is releasing Android® and iOS camera applications for all mobile devices allowing the billions of mobile devices to act as wireless video cameras for live production systems. Other NDI-enabled applications include NewTek IsoCorder™ for recording any NDI stream available on the network, NewTek Connect for
Panasonic VariCam Pure
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converting NDI to and from other video formats including SDI and HDMI, and many more. NewTek is adding Adobe® Creative Cloud compatibility to the suite of tools provided for monitoring feeds, mirroring desktops, controlling video groups and access. NDI version 2 will include a high performance codec that is resolution independent and supports alpha channel and bit-depths up to 16 bits per pixel. NDI version 2 is generationally lossless meaning that loss only occurs in the first generation of video and all subsequent re-compression steps are lossless. On an Intel® i7 CPU, NDI version 2 delivers the highest quality and best performance in any IP standard and will encode
1080p at 2200 frames per second (fps), 4k at 780fps, and 8k at 210fps. It will also include 16 or more channels of floating point audio at any sample rate, bi-directional communication with upstream and down-stream meta-data support, and support for mobile devices in addition to shipping an SDK for iOS.
PANASONIC 4K Camera line up expanded Successors to the company’s AVCCAM series of professional AVC HD camcorders, the UX premium model (AG-UX180), is
Panasonic VariCam Pure
equipped with a 1-type MOS sensor, optical 20x zoom and UHD 60p recording capability, while the UX standard model (AG-UX90), features a 1-type MOS sensor, optical 15x zoom and UHD 30p recording. Both feature a rugged design for heavy duty field use and are scheduled for release in November (AGUX90) and December (AGUX180). “Panasonic is introducing the UX series to make 4K acquisition even more accessible to video professionals,” said Guilhem Krier, Head of Product Marketing & Business Development Europe. “The industry demand for 4K video
is increasing fast. The UX camcorders provide a 4K update to our very successful HD models, such as the AGAC90, providing high-mobility and the same workflow users will be familiar with from our existing professional, integrated-lens handhelds.” The UX series will support recording up to 4K (4096x2160, 24p only), UHD (3840x2160) and FHD at up to 120p. The camcorders will use the SD memory card1 as recording media. The UX premium model also supports dual codec recording (UHD2/FHD), IR recording in low light, and 3G SDI/HDMI2.0 output. The UX camcorders’ 1-type
MOS sensor ensures sensitivity equivalent to that of conventional handheld cameras. Variable frame rate (VFR) recording functionality (2-60 fps) is planned in FHD mode. The availability of the UX models brings Panasonic’s line up of professional 4K cameras to five, including the flagship VariCam 35, VariCam LT and the AG-DVX200.
New expressP2 card drive at IBC 2016 with Thunderbolt™ 3 Panasonic at IBC 2016 announced a new expressP2 card drive with Thunderbolt™ 3 - the AU-XPD3. With Thunderbolt™ 3 offering TMBI - 69
40Gbps data transfer, Panasonic expects the AUXPD3 to achieve an amazing data transfer speed of up to 10 Gbps, providing a superfast workflow. Thanks to the power of ThunderboltTM 3, the full potential of the expressP2 B series card can reach amazing data transfer speeds. The drive itself is also set to come under €2000 list price. Planned for release around the first quarter of 2017, AUXPD3 is made for supporting super-highdefinition data transfer and editing, including next-generation 4K, for the broadcast workflows of the future. Specifically designed to TMBI - 70
accommodate high-quality, high-frame-rate recording of 4K/120fps and HD/240fps, the B Series cards are a significant upgrade to meet the demands of super-high definition recording. “There is a desire within the production industry to transition to 4K, but equally a reticence due to the data size, that can slow down the workflow,” said Guilhem Krier, Head of Product Marketing Europe & Business Development Europe for Broadcast&ProAV at Panasonic. “Our compression technology and the card reader means we are finding solutions to these challenges." “For the first time, one computer port connects to
Thunderbolt™ devices, every display, and billions of USB devices”, said Jason Ziller, Director of Thunderbolt Marketing at Intel, “Products like the Panasonic AU-XPD3 for expressP2 highlight how Thunderbolt™ 3 delivers the bandwidth and speed needs of the broadcast industry.”
RIEDEL COMMUNICATIONS Riedel Teams With Cisco to Explore Benefits of Cisco Media Blueprint Platform Riedel Communications announced that they have
entered into an agreement with Cisco to explore new ways to use the Cisco Media Blueprint platform to enhance their respective businesses. The agreement creates a framework by which Riedel and Cisco can explore collaborative opportunities. The Cisco Media Blueprint automates the process of moving massive amounts of media content to the right people, at the right time, in the right format. This digital media logistics platform is an
IP-based, virtualized combination of solutions and network infrastructure that removes the barriers between content production, storage, and distribution. The result is a broadcast production and distribution environment in which innovation is as easy as adding off-the-shelf Cisco networking equipment or deploying a new application within a virtual machine. Available today, these applications increase efficiency and enable new ways to generate revenue in
a rapidly evolving media landscape. “At Riedel we have been embracing broadcast and IP standards across our product lines for many years now,” said Jake Dodson, Director of Product Management at Riedel Communications. “So when it came time to look at how we were going to continue our innovation cross an evolving synchronized IP fabric, Cisco was the obvious choice of a great company to partner with.”
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Smartpanel RSP-2318 Control
“The Cisco Media Blueprint leverages the mainstream Cisco product portfolio and applies industry specific expertise and partnerships,” said John Dorval, area vice president, Service Provider Sales, Cisco. “The application-aware network infrastructure, built specifically for broadcasters, orchestrates the critical interface between applications, storage, distribution channels, and consumers. We welcome Riedel as an industry partner and look forward to the innovation we can create together.”
communicate all at once using a single 1 RU system.
“With the release of the MediorNet Control App, our groundbreaking SMARTPANEL user interface has grown into much more than an intercom solution; it now facilitates direct communication with the MediorNet network and control of devices within it,” said Karsten Konrad, Product Manager at RIEDEL Communications. “Eliminating the need for a separate server, this solution allows users to realize valuable routing and communications functionality while saving both, rack space and money.”
With the introduction of the MediorNet Control App for the company’s innovative RSP2318 SMARTPANEL multifunctional user interface, RIEDEL Communications has closed the loop between communications and realtime media routing. In addition to linking the SMARTPANEL directly into the RIEDEL MediorNet media network as a dedicated control panel, the new MediorNet Control App in combination with the existing Intercom Apps gives users simultaneous intercom functionality, enabling them to route, control, and
The MediorNet Control App is the second App family developed for RIEDEL’s SMARTPANEL interface. By equipping the SMARTPANEL with the new MediorNet Control App, users eff ectively consolidate two panels into one panel that provides full intercom and control functionality at all times. With the Intercom and MediorNet Control App running in parallel, the SMARTPANEL serves as a robust and highly cost-eff ective A/V control system. As RIEDEL continues to develop Apps for the SMARTPANEL, users will gain increasing
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capabilities that help to optimize signal transport and production workfl ows. The MediorNet Control App was used extensively by Fox Sports Mexico in Rio this summer and has been adopted by Sky for use in seven new SNG vans. RIEDEL’s SMARTPANEL offers features and capabilities that enrich the user experience and change the way broadcasters and A/V professionals communicate. As the world’s fi rst control panel designed to serve as a powerful multifunctional user interface, the RIEDEL device boasts a unique feature set that includes three highresolution, sunlight-readable, multi-touch color displays; premium quality audio; a multilingual character set; and 18 keys in just 1 RU. It off ers AES67 and AVB connectivity as standard and AES3 over cat or coax cable as an option. The SMARTPANEL also features exchangeable headset connectors, an integrated power supply, individual volume controls for each key, two USB ports, two Ethernet connectors, GPIO, audio I/O, an option slot, a removable gooseneck microphone and an SD card slot.
ROSS VIDEO Ross Video Drives IP Ecosystem with Acquisition of COVELOZ Technologies Ross Video & COVELOZ Technologies jointly announced the acquisition of COVELOZ by Ross Video. COVELOZ will continue to operate its business as usual, and now with the backing of a strong parent company. COVELOZ is a technology company offering design services and firmware solutions to address the timesensitive networking and processing of audio, video and control signals. It is a
leader in the development of standards-based, programmable media networking solutions based on IEEE 1588 synchronization. Equipment vendors from various industries are either currently using, or plan to integrate COVELOZ solutions into their products to speed time-tomarket and ensure compatibility. In a continued effort to accelerate the transition of video workflow to an IP based infrastructure, COVELOZ will persist in its work with Altera, now a part of Intel, to bring studio videoover-IP applications to market. COVELOZ, as part of Ross Video, will continue to
foster a technology ecosystem with Altera, enabling the rapid, costeffective and broadly interoperable adoption of studio video-over-IP technologies across the world. “The time is now for COVELOZ to scale to meet the needs of the rapidly evolving deterministic networking markets, starting with audio/video applications,” commented Nestor Amaya, President of COVELOZ. “The acquisition by Ross gives us the wherewithal to pursue this exciting future and make media networking technology accessible to all corners of our target markets. We will
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continue to work with Ross competitors providing our IP technology to them as well. Ross is known for working well with others with openGear as a shining example. Wider accessibility to companies within the industry who lack IP knowledge will accelerate adoption and drive efficiencies of scale.” “COVELOZ has some great core technology and an amazing vision for the IP future. As we’ve been working with their team implementing technology on our new platforms, we’ve been impressed,” said David Ross. “We’re excited to have them as part of the Ross family of companies and look forward to COVELOZ continuing to focus on their media IP work.”
Ross Acquires Abekas Adding Core Video Server Technology & Replay Abekas is an iconic brand, TMBI - 74
having pioneered many new innovations over the years and winning 7 technical Emmys for their contributions to the industry. Today, Abekas’ core product lines include Mira Replay Server, Mira & Tria Production Servers and AirCleaner Profanity Elimination Delay System. Ross will be integrating the Abekas server family into its production system portfolio. “Abekas’ product line fits perfectly into our portfolio and our live production focus,” commented David Ross, CEO of Ross Video. “Replay especially, is a component we needed to round out our solution set. Abekas has a very similar mind set and value proposition to Ross, providing great technology at reasonable prices.” “We decided it was time to join a larger company that could bring broader market reach to our product portfolio,” said Junaid Sheikh, CEO of Abekas. “We’ve
enjoyed working collaboratively with the Ross folks for many years and felt this was the perfect fit for the Abekas team. We are excited about the next chapter as we continue to grow and expand the portfolio we have developed.”
Vision Mixer Range Extended The Carbonite Black Solo was introduced at NAB 2016 and is now shipping. Solo is packed full of the features that Carbonite users use everyday. It is a compact vision mixer with 9 inputs and 6 outputs, specifically designed to meet the needs of smaller productions. On the input side Solo has 6 SD/HD-SDI connections and 3 HDMI inputs, and there are 6 floating frame synchronizers with format converters that can be assigned to any input, so connecting those unreferenced sources is simple. For outputs there are
Carbonite Black Plus
5 SDI and one HDMI, all completely assignable. Carbonite Black Solo features a powerful single ME with 4 full featured keyers, a transition keyer for DVE and Media wipes and an Ultrachrome chroma keyer. In addition, there are 2 MiniME’s that are perfect for use in small event production and for secondary produced outputs. Each MiniME has two keyers of its own, providing Solo with 8 key layers in total – extremely powerful for a small vision mixer. The Solo includes a fully configurable multi viewer as well as four channels of media store for animated graphics or stills. There is also a digital audio output for the playback of audio with animations. Carbonite Black Solo has all of the desirable production features found in the larger Carbonite vision mixers, including full DashBoard control integration, ViewControl touch screen
visual control, and RossTalk protocol, as well as Camera Robotics, Video Server, and Audio Mixer control interfaces. All Carbonite models now ship as standard with XPression LiveCG, a software only version of the award winning XPression graphics system. XPression LiveCG can be loaded on any windows machine with an NVidia graphics card and connected directly into Carbonite media stores via Ethernet. With 12.1, Carbonite processes 1080P25 signals natively in addition to the host of other signal formats already available. MiniME’s get PST monitor function, and now MiniME and 4K next backgrounds can be previewed in Carbonite MultiViewers. A small but very nice new feature is the ability to select alternate thumbnails for media store animations for viewing in preview mode. The Carbonite Black Plus
shown first at NAB, in this version all 36 inputs have Frame Synchronizers, Format converters, Color Correction and Proc amps included. In addition 12 of the 25 outputs have Proc amps, Color Correction and Format Conversion available as standard. This makes it perfect for matching those on set displays and output multiple formats. The Black Plus also adds more monitoring capability. With this processing engine there are a total of 5 MultiViewers with up to 16 configurable windows each. So there are 80 windows in total, ensuring every aspect of a production can be monitored. They system offers monitoring of all 36 inputs, 22 outputs, the media stores, three MEs, four MiniMEs, and aux buses – that is simply huge! The processing engine includes three new outputs dedicated to MultiViewers, so there is no need to give up main outputs for monitoring. TMBI - 75
SAM (SNELL ADVANCED MEDIA) SAM introduces LiveTouch 4K as gamechanging highlights & replay system Built on the latest SAM server technology, LiveTouch 4K uses SAM’s unique FrameMagic technology to enable powerful workflows in standalone systems or integrated into a wider production environment. LiveTouch 4K is also tightly integrated with SAM editors,
enabling instant collaboration between replay and production. Neil Maycock, EVP and General Manager, Media Software Solutions, at SAM said, “LiveTouch 4K is a fantastic asset to studio and sports broadcasters looking to make the most out of 4K. Not only can LiveTouch accommodate familiar HD workflows in 4K, it can also scale to build bigger 4K systems than broadcasters have ever seen before.” Where LiveTouch 4K is built on a network architecture, the system offers a unique level of flexibility and can scale to meet the needs of
productions of any size. Inter-server streaming allows multiple servers to act as a single production pool, giving users instant, transparent access to recordings and highlights anywhere on the network. The LiveTouch panel has a compact design with tools to emphasize and enhance usability. Not only does it feature familiar placement of key buttons, it also offers an intuitive touch screen making highlights and playback easier than ever before.
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Maycock added, “We listened to customers to ensure common operation is effortless while ensuring advanced features are accessible and easy to execute. With that in mind, the product’s interface is clean and easy to use, but also caters for even the most advanced user.”
New multi-platform News Solution At IBC the company introduced a major update to its news offering providing support for any format of video, ultra-fast editing, automated versioning, and multi-platform publishing. “Historically news production systems have been focused on specific platforms, for example broadcast television and websites. The production tools have been limited to specific formats, such as 16x9 video. Today breaking news can come from any source and needs to hit multiple platforms at the same time, social media sites, websites, and broadcast. It is simply not efficient enough for News organisations to have multiple processes to support this”, said Trevor Francis, Director of Production Systems at SAM. “What SAM are debuting at IBC allows any content to be natively handled in the story creation process, for example ‘vertical video’ from a mobile phone, if
content originates from a phone and is ultimately consumed on a phone why convert it to a 16x9 TV picture in the middle?” But it’s not just about video formats; SAM is also extending the capabilities of the news system by introducing automated workflows, where complete production processes can be automated to create multiple versions of a story, for example, uniquely styling and branding the output for different platforms. News production has to be fully mobile and provide the capacity to create finished stories, ready for posting. SAM’s browser-based editors will run on any platform: smartphone, tablet or laptop. Local and remote content can be mixed in a sequence, complete with voice-over and simple effects. SAM’s News Solution provides easy and secure access to all files, as they arrive. Local and mobile users benefit from the rich, user-definable metadata schema, and customised searches to locate the content they need to complete their story simply and quickly. Just as important as the content creators are the media managers, archivists and super users. They have everything they need to build and maintain workflows, manage the online storage and ensure that all content is archived and easily available for re-use.
Francis adds, “We built our reputation on fast and dependable workflows for the world’s premier News and Sports brands. We’re now taking this to the next level, for fully mobile, file agnostic production for all publishing platforms.”
New series of next generation MultiViewers The company announced a complete new line-up of MultiViewers at IBC 2016. Available in sizes from quad splits to enterprise monitoring solutions and featuring highquality image monitoring with IP and 4K UHD options, the line-up includes many different MultiViewers with varying features that support a full range of industry applications including playout, signal monitoring, live production and OB/mobile environments. The line-up offers a unique mix of features including: Support for multi-channel analog, SD, HD, 3G and IP inputs Supports 4K UHD for inputs and outputs Audio metering and optional Dolby E metering UMD tallies Alarms for video, audio and metadata Clocks with timers and time zone offsets, subtitle and closed captioning Integrated control and TMBI - 77
monitoring with SAMâ&#x20AC;&#x2122;s unique Media Biometrics technology enabling true monitoring by exception The new range includes: MV-Flex Modular MultiViewer: The MV-Flex delivers a simple modular design and is available in either a 1RU or 3RU chassis TMBI - 78
with a range of monitoring functions. MV-Flex also fully integrates with SAMâ&#x20AC;&#x2122;s range of routers and switchers. New features include support for 4K UHD. MV-8 series of MultiViewers: The MV-8 series range consists of the MV-800, MV820 and MV-850 which all
support 48 inputs and up to 12 outputs, expandable from four, all with unique integrated control and monitoring capabilities. To compliment the base series the MV-800 DT offers an IP solution with H.264 streaming capability enabling expansion of each
MultiViewer in the MV-8 range. For a fully uncompressed software IP solution SAM offers the MV805 supporting 2022-6/-7, TR 03/04 and VC2.
New Vega router range for small-medium routing and processing applications On the opening day of IBC 2016, Snell Advanced Media (SAM) has unveiled its newly updated range of its flexible Vega hybrid small to midsized routers. The brand is introducing the updated 100
range of modular 2RU, 4RU and 7RU routers, as well as the brand new Vega 10 series of more cost-effective routers. Both Vega 10 series and 100 series routers offer audio and video routing, embedding and de-embedding, clean and quiet switching outputs and line synchronisers. The brand new Vega 10 series introduces the Vega 30 3RU router to the market. With its fixed size, powerful processing and redundant PSU, the Vega 30 is ideal for budget conscious and small scale applications, for
example small trucks and studios, head ends, bay monitoring and high end leisure/entertainment systems. With the Vega 30, SAM is introducing a new entry-point fixed size router with clean and quiet video and audio switching, line synchronisation, deembedding, audio routing and embedding MADI inputs & outputs. It is ideal for simple video routing, audio embedding and hybrid audio and video routing.
Snell Kahuna family
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AMBEO VR Micg
SENNHEISER/ NEUMANN New microphone to match GoPro action cameras at the extremes The action camera microphone will allow GoPro users to finally match the breathtaking footage they capture at the extremes with high-quality audio. Demonstration videos recorded with a prototype highlight the microphone’s fantastic sound in scenarios where audio recording currently yields poor results or is not possible at all. Commercial availability is planned for March 2017. “Achieving uncompromising sound quality for extreme sports footage has always been a challenge, and more often than not, extreme athletes had to tone down their expectations regarding audio quality,” said Kai Lange, product manager, TMBI - 80
Broadcast and Media. “Our forthcoming action microphone will solve these audio issues and allow users to create compelling videos.” Developed within the framework of the GoPro Developer Program, the forthcoming action camera microphone is based on a professional Sennheiser miniature microphone that features an internal protective diaphragm, a so-called Umbrella Diaphragm, which is located above the acoustically active membrane. A newly developed windshield makes the mic waterproof and nearly immune against snow, ice, and wind. As a result, it will be able take on virtually anything the elements can throw at it, enhancing GoPro footage with incredibly highquality audio even during
extreme sports activities such as surfing, climbing or mountain biking. “We use a special foam material for the windshield, which ensures that the mic can even be used for water sports while fully retaining its wind protection properties,” explains Kai Lange. “A classic hairy windshield or a classic foam windshield could not do the job – if they get wet, there will be no protection whatsoever against wind noise. We have taken on this challenge with an innovative new design.”
AMBEO VR Mic High-quality 3D audio that eliminates the boundaries between playback and reality – this is the promise of the AMBEO VR MIC showcased by Sennheiser at the IBC. Up until now, VR productions had
to record immersive audio with quite complicated microphone set-ups. The AMBEO VR Mic puts everything into a compact and easy-to-use handheld – making it an ideal tool for any professional VR production. The microphone will become commercially available in November 2016. “The demand for compact microphones that capture spatial audio to match visual 3D experiences has increased enormously in the recent past. For the user to
gain a truly immersive experience, however, it is imperative that the sound within VR is also 3D,” said Kai Lange, product manager, Broadcast and Media. “The AMBEO VR microphone has been designed specifically for VR/AR purposes and enables VR content producers to capture the natural, immersive environment, providing a realistic and immersive experience for the user.” The AMBEO VR Mic is an Ambisonics microphone that
uses four carefully selected, matched capsules in a tetrahedral arrangement. It is fully balanced and powered by 4x 48 volts phantom powering. The handheld microphone comes complete with a split cable with four colour-coded and labelled XLR connectors according to the capsule position, a Rycote suspension mount and a foam windshield. Also included is the necessary encoding software that translates the A format file generated from the
Action camera microphone
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recording of the four microphone channels into a B format file W, X, Y and Z. This format is recognised in the Ambisonics world, the W component being the omni and the X, Y, Z components being figure-of-eight capsules along three spatial axes. The A to B format encoder will be available in VST, AAX and AU plug-ins for the customer’s preferred digital audio workstation, and as a standalone version for Mac or Windows. “To ensure that the AMBEO VR Mic is ‘right on target’ with what the AR/VR community needs, the entire development process was accompanied by intensive field testing with VR content producers,” explained Kai Lange. “In fact, we have just concluded an extensive creators’ program with participants from across the international VR audio/video industry, who put the microphone through its paces.”
SGL MAJOR NEW FLASHNET FEATURES SGL now supports reading and restoring from SMPTE’s Archive eXchange Format (AXF). FlashNet can read and process AXF objects providing greater flexibility for customers, ensuring long TMBI - 82
SGL term availability of content in the future – regardless of technology evolution. The company is also highlighting its support for Ci, Sony’s cloud-based service, which allows media professionals to collaborate on the creation and sharing of high quality, high resolution content. The SGL integration with Ci means that media companies can quickly and easily transfer material directly to the cloud from their MAM system using SGL FlashNet. As well as Ci, SGL also supports Amazon S3 via Aspera and ExpeDat Gateway. The new version of FlashNet also allows customers to allocate a pre-
defined number of drives within their library for a specific role, such as archiving Avid jobs only, or restoring/archiving material at a certain time of day. This enables larger broadcasters with multiple drives to further improve operational procedures. “We’re very excited about the new version of FlashNet, which includes a number of key features that significantly improve and simplify the archive process, as well as delivering new solutions that fit the requirements and budget of every media company,” explains Lee Sheppard, SGL’s Director of Product Management.
FLASHNET LITE FlashNet Lite comes in two configurations – FL Disk and FL Hybrid - providing customers with disk only content storage or a combination of disk and tape. The FlashNet Lite software runs on a single server node, and provides both the Infinity dashboard and key FlashNet tools including: integration with a wide range of partner solutions and storage devices; business storage rules; and partial file restore. “At SGL we aim to provide archive solutions to fit the size and budget of every media company worldwide,” explains Lee Sheppard, SGL’s Director of Product Management. “FlashNet is the most accessible content storage management system available to the video industry and by launching FlashNet Lite with Infinity, we’re providing a sophisticated entry-level archive that includes many of FlashNet’s important features at a price point suited to smaller facilities.”
FlashNet Infinity takes a novel approach to the management of archived assets. While FlashNet itself is optimised for enterpriselevel archiving, with the capability for automatic failover and for distributed processing of very high levels of activity, Infinity is designed for high-performance search, monitoring and analysis.
SHOTOKU BROADCAST SYSTEMS At IBC Shotoku showcased the TP-200VR pedestal and SX-300 VR head combination. Highly accurate pan, tilt, zoom, focus, X, Y and height data output keeps the VR graphics system Shotoku TP500 at max height
SHOTOKU BROADCAST SYSTEMS
FlashNet Infinity, which delivers a sophisticated toolset for archive and restore functionality, system health, monitoring, analysis and more, will also be demonstrated throughout the show. Available as a free upgrade to all SGL FlashNet users covered by a current support contract who are running FlashNet 6.6 or later, TMBI - 83
Shotoku Free-d2 Camera and Markers
precisely synchronized to the camera’s floor position, orientation and height. Features of the system include the lightweight twostage pneumatic TP-200 VR pedestal, the high-resolution and robust EFP SX-300VR head, fast and simple referencing using origin sheet on studio floor, unlimited X-Y tracking area, RS422 serial data output and industry standard data protocols. “With so many years serving the industry, Shotoku regularly offers the broadcast industry advanced design, development and support for our�high-performance VR tracking systems,” says James Eddershaw, managing director, Shotoku UK. “Because of our deep understanding of the unique TMBI - 84
demands of VR production, the TP-200/300VR system meets all its challenges with a tracking system that is precise, but also highly reliable, simple to use, and with full broadcast-quality operation at all times, in a lightweight, cost-effective package requiring no complex set-up or specialist operations. We are quite excited to officially be rolling out this solution to European broadcasters, as well as highlighting many of our other advanced solutions.”
Free-d2 Absolute Tracking System The Company’s Free-d2 represents a new generation of tracking systems that do not require physical encoder
devices attached to the camera support’s moving axes. The Free-d2 system, which is ideal for VR/AR news, sports and current affairs live studio productions, uses advanced video processing algorithms and simple ceiling markers to precisely determine the exact position and orientation of the studio camera, thus providing highly accurate and constantly referenced (absolute) position tracking. No concept of a home or reference point exists for Free-d2 — wherever the camera is positioned is immediately known. The tracking data never drifts regardless of the number of moves or hours of operation.
from unique angles, with up to 8x HD or 2x 4K.
Two new Sony technologies allow professionals to seamlessly incorporate high dynamic range (HDR) and high frame rate (HFR) content into a 4K live sports production workflow. The HDRC-4000 HDR production converter unit is designed for use in simultaneous live 4K HDR and HD SDR content production workflows, eliminating the need for independent workflows on the same event and saving a production time and money.
“Live sports productions need to easily and efficiently handle a variety of sources, from HD and 4K to HDR and HFR formats,” said Norbert Paquet, Strategic Marketing Manager, Sony Professional Solutions Europe. “These new technologies solve many of the challenges traditionally associated with live production, and add new and exciting story-telling tools and maximum production value.”
The HDC-P43 point of view (POV) camera uses the same imager and camera circuitry as Sony’s HDC-4300 and supports 4K HDR and HFR. Lightweight (2.0kg; camera body only) and compact (119 W x 140 H x 212 D mm), it can be mounted in positions where HD POV cameras are now used, such as a crane, rail, goalpost or a Steadicam, to capture great action shots
Based on Sony’s recommended S-Log3 and BT.2020 production workflow for 4K HDR live production, the unit is able to do real-time conversions to the appropriate delivery formats for various applications (broadcast, OTT, public
viewing), as well as formats for input (OETF/EOTF, color space, HDR/SDR and resolution), including conventional HD content production, and video signals apart from S-Log3 without compromising picture quality. Using a unique algorithm, the HDRC-4000’s AIR (Artistic Intent Render) Matching function ensures accurate format conversion of content produced in S-Log3 and BT.2020, to match the required distribution format delivering creators’ intention to audience as it is. Its compact 1.5U body can support two-channel conversion. “Sony introduces end-to-end workflow solution for 4K HDR Live Production from acquisition to distribution, as “SR Live for HDR”. It enables broadcasters and productions to enjoy outstanding HDR image production as well as conventional 4K SDR and HD
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hdcu4300 - 3Q
production”, continues Norbert Paquet. “A typical sports production work flow of “SR Live for HDR” is configured with a 4K/HD live camera system such as the HDC-4800, HDC-4300 or HDC-P43 with S-Log3, using a BVM-X300 for HDR monitoring. Now the addition of the HDRC-4000 ensures a perfect EOTF conversion that retains the original image quality intended by production.” The HDC-P43 POV camera has a three-chip, 2/3 inch 4K image sensor and can deliver 2x slow-motion at 4K, and 8x super-slow motion in HD in
conjunction with 4K live server. The new camera complements Sony’s current line of sports production technologies – the HDC-4300 or HDC-4800 4K/HD live camera systems and the PWS-4500 4K live server – to enable efficient networked data recording, sharing and distribution with matching colorimetry. Sony’s Share Play feature, incorporated into its newest sports production technologies, allows a single operator to control editing and output of slow-motion highlights with file-sharing capabilities over a single network (10G or
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faster), linking a Sony 4K live camera system with a video server. The HDC-P43 offers all the interface functions necessary for live production and studio shooting such as tally signal, return image, and teleprompter output and features a built-in fiber adaptor by connecting with BPU-4000, BPU-4500 baseband processor unit or HDCU-4300 camera control unit. Using single-mode fiber cable, the connection distance between camera head and baseband processor can be extended
by up to 5 kilometers. This increases efficiency when there is a significant distance between a stadium and OB truck, or when shooting overhead views of a playing field. The HDC-P43 is HDR and HFR ready, and supports the ITU-R BT.2020 color space and S-Log3 for high brightness and high contrast imagery. The HDC-P43 is also highly configurable using optional software licenses. Licenses are available for 4K and HFR capture, allowing for a customizable solution for HD, 4K, HDR, and HFR live productions.
STREAM CIRCLE “On all of my trips to the IBC since the early 90’s, I have always prepared a list of must-sees. This year, I
strongly recommend the revolutionary, Game Changer award-winning Stream Circle solution” says Martin Junek from Provys. Twenty years ago, the new digital production workflows triggered a transition from a precise synchronised analogue signal to a digital domain i.e. data and files. But the TV station’s output was still a real-time analogue signal in sync with the internal clock. On the delivery side, digital broadcasting was just around the corner, and only a question of time and the price of set-top-boxes. Later, about ten years ago, most countries stopped analogue broadcasting and
sold some bandwidth to telcos for better data services. Television has not been real-time since then and nobody really complains. Digital transmission allows more channels but it is still extremely expensive if it is not watched by many thousands of people. Broadcasters need to deliver more channels for less money but DVB has a limited bandwidth and is expensive. At the same time, IP delivery is becoming cheaper and allows the launch of specialised channels targeting smaller audience groups. At the same time, most people still want “to be entertained” and so require linear type programming. These are exactly the needs that Stream Circle fulfils: a cost effective TV type of entertainment production, extremely cheap for traditional broadcasters and quite affordable for TMBI - 87
newcomers as well. Bearing in mind that today’s digital transmission is no longer real-time, on account of the delay caused by effective encoding, we may well ask ourselves if the investment in complex equipment, in order to achieve a real-time digital signal prior to encoding, is really worth it. In broadcasting, this is not evolution; it is a revolution. Stream Circle claims that, in addition to linear programme scheduling and delivery through IP networks, it also facilitates complete automation workflows for playout, which include live video, full-featured graphics insertion, closed captioning, crawlers, multiple audio channels, etc., etc. All of this is a cloud based linear TV
service requiring no CAPEX. Technically, the streamed channels can reach their viewers in a number of ways: standard delivery through available CDNs such as Amazon, through a Smart TV application or an HbbTV (Hybrid Broadcast Broadband TV) application. As Josef Vasica, CEO of Stream Circle points out: “If we turn our attention to the workflows of the traditional broadcaster, we may assume that they run some standard traffic system, and real-time broadcast automation to support the operations for daily services. Certainly, they would prefer not to build a new master control for each internet TV channel. This is precisely the open door for Stream Circle to offer its
internet linear automation service purchased on a monthly basis to maximise cashflow efficiency. The only necessary step is to integrate the traffic system and the adsales platform with Stream Circle using its SOAP-based APIs to deliver the content metadata, schedules, adcampaign content and provide on-line reporting. If there is a need for integration with some affordable broadcast technology, Stream Circle have just announced compatibility with NDI (Network Device Interface) standard developed by NewTek Inc. NDI is naturally based on IP networking and can be easily implemented in cloud infrastructures such as Stream Circle.”
YELLOWTEC iXm Recording Microphone
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YELLOWTEC At this year’s IBC we had the chance to meet Andy Mikutta, Sales Director of Yellowtec and Kathrin Nimpsch who is Junior Marketing Manager. They gave us an overview of their products and their IBC highlights.
Let’s start with the basics: What kind of company is Yellowtec? Yellowtec is a German company that manufactures equipment for the broadcast industry. Our most famous product is the m!ka product line, which is a very unique and sleek mic and monitor mounting system. You have the choice between different sizes and colors. There are mic arms with or without On Air indicator. In order to put everything inside your studio into perspective, we also provide you with different kinds of monitor arms and lights. Combine various m!ka arms according to any of your individual needs and upgrade your personal setup. As an add-on, our new black m!ka version targets the growing number of broadcast studios using cameras to provide video streams. They often have issues because of the reflections of silver arms. Remaining in the background, the black m!ka version is less obtrusive.
What about the LED lights? This is our Litt Signaling Device. Just like m!ka, it’s a very customizable system. You can combine it with m!ka or use it independently. Each segment is a separate element you can combine any way you wish. The color Litt
segments come in 2 different sizes and 5 colors. Use our Lighthouse software to adjust the behavior of each element such as brightness or flashing. All the information is hosted inside each segment, which is a very nice feature. The system allows you to separate the segments in order to change the color scheme. Comparing Litt with other signaling devices, we focused on creating exceptional lighting features. We call it Clean Vision. It’s incomparable to any other existing systems in the market. You get increased brightness from larger distance, brilliant edge definition, brightness not perceived as unpleasant.
And the iXm Recording Microphone? iXm is a microphone especially designed to record interviews. The problem with interviews is that you never know what you will get, there’s no chance to change the settings. Usually a journalist doesn’t have the required technical background or the time needed to adjust proper settings. To solve this issue we’ve created a tech called LEA (Level Automation). It’s a very unique technology. In contrast to other recording devices you don’t get artifacts. No matter if it’s a big shout or a whisper, LEA allows recordings at constant TMBI - 89
audio level. This feature gives journalists the freedom to concentrate on their main task. Depending on the environment, you can choose between cardiod, omni and supercardiod mic heads.
And once recorded? We created an App called iXm Uplink to work with the audio files in an easy way. The idea is that you can read the memory of the mic, select and edit the file on your smartphone (iOS/Android) TMBI - 90
and then send it to your station using Dropbox, FTPserver or email.
What about the new PUC2? The PUC2 is a compact two channel USB powered HD audio interface coming in three versions: In addition to the standard model, the PUC2 Lite version omits the analog interfacing. Itâ&#x20AC;&#x2122;s no good idea to use internal sound cards because you must find an empty slotÂ´(if
there even is one), choose the correct drivers and do the same thing again and again. PUC2 provides professional XLR connectors. You just need to plug the USB and you are done - no drivers, no nothing. Our new PUC2 Mic LEA version accepts either mic or line inputs. It comes with a stereo headphone socket and a loudspeaker connection. We equipped it with our realtime LEA DSP engine, wellknown from the iXm digital
recording microphone, thus making it a class-leading audio interface. The LEA technology allows crystal clear recordings without timeconsuming post-processing by capturing perfect levels without clipping or artifacts.
production are definitely this year’s highlight. It is equipped with our all new G-Touch faders. What we did here is to redesign the whole idea of a mixing console - and what is the most important: the idea of a good interface.
What do you consider the highlight of your booth at this year’s IBC?
For on/off functions with the need for tactile feedback we’ve implemented sealed push buttons and a robust rotary control. In addition, a widescreen touch display offers instant access to all properties; just choose your
Our brand new Intellimix and its whole new kind of very sophisticated faders for newsrooms, video, post-
color scheme and select your preferred types of indicator. This console is small but it provides a feature set which you normally expect to be found in much bigger consoles: various dynamicfunctions (compressor, limiter, noise-gate, ducker etc.), a complex equalizer-section and much more. It’s very easy and intuitive to use; change settings with just a click. It´s a new kind of mixing: as easy as using your smartphone. TMBI - 91
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BRIGHT. VERY BRIGHT. Designed for environments where visibility with ambient light is decisive. Its laser illumination source offers us all the light we could ever need.
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Author: Luis PavĂa Keep calm. The light source is a laser that projects images through a DLP chip but it doesnâ&#x20AC;&#x2122;t mean that we are literally going to lithograph the walls or our screen even. However, one of the objectives Panasonic set when conceiving this product was being able to visualise clear and perfectly visible images, even if we are in a bright room with all the shutters open and the sun pouring in. TMBi - 94
Nowadays, we have a wide range of projectors conceived for home cinemas, and they are all designed to offer the most enjoyable viewing experience possible in controlled illumination environments, generally very low, the same as in movie theatres. But when our needs are different and what we need is a sharp and contrasted projection in environments with quite a bit of ambient light, like meeting
rooms, training centres, public open spaces, etc., we inevitably need to resort to other products. Here is where the star we are analysing in this laboratory shines brightly. A bright star thanks to its 5,200 lumen offered by its illumination source and that, of course, is also capable of offering an agreeable cinema experience for two very significant reasons: the
1920 x1200 pixels, according to the 16:10 format and the resolutions of many graphic cards and current computer screens. This provides us with a full HD image plus a small additional space so as to not superimpose controls or action buttons on the images, provided we work on a computer. As regards HD, the maximum frame frequency supported is 60p, more than sufficient.
ambient light sensor, capable of controlling the power according to the illumination of the hall; and its colour space, which can be configured in different modes, including REC709, which we shall dedicate some time to further down. The native resolution of the DLP (Digital Light Processing) chip is WUXGA, slightly above HD, offering
It provides us with a full HD image plus a small additional space so as to not superimpose controls or action buttons on the images, provided we work on a computer.
Regarding the image, we find a couple of aspects to highlight. Images are not only built with brightness and resolution. The single chip DLP image systems require a chromatic range that is critical when reproducing colour. In our case, it is a range consisting of 4 segments that offers a broad range of colours and enables, among other aspects, to offer a balance between the whites and improved reproduction of colour compared to other devices, despite them being based on the same technology. All this combined with the image processor permits configuring different colour spaces that offer different reproduction options, infrequent until now, in addition to an option to reduce noise that enables improving the images that could become degraded. In fact, we can configure different colour profiles, through which we will produce even brighter, more contrasted and saturated TMBi - 95
images, or with extended colour spaces, like the RC709 mentioned above (standard for cinema and wide spectrum video reproduction), and even the DICOM, which has the most specific requirements for the visualisation of medical images in Radio-diagnosis system. In all these situations, the ambient light sensor permits keeping optimum visualisation even when the ambient light changes during projection. The optics, another decisive element when building our images, is a mechanic zoom. Manual focus and zoom adjustments. Far from being an inconvenience, we see it as an advantage. If we think that a projector is a good candidate to be installed in places like classrooms or meeting rooms, it is easy that any well-meaning user will ride roughshod over these adjustments. The only precaution consists in installing the projector out of their reach, like on the ceiling, a somewhat frequent configuration in these types of circumstances. The optical alignment signal is also mechanic and permits centring the image on the screen once both elements have been set in place. This is carried out by a joystick located next to the lens. One of the facets of this projector is that it can work at any angle; and we mean any: both vertical and horizontal. TMBi - 96
Manual focus and zoom adjustments, but far from being an inconvenience, we see it as an advantage However, it does not mean that we can install it in a corner and project â&#x20AC;&#x153;sidewaysâ&#x20AC;?. But we can easily project on the floor or ceilings, which is ideal for advertising purposes in public spaces. The optical alignment we were talking about earlier has some reasonable margins, but not extremes and always keeping the parallelism between the
image chip and the screen. We also have geometry adjustments, accessed from the menu, which enable us to control: from the keystone or trapezoidal distortion, in vertical, horizontal and in each corner, and also the
curve cushion and barrel distortion, which are also adjusted vertically and horizontally independently. All these adjustments have somewhat wide margins, but they do have their limits. The menu, albeit long, is quite intuitive. It is operated, as with the rest of the functions on the projector, from the remote control and the large button panel incorporated on the side of the projector, next to the connections. This panel,
although not illuminated, is easy to use given its size, and very efficient thanks to its simplicity. The remote control also has buttons to select each input directly, without having to go through a sequence of inputs, which is a treat. We are not going to list all the options on the menu, of course, but just so you get an idea of how long it is, we shall only say that this matter occupies 70 pages of the manual.
With regards to the size of the image we can create, and thanks to its generous source of light, the manufacturer assures 300 inches with a projection distance of between 9.5 and 19 metres. We did our own measurements projecting at a distance of 5 metres from the rear side of the projector to the screen, and we obtained images of a minimum of 1.60x1.00 metres and maximum of 3.20x2.00 metres in the respective opposite ends of the zoom. It has from 75 to 150 inches measured diagonally, which
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The useful life of the lamp is expected to be 20,000 hours. Sounds good, doesnâ&#x20AC;&#x2122;t it? And if we translate that into 8 hours per day 5 days a week, it gives us a useful life of about 10 years! Even better! fits in quite well with the official information. In these circumstances, we were not able to perceive shortages of uniformity between the centre and the corners of the image. With a minimum focus distance, images somewhat below 40 tabulated inches in the technical information can be created. But it does not make much sense and less so in a piece of equipment of this size (approx. 50X50x17 cm) and potential. We do, however, need to highlight that due to the ventilation system, and despite us conducting measurements from the rear side of the projector, it must not be installed on a panel or wall from its rear side, because there is an airflow that requires some free space behind. Moreover, and if 300 inches is not enough, we have options such as Edge Blending and Colour Match, so that two projectors can be configured in parallel to TMBi - 98
create super panoramic images. The remote control software facilitates this configuration because it allows governing the projector from a computer. And not only that, one of its Ethernet ports can also act as an input signal. Once well located and adjusted, the transition between both images is imperceptible. There are different testing patterns that are really useful for this delicate task. Obviously, these patterns are also available to make the geometry adjustments even though they are being configured in individual installations. When talking about assistance, we have found a surprising and interesting screen function in the form of a wave, which offers the graphic representation of the global luminance levels, or through RGB channels independently, in order to ensure the image we are representing is inside the margins or enable making a
correct adjustment to the black and white levels to optimise the visual result. It presents by line, and it can move to obtain the result of any of the 1200 horizontal lines. Mind you, one by one. With respect to the connections, we have a great variety, according to oneâ&#x20AC;&#x2122;s intentions of it being useful in multiple environments and different uses. This is how we have a simple compound video entry, 2x VGA, 1x DVID, 2x HDMI and the already mentioned Ethernet with a Digital Link protocol. This protocol is an extension of the HDBaseT technology that permits transmission through the traditional twisted pair cabling for video, audio, Ethernet and serial data.
We obviously have the corresponding audio inputs for the projector itself to make the commutation and we can direct each audio to the installed amplifier when we change inputs without any further intervention on our part. Another complement is the second VGA port acting as an input or alternatively, as an output to bypass the first VGA input. When we have more than one input connected, the device offers the PiP (Picture in Picture) functionality. Another interesting and decisive feature when assessing maintenance costs is that the life of the lamp is expected to offer 20,000 hours of use. Sounds good, doesn’t it? But if we translate that into 8 hours per day 5
days a week, it gives us a useful life of about 10 years! Even better! If we also consider that the entire optics set is sealed to minimise the entrance of dust, we can expect these 10 years to be free from these problems. What’s more, this sealing enables a more efficient and quieter ventilation, being classified as 29 dB. This piece of equipment is designed to offer a wide range of possibilities of use, with the only limitation of its portability, size and weight. As regards to everything else, it is suitable for virtually anything. For example, with corporate clients in mind, we can load a logo for it to be the image that appears when the projector is switched on. Or the blending function,
which enables turning the image on and off in a soft and gradual way to facilitate the presentation/speaker transitions in spaces where there is some sort of scenography. Or the use in environments where there is no control over ambient light, such as meeting rooms or classrooms in training centres. Or the ECO mode, that reduces the maximum power of the lamp to lengthen its useful life, with virtually all kinds of users in mind. It will perform exceedingly in all applications where a good colour reproduction is important, and it stands out in those where adding large doses of illumination is decisive. As we were saying earlier… a very bright piece of equipment.
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