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Everything you need to know about drones
TM Broadcast International #40 December 2016
TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 14 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43
Published in Spain
State of the internet Report
Stream with Shooowit
LYNX Technik greenMachine
Editorial Video is growing everywhere thereÂ´s a lot of different types of video, indeed a game is video, also Netflix and that kind of services and even now Facebook with Facebook Live. So the world is definitely going to video. And Smart Phone is helping video to be more powerful, this is a global phenomenon because with this great device you can show your video wherever you are. ThereÂ´s also video only growing in education, retails where you can see products. But what happens with the traditional broadcaster? Originally, broadcasting came from broadcast organizations that were very expensive and very engineering orientated with dedicated hardware, very specialized. And now this is massively Changing, there are lots of challenges, and is not about 4K but consumer has more options. People are watching television while playing games or using social networks. Some kind of companies are finding their place on this market with every kind of contents, maybe sports are going to be the key issue in the upcoming years. Netflix and that kind of platforms are more agile to conduct new ways to do things as the final user wants. The main change in our opinion is that broadcast is going to be moved to the cloud a little bit behind others industries that are doing this change earlier than us. Now we have an opportunity to help that transition happens in the best way.
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MOG BRINGS 360 INTO PRODUCTION WORKFLOWS WITH BRISKEYE 4K VIDEO CAMERA
MOG has announced the full integration of its central ingest systems and video cloud services with Briskeye’s 360 cameras for both live and VoD content production and distribution. MOG has set the standard for file-based workflows and is now entering the market with a technology that enables the creation, publishing, distribution and management of media content for both live and VoD. After launching the 360 live streaming demonstration at IBC, MOG is now integrating the Briskeye 360 camera with its comprehensive set of solutions to deliver state-ofthe-art technology to those who are already using or planning to use 360 content.
The new MOG’s Briskeye 360 camera The association between both companies aims to put an end to the pitfalls associated with acquiring the technology required to build 360 production environments. Designed for broadcasters and production companies, the Briskeye 360 camera is able to deliver a 360 live experience directly from a filming location to the audience. An advantage of the Briskeye 360 camera are its adaptive upstream TMBi - 6
features and the internal stitching in real-time which avoids the need for any additional equipment. With a cost-effective and simple solution, the user will be able to capture 360 content and store it on Solid State Disks (SSD) for ingestion and postprocessing. Once the project is ready, the 360 content can be published to the web using MOG’s Cloud Services assuring a fast and secure delivery to end users on both second screens and VR headsets. “We are excited to integrate Briskeye with our central ingest and media preparation systems”, has said says Luís Miguel Sampaio, CEO from MOG. “We found that the Briskeye 360 camera has an innovative set of features when compared to the other options available on the
market. Its small size, stitching capabilities and its ability to render in real-time without the need for separate software makes it the perfect fit for MOG’s Video Cloud”. “By integrating MOG’s technology with the Briskeye 360 camera, we are encapsulating a set of valuable tools to allow the capture, management, transcoding and sharing of 360 and VR content”, has said Magnus Janson, CEO from Briskeye. “Users will be able to reduce costs by eliminating the need for multiple types of equipment. We are putting an end to extended set-up times and the complications normally associated with 360 production workflows”.
BSI LAUNCHES FIRST WIRELESS CAMERA SYSTEM WITHOUT EXTERNAL ANTENNA receiver features a simple GUI(graphic user interface) with easy adjustment for the main system parametersincluding frequencies, 2GHz, 3GHz and 7GHz, DVB-T/T2 modulation and 1080p50 3G decoding ideal for 4k upscaling.
BSI UK, the European business of Broadcast Sports Inc., reveals a change in the design of their Real Freedom RF camera system: the system’s antenna is now fully integrated inside the camera back unit, so there is no external antenna protruding to get in the way whilst filming. BSI’s system already provides 1080p50 3G video output and integrated camera control.
and artistic capability of the camera, and allows the operator far more freedom of movement.
The BSI camera operator has now more freedom of movement
BSI’s Real Freedom system
BSI has changed the design of the system to streamline the camera when it is operating in wireless mode with the transmitter attached. Integrating the antenna inside the unit changes the usability TMBi - 8
It enables some newsweeping and twisting shots, and the camera can even be fully rotated in operation – hence the name Real Freedom. This streamlined system is ideal for music shows and studios as well as live sports and news.
The Real Freedom system comprises a camera back transmitter, a receiver unit and up to eight downconverter receive antennas with integrated camera control data. Designed with the hire customer in mind, the
At the receiver, a 5 inch colour panel displays the video, and the GUI shows a connection map including audio peak meters and other key parameters, whilst the integrated camera control feature allows the OB to configure the data transmitters and fine-tune the image remotely without using any additional cables. BSI’s technical director Tony Valentino has said: “For years everyone has been using external antennas that can get in the way, and are easily broken. This new design is far more useable and we are using it for the Aviva Premiership Rugby with millions of people viewing every week, so it’s ready for hire with or without a BSI engineer”. The camera operators have commented that “This system feels just like a normal line camera but without the cable”, according to the company.
SES TO CARRY MORE HDTV CHANNELS FOR M7 GROUP IN CENTRAL EASTERN EUROPE SES S.A. has announced that the satellite television provider M7 Group has contracted additional capacity and extended an existing capacity contract on SES’s ASTRA 3B satellite positioned at 23.5 degrees East. The new multi-year agreement will allow M7 Group to host all HD channels of the Czech public broadcaster Èeská Televize, as well as new HD channels for Skylink, M7’s Direct-toHome (DTH) television platform for the Czech Republic and Slovakia. The renewed capacity agreement will enable M7 to continue TMBi - 10
carrying a wide range of HD channels via Skylink, the market-leading satellite television platform in these countries, which reaches over two million homes.
in delivering a quality TV experience to our viewers, and we are looking forward to continuing this fruitful relationship”.
“This recent agreement with SES will enable us to satisfy the existing and growing consumer demand for better picture quality and innovative new programs in the Czech Republic and Slovakia, as well as allow us to further reinforce our positions in these highly competitive markets”, has said Hans Troelstra, Chief Executive Officer at M7 Group. “SES has been our reliable partner
“M7 Group has been a longstanding partner, and we are pleased that our collaboration continues to grow”, has said Ferdinand Kayser, Chief Commercial Officer at SES. “M7 has a leading position in the high definition broadcasting segment of the Czech Republic and Slovakia, and we are happy to continue contributing to this success by providing our reliable satellite services”.
AJA KUMO 6464 COMPACT SDI ROUTER IS NOW AVAILABLE
AJA Video Systems is taking orders for KUMO 6464, its new compact 3GSDI router with 64 3G-SDI inputs and 64 3G-SDI outputs for high quality, cost effective signal routing in a small form factor. KUMO 6464 facilitates long cable runs, minimizes signal interference and fits seamlessly into an array of broadcast, production, post and AV environments. Good for any installation where a balance of size and routing capacity are critical, KUMO 6464 provides powerful signal control and offers the ability to route video with embedded audio to BNC outputs with auto reclocking of SDI rates.
and quad port routing, allowing users to group together multiple inputs and outputs for Dual Link, 4K and UltraHD workflows. This allows seamless routing of uncompressed or Raw 4K and UltraHD signals throughout a production or post facility.
AJA KUMO 6464 features • Standards up to 3G-SDI: SMPTE-259/292/424. • Quad-Link, Dual-Link, 4K/UltraHD with multiport SDI switching for 2 or 4 sources at once. • Connectors: 64 BNC inputs and 64 BNC outputs. • Impedance: 75 ohms.
AJA Video Systems KUMO routers It joins AJA’s family of KUMO routers, which includes KUMO 3232, KUMO 1616, and the KUMO 1604. KUMO routers can be configured for ganged dual TMBi - 12
• Reference Input: Analog Color Black (1V) or Composite Sync (2V or 4V) Looping, Nonterminating. • Auto Re-clocking SDI rates: 270/1485/2970 Mbps. • Auto Bypass of Re-clocker.
• Pass through rates: 3 Mbps — 3 Gbps. • 1x RS-422, Grass Valley Native Protocol. • 10/100/1000 Ethernet (RJ45), REST API. • Embedded web server for remote control on a standard web-browser. “KUMO 6464 offers incredibly flexibility and extensibility for any scenario where routing of multiple signals is required”, has said Nick Rashby, President, AJA Video Systems,“Our newest addition to the KUMO family of products offers the same quality, value and reliability that AJA customers expect, with the increased density our customers have been asking for”. Orders can now be placed for KUMO 6464 through AJA’s reseller network at a US MSRP of $7,995; product will ship next week.
GLOBECAST SET TO LAUNCH NEW EURONEWS HD CHANNEL AT EUTELSAT HOTBIRD POSITION Globecast had announced it has been contracted by Euronews to bring its new HD channel to viewers across Europe, North Africa and the Middle East. The channel’s world-first launch in HD from Eutelsat’s Hotbird video neighbourhood follows the announcement by Eutelsat and Globecast at IBC 2016 to drive HD growth at Eutelsat’s most popular broadcast location.
Euronews, the mostwatched international news channel in Europe Euronews covers world news and broadcasts in SD, 24 hours-a-day, seven daysa-week in 13 languages: Arabic, English, French, German, Greek, Hungarian, Italian, Persian, Portuguese, Russian, Spanish, Turkish and Ukrainian. Globecast has an ongoing relationship with the channel, distributing the SD variant. The HD version will launch with an Englishlanguage feed in November. The channel will be encoded in MPEG-4 DVB S2 in a new Hotbird platform designed to host premium international news and information channels. Didier Mainard, Executive Vice President Sales, Marketing and Communication at Globecast, TMBi - 14
has said: “Globecast and Eutelsat have teamed up in order to enrich the Hotbird orbital position, which is the number one in the world in terms of free-to-air channels with a wide DTH footprint including Europe, Middle East and North Africa. Globecast has been working very closely across both technical and commercial angles with Euronews for the past few months to bring the HD variant to viewers. We are very pleased that Euronews has extended its relationship with us“.
The right time to launch Euronews HD “We bring premium news content to viewers across the Hotbird footprint and we have very strong reach in the business sector. We
recognise that the time is right for us to launch our HD offering. We will now be able to bring premium news HD content to existing viewers, including premium hotels targeting business travellers and high-end tourists from all over the world, hospitality organisations, cable and IPTV operators as well as home viewers”, has said François Schmitt, Chief Operating Officer at Euronews. Michel Azibert, Eutelsat’s Chief Commercial Officer has said: “We are delighted that the Hotbird platform is the first in the world to broadcast Euronews in HDand to see the rewards of our partnership with Globecast to propel the move to higher resolution particularly for freeto-air content”.
GATESAIR WINS IN NEPAL
State-owned broadcaster Radio Nepal ordered 12 Flexiva FAX air-cooled transmitters, covering power levels up to 2kW to maximize coverage across the complex terrain of Nepal. The transmitters, expected to go on the air in November
2016, will be installed at the Radio Nepal, Singh Durbar, Kathmandu transmission site. GatesAir won the contract due to its ability to supply the most competitively-priced and complete offer, along with local support. The Radio Nepal contract also includes
turnkey equipment, installation and commissioning services. GatesAir partner Tzone Digital will assist the regional GatesAir team with all service and support-related initiatives.
MAGEWELL EXPANDS 4K VIDEO CAPTURE ROSTER TO FIVE
Nanjing Magewell Electronics launch his new Pro Capture DVI 4K Nanjing Magewell Electronics is launching the new Pro Capture DVI 4K, the fifth model in the company’s comprehensive line of feature-rich 4K, PCIe video capture cards. The new model joins the Pro Capture HDMI 4K, Pro Capture HDMI 4K Plus, Pro Capture AIO 4K and Pro Capture AIO 4K Plus cards in cost-effectively delivering reliable, highquality 4K capture for users, systems integrators and OEM partners. The new card will be showcased at key North American industry trade TMBi - 16
shows over the next six weeks, including Streaming Media West, NAB Show New York and Government Video Expo.
The new DVI-input model complements Magewell’s previously-announced 4K card
applications, the new DVIinput model complements Magewell’s previouslyannounced 4K cards. The Pro Capture AIO 4K captures 4K video at up to 30 frames per second over its HDMI 1.4 and 6Gbps SDI interfaces, while the Pro Capture AIO 4K Plus supports 60fps over HDMI 2.0 and 30fps via SDI. The Pro Capture HDMI 4K and Pro Capture HDMI 4K Plus support 30fps and 60fps 4K video, respectively, for HDMI-only uses. All five cards support resolutions up to the 4096×2160 4K digital cinema and production standard, including 3840×2160 4K Ultra HD.
Designed for professional A/V and broadcast
“The addition of the Pro Capture DVI 4K continues
The Pro Capture DVI 4K card supports single-link and dual-link DVI inputs, capturing video up to 1080p HD over single-link or 4K 2160p30 over a dual-link connection. The card can also support HDMI 1.4 signals up to 1080p with embedded audio using a simple HDMI-to-DVI adapter.
our commitment to offering our customers a flexible choice of input interfaces to meet their exact needs“, has said Amy Zhou, Sales Director at Magewell. “With HDMI, SDI, DVI and combination models, we now have a high-performance capture solution for any 4K application“.
Magewell Pro Capture cards All Magewell Pro Capture cards feature hardwarebased video processing,
providing high-quality deinterlacing, scaling, color space conversion and video enhancements without taking valuable CPU cycles away from third-party software. Input video can be fed to multiple software applications simultaneously, with independent control of the resolution, frame rate and video processing for each output. Magewell’s universal Pro Capture drivers support Windows, Mac and Linux operating systems, and offer
broad compatibility with popular encoding, streaming, live production, collaboration, video conferencing and virtual reality (VR) creation software. For third-party developers, the comprehensive Magewell Pro Capture SDK enables partners to create custom software applications and turnkey solutions leveraging the full feature set and unique capabilities of the Magewell cards.
GATESAIR HAS WON PHASE TWO OF BANGLADESH HD RADIO ROLLOUT GatesAir has won phase two of Bangladesh’s national HD Radio rollout. The turnkey system comprises two selfcontained FM radio stations with high-efficiency GatesAir Flexiva™ FAX air-cooled 10kW FM transmitters, antenna systems and all auxiliary and support equipment. Bangladesh Betar, the only national government broadcaster serving Bangladesh,awarded the contract as the first phase of the GatesAir-supported rollout moves forward. The initial phase, which covers the capital city of Dhaka, also includes two GatesAir Flexiva FAX 10kW transmitters and is targeted for completion by the end of 2016. The second phase will cover the heavily populated cities of Mymensingh and Gopalganj, with an expected on-air date of June 2017. Both projects are notable as the first HD Radio deployments in South Asia. The GatesAir Exgine4 HD Radio platform will play a central role in each system. The complete system includes GatesAir’s FlexStar HDI-200 Importer and HDE200 Exporter at the studio; and the FlexStar HDx exciter at the RF plant. TMBi - 18
The complete system supports all HD Radio program audio and programassociated data (logos, station ID information, artist/song data) over a single, bandwidth-efficient stream, with plenty of headroom to incorporate additional services in the future. “GatesAir’s professional services, reliable systems architecture and highefficiency transmitters provide value across the project duration, and will enable us to operate a cost-efficient, lowmaintenance hybrid FM and HD Radio service for a large portion of our population for many years”, has said Mr. A.K.A.M. Fazlul Hoque, Project Director at
Bangladesh Betar Engineering. “GatesAir’s bandwidth-rich HD Radio platform will also allow us to add more audio channels and data services in the future without requiring any significant additional investment in resources. Above all, their detailed planning and quick turnaround are consistent with our scheduled rollout plan. We also appreciated them welcoming Mr. Ahmed and Mr. Bhuiyan to tour the GatesAir manufacturing center to confirm product quality assurance and further strengthen the relationship between GatesAir, Bangladesh Betar and the Bangladesh Government”.
FOR-A HAS BEEN HONORED WITH 2016 TECHNOLOGY & ENGINEERING EMMY AWARD For-A company is one of three recipients recognized for ‘Live Production Technology Beyond HD to Achieve Non-Interpolated Video for Instant Replay’. FOR-A was the first manufacturer to release and have put into a practical application an ultra-highspeed 4K resolution camera with up to 900 frames per second — the FT-One, for live sports production. The FT-One has been used on a wide variety of sports events and broadcasting projects throughout the world. While traditional sports coverage is great for much of the action, high speed capability with 4K extraction has been a real game-changer. It provides image details that weren´t possible before and catches action that has been extracted and integrated
from the field of play and assimilates it into a HD production. “We are very pleased and honored to receive this distinguished and prestigious award for our technology and engineering efforts on the FT-One camera”, has said Mr. Katsuaki Kiyohara, President of FOR-A. “This would not have been possible without the commitment, dedication, and tireless efforts of our dynamic engineering team at FOR-A”, he has continued. “Their dedication and hard work is evident within the high-quality products they produce. The FT-One is just one example. We are also very grateful to those out there in the field, who have chosen to use our FT-One camera to get the very best quality shot possible”, Kiyohara has concluded.
SENNHEISER ANNOUNCES THE DIGITAL 6000 SERIES, A WIRELESS MICROPHONE SYSTEM Sennheiser has announced a new addition to its Professional Wireless Range, the Digital 6000 Series of radio microphones, which wil be available from March 2017. “With Digital 6000, we have brought the key benefits of our benchmark Digital 9000 system to a two-channel receiver and associated handheld and bodypack transmitters. The series isan ideal choice for touring and rental companies, theatre and musical productions, broadcasting, houses of worship and for high-profile corporate customers”, has said Tom Vollmers, product manager at Sennheiser. The digital two-channel receiver works across a switching bandwidth of 244 MHz (470 to 714 MHz), which is covered by three transmitter versions (470 – 558 MHz, 550 – 638 MHz, and 630 – 718 MHz). For larger systems, up to eight receiver units can be daisychained without the need for an additional antenna splitter; the multi-channel system will work with a single pair of antennas. The system latency is 3 milliseconds. The Digital 6000’s automatic frequency set-up function and the Wireless TMBi - 20
Systems Manager (WSM) control and monitoring software makes the job of the monitor engineer or dedicated RF engineer easier. The Digital 6000 receiver is fitted with an eye-friendly white OLED display, which gives a overview of the RF signal, link quality, audio signal, battery status, frequency and encryption. Several home screens provide access to further information, without the user having to navigate through submenues. Critical operating conditions and error messages are directly indicated on the display. Digital 6000 works with standard active and passive UHF antennas, as the frequency-selective antenna filters are contained in the EM 6000 receiver. Therefore, existing antenna infrastructures can continue to be used. The Digital 6000 transmitters use the same high-performance rechargeable accupacks as the Digital 9000 units. The SKM 6000 handheld transmitter is fitted with Sennheiser’s standard capsule interface and can therefore be combined with all the classic microphone
heads from the evolution wireless Series, the 2000 Series, and also the special 9000 Series heads. The L 6000 charger is a 19”/1U device that can be fitted with up to four charging modules, each of which recharges two bodypack or two handheld batteries, respectively. Three-coloured LEDs on the front panel give a overview of the charging process. More detailed information as well as additional parameters such as battery runtime, charging cycles and remaining capacity can be accessed via the Wireless Systems Manager. As the 6000 Series transmitters are compatible with the Digital 9000 transmitters, the L 6000 charging unit can also be used for Digital 9000.
STREAMGUYS LAUNCHES ISMYSTREAMUP and advertising revenues.IsMyStreamUp has leveraged this pedigree to bring automated, 24/7 monitoring capabilities to streaming operators and users of any streaming host or CDN in a self-serve solution.
StreamGuys has launched IsMyStreamUp, a fullyautomated, cloud-based service that enables users of any CDN or streaming platform to continually monitor the status of their Internet streams, critical content assets and
production workflows. Top-tier Internet Radio broadcasters using StreamGuysâ&#x20AC;&#x2122; delivery platform have long depended on its SGalerts monitoring services to ensure stream continuity, which is crucial for protecting their brand image
IsMyStreamUp enables users to configure alerts for one or more streams or content assets through a web-based dashboard. New customers create an account, enter the URL, and configure their contacts for receiving alerts. IsMyStreamUp alerts the specified contacts via email the moment it detects a monitored stream or page has gone offline, and notifies them again when the stream or page is back up.
IMAGEN TELEVISION BEGINS BROADCASTING AS THE THIRD NATIONAL CHANNEL OF MEXICO The new and open television network has broken more than two decades without creating new operators in this sector in Mexico. It has begun to automate their emissions through the implementation of the VSNMULTICOM redundant solution. The channel began broadcasting on the 17th of October and is already broadcasting in 60 cities through 123 stations, covering a total audience of over 70 million people. The new cannel ha emerged as the third national televisión in Mexico. The cluster Grupo Imagen, which belongs to Grupo Empresarial Angeles, has placed its trust in VSN’s technology to automate and manage the entire workflow of emissions from its new TMBi - 22
television channel, Imagen Television.
Imagen Television broadcasts uninterruptedly 24 hours a day This project required the implementation of a complete Master Control Room automation workflow perfectly integrated with all third-party equipment available to provide Imagen Television with a reliable emission to be aired. To this end, VSN along with Teletec, successfully launched two VSNMULTICOM systems that are responsible for ensuring an uninterrupted broadcast 24 hours a day, thanks to the installation of a complete automation solution with redundancy configuration in parallel.
In order to establish an endto-end automation workflow, VSN developed, thanks to the VSNSPIDER framework, a complete integration of both VSNMULTICOM and VSNEXPLORER MAM (which also works now for MCR environments) to manage files along with Harmonic Spectrum Video Servers, Icon Master mixer from Imagine Communications and Orad graphics systems from Avid. The end result of this project allows Imagen Television to have a fully MCR automation workflow to export files and video clips to broadcast servers, allowing the system itself to call videoservers when a clip or scheduled program in the rundown is not ready to be aired.
DELUXE ACQUIRES VERICOM AB Deluxe Entertainment Services Group has announced the acquisition of Vericom AB, an innovator in the IP technology space enabling the transport of crisp, uninterrupted video including rich video formats such as 4K. Deluxe has been working with Vericom AB on this technology exclusively for the last four years, integrating it into Deluxe’s MediaCloud linear playout service and Deluxe’s Broadcast Delivery Network (BDN) for live events and sports. With Vericom joining the Company, Deluxe continues its recent investments in technology that supports global, digital delivery of video content. The addition of Vericom AB will boost the capabilities of Deluxe’s technical infrastructure, enabling the company to provide new and innovative solutions to more efficiently address the exploding global demand for video, according to the corporation.
Vericom’s core technology Vericom’s core technology connects edge-based catcher/pitcher appliances
that provide transmissions and receipts of up to 16 encoded high-resolution IP video streams, per appliance pair, across any type of wide area data network. The technology encompasses a data center aggregation platform for all edge-based and locally originated IP streams that performs multiplexing functions to ensure that platform-compliant streams can be originated; and software h.264 encoder and decoder functionality that supports low latency encoding of SDI video signals and decoding of IPbased video signals out to SDI. Deluxe integrated this technology initially to handle the demands of top rights holders like MP & Silva to deliver NFL content across Europe, and broadcasters like SBS in Australia which leverage it to deliver channels over IP across Australia. Deluxe now has over 40 IP-based client installations supporting 61 IP-based channel playouts for top content aggregators and rights holders.
PLAYBOX TECHNOLOGY NEO AND CLOUDAIR CALL THE SHOTS AT SPORTSCASTING EXPO PlayBox Technology reports high interest in its Neo and CloudAir channel branding and playout solutions among broadcasters attending the 2016 Sportscasting News and Live Production Conference & Expo in Melbourne. Held at the Etihad stadium October 26-27, the event embraced all aspects of television including studio operation, postproduction, archive management and transmission. TMBi - 24
A great show for PlayBox “It was a really great show catering for broadcasters, production service-providers, rights holders, venue managers and sports associations”, has said Brad Redwood, manager of PlayBox Technology Australian distributor Redwood’s Technology Solutions. “These were real decision-makers including attendees from all regions of Australia plus New Zealand and Singapore. The dominant theme both at the exhibition
and during the conference was the increasing demand for IP streaming. Our PlayBox Technology customer Echo Sports Network contributed a conference presentation describing how it is using AirBox to power a new channel for grassroots sports”. “AirBox Neo really called the shots, attracting huge interest from established broadcasters and sports groups keen to establish their own channels. It forms the ideal core for a compact
system which provides all the facilities needed to convert themed content such as sports into an efficiently run and visually appealing television channel. AirBox Neo allows content to be streamed live with the same revenue-generating advertising and sponsorship opportunities as any satellite-based or terrestrial channel. We also offer the option of CloudAir which is available on a software-as-a-service basis rather than requiring investment in on-site equipment”. “We additionally demonstrated ProductionAirBox Neo which provides the near-zero latency demanded for fast-paced broadcast news, sports and live production. Content in a wide range of file formats and resolutions can be imported into the playlist, each with up to 16 audio channels to accommodate multi-language versions. Forward or reverse shuttle can be
performed at up to 32x speed. Files in a variety of video resolutions and formats can be placed in a single playlist”. “My thanks to Brad for his sterling efforts at Sportscasting Expo”, has added PlayBox Technology President Don Ash. “Q4 is an extremely busy time for our exhibition teams around the world, promoting the Neo and CloudAir product ranges at Africast in Nigeria, Broadcast India in Mumbai, CAPER in Argentina, this excellent event in Melbourne and the impending NAB New York show. PlayBox Technology anticipated the transition to server-based playout when it first became a logical improvement on rigidly-defined hardware. The Neo and CloudAir product ranges are ideal for broadcast networks of any scale, including tightly themed channels catering for specific interests such as sports”.
BANNISTER LAKE ENHANCES TRAFFIC SYSTEM INTEGRATION IN BRANDO Bannister Lake has expanded the integration possibilities between its Brando branding automation solution and third-party traffic and billing systems with the addition of support for the Broadcast Exchange Format (BXF), the SMPTE standard that streamlines interoperability and data exchange in broadcast and production workflows. Brando takes the complexity out of advanced branding across any number of channels, making it fast and simple for broadcasters to set up, manage and continually enhance both internal and sponsored promotions and campaigns.Brando enables users to map dynamic branding and informational elements — including promos, bumpers, next boards, content ratings and more — to their program schedule through a web-based interface.
Bannister Lake’s Broadcast Exchange Format Also known as SMPTE-2021, BXF provides a standardized
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approach for the exchange of data including schedule information, as-run logs and more. The addition of BXF support complements Brando’s scheduling capabilities and existing, vendor-specific traffic system integrations with standardsbased program schedule retrieval and as-run log publishing. Brando can automatically import BXFcompliant scheduling data, and export BXF-formatted asruns through its BLADE (Bannister Lake Active Data Exchange) API. “Brando has always made it quick and easy for users to manually enter and augment program information with efficient tools such as
recurrent scheduling, but direct integration with traffic systems minimizes effort and errors“, has said Georg Hentsch, president, Bannister Lake. “Those benefits are particularly significant when we have customers managing upwards of 20 channels on a single Brando installation. Brando already supports a selection of proprietary data formats, but the addition of BXF support enables interoperability with many more traffic systems without custom development, and gives our customers the future-proof confidence of a standards-based approach”.
HUNGARIAN BROADCASTING EXPANDS ITS EQUIPMENT WITH LAWO Hungarian broadcast services provider ÁSZ Bt recently purchased a used OB truck and needed a new audio console for its refurbishment. The company chose a 48-fader mc²56 Lawo console and two V__pro8 A/V “toolbox” units. Budapest-based ÁSZ Bt is the second largest OB van operator in Hungary. The addition of the 18-camera OB5, which houses a Sound Room, Video Engineering Room, and Production Room – brings the company’s truck count to four, as it joins OB3 (supporting up to16 cameras), OB4 (with a maximum of eight cameras), and OB6 (with a maximum of six cameras). The equipment purchase was made through independent system integrator Rexfilm, Hungarian company providing professional audio and video equipment, systems design, sales, integration and full technical support to the country television stations, cable operators, radio, production, and postproduction studios. “In this profession it is important to develop constantly and to move with the times. That is why FerencÁcs is constantly
looking to innovate”, has said Rexfilm Project Director, Gábor Csapó. “Lawo was chosen because of the company’s redundancy concept, the functionality of the mc²56 and the attractive price”. The new OB van also features 10 Sony Professional HDC-1700 fiberoptic camera systems, giving it state-of-the-art picture capture. “ÁSZ Bt chose Lawo because – in this part of Europe, where we live and work, and even more so in the Western countries – major broadcasters that take this service very seriously mostly use Lawo consoles. It makes it easier for us to expand our services to the international market, because Lawo is widely accepted and the chances of finding a good professional, who knows the console, are higher“, has explained FerencÁcs.
“Our focus when building and equipping the OB5 was to make it qualified to work on international events”, he has said. “The reliability of the sound and intercom systems is crucial – the Lawo mc256 with three DSP panels and three Stageboxes, and additional Lawo V__pro8 processors, combined with Riedel intercom solutions, is a system that gives us great flexibility for different setups. I believe that with this system, and with the support of Lawo, we will be able to meet expectations – and that is a very reassuring feeling.
Lawo wasn´t the cheapest option “From the alternatives we considered, the Lawo systems were not the cheapest options, but taking into consideration the many advantages and benefits offered, I chose Lawo. I believe the coming years will prove me right”, Csapó concludes. TMBi - 27
BLACKMAGIC ANNOUNCES NEW VIDEO ASSIST 2.3 UPDATE
Blackmagic Design has announced Video Assist 2.3, a major new update for Blackmagic Video Assist customers that adds 3D LUTs to both models. This update also adds features to the 5” Blackmagic Video Assist including improved DNxHD and DNxHR support, false color monitoring, expanded focus options and new screen rotation features. The Video Assist 2.3 update is available for download now from the Blackmagic Design website and is free of charge for all Blackmagic Video Assist customers. “Blackmagic Video Assist is perfect for customers that TMBi - 28
need better monitoring and higher quality recording”, said Grant Petty, CEO, Blackmagic Design. “This new update adds incredible LUT monitoring to both models, and brings some of the same powerful high end features from the 7” Blackmagic Video Assist 4K model to customers that have the 5 inch Blackmagic Video Assist model. We think the massive number of features on the 5 inch Video Assist model is amazing when you consider it only costs $495! Thats why Blackmagic Video
Assist has become an essential part of every filmmakers toolkit because they help customers shoot and capture higher quality video with everything from DSLRs to older tape based camcorders, and even the latest digital film cameras!”.
Blackmagic Video Assist update features Customers using the Video Assist 2.3 update can now load up to six 3D LUTs when
monitoring video on set with their 5” or 7” Blackmagic Video Assist. 3D LUTs have become an important part of digital filmmaking because they transform the camera images into a look that closely approximates the final look the director wants. The benefit of monitoring with 3D LUTs is that the crew can see the footage as the director intends it, and it’s completely non destructive because the original camera footage remains untouched. The six x 3D LUTs can be stored and recalled at any time by the user and this new
feature is available on both the 5” Blackmagic Video Assist model and the 7” Blackmagic Video Assist 4K model.
In addition, customers can now choose between DNxHD 220, 145 and 45 bit rates, or between DNxHR HQ, SQ and LB formats when recording.
For customers using the 5” Blackmagic Video Assist model, this update adds new features that were previously released only on the 7” Blackmagic Video Assist 4K model.
Video Assist update adds false color exposure tools
These new features include the ability to record to DNxHD and DNxHR files in MXF format which improves compatibility with Avid systems running on Windows.
The Video Assist 2.3 update also adds false color monitoring exposure tools to the 5” Blackmagic Video Assist model. False color exposure tools make it easier to properly set exposure in different parts of the image by highlighting specific color ranges of luminance with a solid color overlay.
GRASS VALLEY LAUNCHES EDIUS PRO 8.3 AND EDIUS WORKGROUP 8.3 Grass Valley has launched the version 8.3 of Edius Pro and Edius Workgroup.The company claims the the new version brings high-quality slow motion, more DVD/Blu-ray burning options. “Our customers choose Edius because they know that it’s a smart investment that will keep up with their needs as technology advances”, has said Steve Wise, director of product marketing, Grass Valley. “We are constantly adding features and improving performance in response to feedback from users, which means that the software never falls behind the needs of the market. And the permanent license structure is such that existing users have access to the incremental upgrades within a version at no additional charge”.
Specific improvements for Edius Pro 8.3 and Edius Workgroup 8.3 include: • High-quality slow motion using optical flow interpolation • Bin now shows timecode information • Many more “Burn-to-disc” options for DVD and Blu-ray • More proxy resolution options • GV Browser improvements • GUI improvements • F-Log (Fujifilm) color space Edius is available in two versions— Edius Pro 8 is targeted at the professional production user, while Edius Workgroup 8 is aimed at editors working within a broadcast-based.
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RIEDEL COMMUNICATIONS EXPANDS NORTH AMERICA TECHNICAL SERVICES STAFF WITH TWO NEW HIRES Audio Engineer at Mars Hill Church in Seattle; System Integration Wireman at Beck Associates in Denver; and Live Sound Technician at Azusa Pacific University.
McClellan’s previous work with Riedel
Riedel Communications promotes Zach Funk and McClellan Riedel Communications has hired Zach Funk and Justin McClellan as Service and Support Engineers in the Riedel North America Technical Services department. Through their previous experiences in liveevent production and broadcast television, both Funk and McClellan have overseen setup, implementation, and maintenance of Riedel signal distribution and communications systems. “Through work with Zach and Justin on a variety of Riedel installations, we know that they have the right spirit and technical expertise to play a valuable role on the Riedel North America team“, has said Joyce Bente, President and CEO at Riedel TMBi - 30
North America. “Their knowledge, dedication, and enthusiasm in working with our clients will contribute to customer satisfaction and continued adoption of Riedel solutions in markets across North America”.
Funk’s previous work with Riedel Funk’s previous work with Riedel includes a year as a logistics specialist for the company from 2011 to 2012. More recently, as a freelance systems technician, he collaborated closely with Riedel in setting up and configuring Riedel MediorNet systems for a large media organization’s trade show booth and for the Toronto 2015 Pan American Games. Funk’s industry experience also includes the role of Technical Director at Flatirons Community Church in Lafayette, Colorado; Lead
McClellan joins Riedel having most recently served as a freelancer in RF and communications work for corporate events and large TV broadcasts, including the Central American and Caribbean Games Veracruz 2014 and “CMT Crossroads.” During this time he gained experience working on a wide array of audio consoles, intercom systems, and control software systems. McClellan began his career at Alford Media Services, where he built and refined his skills as both an RF technician and a communications technician. He was instrumental in upgrading Alford’s communications systems to Riedel Artist systems and then led the training of inhouse and freelance staff on Riedel equipment.
CHYRONHEGO SIGNS A CONTRACT WITH THE ISRAELI PREMIER FOOTBALL LEAGUE TO ENHANCE LIVE BROADCASTS ChyronHego has announced that it has signed a five-year contract with the Israeli Premier Football League (IPFL) and Israeli pay-TV operator Charlton. Under the agreement, Charlton will use ChyronHego’s LyricX graphics creation and playout solution, the TRACAB™ player tracking system, and Virtual Placement virtual graphics solution to improve live broadcasts of IPFL matches. “After an exhaustive tender process, we could see that ChyronHego not only has the most advanced technology, but the best understanding of how to leverage its solutions
to meet our unique requirements”, has said Oren Hasson, chief executive of the IPFL. “Plus, the company’s solutions have been field-proven at the highest levels with international media and sports organizations including the UEFA Champions League, English Premier League, and La Liga. With this innovative partnership, we’re looking forward to applying ChyronHego’s integrated approach to maximize our fans’ viewing experience“.
ChyronHego’s LyricX, TRACAB and Virtual Placement solutions Beginning with the 2016-
2017 football season, Charlton will broadcast live matches from the IPFL’s Ligat Winner first division and State Cup competition using the LyricX graphics creation and playout engine. In addition, the League has equipped all Ligat Winner stadiums with optical cameras to enable TRACAB, which uses ChyronHego’s proprietary image processing technology to capture and deliver accurate real-time data on the movement of players, officials, and the ball. The data, further enhanced by the visualization tools of Virtual Placement, will be used to improve the viewing experience of broadcast audiences of live IPFL matches. Rickard Öhrn, ChyronHego’s chief operating officer, has said: “ChyronHego’s selection by the IPFL is a significant step forward as we continue to expand our market-leading position in sports tracking and graphics technologies. The league has shown a deep understanding of the revolution taking place within sports content, and we’re excited about the new products and services that we will launch together over the coming months”. TMBi - 31
MILLER CAMERA SUPPORT EQUIPMENT INTRODUCES ITS NEWEST PRODUCTS TO JAPANESE MARKET AT INTER BEE Miller Camera Support Equipment will unveil its latest additions to the Arrow line for the first time to the Japanese market. At Inter BEE 2016, Miller will display its arrowX Series of Fluid Heads and the brand new arrowFX Series of Fluid Heads, as well as the new Combo Live Pedestal Series, at the Velbon Corporation booth (5511). “We’ve taken several innovative steps to bring new technologies to the Arrow Series of fluid heads that have culminated in the creation of the arrowX and arrowFX products”, has said Joseph White, Regional Sales Manager Asia & Africa, Miller Camera Support, LLC.“Inter BEE 2016 allows us to showcase these technological advancements, including Miller’s CB PLUS™ technology, which helps with the quick adjustments that the broadcast field calls for, to this region of the World”. Each arrowX Fluid Head features the new CB PLUS, a sequential counterbalance design, that features eight large counterbalance steps. The CB PLUS switch adds a half step enabling counterbalance fine-tuning. This new feature makes the arrowXSeries good for ENG, EFP, studio or field OB. TMBi - 32
Miller Camera’s Arrow line
including in-studio and OB applications.
The arrowX 3 boasts a payload range of 1-19kg (2.241.8lbs), 16 positions of counterbalance and 5+0 panand-tilt drag positions. It is designed for lighter cameras used in ENG, documentaries and EFP applications.
Finally, the arrowFX Series of Fluid Heads feature all of the same specs as the arrowX line, but with the further addition of being designed to be deployed in high-definition live television broadcasts, where augmented reality effects are inserted into the picture. By delivering high-precision panand-tilt positioning information for cinema-quality visual effects productions in feature films and commercials via robust, high-resolution magnetic encoders integrated into the fluid head, the arrowFX can monitor and communicate, in real time, the position of the fluid head with zero latency.
The arrowX 5 has a wide payload range from 2-21kg (4.4-46.2lbs), 16 positions of counterbalance and 7+0 panand-tilt drag positions. It is designed for larger ENG and EFP applications, including documentaries, drama and television commercials. The arrowX 7 has a payload range from 6-25kg (13.255.1lbs), 16 positions of counterbalance and 7+0 panand-tilt drag positions. It is designed for heavier rigs,
AJA RELEASES KI PRO ULTRA V2.0 FIRMWARE WITH SUPPORT FOR AVID DNXHD AJA Video Systems has released v2.0 firmware for Ki Pro Ultra, adding Avid DNxHD support to the portable file-based 4K/UltraHD/2K/HD video recorder and playback device. Ki Pro Ultra v2.0 enables users to record and playback Avid DNxHD .mov files, expanding production workflows. Ki Pro Ultra v2.0 software now supports: Avid DNxHD codecs – DNxHD HQX (220x) – DNxHD SQ (145) – DNxHD LB (36) Video frame rates
– 1080p 23.98, 24, 25, 29.97 – 1080i 25, 29.97 – 1080PsF 23.98, 24, 25, 29.97 – 720p 50, 59.94 “This latest free firmware release ensures compatibility between files recorded by Ki Pro Ultra, Ki Pro Rack and Ki Pro Mini products for Avid workflows, offering customers expanded flexibility and support across video and audio production workflows”, has said Nick Rashby, President, AJA Video Systems. Additionally, Ki Pro Ultra, Ki Pro Rack and Ki Pro Quad all
also now include Ki Protect, a feature that helps ensure data integrity if a media drive is accidentally removed, or loses power during recording. The Ki Protect feature automatically pre-allocates recording space on the media drive for video, audio and timecode when the record button is pressed. While recording, the file header is continuously updated every time new data is written, minimizing any potential data loss if operations are interrupted. Frames already recorded will be preserved and are recoverable, providing greater piece of mind on set and in the studio. TMBi - 33
SGL HAS PARTNERED WITH QUALSTAR AT NAB ON BOOTH 1219
SGL’s FlashPack entry-level archive is now bundled with Qualstar’s entry-level LT06/LT07 tape library providing small-to-medium broadcasters and media companies with a complete archive, content management and LTO library solution that includes all the features required for a fully integrated, infinitely scalable media archive including: hardware, software, support and integration with a MAM or production system, according to the company. Qualstar’s Q24 LTO tape library offers capacities up to 144 terabytes (native). The corporation explains that its menu-driven graphical built-in operator control panel is easy to use and this identical TMBi - 34
functionality can also be accessed via an integrated browser-based remote management interface (RMI). This enables ITadministrators to remotely configure, manage and diagnose the library from anywhere in the world via the Internet. All field replaceable components, such as the tape drives, power supply and controller board are removable with standard tools.
SGL creates a solution that
“Today’s customer is looking for a fully integrated and tested archiving solution to manage their business needs and provide the best storage architecture needed to grow their organization”, has said Arun Vaishampayan, VP Global Sales at Qualstar. “Qualstar’s partnership with
allowing the system to grow
we believe will provide the requisite capacity, capability and technical advantages to achieve the needed edge”. Douglas Wynn, SGL’s VP Sales America has added, “This is an ideal entry-level, self-contained solution that provides small-to-medium facilities with sophisticated archive and storage tools that are fully secure and scalable, with them. We are delighted to announce this partnership at NAB New York and look forward to unveiling further information regarding sales of the combined product to several US facilities in the coming weeks”.
SKY DEUTSCHLAND SELECTS AVID MEDIACENTRAL PLATFORM FOR UNIFIED CONTENT DELIVERY provides us with a more scalable, secure and flexible production and delivery environment, future-proofing us to meet the next wave of broadcast industry demands and significantly increasing our efficiency”.
Avid has announced that Sky Deutschland has expanded its investment in the MediaCentral Platform. Now, Sky’s news and sports production teams are empowered with the most comprehensive individual products at every stage of the workflow to create, collaborate, distribute, optimize and monetize its content, according to the company.
Facilitating collaboration and enabling producers and editors in remote locations and the newsroom to connect more efficiently was another key driver for Sky.
“Our goal is providing customers the very best TV experience, delivering highly engaging content”, has said Kevin Hughes, director of broadcast engineering at Sky Deutschland. “Investment in the MediaCentral Platform
Using Avid Media Central, the cloud-based web front end to MediaCentral, Sky editors can write scripts, view and edit video, record voiceovers, add and preview graphics, search across multiple systems
simultaneously, send stories straight to air, and publish to social media platforms or the website, from anywhere. Prior to adopting MediaCentral, Sky’s audio team operated in a silo. Investment in seven Pro Tools® | S6 modular control surfaces networked and running on the same platform as the news and editing rooms enables the broadcaster to place creativity at the center of its audio workflow. “With a catalog of premium sporting content to deliver, including the German Bundesliga, the English Premier League and the UEFA Champions League, Sky Deutschland’s investment in the MediaCentral Platform places the best individual tools at every step of the workflow enabling it to create, distribute and monetize content”, has said Jeff Rosica, Senior Vice President, Chief Sales & Marketing Officer at Avid. “Now, with a unified approach to optimize production, Sky’s delivery of this compelling content empowers the broadcaster to engage with and motivate increasingly sophisticated audiences”. TMBi - 35
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One of the elements that have attracted the most attention in our market has been without a doubt drones, elements that have certainly found their place in the audiovisual industry. Having said
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this, everything ultimately depends on the message to be conveyed. Drones are really useful and have a great many audiovisual uses, not just for cinema or television purposes. Tourism and real estate are just some of the sectors that may generate
content to support sales. This is so because aerial shots bear different information to those taken from the ground when presenting a hotel for instance. They are also used in operations where ground data is needed or where a helicopter is simply too
Ultimately, using a drone for an aerial shot that is not going to last any more than 10 seconds is a great money saver. Spectacular scenes can be filmed, similar to those achieved with a helicopter, by planning the work ahead and using professional equipment. expensive or impossible to operate. We owe this to their great versatility and because they are the perfect tool despite their particularities.
THE AUDIO - VISUAL
PRODUCTION WORLD ? Drones are used in our industry, and there is a clear upward trend. They are currently widely used in advertising production, which is where they are particularly useful. The adverts are not very long and they are usually filmed in very controlled environments. Ultimately, using a drone for an aerial shot that is not going to last any more than 10 seconds is a great money saver. Spectacular scenes can be filmed, similar to those achieved with a helicopter, by planning the work ahead and using professional equipment. The cost reduction, in this case, is
5 to 1 at the very least. The use and results will more often than not largely depend on the creativity of whom you commission the job to, the producer and the photography director. Spectacular movements and scenes can be achieved with a job well done, just as we see in the adverts created by major companies. For live television, the use of drones has grown exponentially because an aerial shot is always a great contribution to the production. For cinema uses or cinemalike productions that are done on television, the use given to drones depends more on the message to be conveyed than anything else, because the technical demands are much higher on all levels. In this setting, cameras are much heavier, which directly affects the size of the drones. This is one of the circumstances that can condition the entire operation the most, in addition to what it is you want to film. In this respect, nowadays, there are drone systems that can work with digital cinema cameras like the Red Epic or the Arri Alexa, albeit much better with the Alexa Mini and the Red Raven, which are more suitable for these jobs and can be used with Prime optics and follow-focus systems. At present, we can work with cameras of between 5 and 7 kilos without major problems. TMBi - 39
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VIBRATIONS There are three essential parts involved: the drone, the camera and the gyrostabilised system. Increasing attention is being paid to this now. Good support for the camera is essential. In fact, only the very good and specialised systems are capable of providing the necessary stability and ensuring the scenes are organic and have the adequate movement. This is ultimately what differentiates good quality from bad.
Nowadays, there are drone systems that can work with digital cinema cameras like the Red Epic or the Arri Alexa, albeit much better with the Alexa Mini and the Red Raven, which are more suitable for these jobs and can be used with Prime optics and follow-focus systems
Besides this, there is another part that people sometimes fail to pay the appropriate attention, which is that concerning microvibrations. These cause defects in the image that are not visible in monitors when producing the images. They appear when taking the raw materials to the editing room and require a post-production solution because it is something that truly affects the quality of the image. Isolating the camera system from vibrations in full is undeniably the most difficult part of working with drones. This operation is by no means simple. In fact, we can have a drone in the air at about one metre and a half, touch the camera and the support, and still not notice a thing, but the vibrations are still there. These are very high-frequency vibrations that TMBi - 41
adversely affect images. Most of the work is concentrated on the last phase of the preparation of the drone when the filming equipment is assembled. These vibrations are very much related to the weight and distribution, both of the camera and the optic, but also the batteries. With good planning, everything adjusts seamlessly, but unforeseen variations become critical, such as when we decide to change an optic for another one that weighs 200 g more or less, or that has a different weight distribution. Reinstating the balance is quick and easy but filtering the vibrations, not so easy. The mass under the TMBi - 42
drone has a significant impact on the frequency filtering system.
ADJUSTMENT KNOW- HOW
Everything works virtually on a trial and error basis, like in photography editing. To ensure the anti-vibration systems work correctly, the drone operator should already know the configurations they will be working with according to the weights beforehand. Certain environments sometimes need specific configurations, depending on the type of movements and meteorological conditions.
This is also within the experience of the operator, as happens with the photography director, who already knows what the result of putting a certain spotlight with a filter is before actually seeing it on camera. The same happens here: true experts know how to face each situation. This is why we strongly recommend working with skilled professionals. Only they know what small adjustments are needed in each situation for everything to work perfectly. Nowadays, we can get our hands on equipment that can lift sufficient weight to use the right camera for each job, with good gyro-stabilised
There is another part that people sometimes fail to pay the appropriate attention, which is that concerning micro-vibrations. These cause defects in the image that are not visible in monitors when producing the images. They appear when taking the raw materials to the editing room and require a post-production solution.
supports. This is why the effort is centred on the antivibration systems, so that the images are as valid as possible from the origin. This is fundamental, not only for the quality of the images but also to not waste time in post-production improving the material with software. Also, we always lose resolution when putting the images back into frame and solving these problems. Eliminating vibrations in post-production will worsen the original resolution and quality of the image. The raw image should really be as good as it can possibly be and we should not lose quality from using the drone. TMBi - 43
Even though nowadays there are systems that solve this in full, we still do not have a universal solution that offers an answer to all cases, or at least not yet. Major efforts are being invested in R&D, but the experts continue to be in a learning phase with ever-changing environments. We could actually be faced with a paradox where we are working or testing to solve a problem and a new development appears that removes or changes the problem, and could even be unrelated to drones, like a new camera or update that changes the centre of gravity or the morphology, new batteries... In all reality, everything has an impact, large or small.
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When working with drones, we need to bear this in mind, because the higher the resolution, the higher the care we need to have, although the images are much more spectacular
RESOLUTIONS: IS 4K BETTER ? 4K is becoming something mainstream, even at a domestic level, above all as regards to image capturing. A high percentage of cameras purchased to work for television purposes film in 4K, even when the end product prepared for broadcast is HD.
In fact, 4K has become a filming standard for amateurs too. Something similar occurs with cinema purposes, images are produced in 5K and 6 K and then re-framed in post-production. When working with drones, we need to bear this in mind, because the higher the resolution, the higher the care we need to have, although
the images are much more spectacular. One small problem when filming in HD becomes so much larger in progressive 4K resolution, a small error in two pixels in the images is far more noticeable, because the image is very large and we still work with 25 - 30 fps. These errors are minimised when working with a high rate TMBi - 45
of frames, so working with 50 or 60 fps would make things so much better. We should also bear in mind the resolution we intend to work with.
WORKS As happens every time a new technology appears all of a sudden, it seems that we TMBi - 46
can use it for everything and an endless number of companies sprout up offering these services, but in the end, the new technology does not work for everything nor are all the proposals fully coherent. It is essential to place our trust in companies and professionals with sufficient and appropriate know-how and the same happens with the material. It is very easy to see drones all
over any broadcast fair, not only those intended for professional use, but we also find a large amount of machines designed for amateurs, even an odd toy or two in some cases. Although in cinema everything is planned in further detail, it is true that in television (above all, live television) many things are justified, like offering a shot from the air. We have all seen major
It will not be long until these systems progress towards offering the best possible image in a format that works straight from the box, producing in RAW 4K at 1Gbps with a piece of equipment that would even give the most frequent cinema cameras a good run for their money.
defects in many live images or even in advertising. This was justified when the drones entered our market some years ago, but now, it is unacceptable. This is why it is important to work with a good company and an even better product. The trend is clear, which is a comprehensive solution. We can already find some manufacturers on the market
that offer drones integrated with cameras purposely designed for the audio-visual world with sensors that can live up to the expectations of any production. It will not be long until these systems progress towards offering the best possible image in a format that works straight from the box, producing in RAW 4K at 1Gbps with a piece of equipment that would even give the most
frequent cinema cameras a good run for their money. This is the line DJI has taken, for example. They have entered into agreements with Sony to use their sensors and have recently purchased shares in Hasselblad to develop cameras on their drones. Micro 4/3 also forms part of the consortium, in such a way that they can easily integrate Leica and Panasonic systems in their TMBi - 47
equipment with interchangeable automatically gyro-stabilised lenses because the drone reads the parameters. In the future, we will be seeing very integrated systems, tailor-made by drone manufacturers in collaboration with traditional cinema brands. Above all of this, there is a level of experimentation and research where very novel things are being tried out, where the idea is to put new things in the air, things like multi-camera systems, automatic follow-up systems and kinetic control systems to achieve very organic movements, very far from robotised. A lot of research is being conducted and we are reaching a very interesting degree of ripeness, which added to the usage experience and the fact that they are cheaper than helicopters, makes them very attractive for virtually any production.
What we should bear in mind are solar storms, something that happens in the aeronautic world quite a lot and over which there is a large control. Solar activity can have an impact on the different orientation systems, GPS readings and sensors on board the equipment, and this can generate serious problems.
BEAR IN MIND WHEN PRODUCING ? There are certain things that we must bear in mind when working with drones. As we explained earlier, they are not suitable for all uses but do generate spectacular scenes at very affordable prices. Given the great array of drones on the market, it is paramount to work with the TMBi - 48
most appropriate tool possible, and it is essential that the operator understands what the end result should be. So, we should be speaking about total connection between the drone equipment and photography edition, with the appropriate post-production work to plan the image recording correctly.
Many of the usual problems lie in not knowing what equipment shall be used during the production, the exact camera and the exact optics, which are both essential elements when calibrating a drone. This is why we need to bear in mind that the major problem is poor coordination and as a result, the operator may not
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have a lot of time to calibrate the equipment to perfection. It is essential to know what equipment shall be used to film the images as soon as possible to ensure everything is perfectly adjusted. There are also several physical limitations. Some movements can simply not be done due to aerodynamics, the technique or even legal reasons, depending on the legislation of each particular country. In general, it is best not to improvise with these machines if you are seeking a perfect result.
hanging from it. In this respect, the limitations are quite clear. We must also praise the logics. A drone that measures 110 centimetres cannot go through a 111centimetre door. So, we need to know what is going to be requested and, as we have said before, coordinate with the operator. If we choose to work with GPS coordinates, we need to ensure that there will be a signal in that area and be very careful when working inside buildings or tents where that signal can be lost.
These devices are usually quite versatile and their speeds reach up to 40 to 50 km per hour with no problem at all. We should also consider that we cannot do spins, loopings and these types of manoeuvres, especially with a camera
As far as meteorology is concerned, the wind and the rain are factors to be taken very much into account, but these issues normally affect the camera more than the drone itself, as they are less robust. We can work in the rain with certain normality.
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Drones are resistant to the exterior environments with engines that do not have brushes and can work in the rain. The limitations are more to do with the camera and the optics than anything else. What we should bear in mind are solar storms, something that happens in the aeronautic world quite a lot and over which there is a large control. Solar activity can have an impact on the different orientation systems, GPS readings and sensors on board the equipment, and this can generate serious problems. In fact, this is something that is usually included in the contracts. They specify under which circumstances the drone can fly in and in which they can't. This is something unknown to many professionals in our sector.
TRENDS It is crystal clear that drones will end up being just another tool used by production companies in the industry and they will integrate much more than those we know now, which will mean that their outsourcing will be much more sporadic. Its features make it not only useful for filming, but they may also have a function when making localisations, for instance, as it is a very complete tool. The array of models is very broad, from drones that can be stored in a rucksack to be used sporadically to others that can work with a cinema camera or its own integrated camera, offering high-quality images. These machines advance unceasingly and it is clear that they shall become really simple to use in the coming years, where the security will lie in automated systems rather than the skill of the pilots. For audio-visual productions, there are tools that allow the pilot to do flight simulations where the different movements are stored in the memory and then the drone carries them out automatically with great precision and maximum smoothness. So we will only have to focus on the camera movements. Something very important is the transmission system to control what we are doing.
For audio-visual productions, there are tools that allow the pilot to do flight simulations where the different movements are stored in the memory and then the drone carries them out automatically with great precision and maximum smoothness.
This needs to be very advanced and not have any type of latency. This is so, because the handling of the drone and the camera must be instantaneous, if we are following a car and there is half a second of latency the result will not be as expected. Another detail we must not forget about, above all with the current battery technology, is that we can prime autonomy or stability but not both at the same time. Stability is achieved with small propellers and motors spinning at many
revolutions, which spikes battery consumption. Autonomy is achieved the other way around, with large propellers and fewer revolutions, which increases inertia and reduces consumption. The best equipment, optimised for audio-visual purposes priming stability, have a flight time of between 8 and 15 minutes. This is why it is of utmost importance to have several replacement batteries, even to last us the entire day. The total charging time is between 45 minutes and one hour.
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Gestmusic is a company that needs little to no introduction. The production of the programmes that have changed the television paradigm is their direct making. Operación Triunfo, Crónicas Marcianas, Tu Cara Me Suena or ¡Boom! (which delivered the largest prize in the history of television in Spain: 2,300,000 Euros) are just a handful of examples. These formats have not only been a success in Spain but have also been exported to countries all over the world. In fact, Gestmusic is currently filming programmes for Italy in their studios. Their facilities at Sant Just Desvern regularly houses up to three sets covered by the same technical equipment. The sets for ¡Boom! and
Jordi Puigcorbé and Pere Prat
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¡Ahora Caigo! are currently assembled there. Although this may not be known to many, Gestmusic is also committed to training and creating new professionals in the audio-visual sector, offering training and internship contracts in very demanding real-world environments. This year, Gestmusic has taken another step forward by incorporating HD production by the hand of Crosspoint, among others, and equipment made by Grass Valley. We visited Gestmusic’s studios to talk to Pere Prat and Jordi Puigcorbé, Technical Director and Technical Chief of Television Sets, respectively, who have revealed the ins and outs of this project.
Is having two operational TV sets working simultaneously a good formula? Pere: Indeed, because it enables us to optimise resources. Nowadays, productions have tight budgets and working in one studio is surprisingly practical at all levels, even logisticallyspeaking. It is all centralised, both in terms of internal and external resources that may be needed, like audience, for instance. Having one single space to manage, makes everything so much simpler.
This year, Gestmusic has taken another step forward by incorporating HD production by the hand of Crosspoint, among others, and equipment made by Grass Valley. Jordi: We have a mobile unit far from standard. It is not a vehicle designed to provide service to external
clients attending any type of event. This unit has been conceived as a studio on wheels, purposely designed TMBi - 55
for our needs and the productions we do here. It has several particularities such as spacious work areas, with special attention to audio, because one of Gestmusic’s strongest points is musical formats. It is all about making the most of the advantages of a studio with the versatility and mobility of a mobile unit. Pere: We can say that it is the ideal technique tailored to us. We do not have a replay TMBi - 56
system with slow motion, for example, and this type of equipment would have a more multi-purpose mobile unit to provide services. Our unit is equipped with 8 cameras but can cater for up to 10. We have a mixer with 3 M/E and two EVS XS3 servers with 8 channels each, for filming and playback. It is a solution that enables us to film on more channels if necessary, but it also means a secure configuration with a
backup functionality. The idea is that if we lose one server, it is not a big deal, our production will not stop. Jordi: In fact, one piece of equipment would fulfil our filming needs, albeit with limitations, but it could be done. We are practically a contents factory, so we can simply not stop. We must bear in mind that a programme brings together a lot of people. For ¡Ahora Caigo!, for instance, there are
It is a solution that enables us to film on more channels if necessary, but it also means a secure configuration with a backup functionality.
10 participants, plus the audience, plus the production team. This is why we have given our facilities so much thought, with the objective of continuing forward no matter what, even despite unforeseen problems.
What has changed with all this? Jordi: In our case, we have been able to combine filming with post-production. Keeping the TV set and post-
production separate has always been a handicap, because, the bandwidth came with a very high cost. We have managed to exchange the appropriate material in both directions in a very swift manner and have all the production generated on the TV set in postproduction by the next day at the very latest. Pere: We have improved how production works and reduced the delivery times of
the productions considerably. In the past, when a programme finished, it took some time in being delivered to the television broadcaster, because the programme had to be delivered physically, either on a hard disk or tape. This time has become so much shorter because it is all done electronically now. Jordi: Sometimes we need to make changes to a particular part of the programme, for instance, to TMBi - 57
include advertising or simply modify the duration to adjust it to the schedule. Being able to work on digital format provides the flexibility necessary to perform whichever modification after the programme has been filmed. Pere: Nowadays, we need to be ready to make any change in a programme until soon before its broadcast. To this end, we have dimensioned server systems to accommodate between 30 and 40 programmes, including raw material, which are replicated both in the study and in post-production. This equipment synchronises
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automatically through fibre optic connections. This offers swiftness, but also redundancy of contents, or, in other words, security. Thanks to this flow, we have been able to reduce costs at all levels and gained reliability and above all, flexibility.
Has HD entailed any operational changes? Pere: We have had to pay more attention to some specific issues such as the Moiré effect, always related to nuances, with some apprehension at first but it ended up not being a problem.
Jordi: Besides the obvious technological and quality leap, we have hardly noticed anything different. If we had to highlight one, I would say that we have had to pay more attention to some specific elements, like the Moiré effect. It has disappeared from some screens and appeared on others with more resolution. In the side screens of ¡Ahora Caigo! there was a Moiré that has virtually ceased to exist now, but has appeared on the central 6 mm screen, an element that the production team has overcome by changing some of the shoots to achieve a higher soft focus
has been outstanding thanks to the good planning and involvement of the team.
Why did you choose Grass Valley? Jordi: We had been toying with several options for quite some time, and Grass Valley was not always our first choice. Let’s say we were considering several solutions, but ended up choosing Grass Valley for their cameras.
of the background. We refer to nuances that are solved quickly and effectively, as we have not encountered any major difficulty in this respect.
Did the production of the new material coincide with a change of season? Pere: Not exactly, but our production department did invest significant effort to speed up the filming and thus find the perfect moment to make the change. Jordi: We did it in two phases because implementing everything at the same time would have involved bringing the filming to a standstill for too long, not to mention the risk involved. First, we addressed the implementation of the new
filming system, with the implementation of the new Nvision matrix. In this phase, we verified that all the capturing, as well as the flow of files from the TV set to post-production, worked just as expected. In the second phase, we changed the camera systems, mixers, multi-screens, etc. The result
Pere: We had worked with Grass Valley before, in programmes like “Tu Cara Me Suena” and were very satisfied with the optimum results obtained. Another key element was the remote panel for CCU. It is a panel with a very ergonomic usage that turns out being very efficient and versatile for the image control technician. The few changes undergone by this panel over time evidence its qualities. Working with it was so easy and it performed to perfection in programmes that demand very fast and
Besides the obvious technological and quality leap, we have hardly noticed anything different. If we had to highlight one, I would say that we have had to pay more attention to some specific elements, like the Moiré effect. TMBi - 59
radical situation changes. You can move from a scene where you are emulating the 40s with sepia tones to another completely different one, with exceptional changes in colour temperature, filters and the like, very swiftly. This quality aroused great interest. Jordi: Another important aspect that concerned us was the integration of all the different pieces of equipment. This was something Grass Valley offered us natively, because what is important at the end of the day is that all the devices speak to each other. When you are devoted to seeking the best possible equipment for each need and end up with a facility composed of devices made by 20 different manufacturers, you may run the risk of encountering severe problems to integrate them. Grass Valley covered everything we wanted to do. Most of the equipment is theirs, so integration is absolute. Pere: As regards cameras, there was one thing we liked a lot about Grass Valley and that was scalability, for its performance. With cameras, you acquire equipment susceptible of being updated, thanks to a licensing system. So, the day you need to produce progressively, when you need to increase camera performance, you can do so without having to change model. This is a great TMBi - 60
Another important aspect that concerned us was the integration of all the different pieces of equipment. This was something Grass Valley offered us natively, because what is important at the end of the day is that all the devices speak to each other. advantage. I think this was one of the strongest points when taking a decision concerning cameras. On the other hand, one of the reasons behind choosing the PrĂŠmier series was the second filter wheel it incorporates, because we
needed a minimum level of effects on the camera due to the type of production we do. Jordi: Another positive point was the possibilities that Grass Valley offered to carry the signal via triax from the cameras. Fibre optics is good, but we work in the
studio with short distances, our TV set is cabled up via triax and to change it all to fibre optics entailed quite a high cost. Not to mention that nowadays -and for us-, it is much easier and faster to repair a triax compared to fibre optics.
What about audio? Jordi: We overcame the audio topic with MADI. The mixing console delivers MADI and we distribute it to the recorders and the multiscreen. This was something we loved because it enables you to monitor up to 64 audio tracks easily. Now that we have implemented everything, we have realised that perhaps we should have integrated a hybrid matrix. In other words, take the MADI directly to the matrix, instead of taking it to the recorder to then embed, de-embed and route with the video signal. Grass Valley’s Nvision matrix also offered us that possibility, but we hesitated because everything would
have had to depend on one piece of equipment, even though it did entail more versatility. I’m sure we will address this in future.
Why Crosspoint? Pere: It’s easy to summarise: if we had to perform the project now with all we have learnt, we would choose Crosspoint again without a doubt. The service and availability they have proven to have with the little time available and the criticality of the facility have been essential for everything to come to fruition. It is paramount to know who is supporting you and how fast they can respond. Different needs or problems can arise at any time at Gestmusic, even during weekends, and we need to have the reassurance that there is support when we need it. Crosspoint’s work has been simply impeccable. Jordi: We are a small team and we have had to balance
filming on a TV set with its implementation. Having a flawless customer care team that solved any problem immediately has been very helpful during our training process. We are speaking of teams with whom we had not worked before, even within the same brand, because Grass Valley’s old products have nothing to do with the current ones. In other words, it was not about working with an integrator from whom you ask a solution, he designs it, integrates it, implements it and you have it all up and running. Pere: We have been doing our own engineering for quite some time now. It gives us with great added value because it forces us to be upto-date and offers a good knowledge level which enables us to adapt the equipment and flows necessary to perform the production efficiently. We value being able to adapt the facility to our real needs positively.
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Each quarter, Akamai publishes the State of the Internet Report based on this data. This quarterâ&#x20AC;&#x2122;s report includes data gathered from across the Akamai Intelligent Platform during the second quarter of 2016, covering Internet connection speeds and broadband adoption metrics across both fixed and mobile networks as well as trends seen in this data over time. In addition, the report includes insight into the state of IPv4 exhaustion and IPv6 adoption, Internet events and disruptions that occurred during the quarter, mobile browser usage trends, and observations from Akamai partner Ericsson regarding data and voice traffic growth on mobile networks.
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Data on attack traffic seen across the Akamai platform and insights into high-profile security vulnerabilities and attacks are now published in a separate State of the Internet/Security Report. The quarterly security report provides timely information about the origins, tactics, types, and targets of cyberattacks, including quarterover-quarter and yearover-year attack traffic trends as well as case studies highlighting emerging cybersecurity issues.
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INTERNET CONNECTIVITY Akamai observed a 1.0% quarterly decrease in the number of unique IPv4 addresses connecting to the Akamai Intelligent Platform, declining to just over 800 million â&#x20AC;&#x201D; about 8 million fewer than in the first quarter. In all, roughly 4.3 million IPv4 addresses were allocated or assigned from available pools at the Regional Internet Registries in the second quarter, leaving approximately 50.5 million
addresses remaining. Belgium remained the clear global leader in IPv6 adoption with 38% of its connections to Akamai happening over IPv6, up 5.1% from the previous quarter.
CONNECTION SPEEDS & BROADBAND ADOPTION The global average connection speed decreased 2.3% quarter over quarter to 6.1 Mbps, while the global average peak connection speed increased 3.7% to 36.0
Mbps. At a country/region level, South Korea continued to have the highest average connection speed in the world at 27.0 Mbps, reflecting a 7.2% decline compared with the first quarter, while Singapore maintained its position as the country with the highest average peak connection speed at 157.3 Mbps after a 7.1% quarterly increase. Globally, 4 Mbps broadband adoption was 76% in the second quarter, up 4.3% from the first quarter, with Andorra having with the highest level of adoption worldwide at 97% (followed closely by Malta and South Korea, also with 97% adoption rates). Globally, the 10 Mbps adoption rate grew 0.7% quarter over quarter to 35%, but the 15 Mbps and 25 Mbps adoption rates fell 0.8% and 2.1% respectively, to 21% and 8.3%. As it has for many quarters, South Korea continued to lead the world in the 10 Mbps, 15 Mbps, and 25 Mbps broadband tiers,
with adoption rates of 79%, 63%, and 37% respectively, after moderate quarterly declines in adoption across all three tiers.
Average mobile connection speeds (aggregated at a country/region level) ranged from a high of 23.1 Mbps in the United Kingdom to a low of 2.2 Mbps in Venezuela in the second quarter of 2016, while average peak mobile connection speeds ranged from 172.8 Mbps in Germany to 16.1 Mbps in Bolivia. Based on traffic data collected by Ericsson, the volume of mobile data traffic grew by 11% over the previous quarter. The Akamai Intelligent Platform indicates that for traffic from mobile devices on cellular networks, Apple Mobile Safari accounted for roughly 32% of requests, while Android Webkit and Chrome Mobile (the two primary Android browser bases) together accounted for approximately 59% of requests. For traffic from mobile devices across all networks, Apple Mobile Safari was responsible for about 39% of requests, while Android Webkit and Chrome Mobile made up nearly 52% of requests.
The global average connection speed decreased 2.3% quarter over quarter to 6.1 Mbps, while the global average peak GLOBAL AVERAGE connection CONNECTION SPEEDS speed increased (IPV4) In the second quarter of 3.7% to 36.0 2016, the global average connection speed was 6.1 Mbps. Mbps, a 2.3% decrease from the first quarter. Unlike the
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previous quarter, where all of the top 10 countries/regions saw gains in average connection speed, in the second quarter, 9 of the top 10 countries/regions saw speeds decrease. Singapore was the only country/region with a quarterly increase. Its average connection speed rose 4.5%, pushing it into the top 10 in the second quarter along with Iceland, while the Netherlands and the Czech Republic, with quarterly decreases of 5.2% and 7.0% respectively, dropped out of the top 10. Sweden saw the largest quarterly decrease at 8.8%, followed by South Korea, although the latter maintained its global lead despite its 7.2% drop to 27.0 Mbps. The remaining countries/regions saw quarter-over-quarter drops ranging from 0.6% in Finland to 5.8% in Norway. Once again, average connection speeds among the top 10 countries/regions were all above 15 Mbps, while South Korea was the only country/region with an average connection speed above 25 Mbps. Globally, 53 out of 148 qualifying countries/regions saw quarterly increases in average connection speeds, compared with 142 countries/regions in the first quarter. Growth rates ranged from a modest 0.4% in the United Kingdom (to TMBi - 66
15.0 Mbps) to a substantial 64% in Egypt (to 4.0 Mbps). Thirteen countries/regions enjoyed double-digit gains. Quarter-overquarter losses were seen in 95 qualifying countries/regions, compared with just four countries/regions in the first quarter. Declines in connection speeds ranged from 0.1% in Mauritius (to 5.6 Mbps) to 34% in Nepal (to 2.5 Mbps). Year over year, all of the top 10 countries/regions saw increases in the second quarter of 2016, just like the first quarter. Gains were slightly more modest, ranging from 5.1% in Japan to 55% in Norway.
Based on traffic data collected by Ericsson, the volume of mobile data traffic grew by 11% over the previous quarter.
On a global basis, the average connection speed increased 14% year over year in the second quarter of 2016. Average connection speed improvements were seen in 132 qualifying countries, compared with 138 in the preceding quarter, and yearly increases ranged from 0.9% in Nigeria (to 2.9 Mbps) to 297% in Kenya (to 7.7 Mbps). Five additional countries also saw average connection speeds more than double from the prior year. Yearly declines were seen in 16 countries/regions, with drops ranging from 0.8% in Lebanon (to 1.8 Mbps) to 35% in Côte d’Ivoire (to 1.6 Mbps). Yemen, with an average connection speed of 0.7 Mbps (down 21% from the previous quarter), was the only country to have an average speed below 1.0 Mbps in the second quarter. Libya, the other country below 1.0 Mbps in the first quarter, saw a 43% quarterly increase to just reach the 1.0 Mbps threshold in the second quarter.
CONNECTION SPEEDS ON MOBILE NETWORKS (IPV4) In the second quarter of 2016, 58 surveyed countries/regions around the world qualified for inclusion in the mobile section. Figure 38 shows that across TMBi - 67
Globally, 53 out of 148 qualifying countries/regions saw quarterly increases in average connection speeds, compared with 142 countries/regions in the first quarter. Growth rates ranged from a modest 0.4% in the United Kingdom (to 15.0 Mbps) to a substantial 64% in Egypt (to 4.0 Mbps). these countries/regions, the United Kingdom once again had the fastest average mobile connection speed at 23.1 Mbps (down from 27.9 Mbps in the first quarter), with Belgium in second place at 21.1 Mbps (up from 19.4 Mbps in the first). Venezuela had the lowest average connection speed at 2.2 Mbps, followed by Argentina and Vietnam, both with average connection speeds of 2.8 Mbps. Among the qualifying surveyed countries/regions, 17 in total had an average mobile connection speed at or exceeding the 10 Mbps broadband threshold, while 48 achieved average speeds at or above the 4 Mbps broadband level. Within the individual continental regions, the following qualifying surveyed countries/regions had the highest average TMBi - 68
mobile connection speeds: • Americas: Canada, 8.4 Mbps • Asia Pacific: South Korea, 11.1 Mbps • Europe: United Kingdom, 23.1 Mbps • Middle East/Africa: United Arab Emirates, 8.4 Mbps Average peak mobile connection speeds spanned an extremely broad range in the second quarter, from 16.1 Mbps in Bolivia to 172.8 Mbps in Germany. As mentioned above, the speeds on the upper end of this spectrum are higher than one might expect given the current state of lte and lte-A deployment and are likely to be influenced by mobile carriers’ use of proxies within their networks. Proxy usage differs across carriers and can affect the measurements to varying degrees in different countries.
A total of five qualifying surveyed countries — Germany, Australia, Israel, Thailand, and the United Arab Emirates — recorded average peak speeds above 100 Mbps. Twenty-eight countries/regions posted average peak speeds above 50 Mbps, and 50 countries/regions had
average peak speeds exceeding 25 Mbps. Within the global regions, the following qualifying surveyed countries/regions had the highest average peak mobile connection speeds: • Americas: Peru, 72.1 Mbps • Asia Pacific: Australia, 171.2 Mbps • Europe: Germany, 172.8 Mbps • Middle East/Africa: Israel, 136.0 Mbps In upcoming quarters, we expect to see mobile speeds continue to climb as 4G lte becomes deployed more broadly worldwide. The second quarter saw several announcements of new 4G lte service launches including Reliance Communications in India, 46 Digicel in Jamaica,47 and Vodafone in Zambia.48 In addition, a report published by the Global Mobile Suppliers Association (gsa) found that in May 2016, there were 503 carriers with lte networks across 167 countries, serving approximately 1.3 billion subscribers — roughly twice as many subscribers as just one year prior. gsa expects the number of lte networks to reach 550 by the end of the year. Peak speeds on mobile networks will continue to grow as well, as networks begin to deploy lte-A, a newer, faster version of lte technology. In June, Sri Lanka demonstrated network speeds exceeding 1 Gbps on its Dialog Axiata network leveraging Huawei Technologies’ lte infrastructure. The same month, having won a significant portion of the lte bandwidth made available in South Korea’s recent spectrum auction, sk Telecom, the country’s largest wireless provider, launched new 500 Mbps lte-a Pro service that is roughly seven times faster than original lte speeds. By 2018/2019 sk Telecom expects to be able to offer speeds of up to 1 Gbps through this new service. TMBi - 69
STREAM with Shooowit TMBi - 70
from any device and any place. We live in a globalised world and this simplicity to access things is paramount.
Which segments does your business focus on? In recent years, the use of video over Internet has grown exponentially and its implementation in society reaches figures in the region of 60%. In the circumstances, any company or professional, from universities, public bodies, SMEs, etc. can benefit from our service.
What have been the most significant projects/clients?
When was Shooowit born? Shooowit is a recent creation composed of a team of people with a proven track record in providing video services over the Internet. We offer streaming services aimed at companies, corporations, public bodies, universities, televisions, etc. since the beginning of 2016.
solution for on demand and live multimedia content management. We have developed our own management platform (VDM, Video Delivery and Management) and we are experts in video project consulting. We also complement our offer with the production and codification of events and the rental of audio-visual equipment.
What product/service does the company offer?
What advantages does the cloud offer?
Shooowit offers online video services, which is a cloud
Working on the cloud permits accessing the service
Many companies have trusted in our video services and to name just a few, TelevisiĂłn de Lleida, MatarĂł Radio, Mercadona, Universidad de Valencia and the Andalusian Football Federation.
What makes Shooowit different? For us, each client and project is unique. With our platform, we offer added value to the content and advice regarding monetisation, and we collaborate in the management and focus of each setting we are presented with. The trust and soundness we transmit is essential for the users. TMBi - 71
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Lab testing performed by Pablo MartĂnez I have been using equipment made by LYNX Technik AG and other manufacturers to perform the typical video and audio processing tasks, which is something we do a lot in our sector when you are preparing outdoor events. Above all, the truth is that you end up with loads of equipment in your bags just in case. With this equipment that we analysed, we have a fantastic solution without
all the hassle of having to take all the equipment, as well as being prepared for virtually any signal processing situation. We have to have an open mind. Initially, we find ourselves faced with a working format never before seen until now in the broadcast market, but that we use daily in many of our personal devices. TMBi - 73
Its creation is endorsed by the “Best of Show” award at IBC2016, an innovation award given to a company known for its reliability, “LYNX Technik AG”. I am sure it will surprise you as it did me: it is so easy to use and it has virtually unlimited applications.
the high-speed programming technology by Xilinx combined with the control software developed by LYNX Technik AG make this a powerful combination for our requirements. But what is really innovative about this piece of equipment comes next.
POINT OF CONTACT
We have a robust piece of equipment, measuring 1RU in height and half a unit wide and as the name itself indicates, “greenMachine". The first thing we see is its green colour and high-quality construction. That said, what is most important about the “greenMachine" is inside. The powerful hardware composed of double ARM processor and
We are used to the singlefunction equipment. The true power of "greenMachine" is its working philosophy. It is a piece of equipment that does not do anything in isolation. We decide what use we want to give it according to our needs. It works with “Apps”. Yes, you read correctly. It has a Smartphone format. We have a "greenStore" where
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we can download the App we need, and after some very simple steps, we will be able to create a complete signal processing system tailored to our needs. The great advantage of this philosophy lies in the flexibility we find when working with it. We can configure the equipment depending on the event we are to do and if we add the possibility offered by the “greenMachineCallisto" of working with two independent channels, the economic savings in equipment and time spent is overwhelming.
TECHNICAL FEATURES At present, the model on the market is the “greenMachineCallisto", with a series of packages called
"turnkey packages". These packages include several pre-loaded Apps to begin working straight away. We can download additional applications as and when we need them. These downloads can be carried out in test mode (they will include a watermark) so we can see how the App works before actually purchasing it.
With the equipment we analyse in this laboratory, we have a fantastic solution to the hassle of having to take all the equipment and being prepared for virtually any signal processing situation
The greenMachine hardware platform includes a colour screen integrated with an intuitive user interface for local control and supervision of the signal, as well as a variety of buttons and status indicators on the front part of the hardware. The basic Callisto greenMachine includes two internal processing channels, which are inactive until the
applications are installed. An internal crossbar provides access to the I/O connectivity, including: - 2x electric SD / 3G SDI HD inputs / Level A and Level B DL - 2x electric SD / 3G SDI HD outputs / Level A and Level B DL - 1 HDMI input (1.4a) - 1x HDMI output (1.4a) - 1x analog reference input (bi-level or tri-level sync) - 1x analog references (bilevel sync) or a composite CVBS output - Electrical connection 1x LAN I / O - 4x balanced analog or digital audio AES audio inputs
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ď&#x201A;¤ TEST AREA - 4x balanced analog or digital audio AES audio outputs
options including CWDM - Redundant FA
- 2X GPI inputs - 2X GPI outputs The following is optional: - SDI Fibre Optics I/O Variety of plug-in options including CWDM - LAN Fibre Optics I/O Variety of plug-in
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USABILITY Used on its own or generating a "greenMachine" universe, the control software developed by LYNX Technik AG â&#x20AC;&#x153;greenGUI control" is a powerful and very intuitive work and control
The true power of "greenMachine" is its working philosophy. It is a piece of equipment that does not do anything in isolation.
interface with a particularly fast learning curve. With just a few clicks of a mouse, we can configure from one “greenMachine” to a large set of them. The working screen to manage the Apps has an excellent visual configuration and an intuitive design to configure any required parameter. Used as an individual design, the front access through the button pad and its integrated colour screen offers an intuitive
interface to control the equipment in full and supervise any aspect.
POTENTIAL IN REAL ENVIRONMENTS At this stage, we began with the field tests. As we only had one “greenMachineCallisto", I have divided the tests into two sections:
Reliability and performance test: To conduct this test, and bearing in mind the worst case scenario that we can find in hostile environments in terms of temperature and humidity, we configured the device to work as a video processor and audio deembedder on the first channel and an audio processor in the second channel. We kept the equipment running for 72 hours non-stop in a controlled environment with temperature and relative humidity variations every 4 hours with 10% variations in these parameters, going from 10ºC to 38ºC. The response curve of the "greenMachine" on a working temperature in the samples taken every 4 hours showed excellent stability and dynamic temperature compensations, not affecting the signal processing taken as a reference in neither of the two working channels. We must bear in mind is that the specification characteristics provided by the manufacturer and another is the reality when working with this equipment. Personally, I will say that I am always quite concerned to have correct ventilation with this type of equipment, to prevent problems in the event I am covering, due to the conversion it makes. Given the fantastic results, I honestly think that we have left these problems behind with the "greenMachine”. TMBi - 77
TEST AREA Configuration tests and changes: As mentioned earlier, I found the configuration of the Apps, either local or with the control software, very intuitive and quick. On this occasion and taking advantage of an event I had to cover in an outdoor environment, I
At present, the model on the market is the “greenMachineCallisto", with a series of packages called "turnkey packages", which include several pre-loaded Apps to begin working straight away. configured the “greenMachine” to be able to synchronize and convert two external SD-SDI signals to HD-SDI signals with the aim of attaching the video mixer and de-embed the audio of the two signals to have them both on the mixing table. This simple step would have entailed using several pieces of equipment, but I was sorted with the “greenMachine" with the simple configuration of each channel.
WHAT WE COULD BE MISSING LYNX Technik AG’s development team has well and truly thought of everything. Even so, and to highlight one flaw, as usual with most equipment I have tested, I miss an on/off button or a shutdown command from the interface. We should bear in mind that it runs on an operating system, which may be the most stable in the world, but an accidental shutdown could cause a corruption. TMBi - 78
CONCLUSION As you have been able to read, I am personally thrilled with the new working philosophy put forward by LYNX Technik AG with "greenMachine" and its Apps. I found it to be convenient, easy to handle and offers a multitude of possibilities. Having one single piece of equipment with so many scalable options will enable us to increase productivity and reduce costs significantly. It may be quite a drastic change and a little overwhelming at first, but I invite you to visit the section on the “greenMachine” on LYNX Technik AG’s website.
I am personally thrilled with the new working philosophy put forward by LYNX Technik AG with the "greenMachine" and its Apps. Here, you will see all the Apps available and be able to download the control software “greenGUI" free of charge to get you started. It also shows the potential that we have spoken about in this laboratory. review We mentioned the possibility that users could programme and adapt the Apps to LYNX Technik AG and they confirmed that they
were working on third-party agreements to open up the generation of Apps for the "greenMachine”. However, at the moment, programming is not available to users. I would like to thank LYNX Technik AG for lending me this fantastic piece of equipment, and my colleagues at IB3TV for letting me use their facilities. TMBi - 79