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Editor Javier de Martín editor@tmbroadcast.com

Summary

Editor in chief Jesús Carrillo director@tmbroadcast.com Key account manager Cristina Feduchi international@tmbroadcast.com

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Editorial

Creative Direction Mercedes González design@tmbroadcast.com Editorial staff press@tmbroadcast.com Administration Laura de Diego Marga Quevedo administration@tmbroadcast.com

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Post production suites for EVERYTHING

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Looking for Channel In a Box? Check these ones!

TM Broadcast International #39 November 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

NDI Version 2 Interview with Will Waters

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The NRK fiber ring project

Test Zone Published in Spain

Eizo Monitor ColorEdge CG318-4K

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Editorial

Dear readers, We have based this edition on three topics that will shape the future of production and dissemination of audio-visual content: IP, Colour correction/finalisation and Channel-in-aBox systems. The IP is a revolution that has changed how we work; applying IT architecture to broadcast environments is one of the largest revolutions of the entire history of this market. This is why we wanted to speak to one of the brands that is most committed to an open and collaborative IP, such as NewTek. In our opinion, there is no turning back in this respect, although it is true that IP and SDI will share space for at least 5 years to come. We have also been in Norway, where NRK has installed a fibre optics ring in Oslo to enable working with their mobile units. On the other hand, the current spectator demands a lot of high quality video content. This renders the borderline between television and cinema so fine, as far as production and work flows are concerned. This is precisely why colour correction or finishing systems are so important, and in this edition of TM Broadcast, we have brought you the best of the best. Those that adapt best to all environments. To finish, we all know that linear play outs will continue existing and that they must be increasingly affordable and customisable. In this respect, there are more and more options on the market and several companies are in the race to offer the best product possible. The fact is, there is still a path to be taken in our market for Channel-in-a-Box systems. We sincerely hope you enjoy reading this edition of TM Broadcast.

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HD PROTEK ACCELERATES AUDIO WORKFLOW IN OB VAN WITH UPGRADE TO CALREC AUDIO'S SUMMA CONSOLE Turkish OB company HD Protek has installed a Calrec Summa audio console as part of an upgrade to its HDP 04 outside broadcast (OB) unit. The installation marks the first Summa in the Turkish OB market. "We have a busy and dynamic production schedule, and the Summa saves our sound engineer a lot of time and effort," said Yucel Ozacar, general manager of HD Protek. "The Summa is flexible, reliable, and easy to operate, and its powerful features streamline the audio workflow�. "Knowing that we can easily track the signal and that the console will work without question is a big comfort to us. Also, the Summa adds a powerful new audio-mixing option to our fleet, so we can handle more complex shows more easily�. "The Summa makes it

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possible to configure the meters to whatever we want; we can put every track output, aux output, main, or loudness meter on the screens, in any layout, in order to follow the signal visually as it flows through the system."

flexibility of the Hydra2 matrix system and the simplicity of operation make it easy for the sound engineer to reconfigure the console from one show to another, which happens daily with HD Protek's full schedule and variety of events.

HDP 04 was upgraded by systems integrator Teratek, and its first live broadcast was "The Voice Turkey." Especially useful to HD Protek is not having to identify I/O boxes before patching a signal on an empty fader. Using port lists, it is possible to group I/O ports logically, a feature that accelerates the workflow. The

"We have enjoyed a productive relationship with HD Protek and are pleased that they are the first OB operator in Turkey to use a Summa," said Anthony Harrison, international sales manager, Calrec Audio. "The Summa is a broadcast-grade console that is well-suited to the space, weight, and power limitations of an OB van."


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STREAM CIRCLE – BEST OF SHOW WINNER AT IBC “This year, I strongly recommended all my contacts not to miss the revolutionary Stream Circle solution” says Martin Junek from Provys, “and I was proved right because Stream Circle was amongst the winners of the Best of Show Award at this year’s IBC”. So what is Stream Circle all about? 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. The reason for this is a few second delay introduced into the transmission by encoders and multiplexers. And the World still keeps turning. Digital transmission

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makes more channels available to the viewers but it is still expensive if it is not watched by many thousands of people. Nowadays, broadcasters need to deliver more channels for less money but DVB has a limited bandwidth and is costly. At the same time, IP delivery is becoming cheaper and allows the launch of specialised channels targeting smaller audience groups. Additionally, 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 newcomers as well. Bearing in mind that today’s digital transmission is no longer real-time, on account of the delay, as described above, 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 or IBM’s cloud services, 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 step that may be required is to integrate the traffic system and the ad-sales platform with Stream Circle using its SOAP-based APIs to deliver the content metadata, schedules, ad-campaign content and provide on-line reporting. If there is a need for integration with some affordable broadcast technology, Stream Circle have recently announced compatibility with the 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.” Returning now to our review of the IBC, many visitors were intrigued by the revolutionary technology and massive future potential offered to the whole media industry by the Stream Circle solution at this year’s show.


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FIRST NATCHEZ RADIO GROUP DEPLOYED ENCO DAD TO ENHANCE ITS WORKFLOWS “The reliability of the new system was our first and foremost consideration, but we also wanted something that offered easy remote access and better voice tracking capabilities,” said Josh Wells, technical operations manager for First Natchez Radio Group. “And of course, we wanted it all without breaking the bank. ENCO DAD met all of our criteria, giving us the robustness and featurerichness we need while coming in less expensive than its closest competitors.” That affordability was further amplified by the DAD platform’s flexible ability to run multiple stations on a single machine. Wells chose to spread the group’s five stations across three on-air systems as the best balance of cost-effectiveness, concurrent live program control and redundancy for their needs. “ENCO DAD has proven much easier to use than our previous system,” said Wells. “SS32 required roundabout methods for many things we did, so the hardest part of learning DAD was simply ‘unlearning’ our old habits of doing things the hard way. Using the powerful DAD Command Language, we set it up so we can push a single hot button to execute 10 commands, from enabling or disabling mixing boards to TMBi - 10

merging playlists with logs from our traffic and billing system. This saves us a lot of time and effort, and we don’t need specialized users to perform these tasks.” First Natchez Radio Group also takes advantage of many advanced DAD tools like the DAD Dropbox utility. “I love it, and our DJs love it,” he raved. “When we want to bring songs, imagery or even full shows into the system, we can just drag and drop the files into a folder, and DAD automatically ingests them and inserts them into the library.” ENCO’s remote voice tracking applications earned similar praise. “We augment our local radio personalities with additional talent in Nebraska and Texas, and one of our local DJs is moving to another city, but we want to keep her on the air,” he explained. “ENCO’s fantastic voice tracking tools let us do that. The DAD system automatically sends

playlist sections and clips of the songs’ outros and intros to the remote jock, who then uses the DAD Remote Tracking Client to record the voice track and send it back for automatic integration into our playlist. It couldn’t be easier.” The iDAD application is used there too. “Using the iDAD app, we can send remote commands to the system from our mobile devices through an easy interface, wherever we are,” he said. “iDAD also enables us to have multiple live users on a single system at the same time. While our stations are deployed across three separate computers, we often air four high school football games simultaneously. One live board operator can be in front of the machine using DAD with a mouse, while another operator triggers hot buttons and watches countdowns in a separate DAD array panel through an iPad.”


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NCAM EMMY AWARD FOR OUTSTANDING ACHIEVEMENT IN ENGINEERING DEVELOPMENT Ncam’s real-time camera tracking technology for augmented reality is recognised for enhancing the viewer experience Relied upon by leading broadcasters, including CNN, ESPN, Fox Sports, MLB, NFL, The Weather Channel and BT Sports, Ncam is able to integrate live action and computer-generated elements in the studio or on location more convincingly than ever before in order to provide a more immersive experience for television viewers. “It’s a tremendous feeling to be put forward for such an accolade – we’ve come a long way since we began delivering commercial applications in 2012,” said Nic Hatch, CEO, Ncam. “The fact that our technology is trusted by so many organisations to enhance critical live broadcasting of sports, news, weather and major events, speaks volumes - I couldn’t be prouder of our brilliant team who endeavour to make our business and the work of our clients such a great success”. Presented for engineering developments so significant an improvement on existing methods or so innovative in nature, that they materially affect the transmission, recording or reception of TMBi - 12

Nic Hatch, CEO Ncam

television, the Engineering Emmys are overseen by the Television Academy’s Engineering Emmy Awards Committee, currently chaired by Wendy Aylsworth, Senior Vice President of Technology for Warner Bros. Award recipients are selected by a jury of television engineers. “In order to integrate live action and computer-

generated elements convincingly, the graphics have to stay precisely in place: any movement against the real elements instantly breaks the illusion,” Hatch explains. Ncam’s unique approach to camera tracking technology allows for the real-time integration of live action and computer generated


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integrate augmented reality graphics into their broadcast shows. Ncam technology is routinely used by Fox Sports for Monday Night Football. Zac Fields of Fox Sports said “AR is a very effective way to enhance your broadcast. The realism will only get better, and this is where I think we will see it move to the next level in the future.”

Ncam camera tracking and Augmented Reality graphics technology

elements. The positional tracking system utilizes a pair of high speed witness cameras, along with a number of mechanical sensors to create a 3D image of the environment. The Ncam system instantly identifies a large number of points of high contrast in the scene, and from this builds a 3D map of the environment using a mathematical model. As the camera moves, its position can be tracked, never losing its absolutely precise reference. TMBi - 14

This precise positional data is fed to a real-time graphics engine with virtually no latency. There is no need to incorporate physical markers into the studio, the set, or outdoor space and there is no time lost in set-up or when moving from one area to another. The Ncam system works with any kind of camera, including handheld, steadicam, cranes and dollies. This allows productions to convincingly

At The Weather Channel, Ncam enables the use of AR graphics to explain weather phenomena. “We’re bringing the outside into the studio,” said Jeremy Jones, director of television products at The Weather Channel. “If we want to explain a tornado, for example, we’ll have an actual tornado come to life in the studio. The presenter will walk around and explain the dynamics of a tornado.” In London, BT Sport covers the UEFA Champions’ League football competition and many other premium sports. It makes extensive use of AR in its studio to explain gameplays and even take its audience on a virtual journey across Europe to the stadium. The AR graphics are closely interwoven with real objects and screens in the studio, and can be seen by three cameras on different mounts.


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AVID NEXIS IN HIGH DEMAND FROM CUSTOMERS GLOBALLY Since its introduction at NAB 2016, substantial numbers of production and post-production facilities have implemented Avid NEXIS. Stop-motion animation studio LAIKA has invested in Avid NEXIS | E4 for its current and future animated feature films. “At LAIKA, we have an uptime environment—meaning we cannot have downtime—with editorial at the heart of production and multiple projects running at the same time,” said Trevor Cable, Lead Media Engineer and Editorial Manager at LAIKA. “Avid NEXIS provides us with great media management, unrivaled reliability, and high bandwidth at a competitive price. It was very easy to deploy and it’s simple to create users, groups and workspaces. I have complete TMBi - 16

confidence in Avid NEXIS | E4 and plan on purchasing another for failover redundancy.” “With all of our Avid-centric workflows at Gorilla, Avid NEXIS was an easy choice,” said Barry Reid, Managing Director and Owner at Gorilla Post Production. “Our decision was based on the continued reliability we’ve always experienced with Avid products. The bandwidth is so fast that any edit suite in the facility—be it offline, grade, mix or finishing suite— can access the large dailies/transcodes from our ingest station with minimal downtime. It’s hugely beneficial.”

Using Avid NEXIS for an OB production, Video Europe deployed Avid NEXIS | E4 at UK music festival, Latitude. “We required a reliable shared storage environment to handle the demands of a fast-turnaround, multi-camera live production,” said Ollie Stratton, Engineer at Video Europe. “Working with mixed formats meant the workflow needed to be resilient to handle whatever was thrown at it. The combination of Media Composer® and the Avid NEXIS storage environment was a perfect match for this on-site deployment.”


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WTS BROADCAST NEW IKEGAMI PARTNER Ikegami announce that it has forged a formal agreement with broadcast supplier and systems integrator, WTS Broadcast, to add Ikegami equipment to WTS’ sales portfolio. WTS’s customers can now benefit from Ikegami’s full product portfolio of unrivaled system cameras and monitors. Dave Cheesman, Sales Manager, WTS Broadcast, said, “We’ve worked with Ikegami on an ad hoc basis for a while now, and I am extremely excited to put a formal agreement in to

place. This agreement enables us to make our customers fully aware of Ikegami’s impressive full product portfolio whilst also bolstering our position in the market.” Kris Hill, General Manager UK, Ikegami, said, “WTS Broadcast has been in the

broadcast industry for over 20 years, and is perfectly placed to maximise Ikegami’s presence throughout EMEA. The team’s expertise and reach within the industry means that their customers will have access to the innovative, quality and robust solutions that Ikegami has to offer.”


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DALET SELECTED BY EURONEWS FOR MULTILINGUAL NEWS OUTLET Dalet announced that has signed a contract with Euronews to facilitate production and playout of its linear and non-linear products, to operate as one channel that broadcasts in 13 languages. The installation will support 200 simultaneous users and feature all three Dalet technology platforms. “Today, we have various components that are ‘glued’ together using our own internal tools. It is not efficient in terms of dealing with the various languages, supporting special productions and tracking important asset metadata. It TMBi - 18

also does not support the transformation of our workflows,” comments François Schmitt, COO, Euronews. “Dalet is providing an agile, cohesive system that bends with the ebb and flow of our newsroom needs. The unified platform provides centralized access to content, which is critical for each language to cross leverage

for their own news purpose. Equally as important, the flow of content will be seamless and ubiquitous from acquisition to distribution to archive, making the Euronews operations much more efficient.” Once deployed, the unified production will offer federated tools standardizing ingest, logging editing, graphics,


planning and distribution across all Euronews' products, with the Dalet Workflow Engine to automate and orchestrate complex workflows and data migrations. Dalet APIs will integrate the wide-range of in-house tools including the custom-built CMS. The flexible architecture combined with centralized content repository will allow Euronews to better manage the multi-site workflows planned for four different offices. Schmitt adds, “Not only did we need better integration across our facility, we needed a way to connect our independent journalists out in the field to what was happening in the newsroom. Dalet WebSpace brings them into our news operations, offering all the necessary tools and access to the central repository and archives to build their own story from anywhere in the world.�


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RIEDEL PRODUCTS AT 2016 NAB SHOW NEW YORK MediorNet MicroN as a Decentralized Router MicroN is an 80G media distribution network device for Riedel's MediorNet line of real-time media transport and management solutions. At 2016 NAB Show New York, Riedel will demonstrate how interconnected MicroN units can be deployed to create a decentralized routing system that distributes signal load, takes advantage of flexible node placement, and eliminates any single point of failure to create a viable alternative to traditional, monolithic routers. With on-board signal processing capabilities including frame synchronization, embedding/de-embedding, and delays, a MicroN-based solution can handle SDI signals in a very powerful, tremendously versatile, and highly scalable routing solution.

RSP-2318 SmartPanel With Control App The RSP-2318 SmartPanel offers features and TMBi - 20

capabilities that will enrich user experience and change the way broadcasters and A/V professionals communicate. As the world's first control panel designed to serve as a powerful multifunctional user interface, SmartPanel boasts a unique feature set that includes three high-resolution, sunlightreadable, multitouch color displays; premium-quality audio; a multilingual character set; and 18 keys in

just 1 RU. It offers AES67 and AVB connectivity as standard and AES3 over cat or coax cable as an option. 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 effectively consolidate two panels into one that provides full intercom and control


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functionality. With the Intercom and MediorNet Control Apps running in parallel, the SmartPanel serves as a robust and highly cost-effective A/V control system. As Riedel continues to develop apps for the SmartPanel, users will gain increasing capabilities that help to optimize signal

transport and production workflows.

ESP-2324 Expansion SmartPanel The Expansion SmartPanel (ESP-2324) connects directly to Riedel's award-winning RSP-2318 SmartPanel, instantly giving users an additional 24 keys and four

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high-resolution multitouch color displays. Because as many as four Expansion SmartPanels can be supported by Riedel's RSP2318 Intercom app, users have the ability to extend their SmartPanel configurations to include up to 19 displays and 114 keys in 5 RU.


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QLIGENT ADVANCES OTT AND OTA SIGNAL MONITORING AND ANALYSIS IN THE CLOUD Qligent comes to NAB Show New York next month with a strategy to help overthe-air (OTA) broadcasters extend its monitoring footprint to the challenging OTT universe, while enhancing the possibilities of OTA data aggregation and monitoring. Vision’s cloud-based architecture eliminates the need for expensive and proprietary hardware, and instead allows broadcasters to deploy virtual servers and probes at any location to collect data associated with signal quality and performance. This is especially valuable for TMBi - 22

broadcasters that have limited resources, yet need an efficient means of monitoring and analyzing performance across the vast landscape of globally dispersed OTT systems.

OTT Monitoring Using Vision’s highly scalable architecture, a broadcaster locally monitoring OTA signals for quality of service (QoS) and quality of experience (QoE) can quickly and remotely scale their Vision footprint to monitor new locations. Qligent’s SaaS business model keeps costs low as new Qligent Vision Probes

are deployed to analyze IPbased streams worldwide. All data collected from remote sites are presented on a centralized Vision dashboard at master control. “While local TV stations and broadcast networks certainly have Repack and ATSC 3.0 on the mind, we are receiving a quickly-escalating number of inquiries around monitoring OTT streams,” said Ted Korte, COO, Qligent. “Broadcasters are looking to understand and tame their OTT delivery before tackling their upcoming over-the-air challenges. At NAB Show New York, we intend to show


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how broadcasters can use Vision to support geographically dispersed monitoring needs, with deeper insights into trends and impact analysis associated with how signal performance affects viewership. Since Qligent’s Virtual Probes are very lowcost, we can help broadcasters cover this complex, high-density signal terrain down to the last mile.”

ATSC 3.0 Physical Layer Monitoring At its core, Vision provides insight into five distinct signal layers: physical and transport

layers associated with QoS at the broadcast studio and RF plant; video and audio layers associated with QoE at consumer locations; and a data layer that comprises activity connected to EPG, SCTE35/104 triggers, captions and subtitles. At NAB Show New York, Qligent will show how Avateq’s physical layer monitoring hardware, typically used to monitor detailed RF performance at transmitter sites, can cleanly integrate with Vision to greatly enhance the data aggregation possibilities of

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monitoring OTA systems from the studio to the transmitter; and onward through to the delivery point. The Qligent and Avateq joint demonstration will focus on integration between Qligent’s Vision platform and Avateq’s AVQ1022, its latest RF layer monitoring receiver and signal analyzer built specifically to address ATSC 3.0 and other global DTV standards, including DVB-T, DVB-T2 and ISDB-Tb. NAB Show New York takes place November 9-10 at the Javits Convention Center in New York City.


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PIXEL POWER DEMONSTRATES ADVANCED PLAYOUT AUTOMATION CAPABILITIES AT NAB NEW YORK

Pixel Power is focusing on practical applications of its graphics and automation technology at NAB New York, Javits Center. The new approach which Pixel Power delivers is currently being implemented at leading broadcasters worldwide, including major US sports channels. The automation products will be TMBi - 24

demonstrated alongside the well proven graphics and branding systems. Major broadcasters are now looking to Pixel Power StreamMasterTM, the new virtualized playout platform. This software-defined infrastructure is applicable to every playout application from premium services to pop-up channels and trials.

As well as incorporating Pixel Power’s GalliumAutomationTM, StreamMaster includes comprehensive and uncompromised graphics facilities, including realtime DVE and full 3D graphics all of which can be implemented today virtualized within your own premises, in a datacenter or in the cloud.


Pixel Power uses Amazon Web Services cloud to demonstrate the power of live mixing & graphics directly from the cloud. Also embedded in the software package is PromoteTM, which automates the creation and delivery of dynamic branding either within a single channel by automating all graphics & branding elements or across multiple channels. The power of Promote enables broadcasters to quickly make simple or complex changes throughout a network quickly and efficiently. Promote reads data from the traffic system and realtime schedule to automatically populate graphics templates for promos and menus. These graphics are then rendered in real time with unrivalled image quality, along with associated audio. This is a business transformation in delivery: no longer do broadcasters have to create and plan every single event, involving complex work from multiple users. Now a single schedule dynamically controls not only content playout but also all the branding and promotion on the channel, and all the secondary events such as squeezebacks and coming next slugs. “The move to a software-defined architecture gives every broadcaster the opportunity to take a fresh look at how they do things and to see where operational efficiencies can be achieved,” said Mike O’Connell, Exec VP, Pixel Power Inc. “Where our rivals are taking the standard approach to playout and moving it to software, we are taking market-leading software applications and bringing them together to make a better way of working.” “Major broadcasters are rapidly seeing the benefits and cost-efficiencies of our unique approach,” O’Connell added. “We are looking forward to taking the time for detailed discussions with clients at NAB in New York.”


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MULTIDYNE BREAKS GROUND IN MODULAR, HIGH-DENSITY FIBER TRANSPORT AT NAB SHOW NEW YORK MultiDyne’s intensive engineering efforts laid the foundation for the OG-3600 Series. The intelligent module design fits more circuits and information onto the module, and allows for quick population and assembly of all componentry to support all applications requested by the customer. For example, five of the eight modules support up to eight audio channels alongside other applications that can also include digital (4K, 3Gb/s, HD-SDI) and composite video, genlock, timecode, GPIO, tally, serial data and/or Ethernet depending on the model. The OG-3605 model is specifically geared toward audio, reference and data needs, giving broadcasters a TMBi - 26

more affordable option for fiber transport needs that lack video requirements. “The OG-3600 gives new flexibility on a singular platform not only for our customers, but for our manufacturing team,” said Frank Jachetta, CEO, MultiDyne. “We also wanted to create a system that could co-exist with our other fiber products. For example, we can now architect a system that may use the OG-3600 Series at the main location and a throwdown, like our BullDog system, in the field. This is especially useful on a mobile production truck, where the OG-3600 provides power redundancy along with remote monitoring and SNMP

management via the openGear Dashboard.” The engineering innovations also extend to 4K compatibility, with quad-link connections to enable passage of 4K signals into the broadcast and production infrastructure. Jachetta adds that 4K compatibility will further evolve as quad-link connections transition to IP and single-wire 4K transport, and expects to further expand MultiDyne’s openGear range with non-fiber cards that cross into other terminal gear applications. “A great deal of research and development was put into the configurations and functionalities of this series, along with a detailed testing


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process to confirm operability of each design and specification,” said Charlie Lamberti, COO, MultiDyne. “We believe we have broken the paradigm for signal density and diversity on a single module, with tremendous flexibility to configure for each order.”

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INTERRA SYSTEMS At the 2016 NAB Show New York, Interra Systems will demonstrate its comprehensive range of QC/monitoring solutions, which offers full HEVC and 4K support to ensure that operators are well-equipped to address the rising consumer demand for highres video.

HEVC, HDR, and 4K Support Interra Systems will provide live demos of its quality control and monitoring solutions at the 2016 NAB Show New York, showing attendees how they can check and assure the integrity of 4K UHD, HEVC, HDR, DPX, and IMF content. The R&D team at Interra Systems has crafted its products in a way that enables broadcasters to go beyond delivering more pixels, enabling them to support increased intensity, color, and bit depths per the ITU-R BT.2020 specification. By optimizing this process, Interra Systems' solutions allow better detection of video quality artifacts and other errors in high-resolution content.

BATON® With New Audio Language Detection Features Interra Systems will showcase BATON® 7.0, the latest version of its industryleading quality control (QC) solution for file-based SD, TMBi - 28

HD, and cloud-based workflows. BATON 7.0 expands upon the system's pre-existing support for language verification of subtitles and closed-caption files with new multi-language checks of audio tracks. The system currently offers auto detection support for a variety of languages, including English, Spanish, German, French, and Dutch. Detection of Arabic, Italian, Portuguese, and Swedish will be available later in 2016. Using BATON, operators can automatically match the language in each audio track with associated metadata as well as simultaneously check multiple audio tracks in each media asset. In addition, broadcasters and postproduction houses can use BATON 7.0 to accurately measure and correct audio program loudness and truepeak audio levels in accordance with the International Telecommunication Union's Recommendation ITU-R BS.1770-3, a global standard for objective loudness measurement.

ORION™-OTT — ABR Monitoring System Interra Systems' ORION™OTT system will be on display at the 2016 NAB Show New York. One of the industry's first software-based over-the-top (OTT) solutions for real-time monitoring of adaptive bitrate content for multiscreen service delivery. ORION-OTT leverages industry-proven audio/video quality analysis technologies to enable seamless monitoring of online video delivery for quality and compliance purposes.

VEGA™ Media Analyzers Interra Systems will demonstrate its VEGA™ media analysis platform for standards compliance, debug, and interoperability of encoded streams at the 2016 NAB Show New York. Recent updates to the VEGA family include support for Windows® 10, the latest HEVC HM reference code, HEVC interlaced streams, VP9 streams (4:2:2, 4:4:4), PCAP streams, Dolby® AC-4 audio, and AVS Plus video.


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DNF RETURNS TO NAB SHOW NY WITH A NEW CONTROL PANEL FOR LIVE PRODUCTION EASY-TO-OPERATE 2-CHANNEL ON-AIR CONTROLLER JOINS DNF’S WIDE RANGE OF SIMPLE-TOSOPHISTICATED CONFIGURATIONS DNF Controls announced its return to NAB Show® New York. The company will show an array of control solutions, including the new MRP200SE, a 2-channel panel especially developed for live, on-air applications. Produced by the NAB, the re-named event (formerly CCW) attracts more than 6,800 professionals to inspect and evaluate the latest in media, entertainment and telecom technologies offered by 300+ exhibitors. DNF solutions will be on-display in Booth 1442 at the Javits Convention Center, November 9-10.

“We’re always delighted to return to New York, home to many of our broadcast customers,” says Fred Scott, Vice President, Sales & Business Development. “This year our MRP-200SE panel makes its official New York debut; we couldn’t be happier to show it to an audience of so many ‘live’ production professionals.” DNF’s MRP-200SE is a 2Channel control panel developed in response to customer requests for a fast and foolproof solution for getting video clips on-air during news and live production. The MRP is fully

compatible with all major video server and DDR manufacturers. The Company will also highlight its best-of-breed Tally Control System with programmer-free browserbased configuration; Tally Manager, a quick and simple way to monitor, manage and troubleshoot system configurations; and DNF’s powerful, budget-friendly SPS-4200 system for automating recording and playout.

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ELEMENTS The world of media workflows is changing – so should media storage How to put media storage to work Stating the obvious: For modern post-production and broadcast facilities, working in a heterogeneous environment with multiple workstations on various platforms collaborating on numerous projects simultaneously, it is advisable to deploy a central storage for all media assets. Providing the workstations with concurrent access to the media files will noticeably help to enhance collaboration. With compelling logic, deploying a centralized media storage is a safe investment, as everyone involved in the post-production process will quickly appreciate the benefits of having all assets in one spot with easy access from every workstation within the facility. But have you ever done the math on the ROI? Do you actually gain everything you can from the investment? Or could there be more? What if your media storage was more than just storage for media? A lot of media storage solutions are made of fast and powerful high-end hardware. Presuming an appropriate degree of TMBi - 30

Elements Cube

diligence in the purchase process, the system may have some sort of user interface for monitoring the IT network and maintaining the media storage system. But at the end of the day, it is most likely used as gigantic data vaults for media assets. German software and hardware developer ELEMENTS, provider of highperformance media storage, has taken a different approach: making the media storage a dynamic component of the human workforce. ELEMENTS’ technology leverages the power of the storage

hardware for a lot more than just storing the media assets. With the input of numerous editors, directors and IT professionals around the globe, ELEMENTS developed a unique software package which is embedded in the media storage system. ELEMENTS media storage becomes part of the team and actively contributes capacities to every step in the production and postproduction process. Everything takes place right were the assets live – highly secure and perfectly streamlined on the media storage.


NOV

PA N S H O T

From workflow automation to media asset management Besides professional tools for every issue concerning the media storage itself, ELEMENTS embedded software package includes a highly intuitive workflow manager to automate processes – visually by drag and drop and with virtually no IT skills required. Generating Proxy-files, for instance, can easily be set up as an automatic task as soon as new media assets are written onto the storage disks. It is even possible to stitch those Proxies together with ELEMENTS embedded Media Library, accessible from anywhere at any time through a web-based HTML5 interface. The lean, yet sophisticated media asset management tool also comprises the Rough-Cut

Editor, a well-designed editing tool, providing the full scope of editing functions that work identical to common modern editing applications. By allowing users to conduct a quick rough-cut on set, at the airport or even at home and with a real simple and intuitive tool that anyone can operate, ELEMENTS highend solutions provide ultimate flexibility and versatility. And by being fully transparent to and compatible with virtually all non-linear editing applications, rough-cut projects created in ELEMENTS’ Media Library can easily be transferred to virtually every professional editing software. Collaboration with applications such as Adobe Premiere, Apple Final Cut Pro, Avid Media Composer is of utmost simplicity, including the EDL, exported as an OPAtom/MXF file.

2016

Ready for consolidating all workstations – even Avid Media Composer Without emulations or timeconsuming workarounds, ELEMENTS makes it possible to share media files natively across all platforms and applications, even embracing Avid, even with full support for Avid Bin-locking and Avid Project Sharing. With this unique approach, ELEMENTS eliminates the necessity to maintain two file systems in the network, allowing for enormous the time-savings both during post-production and in terms of maintenance. ELEMENTS Human-centered media storage will be presented and demonstrated at NAB NY 2016 at stand 1460.

Elements NAS

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NOV

NAB NEW YORK

2016

ARTEL VIDEO SYSTEMS AT 2016 NAB SHOW NEW YORK At the 2016 NAB Show New York, Artel Video Systems will showcase a comprehensive range of media transport solutions including the new InfinityLink broadcast media transport solution, and will feature the latest capabilities in its flagship DigiLink media transport platform and FiberLinkÂŽ fiber-optic transmission product lines.

InfinityLink Broadcast Media Transport Solution Artel's new fully integrated InfinityLink broadcast media transport solution will make its debut featuring the IL6000 1RU four-slot chassis with active routing and SNMP management system. The InfinityLink platform provides transport of video, audio, and data over IP- and fiber-based networks for 3G/HD/SD-SDI, DVB-ASI, and Ethernet and is ideal for broadcast, sports and education, government, and house of worship applications.

Dual-Port L-Band Demodulator and Satellite Scanner (DLC510) Artel will showcase its award-winning Dual-Port Lband Demodulator and Satellite Scanner, which adds new fully automatic L-Band satellite-scanning functionality to the company's media transport solutions. Also, the DLC510 supports Carrier ID monitoring per ETSI TS 103 129. Using Artel's flexible HTTP- and TMBi - 32

Artel FiberLink 3514 Series

SNMPv2-based element management systems, the DLC510 provides essential RF information, modulation data, and other key metrics used in daily operations in an easy-to-read list. Operators can then select a specific satellite transponder and send the demodulated signal to the ASI output for transport by other InfinityLink or DigiLink modules, or by FiberLinkÂŽ products over IP and fiber networks.

IP-Based Solutions Reliable IP transport of live, broadcast-quality media is now a reality, and Artel offers standards-based solutions designed specifically to

address customers' growing requirements as they migrate from direct fiber to IP networks. Supporting autosensing of broadcast-quality HD-SDI, SD-SDI, and ASI video formats, Artel's IPbased solutions utilize SMPTE 2022-1/2/5/6 IP encapsulation and optional forward error correction (FEC) algorithms for flexible configurations that maximize reliable performance and minimize latency. A 1 GigE IP interface allows end users to bridge IP data for greater bandwidth utilization of the 10G Ethernet interface. Artel offers IP-based solutions in its InfinityLink and DigiLink platforms.


NOV

NAB NEW YORK

2016

THE LATEST SOFTWARE DEVELOPMENTS AND NEW PRODUCTS OF VSN TRAVEL TO NAB SHOW NEW YORK 2016 VSN will attend NAB Show New York 2016 on the 9th and 10th of November to culminate its round of trade shows and promotional events throughout the American continent for this year. In this particular case, VSN’s professional team will bring to New York all the latest software developments included in its range of solutions for Broadcast and Media that have been officially presented during the last months, on the occasion of some other major events like IBC international trade show in Amsterdam.

Thesaurus online, in order to foster cataloguing and the use of Metadata. Moreover, the latest software developments based on HTML5 for VSNEXPLORER’s interface are expected to gather also the attention of all the attendees to the event. Among these, especially interesting is the new Dash Player based on HTML5 that is currently in its last development phase and that will allow to broadcast high quality content where and how users want, regardless of the device, bandwidth, files and browser selected.

Among others, the company will present its recently launched product VSNQC for Quality Control that complements even more all its range of solutions for covering the whole media lifecycle. This new software allows users to carry on an exhaustive control of its content, as well as detect error in each phase of the media cycle. The new tool has been launched to boost VSN’s End-to-End solution even more, from ingest to Broadcast and content storing, and what is more, at a very affordable price for all types of companies.

Finally, another prominent development that will be shown is the improved integration between VSNEXPLORER and Microsoft Azure Media Services Cloud platform. Its new and improved functionalities for cataloguing and media organization, such as speech-to-text, autocataloguing and the latest advances on keyframes, are

already fully operational and allow users to manage their content in a much more efficient and flexible way, in order to increase productivity and boost collaborative work among professionals. “This improved integration with Microsoft Azure is the perfect example of where the future of the Broadcast and Media industry is heading towards”, explains VSN’s Sales Director for Americas, Robert Duif. “It is undeniable nowadays that the most avant-garde technology has leaked into each and every Broadcast workflow, and that we currently need software solutions much more agile, flexible and quick than ever before to address our clients’ needs. We are walking towards new Broadcast business models comprising less investment, recurrent and more flexible expenses and less onsite equipment. And at VSN, we are ready for that”, declares Duif.

Together with this new product, another main advance that will be presented is the successful integration between VSNEXPLORER with TMBi - 33


NOV

NAB NEW YORK

2016

CHYRONHEGO At the 2016 NAB Show New York, ChyronHego will showcase solutions and workflows that are easing the path to all-IP operations for its broadcast customers. The spotlight will be on the powerful template-based tools in ChyronHego's CAMIO Universe, a producerdriven software ecosystem for newsroom production.

The CAMIO Universe As media companies continue to grapple with the challenges of migrating away from proprietary hardware models and toward IT-centric, software-based operations, they need integrated solutions that will deliver the highest rate of return. To address these requirements, ChyronHego has launched the CAMIO Universe, a comprehensive softwarebased newsroom production ecosystem that empowers producers and journalists to create compelling news stories and deliver them rapidly to air. At the 2016 NAB Show New York, ChyronHego will showcase key elements of the CAMIO Universe including the powerful new LyricX 2.0 graphics creation environment and the Hybrid family of virtual studio and augmented graphics solutions.

LyricX 2.0 ChyronHego will highlight the latest version of LyricX, a TMBi - 34

64-bit release of the company's award-winning Lyric PRO graphics creation and playout platform. Released earlier this year, LyricX set a new standard for power and versatility in broadcast graphics creation and playout — particularly for memory-intensive features such as 4K resolution. LyricX 2.0 adds powerful usability enhancements and even greater performance to LyricX to drive the full gamut of today's broadcast requirements including HD and 4K types of graphics applications. LyricX 2.0 is a fundamental element in the CAMIO Universe, a comprehensive softwarebased ecosystem that empowers producers and journalists to create compelling broadcasts and deliver them rapidly to air.

Hybrid Virtual Graphics Solution ChyronHego's Hybrid virtual studio/augmented reality tracking solutions provide real-time, precise camera motion within 2D or 3D computer-generated backgrounds. From handheld camera movements to pan-tilt-zoom-focus, Hybrid employs an open and scalable solution for tracking virtual reality, whether using precise motion-tracking robotic camera support with no video/audio delays, or interfacing with third-party tracking systems. At the 2016 NAB Show New York, ChyronHego will spotlight its Hybrid trackless studio solution, a compact, costeffective turnkey single-box offering. The Hybrid virtual


NOV

NAB NEW YORK

graphics solutions are an important component in ChyronHego's CAMIO Universe, a comprehensive softwarebased newsroom production ecosystem that empowers producers and journalists to create compelling news stories and deliver them rapidly to air.

PRIME Ecosystem The PRIME Ecosystem is ChyronHego's new universal graphics platform that is based on the latest version of ChyronHego's powerful render engine, with support for graphics, branding, and a dedicated clip player. PRIME features a new user interface, providing drag-and-drop design for quick and easy scene construction, and an allnew browser and scene designer with an enhanced timeline. PRIME's Advanced Data Object provides dragand-drop, filtered data-binding to scene elements, and ChyronHego's NewsTicker can provide back-end data streams to PRIME. Users of PRIME can select optional software modules, or packages, that best suit their specific broadcast requirements. Packages include a Branding Package, a Clips Package, and a News Package that can operate simultaneously from a single PRIME server — offering more functionality, more flexibility, more features, and a lower total cost of ownership.

Paint Telestration and Analysis Tool ChyronHego will showcase its industry-leading Paint analysis and telestration tool. Designed to meet the specific requirements of sports broadcasters, Paint enables "Illustrated Replay" — a powerful combination of replay, graphics, and analysis that brings game play to life. With Paint, sports broadcasters have the ability to telestrate on clips created from live footage or files stored elsewhere. These can be used for near-live replays or post-match analysis.

2016

PLAYBOX TECHNOLOGY TO DEMONSTRATE NEO AND CLOUDAIR BROADCAST PLAYOUT SOLUTIONS "The PlayBox Technology AirBox channel-ina-box system has long been popular with television networks in the USA and around the world," Pavlin Rahnev comments. "Many broadcasters are now upgrading to the latest Neo software which is available as part of our annual maintenance contract. Neo attracted huge interest at the April 2016 NAB Convention in Las Vegas, with queues for demonstrations every day of the show.” "NAB New York gives us the opportunity to present our CIAB solutions to East Coast broadcasters in their home territory. AirBox Neo makes the best even better, adding a host of features including the ability to ingest and output SD, HD and 4K UHD within a single server. ProductionAirBox Neo incorporates extra features for use in broadcast news studios, sports and live production. Both products are very easy to install and operate. Neo systems can be configured from a range of nine modules to match practically any desired workflow." "We will also be demonstrating AirBox Neo in a highly innovative combination with our CloudAir system," adds Van Duke. "This allows broadcast channel management, playout and archiving to be conducted via PlayBox Technology cloud-based software. CloudAir enables a new channel to be started at very short notice without needing upfront capital investment in hardware. It is controlled entirely from a standard PC via a secure internet connection.” "CloudAir has an extremely wide range of applications ranging from large scale network operation to red-button supplementary channels, offsite archiving and offsite emergency-recovery.”

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CASE STUDY ADVERTORIAL

on RT ng

Federating the users The current tape-based workflow had high operational costs due to the use of tapes, maintenance costs and an obsolescence problem with the video tape recorders and intensive labour with slow processes. It was, therefore, paramount for the national Croatian broadcaster to upgrade their complete workflow to file-based technology. The new production platform needed to simplify access to content, including audio and video files and its metadata. But the environment also required upgrading with a simplified interface allowing any user in the production department to check work orders and

“The evolution to a file-based workflow is paramount for the media market, we are gladd to upgrade the HR RT infrastruccture with staate-of-the-art t sy systems, including Grass Valley and Oracle solutions,” says Frederic Fievez, Project Development Manager at BCE. tasks along with consulting and working on the content.

A po powerful core for interoperability To ensure en a seamless transition of HRT to the actual needs of the media world, BCE integrated a full production asset management (P PA AM) system. Completely file-based, the new infrastructure is centralised around a powerful core which can manage any in/outgest operations.

“BCE’s expertise was a real asset for the success of this transition to a file-based production environment. They gave us smart advice for our development and we are looking forward to continuing our partnership in the near future,” Robert Brkić, Seniorr Engineer at HR RT. T

The heart of the platform is based on Grass Valley’s Stratus Media management and K2 media servers and shared storage systems. The K2 series, while staying open to many third-party products and applications, is an extensive and flexible line of media servers, storage and integrated playout devices, crucial for HRT’s file-based production facility. With a central storage dimensioned for up to 13.000 hours of HD content, the core can ingest any type of content and transcode it directly into ready-to-work files for the production team. The system also integrates an automated QC to ensure the system from Tektronix ektr e quality of recorded content.


Interfacing systems

the existing

With their tape-based infrastructure, the national broadcaster was already well equipped with numerous systems. BCE ensured the seamless integration of these platforms within the new tapeless workflow. As a result, the new ingest servers allow ingest from different difffferent sources or material such as ENG/XDCam drive, VTR and and live feed. The PA AM system ingestss the difffferent sources, performs detailed QCs and transcodes files if necessary. These files are then available on HiRes as well as LoRes storages. The PAM A is also connected to other environments of the company such as playout, news and media distribution.

Re-purposing and producing of new To ensure production produc content as well as content repurposing, BCE integrated browsing and editing stations.

“Thee aim of the upgrade of HR RT ingest, ing processing distribution and archiving infrastructure is to federate users of the production department, providing ease of access to content but also to work on tasks in order to simplify workflow and boost department’s efficiency,” comments Nicolas Serres, System Architect at BCE. Directly connected with the PAM A system, HRT can browse and view the diffffferent ingested content in real time. Thanks to a smart graphic user interface, the user can not only easily consult and create work orders, but also select a file and start its edition. Editing can be done online via 10 HiRes Edius Craft editing stations or via 30 Stratus Proxy Editing / Browsing desktop applications. The production team can work on new material and create new programmes for later use or can work on live programmes as well. Grass Valley’ s applications are a equipped with the necessary tools to meet HRT production needs. Once edited, the new masters are saved on the central storage ready for transmission or for archiving. In addition to the high availability central storage, a deep archive from Oracle has been integrated as well. Directly connected to the

“In a tape to file transition project, it is paramount to be able to interconnect the different departments and systems with the new infrastructure. Grass Valley K2 series perfectly meets this interoperability requirement,” explains Jean Lampach, CTDO at BCE.

central storage, HRT can easily store content through FPD HSM on LTO6 and T10K drives or upload content back from the digital library to the production environment. In line with customer request, BCE integrated redundant transmission servers to ensure the resilience of the national broadcaster operations. The new infrastructure was launched in July 2016, six months after the tender procedure. BCE provides training sessions on the new production environment as well as assistance during the first month of system operation. “Integrating a production asset management system for HRT opens up new possibilities for Croatia’’s national broadcasterr. The system is flexible and has room for any future upgrades, allowing HRT to evolve technologically without the need to change their complete workflow w. The success of this project in this short time-frame was possible thanks to a perfect collaboration between BCE and HRT engineers as well as the different retailers involved.”” Concludes Conc Nicolas Serres, System Architect at BCE.


POST PRODUCTION

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POST PRODUCTION

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POST PRODUCTION

BLACKMAGIC DESIGN DaVinci Resolve DaVinci Resolve is a software that lets customers edit, grade and finish projects all in a single tool. Resolve lets professional editors work in a comfortable, familiar way while also giving them an entirely new toolset, along TMBi - 40

with DaVinci’s legendary image processing technology, that will help them cut and finish projects at higher quality than ever before. The familiar multi track timeline, customizable interface and keyboard shortcuts make it

easy for editors to switch to DaVinci Resolve. Best of all, with DaVinci Resolve there is no monthly subscription, you don’t need to be connected to the cloud, and you don’t need to buy any proprietary hardware.


POST PRODUCTION

The last update adds support for additional metadata that is embedded into RAW files from URSA Mini cameras running the new URSA Mini camera operating software. The new software gives URSA Mini customers a completely new “slate� that uses tap and swipe gestures along with predictive data entry and a dictionary of commonly used shooting terminology to make

entering metadata faster than ever before. This means customers using URSA Mini with DaVinci Resolve 12.5.2 can now take advantage of this new metadata to organize footage, create smart bins, filter clips and more when editing and color correcting. Customers that need to export QuickTime files from DaVinci Resolve will now be

able to export color space tags with their files. Color space tags are used to identify the color space of a file such as SMPTE-C, Rec. 709, Rec. 2020 and others. This means files generated by DaVinci Resolve 12.5.2 will now include the correct color space metadata information for more consistent playback in other software applications. TMBi - 41


POST PRODUCTION

Alejan d Direct ro Matus, P or ost

P

roduc “We h tion ad so and ye many d t any re Resolve ena ifferent deliv quired e bled u c s to qu ries for this confid f ence. olor space withou ickly conver ilm, We als replac t fu t to oh em proces ents comin ad a lot of s ss, and with g s h from a . With Reso in througho ot lve, I c ut the grade ou gr gallery t , and i hat I was ha ld simply sa ading tw pp v trackin g infor ould includ y with to th e a still e e m update stills ation, all key w t also a o a new sho hich made frame and n it t. confor enormous h The new e stress free diting to ming a elp. W to e n we de livered d mastering not only us olset was ed ,b a edit ch anges ut also to m ll the differe it for nt vers ake a quickly export io fe th a Ignasi e timeline t nd easily, w w last minut ns o e ith Gonzà lez, M another NLE out needing oonlig .” COL to ht Stu dio Ba ORIST rcelon a.

TMBi - 42


POST PRODUCTION

SAM (SNELL ADVANCED MEDIA)

interface, new re-speed options using SAM's world-leading Alchemist technology and tighter integration with Avid conforms including profile respeeds and history.

Quantel Rio

The ultimate editing environment - Quantel Rio’s comprehensive editing toolset has everything you need to deliver the entire job. Whether mastering an entire movie, drama or

The latest V4 software release for Quantel Rio includes a brand new redesigned user TMBi - 44


POST PRODUCTION

multiple transfer curves are all supported. 32-bit float processing provides ultimate color precision. Everything remains live for further enhancement. The finishing toolset Thanks to its realtime and interactive performance, Quantel Rio’s complete finishing toolset keeps the whole job in the suite. From adding titles, closed captions or visual effects, Quantel Rio is the natural choice for client-attended sessions. Collaborative workflows With Quantel Rio, any number of creatives can now work on the same media with history for color, edit and finishing. With SAM’s Momentum and Go! technology users have access to a lightweight browser-based platform to view, edit and approve media from anywhere in the world, providing top quality remote production tools and services to clients.

documentary or compiling your timeline using the multicam editor, Quantel Rio has all the tools for the job. Create with color - There are no limits with Quantel Rio; RAW color workflow, wide color gamut, HDR,

Ian V Col ertove our c, S ist upe “Qu rvis ante ing perf l Rio o

r and mance has re a ,ac fi omp ltime inte nishing gr lete to colo file- ation in olset a bas r ed w to toda nd full y's orkf low s”.

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POST PRODUCTION

SGO Mistika Mistika is one of the world’s most advanced “Hero Suite”,providing editing, VFX, colour grading, text, paint, audio, S3D, 360 Video, HDR, complete finishing and more, all in a completely scalable, truly interactive, fully realTMBi - 46

time, and totally resolutionindependent post production system. Mistika enables broadcasters to enhance their productions and allow creativity to be fully explored with speed and accuracy, guaranteeing the perfect end result for a client. Mistika’s advanced tools and capabilities, including facility-

wide timelines support facilities collaborative workflows. SGO’s development team continuously push boundaries, ensuring broadcasters are able to rise to the challenge of working with visually advanced 4K productions, but also support them in the move towards 8K and beyond.


POST PRODUCTION

Juan Ignacio Cabrera, Supervisor and Colourist SGO's technology is based on open SAN architecture and computers running on Linux as their operating system, making them completely open and accessible to other applications without having to separately ingest media. Mistika provides immediacy and interactivity, enabling customers to hold real-time sessionswith their clients even for the most demanding projects.

“Mistika allowed us not only to get a feeling of the scenes, but we could trace each episode back to before we had the final episode. This made the re-conform process really easy. Previously every change would take a lot of time and money, but with Mistika you’re not afraid of making these changes�.

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CHANNEL IN A BOX

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CHANNEL IN A BOX

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CHANNEL IN A BOX

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CHANNEL IN A BOX

ANYWARE VIDEO ONE GENIE® – “CHANNEL-IN-A-BOX” Anyware Video has released a solution, offering, all the premium channel functionalities, the reliability and the right operational ergonomics, in a compact powerful and cost-effective design. Whether it is deployed in its single box version to carry out monochannel playout, or in a secured N+M redundant configuration to serve a multi-channel playout master control environment, OneGenie® will allow seamless play-out, and is now deployed in SD, HD and Ultra HD TV Channels. Automated, operated and monitored through a web client, OneGenie® has been designed to guarantee fully distributed architectures, with remote operation and complete system virtualization. Thus not compromising with performance and security, since it can be set with 1+1 or n+1 active redundancy and provides complete range of broadcast quality monitoring (SDI, SNMP…) In addition to the full control of the broadcast equipment chain (main & backup), the All-In-One automation application, controls the media transfers from nearline or deep archive to the Online, OneGenie® playout server. It also manages the purges tasks according to your preset rules, to guarantee the system performances. Media can be retrieved from NAS, FTP, http or LTO tape library (through main API’s such as Front Porch®, XenData® or cloud based storage solutions). Anyware Video’s automation has been designed from the beginning to allow distributed and virtualized operations. It offers a multi-client and multi-user interface with very fine management rights. This approach allows operators to access every control and supervision screens and guarantees your maintenance team can proceed round the clock, on any critical point of the system configuration. It also makes it the ideal solution to deploy a no constraint Disaster Recovery site. User groups definition sets the rights of each user (operators, maintenance, management) simply and efficiently. The broadcasted video signal can be internally DASH encoded to allow remote monitoring through the TMBi - 51


CHANNEL IN A BOX

application embedded dash player. Alarms detected by the Monitoring tool, can be sent automatically via email to preventive (like corrupted or missing media) or curative maintenance staff.

the restoring media and can be managed from a dedicated page. Transfers can be managed manually through a dedicated interface in case of need such priority changes.

ONE GENIE MEDIA AND CONTENT MANAGEMENT

ONAIR DYNAMIC BRANDING

All the media present in the playlist but appearing missing, are automatically transferred from the nearline or deeper archive defined in your online system. The progression bar for each transfer will appear next to TMBi - 52

OneGenie® integrates dynamic onair branding module CastGenie. Widely deployed and adopted over many years by premium TV channels. Our Channel-in-aBox solution benefits from its proven reliability and its advanced dynamic features.

With nearly a hundred units currently in production, CastGenie module offers all the possibilities of OnAir graphic scenarios required by premium channels. Capable of integrating in SD and HD environment, the system is now fully compatible with the UHD standard. The graphics layers allows of simple element inserts such as, channel logo, morality logos and program bugs. They also manage complex scenarios and animations such as "coming next", “forthcoming programs”, news feeds, tweets.


CHANNEL IN A BOX

Highly configurable, rules in scenarios can be set to bring up objects, move or change them based on dynamic content (tweet, SMS, agency wires, ...) or external action GPI, timing, message, text, values... OneGenie® graphical functions also offer the ability to control a layer in "overlay" manually or via SNMP. This layer completely independent of the playlist allows last minute logo insertion or device switching.

ONE GENIE WITH 4K PREMIER LEAGUE In summer 2016, a major IPTV editor and operator acquired the much-coveted UK Football Premier League rights. To maximize the exposure of those rights, the launch of a premium UHD sport channel complementing the regular HD channel broadcast was decided.

could work with different file formats such as HEVC and XAVC 500mbs both used by the channel which acquires programs from various sources. OneGenie® also provided, just like its HD version, real time 3D Dynamic OnAir branding guaranteeing the program, the OnAir look of a premium Broadcast, essential to the operator offer promotion. To facilitate deployment and integration, OneGenie ®, allows to directly output IP encoded stream keeping system architecture simple, decreasing the number of single point of failures and avoiding budget increase.

criteria of todays Broadcast Television: first no compromise with quality and functionalities and second more compact and cost effective solutions.

Just like, the deployment of its SD and HD version, the OneGenie® 4K has integrated the 2 essential

TitleBox Neo provides a wide range of interactive onair graphics and titling capabilities which can be

PLAYBOX Neo The PlayBox Neo channelin-a-box suite is based around the AirBox Neo playout server. Designed for 24/7 unattended operation, it can also be operated manually – including the ability to handle live-to-air throughput. AirBox Neo supports UHD, HD and SD in single server.

The challenge was to deploy a full 4K solution, able to ingest UHD live feeds either in Quad-SDI or 12G. The Channel would be able to manage live events as well as replays through live recording ,fast markin/markout functionalities and close to live program replay. The choice went to Anyware OneGenie®4K that was the only solution able to ingest seamlessly any kind of UHD stream, whether IP or baseband. Furthermore it TMBi - 53


CHANNEL IN A BOX

manipulated live. It includes substantial improvements for dealing with UHD projects as well as supporting HD and SD operation. CaptureBox Neo allows HD or SD content to be captured from up to four video sources simultaneously. These can be monitored on a single screen and controlled via a streamlined user interface with enhanced multichannel control and operability. SafeBox Neo replicates remote content to local

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playout server folders for safe transmission. It implements a new graphic interface plus new significantly faster processing for moving primary or copied content to the playout and central storage servers. A new workflow routine protects content against unauthorised deletion. Multi Playout Manager (MPM) Neo is a fully assignable monitoring, control and viewing system with user rights management for single

or multiple AirBox Neo channels from one or more PCs connected locally or from anywhere in the world via a web browser. MPM Neo is a networked workflow solution created for multichannel playout centres to monitor and control all channels locally and assign full or restricted user rights for any of the TV channels to one or more people to remotely monitor, control and view the TV channels from PC or Mobile Device.


CHANNEL IN A BOX

Pursuit Channel Pursuit Channel was founded in early 2008 by Rusty Faulk, its current CEO. Its goal is to create a permanent home for the outdoor industry. Pursuit Channel is the only outdoor network delivered in the basic packages of satellite providers DISH and DIRECTV. Since 2008, Pursuit Channel has also been privileged to launch on many high power stations, independent cable networks,

IPTV systems and OTT. In 2014, Pursuit made the investment to broadcast in 1080i high definition and made it simple for all of distribution partners to include this HD feed in their channel lineup. Verizon FiOS was the first major carrier to take advantage of this, offering their customers Pursuit Channel in HD in the summer of 2016. "We’ve been doing digital file-based playout for years and decided it was time to up

our game," comments Alex Sanders, Director of IT/Creative Media at Pursuit Channel. "We looked at everything when we were deciding what platform to use with our new origination from RRsat. We needed the 99.99% reliability that TV demands, a very specific set of features for our somewhat unorthodox way of doing things, a software solution so we could use it on our existing playout servers, and something that was costeffective. When we laid out all the options, the choice was clear: Airbox Neo from Playbox Technology." "We operate two HD 24/7/365 channels from two different facilities. Most of our AirBox Neo installation is accommodated at RR's Media Center in Pennsylvania which then plays out to G23 (121.0°W). There’s a second system setup inside our headquarters that feeds our IP and OTT platforms via a dedicated 1Gb fiber connection to the open internet. Each channel utilizes TitleBox Neo interactive on-air graphics and titling capabilities which can be manipulated live or fully predefined. We run over 100 unique on-screen graphics every day so being able to automate all of them really helps out. The system also includes some ancillary CALM audio level conformance." TMBi - 55


CHANNEL IN A BOX

PLAYBOX TECHNOLOGY EU (PBT EU) EXEcutor™ EXEcutor™ is a turnkey broadcasting system that includes advanced software platform SubtitleNext and business management tool Profuz Digital’s LAPIS. This range of broadcast servers, combined with the EXEcutor™ Virtual Control Panel (EVCP) and powered with PlayBox Technology software, creates a complete tailor-made and comprehensive solution for broadcasters, production and post-production facilities. EXEcutor™ Broadcast Servers provide for ingest, media management, titling, graphics, playout, scheduling, and can deliver a complete “TV channel-in-a-box”. PBT EU introduced at last IBC LAPIS, which seamlessly integrates media asset management functions with editing platforms and video sharing websites. Pushing all boundaries with no limitations, it streamlines contrasting data related tasks, such as communications, project management and media management, into a single customizable “dashboard”. LAPIS effectively controls everything under one roof, ensuring dramatically increased efficiency, and TMBi - 56

removal of time-wasting manual processes. EVCP (EXEcutor Virtual Control Panel) is a web based application which controls all of the important processes within the EXEcutor servers, such as playout and CG software, multi playout, including hardware, software and OS processes. The software provides to the operators the possibility to work in a virtual environment (or even in the cloud), to convey all of the necessary controls and informations, and to secure the multiuser remote access. EVCP provides features such as: • Control of playlists • Real time Video assets

manipulation in running playlist • Playlist preparation • Upload video files directly to AirBox server with auto notification on folder changes • Add and configure secondary events • Clip trimmer feature • TitleBox templates browser and control • Monitoring of actual output video preview in web browser • Monitoring and controlling of more than one AirBox playout server in network or in a cloud • Built-in user persmissions control per TV channel


CHANNEL IN A BOX

management layer, as does the SubtitleNext software platform which creates and converts subtitles and text services. These products along with world-renowned PlayBox Technology software, optimises the EXEcutor™ TK solution to be a significant force to be reckoned with in broadcasting. Our services are evolving all the time to meet the complex needs and demands that customers face. It is a privilege to play a vital role with our innovative solutions in such an exciting and fast-paced industry.”

• Monitoring of Hardware and OS resources • Responsive web design Alexander Stoyanov, Sales Director of PBT EU states, “Exhibiting at IBC gave us the unique opportunity to reveal how brand new product LAPIS fills an essential gap in the broadcast market, by providing affordability and adaptability to the business needs of a wide scale of organisations. It also complements our latest EXEcutor™ broadcast server line perfectly, by providing an additional new generation TMBi - 57


CHANNEL IN A BOX

SAM (SNELL ADVANCED MEDIA) ICE ICE, the CiaB solution from SAM, meets the challenge of an evolving media landscape. ICE includes an extensive toolset to manage playout operations, including single channel, multi-channel, multiregion, and multi-platform environments. ICE is designed to accommodate customers’ current requirements, provide complete scalability for the future. It can be used for single-channel playout; multichannel playout channel expansion; simulcast/delayed playout and OTT; centralized operation; and disaster TMBi - 58

recovery and back-up. Based on proven technology, ICE provides flexible, scalable, and automated channel playout in one system, allowing new revenue-generating services to get on air quicker. ICE dramatically increases efficiency while reducing complexity. It is now expanding into a complete product family with ICE LE entry level playout; ICE IP – playout over IP; ICE SDC – software defined channel for virtualized IP playout; and ICE SAN – shared content storage for large scale playout.

Applications ICE is suitable for the widest range of applications, from simple, single channel start- up operations to

complex multi-channel, multiplatform and prime time broadcasts.

Single Channel Playout ICE provides all the operational, technical, regulatory and commercial functionality required to facilitate single-channel playout applications, or to get new channels on the air quickly.

Channel Expansion When ready to expand the channel line-up through subchannels or new services, ICE has the tools needed to launch new services quickly and cost-effectively. A single ICE unit can playout up to four separate SD or HD broadcast channels, and the systems massive scalability lets you seamlessly add


CHANNEL IN A BOX

hundreds of new channels and services.

Multi-Channel Playout ICE can scale from a single channel to hundreds of channels, using the same underlying automation architecture and user interface. For multi-channel environments, ICE provides all the tools needed for fully automated playout and delivery of fi le-based content, as well as the ability to add live channels, and breaking news.

Multi-Platform Playout ICE supports a wide variety of content distribution business models for multiplatform services. Comprehensive format, codec and wrapper support lets broadcasters add mobile

and web delivery platforms to their playout strategies. Interfaces to your preferred OTT streaming service allow you to optimize your revenues by tailoring the content on a personal, local or platform level. ICE has a variety of integration strategies, with signalling both embedded in the outgoing signals, or direct http messaging to your preferred OTT stream encoder.

Simulcasting and Delayed Services ICE includes the ability to simulcast HD, SD, clean outputs and delayed program feeds, all from a single automation schedule.

Disaster Recovery Traditionally, disaster

recovery was unaffordable for many broadcasters, but with ICE this is now a viable option. In the event of technical failures, weather event, or natural disaster, ICE lets you maintain your business continuity and deliver valuable information to your viewers. Mirrored playback, automated switchover, hybrid store and forward topologies, and tight integration between systems means that ICE will keep you on the air without interruption or loss of revenue. “The SAM systems are a quantum-leap improvement over our previous automation and routing equipment, which was difficult to program and operate�. Hector Pena Manager of broadcast operations, MNN. TMBi - 59


NDI & IP Series, NewTek’s innovative development

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NewTek took a leap forward when it launched its NDI (Network Device Interface) open protocol, and history repeats itself again with the launch of the IP Series. The company has positioned itself in the focal point of innovation of new workflows for live production. This is why we wanted to interview Will Waters, Director of Product Marketing and Sales Enablement.

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What is new about the NDI series in this new version? We have many new harbingers related to NDI and its Version 2, many of which have something to do with capacities. We are now able to encode with a standard Intel i7 CPU: 4K at 780 fps, 8K at 210 fps and HD at 2200 fps. It is a very efficient codec that can be used in a live production environment without any problem at all. We are able to handle the video stream and distribute it through IP networks reliably. What the new version of the NDI does is provide a layer of tools that substantially improve the management of networks and subnetworks, as well as how we handle video and all the devices that are inside, sending and receiving information. Many developments are also being made through the SDK programme like an automatic failover, so when a stream has a problem, the system changes it so as to continue delivering its signal. This is as far as high-level performance goes. Thanks to SDK, several applications are being developed to work with mobile devices on Version 2 and we will soon be able to make more announcements.

What will happen to SDI? SDI has been a fantastic technology, and I think it will still be present for many TMBi - 62

Will Waters, Director of Product Marketing and Sales Enablement

Thanks to SDK, several applications are being developed to work with mobile devices on Version 2 and we will soon be able to make more announcements. years to come. It has a lot of users and it is very firmly established within the industry. Major investments have been made in infrastructures that will still be used because they have not

yet been amortised or fulfilled their life cycle. It is certainly the standard nowadays. At NewTek, however, we see that IP flows are offering much more advantages when working with video and this is


why we have a firm commitment towards this technology. The key is to progress knowing that our clients have acquired much SDI equipment already, and they continue buying them now, too. We need to fit this setting into a near future where we will inevitably be working with video on some sort of Ethernet network, which uses much less equipment and infrastructure than SDI. As it is hard for the current SDI equipment to have their space on this network and it is likely that the company would like to recover their investment, these two technologies will coexist for some time yet. This is the reason behind us developing hybrid equipment that can benefit from the advantages of the IP technology with the connectivity of SDI. We will soon see hybrid installations as something commonplace within the sector.

Does IP really work for all kinds of operations in live production? Yes, I certainly think so, and

that is what NewTek believes. This is why we have invested so much time and money into creating these new products. The good thing is that they are designed with the future in mind but can also be used now. We went to a major event on the West Coast of the United States recently that was carried out entirely over IP, working with all kinds of sources available on the network and included in the system and the mixer, even the cameras. The result was perfect. I truly believe that in Broadcast there is nothing that cannot be done using IP technology and when making the most of the benefits it provides, even in live productions, the flexibility it offers is incredible.

What would you say to the professionals that are not yet fully convinced about using this technology? I would say that it is not really an intelligent stance. SDI has worked well in our industry for years and it has contributed to getting us to where we are now. But what's

SDI is a technology that will not let you grow with all the efficiency required nowadays. The level of production is frenetic and work must be delivered as soon as possible. most important nowadays is that there are changes in video consumption uses. There is a lot of demand and therefore, more need for available content. And not just any content, they should be capable of captivating the audience. In this respect, SDI is a technology that will not let you grow with all the efficiency required nowadays. The level of production is frenetic and work must be delivered as soon as possible, so added flexibility and efficiency are essential. With this, I'm not saying that SDI is dead or anything of the sort, simply that as an industry, we need to be able TMBi - 63


to adapt to the customs of the day. This is what allows for this new paradigm, these new workflows and this new infrastructure. Very interesting things can be done, for instance, communication between devices that can reach the end user in live events over IP, which opens up endless possibilities. This is why it is important to have a good IP network connectivity that enables being ready for the future.

What are NewTek’s plans? Our plans are very clear. We are going to continue developing the new products of the IP Series, hybrid products that can work on IP and SDI networks. This path is very consistent with what the market needs, to grow efficiently and for the storytellers to develop the content demanded by the audience. So we are going to continue developing this line to expand its capacities. We believe that a key aspect is to introduce IP equipment that can work with SDI flows, increasing efficiency, which will contribute towards the development of the industry, because right now, we need to generate a lot of content and, as I said before, we need to do it fast. As a manufacturer, we must offer equipment that covers these needs at prices that make the investment affordable. TMBi - 64

In this respect, will you be attacking a higher market? Our background has been that of developing systems with many possibilities at contained prices, and we will continue in this line by all means. Nonetheless, we are developing


There is potential for more IP installations because they are new or they have not invested so much previously. We are in a very interesting transition.

products that may be used by the higher segment of the industry. The path is not only knowing what our clients want, but it is also knowing what our clients' clients want. This is why we see that we need to be capable of doing much more flexible things in Broadcast. This is the lesson we are learning. That is the reality to which we would like to adapt and the reason behind the launch of this IP Series, which is already being considered by leading broadcasters.

Which region is showing more interest in this? We see that, in all reality, there is interest everywhere, although the settings are different. The United States and Europe see the advantages very clearly and keep an eye on everything we do, but these are areas with a great deal of installed and operational SDI. So, even though they are markets with a great volume, they have made major investments that will make everything go that bit slower for having the traditional SDI flows as a standard. However, there are other regions like China or India that have not made such investment. They are indeed growing at a great speed and can afford to do things from scratch. There is potential for more IP installations because they are new or they have not invested so much previously. We are in a very interesting transition. We see opportunities all over the planet, albeit with nuances. Whereas in Asia, for instance, we can go deeper, faster, in USA and Europe things will go slower, awaiting some type of standard or strong union. Admittedly, these are exciting times. TMBi - 65


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The NRK fiber ring project TMBi - 67


With an increasing need for live broadcasting within the metro area of Oslo, Norway it was decided by NRK to build an optical video and data network that could be used for SDI, IP and file transfer access to archives back at the main station. The optical ring would encompass the entire Oslo area and cover 12 key sites.

NRK needed one optical network for news related work and another for event services. NRK wanted both ring networks to pass thought 12 major sites which included a Master Control site and its backup site. All TMBi - 68

sites had to be ‘On-Air’ and running simultaneously over a single fiber for each network in an East/West backup configuration. They wanted to be able to inject and drop signals at any point within the ring


The Solution. Each News Node: • miniHUB 1RU chassis w/redundant psu x 2 • OC-4B-SDI optical card x8 • CWDM optical TX and RX components, Quantity depending on signal numbers • Optical change-over card x 1 • 2-way Optical Splitter x 1 • CWDM – Ultra low loss filters x1 12 Nodes total in News ring structure

Event services Node: • miniHUB 1RU chassis w/redundant psu x 2 • OC-4B-SDI optical card x8 • CWDM optical TX and RX components, Quantity depending on signal numbers • CWDM – Ultra low loss filters x1 2 portable systems + 2 systems in OB-vans. Node at Master control.

structure while keeping fiber continuity in case of any optical or power outage at any site in the ring. The event service ring would be two portable nodes that could be taken to any site within the 12 nodes and be deployed to provide live services back and forth to the master control. The news ring would have the same protection principles but would have live nodes across the entire ring infrastructure. This means that anyone could connect instantaneously for live reporting of events in the field. Both of these rings would need to be simple to operate, minimal components, simplified serviceability, with a low capital cost of implementation. The system is built mostly from one highly auto configuring card module called the OC-4B-SDI. The OC-4B-SDI has Norwia’s proprietary AutoSFP™ technology and gives multiple configurations depending on the user’s needs, such as ring structures with redundancy features built-in. Each node in the NRK metro ring network consists of multiple channels that either act a pass circuit for relaying signals from one point to another. They can also be used to drop signals off at one or many sites in the ring structure or to inject signals at a particular site and return these signals back

to the master control. The layering of signals is via optical multiplexing at the wavelength layer on a single fiber. When a signal is injected, the same card can split this signal in two directions to create the diversity redundancy in case of any fiber failure. While at the receiving end both of these signals are again processed by the OC-4B-SDI on a signal level for redundancy per channel. This means that individual signals are protected as well as having received signal on individual SFP’s, i.e. SFP redundancy. Included in the ring network is a Gigabit (10G) Ethernet layer that is also redundant throughout the network. This network is used to provide data services for control signals, file access for remote editing, IP transport and also miniHUB status and ring master access. Norwia’s wide band optical change-over, OX-2O-2X2 card module was used to provide continuity of the fiber circuit at a node level. If a site had total power outage, then the fiber circuit would retain continuity and still pass signals in both direction of the ring structure. Every frame in the system is connected via the RCONmini frame manager. The information is presented in an easy viewable interface that can simplify routine TMBi - 69


management of the individual components of the system. A recent development has been the introduction of a customized interface called ‘Ring Master’. This is an intuitive graphical interface of the individual fiber rings, enabling parameters such as attenuation to be monitored for each node in the ring plus indication of signal injection points with in the fiber ring. Ring Master provides a complete one-screen overview of the entire fiber system. The second ring in the metro network caters for events such as concerts. Instead of fitting the ring structure with fixed full access points it was decided to provide two mobile units that could be deployed when needed. The mobile units are simply inserted into the fiber path. The mobile units are total independent and signals are received back at Master control.

INTERVIEW WITH ERIK HANSEN: PROJECT MANAGER NRK MEDIA Which were the main challenges and needs of the project? The main challenge for the project was to establish the physical fiber-ring in Oslo city to have easy access to the MCR (Master Control Room). TMBi - 70

We needed to have access to all the sites and to find room for our equipment. Because of the distance and length of the fiber-cable, we had to struggle with signal- loss due to cable length and number

of connectors involved. We needed a failsafe and redundant system, so we had to assure that cable and/or power-failure would not affect the overall performance of the system.


Why have you chosen Norwia to carry it out? We published an international tender issued for the electro optics part of the project. Norwia participated together with several other bidders. NRK used a scoring regime to evaluate the bidders based on technical, functional and economic factors. Norwia

made the highest score. They could also contribute to the project with very creative solutions.

What are the main benefits of this project? We can very quickly set up video connections from various sites in Oslo city center. Our video-journalists can be "on air" in a couple of minutes. Before we had the fiber-ring, we had to rely on wireless video streaming (LiveU etc) or microwave camera links. Now we can contribute live from large events with full redundancy and with failsafe operation.

What about the installation/integration? It was easy? When the fiber optic cables were connected and space for the equipment was established, the rest of the installation was quite simple. We had to establish a "frequency chart" to give each site and signal its unique channel in the CWDM system.

It is difficult to operate? What was the feedback from the field technicians? The operation in the field is very simple. The video journalist just plug their camera into a dedicated wall-socket on the remote site. Then he/she will call the MCR and ask to be routed to the news studio. The feedback from our technicians is very good. TMBi - 71


TMBi - 72


TEST AREA

ColorEdge CG318-4K

monitor by Eizo

Especially recommended for graphic production environments, when working with RGB or P3 colour spaces and where DCI-4K is a must. The high-performance monitor is capable of receiving and processing 10-bit signals, which ensures keeping all the colour nuances. Includes the ColorNavigator software by Eizo, that permits adjusting the monitor and selecting its operation mode. Laboratory conducted by JesĂşs Esteban

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TEST AREA

This is a high range monitor, the brand’s most sophisticated model yet, with a set of features that make it a great option, starting with its size, 31.8� and, then its resolution, 4096x2160, even higher than the standard 3840x2160 found in Broadcast monitors or desktop monitors for UHD. The 3840x2160 resolution is that specified by DCI for its 4K format, and therefore, it is the most suitable for cinematographic projects.

CONVENIENCE Its design permits a perfect height and inclination adjustment so that the vision of the image is the most appropriate for our position. It also includes a light-shielding hood, particularly useful in office environments where ambient light may distort the colours of the image. We must stress that we cannot totally prevent this colour distortion because the diffuse ambient light will always add to the image on the monitor, hiding the dark greys and colouring the entire image with the colour of the ambient light. The light-shielding hood evidently minimises this effect.

CONNECTIVITY The monitor has two HDMI inputs and another two Display Ports, the most common standards. It can be connected to any computer TMBi - 74


TEST AREA

The 3840x2160 resolution is that specified by DCI for its 4K format, and therefore, it is the most suitable for cinematographic projects.

because computers with DVI outputs are becoming increasingly rare and even more so those with VGA connections in professional environments. The monitor is capable of receiving and processing 10-bit signals delivered by the computer, which assures we do not lose a single nuance in colour. When it comes to speaking about input connections, those of us that work with video could do with at least one HD-SDI connection. With the SDI output, the edition software controls all the variables of the signal, including the video levels, the resolution, whether interlaced or not, the number of images per second, etc.; but this does not happen with HDMI or DP outputs, so it seems impossible to be certain that what we see through the TMBi - 75


TEST AREA

HDMI or DP output accurately corresponds to the contents of the video file we are viewing.

USABILITY The monitor has an elegant button pad with a reasonably intuitive operation and a spartan yet clean and careful appearance. The only “but� that we may have with the user interface is that when selecting the operation mode, the entire set of values of all the settings change. For example, when selecting the Rec-709, which should be the one to use when editing video, it loads an 80 Nit brightness instead of the 100 Nit as recommended by the standard. The gamma curve, among other things, also changes, so it is always best

Image 1. Contrast 350 nit.

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A similar situation can be seen for Rec709 and DCI modes. As regards DCI, we can see that the monitor shows 98.5% of the colour space. to go over each and every parameter to be sure that everything is as it should be.

COLORNAVIGATOR As is to be expected from the highest model of the range, it includes the ColorNavigator software by Eizo, which permits adjusting the monitor and selecting its operation mode. The adjustment is made with the SelfCalibration sensor

housed inside the upper part of the monitor which swings down automatically when we ask it to calibrate.

BRIGHTNESS

AND

COLOUR According to the specifications, it can offer a brightness of up to 350 Nit. Typically, when a monitor specifies a brightness, it refers to maximum

Image 2. Contrast 100 nit.


TEST AREA

brightness, although the manufacturer does not guarantee a minimum level of quality in reproducing colours or grey values. However, in this case, we are faced with a pleasant exception, because when we adjust the monitor to a brightness of 350 Nits the greys do not saturate and the colours do not become distorted either.

Adobe RGB

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TEST AREA

REC 709

It is also important to stress that the brightness of the black value, or in other words, the minimum brightness of the monitor, is 0.078 Nits for a maximum brightness of 100 Nits, in such a way that the contrast is 1260, very close to the 1500 stated in its specifications. When we adjust the monitor to 350 Nits, the brightness of the black increases up to 0.255 Nit. In this situation, the measured contrast is 1272, virtually the same value as for 100 Nits. As we can see in Image 1 and Image 2. The monitor leaves the factory with a calibration certificate issued during the TMBi - 78

This monitor is especially recommended for graphic production environments, when working with RGB or P3 colour spaces and where DCI-4K is a must.

production process, which ensures the linearity of the brightness and colour throughout the panel within 10% margins for brightness, 50% for grey values and 3% for colour variations of the same value, as well as the 2.2. Gamma value. This gives us the peace of mind that the monitor’s panel and electronics are sufficiently stable to be trusted. Having conducted the measurements for the different monitor presets, we see that for the Adobe RGB mode, the monitor displays the entire range of colours (99.1%) and it presents a very constant colour throughout the greys, despite


TEST AREA

the brightness of the different levels of the grey scales differing slightly from the ideal value. A similar situation can be seen for Rec709 and DCI modes. As regards DCI, we can see that the monitor shows 98.5% of the colour space, in concordance with the specifications that talk about 98%. We have also tested the values for ColorChecker for Rec709 mode, that show a set of greys, very saturated and poorly saturated colours, specially selected because they are widely used and important to learn about the colour reproduction of any system. In this case, we see relatively important differences compared to the

ideal values, with deltaE 2000 values being higher than 4, which are clearly visible by non-specialised users.

with the monitor, we see the real colours that our users or clients will see once we deliver the end product.

CONCLUSION

All the measurements have been made with Calman Studio software by Spectracal, available on Avcast.

Indeed, this is a monitor with super high performance, in line with its price. In our opinion, this monitor is especially recommended for graphic production environments, when working with RGB or P3 colour spaces and where DCI-4K is a must. However, to use it in HD or UHD video production or post-production environments, we need to be very aware of its weaknesses (mentioned above in this article), and adapt to them to be sure that when we work

DCI

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TM Broadcast International 39, November 2016  

In this issue: - Post production suites for EVERYTHING - Looking for Channel In a Box? Try this ones! - NRK Fiber ring - NDI Version 2, Inte...

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