TM Broadcast International 41, January 2017

Editor Javier de Martín editor@tmbroadcast.com

Summary

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

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Editorial

Creative Direction Mercedes González design@tmbroadcast.com

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Editorial staff Daniel Esparza press@tmbroadcast.com Administration Laura de Diego Marga Quevedo administration@tmbroadcast.com

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The Best of 2016

ÖTILLÖ Swimrun World Championship Live Coverage

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TM Broadcast International #41 January 2017

TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 14 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43

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Measuring Up To PROVYS

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XEEN 35 mm T 1.5 Published in Spain

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Editorial 2016 has been a very intense year for our industry with a huge deployment of new solutions. Over the different trade fairs that we attended we have had the pleasure to see a broad variety of new proposals some of them do it in advance due to the broadcasting of the Olympic Games and everyone’s’ eyes on the World Cup 2018, where with no doubt we’ll live a 360º revolution.

We are now living a moment in time also lived by other technological industries where it feels like we have suffered a tsunami that has changed everything and still haven’t finished due to the irruption of internet and computing. This has generated many companies’ movements such as mergers, acquisitions and even disappearances. There have also appeared new companies that have exponentially grown and we saw giants that have ceased to be so. At the end, all of them wants a piece of the cake that never ends growing. Nowadays we are consuming more video than ever, the audiovisual entertainment is showing record figures what is best is that it will keep growing.

This stage brings new needs that must be covered by new developments. This is why now there are cheaper ways to do things that formerly were extremely expensive, the key is now more than ever the usability, the open and simple systems with contained costs.

On the other hand, high-performance equipment retains its importance, although it may still be focused on live sports streaming, where it seems there is no truce in this respect. In lower ranges is where we have really seen very innovative changing proposals for change that will gain an increased role. Now we do not only want to do more but we also want to do it faster and easier without entailing additional costs. And is there where we’ve seen the IP technology fitting perfectly. A new transition period opens up to us and in this editorial we take the plunge: SDi will have lost the war in no more than 5 years.

Place your bets!

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VIRGIN HOLIDAYS MANAGES AN 18-LOCATION LIVE GLOBAL ADVERT USING LIVEU TECHNOLOGY Having checked every global location for both creative and connectivity possibilities it was decided that 15 of the 18 locations would use LiveU units. ITN Productions used a LiveU LU200 field unit to do this.

Virgin Holidays ad agency, AMV BBDO, has deployed an 18-location live advert, called Seize the holiday, in which has used LiveU technology.

Aired during the September 10th edition of the X-Factor on ITV in the UK -and also via Facebook- the advert immediately sent the world of social media into a spin. The Seize the Holiday campaign, of which this ad was the first, then continued for another six weeks.

tricky situations with our news production but this was big, very big!”.

ITN Productions, one of the UK’s largest production companies, was first approached by AMV BBDO with the idea back in March of this year. Steve GoreSmith, Head of Field Operations, ITN Productions, has claimed: “We were immediately really excited by the possibilities but we could also see the very considerable challenges. We have handled a lot of very

Having considered satellite and fibre connectivity to bring the live images back to ITN’s London facility, the company turned to LiveU’s portable cellular transmission technology for flexibility, reliability and cost reasons.

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As well as ITN Productions, a second production company was also brought on board -HLA- with it responsible for everything in front of the camera lens, while ITN Productions for everything behind.

ITN Productions used a LiveU LU2000 unit

For the Seize the Holiday project, LiveU and its UK partner Garland Partners’s events team managed the logistical challenges and liaised with all key parties.

“We confirmed that LiveU would be our main acquisition technology both because of its flexibility and robustness and also the unified management system LiveU Central”, has said Steve Gore-Smith, Head of Field Operations, ITN Productions.

“We had to work with crews that we knew – there were over 90 people in total – and some that we never met.

Therefore the technology had to be simple to use and easily managed from the UK. This LiveU Central easily allowed”.

Ronen Artman, VP of Marketing with LiveU, has concluded: “It’s stunning to think back to when LiveU launched and now look at how far we’ve come. This project was a huge achievement by everyone involved and shows how powerful and flexible our technology is. We’d also like to thank Garland Partners for the special effort that they put into this successful project”.

Here’s a link to the advert: www.youtube.com/watch?v= NCUFpYGOsQ4.

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DPA MICROPHONES WILL UNVEIL ITS NEW MICROPHONE BASE AT ISE 2017 DPA Microphones will showcase its microphone products at ISE 2017, aimed specifically at architects, AV consultants, system integrators and installing electricians. ”Sound is often the last thing people think about when they are planning a conference, but if you can’t hear what delegates are saying the whole event becomes pointless”, observs DPA Product Manager René Moerch. ”Microphones are the first link in the audio chain so it makes sense to introduce the highest possible quality at that point. DPA is renowned for developing and manufacturing neutral and accurate microphones that can reproduce sound to the smallest detail, even in the most difficult surroundings.

We have a wide range of useful solutions available for this market – and if visual impact is what matters to you, we can guarantee that they look as good as they sound”.

DPA’s Microphone Base The company will show its new Microphone Base, which will be unveiled for the first time. Designed for use with the the d:screet™ SC4098 Podium Microphone, the Microphone Base can be TMBi - 8

placed on a table or podium, or attached to the ceiling or even the wall.

Furthermore, it has an internal shock mount that dampens unwanted sounds from tables and lecterns, securing a trouble-free installation, DPA confirms. It is available in two colours black and white - and comes with either a MicroDot connector, an XLR connector, or unterminated leads for connections to Phoenix blocks.

The d:screet™ capsule is mounted on a sleek boom that, for the tabletop version, has a gooseneck at the top and the bottom, thus allowing

users to position the mic exactly where they want it.

The ceiling version consists of a one piece gooseneck. In both versions, the cable can exit to the side of, or beneath, the unit. To make it easier for installers, DPA has assembled a range of kits, each containing a different connector solution.

In conjunction with its distributor Amptec, DPA will hold demo sessions to demonstrate the new product on the stand. There will also be listening stations where visitors can explore the conference and installation solutions that DPA offers.

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AJA KONA AND IO 4K HELP COLOR CASA LOMA’S ‘LEGENDS OF HORROR’ AJA KONA 3G and Io 4K have been key in the creation of each Casa Loma projection. Toronto's historical Casa Loma is the setting for the haunted house experience ‘Legends of Horror’. It is an immersive theatrical interpretation of all of the classic horror figures as the audience is leaded through a one hour, 1.5 km self-guided walk through the bowels of the historic castle.

Production designer, independent VFX supervisor, colorist and editor Clark Graff lent his services to the project, including the creation of intricate 3D projections such as a plague ridden tunnel overrun by rats and dead bodies, a hellish fire, a demon possessed tree and more.

“I’ve used AJA products almost exclusively for more than 15 years because they’re reliable, and this project was no exception; it’s that simple”, Graff explains.

“Reliability is worth more to me than anything. If gear breaks on a project like this, especially when it’s live and time sensitive, you’re up a creek without a paddle. With KONA 3G and Io 4K, I knew I’d be set”.

Project process From the start of the TMBi - 10

project, Graff realized that access to electricity would be limited throughout the grounds. He first walked the castle and surrounding gardens with Liberty Entertainment Creative Director Nadia DiDonato, script in hand to determine where each part of the story would take place, breaking it out into 20 different zones.

Graff then built a power map to assess the required resources to service all the lighting and 3D projections for each zone, and set out to select, create and refine the projections.

Graff collected footage that served the story, mostly stock, in addition to projection mappings from Big Digital.

Once approved, he previsualized each projection and colored it to fit a range of traditional and nontraditional surfaces – from plasma screens to mosquito netting, a tunnel, tree and more. AJA KONA 3G capture and playback cards were integral to the previsualization

process, with two systems running Adobe® Premiere® and Assimilate® Scratch®.

Using AJA’s mobile Io 4K capture and output device via Thunderbolt™ 2, Graff was also able to preview 3D projections in UltraHD. The imagery was processed on a desktop system outfitted with AJA’s KONA 3G, running Premiere and Scratch for greater stability and color fidelity while monitoring.

Once finalized, projections were fed through a range of projectors located throughout the castle and surrounding gardens – including the Barco HDX-W20 Flex (4), Casio XJ-UT10WN (8), Casio XJ-2600 (4), AAXA LED Android™ (24), AAXA M4 Mobile LED Projector (1), and OPTOMA ML750ST (5) – to eight plasma screens and other surfaces. Antari fog machines, 116 speakers, more than 300 lighting fixtures, actors and wicked costumes rounded out the experience.

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LAWO GEARS UP FOR THE GRAND TOUR

Screened on Amazon Prime, the first episode of The Grand Tour is reportedly the streaming site’s biggest premiere to date. United has placed Lawo in the driving seat. The series is being shot as a multi-camera 4K HDR production at the 23.98 frame TMBi - 12

rate, as it is being aired in the US. “United has a track record in 4K and HDR filming, including live concerts by Muse and U2, so this was the main reason we got this job”, has explained sound

supervisor Huub Lelieveld, who mixes the recordings along with Rob Ashard and Mischa Kortleve. “For audio, I and my colleague Christian Postma wanted to match the high-resolution video by creating the best audio quality possible”.

“In audio recording, there is no direct equivalent to 4K – the audio is still 48kHz. We wanted to match the picture by creating an audio setup that is completely without compromise – but to be as compact as possible, as everything is flying around the globe”, has said Lelieveld.

Lawo mc²36 “We held a little brainstorm, and concluded that this meant using the best possible compact audio console for both recording and FOH. For us, there was no question about choosing a Lawo mc²36. I use Lawo consoles daily – as I do other brands of broadcast consoles – and, for me, they are the best choice for functionality, sound quality and reliability”.

United’s requirements for The Grand Tour have resulted in the selection of a 16-fader Lawo mc²36 for FOH, manned

by Martijn Kuiper, and a second, 24-fader, mc²36 for the OB gallery that is located in another tent. “We connect one Lawo Compact Stagebox using RAVENNA, and the two consoles are connected digitally using the MADI port on the Compact Stagebox. All I/O is shared between the two Lawos”, has explained Lelieveld.

“The three presenters wear omni lavalier mics and are in a tent with the audience with a PA that, as always, needs to be as loud as possible to make sure the audience hears, and reacts to the comedy. To get a direct and dry sound, we use Lawo Automix and Cedar Audio DNS8 noise reduction at both OB and FOH. I experimented quite a bit to get a dry as possible sound from the Automix, and found that maximum drive at every channel and a short (25ms) release worked very well to get quite extreme Automixing”, has concluded.

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ROSS VIDEO HIRES MANUEL PAREDES AS EMEA SALES MANAGER

Ross Video has announced Manuel Paredes has joined the company as Regional Sales Manager for Italy, Portugal and Spain.

GATESAIR WINS IN PHILIPPINES Bombo Radyo Philippines, a conglomeration of New Sounds Broadcasting Network, Inc. and People’s Broadcasting Service, Inc., along with channel partner, Composite Technology Inc., sought to augment their existing network of FM and AM transmitters.

GatesAir engaged with Bombo Radyo Philippines over a five month period to outline product and bulk purchasing benefits to best satisfy network requirements.

Ultimately, orders were placed for 11 GatesAir Flexiva™ FM and 13 AM transmitters.

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Manuel has worked in broadcast since 1990 and began his career designing studios and OB trucks in Spain. Since then, he has worked in technical support and broadcast engineering roles, both with private broadcasters and other manufacturing brands. Manuel joins Ross from Grass Valley, where he was responsible for sales and key accounts in the Iberia region, and will be based in Spain.

“Manuel is a well-known face in the Iberia region and he has an excellent track record”, has noted Oscar Juste, Director of Sales for EMEA. “This is yet another positive appointment for Ross Video; we continue to attract the best sales and technical talent in the industry and I’m very encouraged to see the team growing at a time when so many other companies are consolidating or reducing their sales presence in the region”, he adds.

Manuel Paredes notes that “Ross Video has an excellent reputation for customer orientation and service”. “I’m very happy to be joining a company with such a diverse and comprehensive portfolio of products. Customers are increasingly looking for integrated single vendor solutions and I think Ross is exceptionally well-placed to satisfy this trend”, he has concluded.

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FOCAL POINT VR HAS RUN MULTIPLE VR STREAMS FROM THE SEASON ENDING FINALE TO THE ATP TOUR Focal Point VR has been running multiple VR streams from the season ending finale to the ATP tour on Sunday 4th December. The streams could be viewed in VR headsets by downloading the Champions Tennis VR cardboard app from the Google Play store (which is being distributed as a closed beta app). Those with Gear VR headsets could use Sideload VR. Focal Point VR has been running three concurrent streams, a UHD 6k full 360 stream from the organists chair position, an HD netpost cam and a stereo court cam. Viewers using the Champions Tennis VR apps were

able to swap between the VR rigs using gaze control.

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ARAGÓN TV USES VSN’S TECHNOLOGY FOR ITS NEW PLAYOUT AUTOMATION SYSTEM VSNMULTICOM, VSNEXPLORER MAM and VSNEXPLORER BPM have been the solutions chosen for implementing a complete playout system capable of automating three different TV signals. The project, that is currently undergoing the testing phase, is expected to be officially launch on January 2017.

The public television channel from Aragón autonomus region in Spain has trusted in VSN’s technology for the supply, installation, configuration and implementation of a brandnew redundant playout TMBi - 16

automation system that covers its three TV channels: Aragón TV, Aragón TV HD and Aragón TV INT. The contract’s main goal is to technically update the channel’s automation system

and include new functionalities for the workflows’ automation, content management and integration of all the systems already existing at its facilities.

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VSN’s VSNMULTICOM solution In particular, VSN has installed two VSNMULTICOM solutions with redundant configuration, in order to achieve the aforementioned playout automation system. One solution will be specifically dedicated to the broadcasting, whereas the other will be focus on the channel’s recordings. This way, the project guarantees a continuous broadcasting in the three TV channels, thanks to the parallel and redundant configuration that has been implemented to allow every single solution to work and operate independently.

VSN’s VSNEXPLORER MAM and VSNEXPLORER BPM solutions Furthermore, both systems have been integrated with VSNEXPLORER Media Asset Management solution (MAM) and VSNEXPLORER Business Process Management (BPM) modules, in order to unify and control under one

single platform all the media workflows managed in both playout systems and also within the television’s archive. Among others, there have been automated processes such as the media ingest coming from Traffic with associated Metadata and the transcodification, validation, archiving and content retrieving workflows once the media has been broadcasted.

Also, VSNEXPLORER MAM and BPM have been integrated with all the third-party systems already installed at the TV channel’s facilities, so as to centralize and automate all the workflows, media and metadata used by Aragón TV professionals. The main integrations that were specifically developed for this project were with DAC and Tedial archive systems, MAPAGREC traffic system, subtitling from Anglatecnic, branding and graphic systems from Grass Valley and Vértigo, Aurora Quality Control and Harmonic videoservers.

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LAWO HELPS RCN COLOMBIA TO UPGRADE ITS STUDIOS

RCN installs two Lawo mc²36 consoles Colombia’s RCN (Radio Cadena Nacional) has installed two mc²36 audio mixing consoles from Lawo to serve as the main and redundant mixing systems, in the course of a comprehensive studio refurbishment.

The Lawo consoles are in use for RCN News (NTN24), the channel’s 24-hour news service in Colombia. The main console is a 40fadermc²36, supported by a 24-fadermc²36 surface for redundancy. The full system includes a DALLIS interface with SDI I/O and GPIO boards to handle the AfV TMBi - 18

(Audio-follow-Video) necessary functions to automation some procedures.

Lawo was “the right solution” RCN’s requirements for the equipment upgrade – and the audio mixing systems in particular – included gaining operating efficiency, establishing flexibility in workflows from remote control facilities, automation, and advanced AfV and Automix functionality. In their research, the RCN team responsible for specifying the refurbishment determined that Lawo best met their needs.

“The two mc²36 consoles

are the right solution for a 24/7 broadcast challenge – and beside the benefits of automation, AFV for multivideo sources, and the mxGUI control software, it was the remote diagnosis via web browser and the Lawo app that came as a nice surprise during the demo”, explains Andres Galeano, Technical Head of RCN Colombia.

Now a private television network, RCN was founded as a production company in 1967, and has operated as a network since 1998. Today, it reaches 97% of the Colombian population of nearly 50 million through 13 stations.

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AJA LAUNCHES ROVOCONTROL V2.0 SOFTWARE AND THE ROVORX-SDI RECEIVER AJA Video Systems has released RovoControl v2.0 software and the RovoRx-SDI receiver. RovoControl v2.0 adds multicam setup and control and several workflow enhancements to the RovoCam HDBaseT compact block camera ecosystem.

RovoRx-SDI is a companion receiver for RovoCam with four integrated 6G/3G-SDI outputs plus an UltraHDcapable HDMI output.

RovoControl v2.0 Compatible with Mac and Windows, RovoControl v2.0 allows users to control RovoCam from companion AJA HDBaseT products in the RovoCam ecosystem, including RovoRx-SDI, RovoRx-HDMI and Corvid HB-R. Key features, according to AJA:

subjects.

• New low-delay mode improves latency and removes image stabilization while in use.

• Gamma detail and visibility enhancer settings added to UI. • Improved UART/RS-232 support on third-party RS232 adapters.

RovoRx-SDI RovoRx-SDI is a companion UltraHD/HD HDBaseT receiver for RovoCam, offering integrated 4x 6G/3G-SDI outputs, HDMI video and audio outputs, and genlock and frame-sync capability. Key features, according to AJA:

• Four 6G/3G-SDI outputs supporting 6G/3G/1.5G with embedded audio.

• DA Mode for distributing multiple 6G/3G-SDI signals from an HDBaseT source.

• HDMI output supporting UltraHD and HD resolutions.

• REF in/out that can be genlocked with other broadcast gear.

• Integrated frame-sync ensuring stable video output.

• USB port for software configuration of settings.

• Power over HDBaseT (PoH), allowing RovoCam to be powered remotely from its physical location.

• Easier multicamera setup and control for up to eight RovoCams.

• Preset control for simple recall and the ability to share presets between RovoCams including ePTZ settings.

• Greater color and white balance control for users, improving the ability to match other cameras.

• Improved auto and manual spot focus options, offering better focus for off center TMBi - 19

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DANTE STREAMLINES UNITED STATES PRESIDENTIAL ELECTION COVERAGE FOR BBC WORLD SERVICE For coverage the United States Presidential elección on November 8, The BBC World Service production staff utilized Dante networking from Audinate to manage and deliver live broadcast to radio audiences worldwide over the BBC World Service, NPR partner stations, BBC Radio 4 and BBC 5 Live networks (as well as BBC local radio in the UK). Its programming reached to 250 million listeners over 12-hour period.

The use of Dante by BBC World Service marks the shift to digital, contrasted with their use of a legacy contribution and distribution architecture for live US presidential election coverage four years ago.

“It’s a big difference when you remove the labor of running hundreds of copper analog audio circuits”, has said Matthew Page, engineering manager, BBC. “Four years ago, we had three broadcast studios sharing contribution sources, all connected by copper multicores, analog talkbacks and analog audio routers to switch mix-minus feeds. That was a lot of equipment and heavy cable, all of which had to be connected on site. This year, we configured most of TMBi - 20

the equipment in London, then connected it on site with readily available and inexpensive network cabling.

We saved hundreds of hours of rigging and testing on location, and thousands of British Pounds overall. It was lightweight enough to mostly carry on the plane, which reduced our shipping costs by 80 percent”.

BBC Dante network The complete system featured 17 Dante-enabled devices including 128x128 intercom/IFB, AES & analog I/O and broadcast mixing consoles, all enabling the distributed routing of hundreds of circuits with builtin redundancy for immediate failover to a secondary network.

The Dante network supported connectivity

between the temporary studio in the basement-level conference room, and smaller studios in the main bureau on the eighth floor.

Dante was also used to route over thirty incoming contribution feeds, with associated mix-minus, from various IP and ISDN codecs.

The AoIP network provided further efficiency, allowing simple off-the-shelf fiber Ethernet connectivity between the nine floors to be used.

“Once the core infrastructure is in place, it’s very easy to scale. Adding a new studio with access to all the same sources is almost as easy as plugging a few extra network cables between an Ethernet switch and another Dante-enabled mixer and intercom panel”, has said Page.

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SONY PICTURES POST PRODUCTION SERVICES EXTENDS RELATIONSHIP WITH WAZEE DIGITAL Wazee Digital has announced that Sony Pictures Post Production Services has extended its long-standing relationship with Wazee Digital through December 2017. Under the extended contract, Sony Pictures will continue using Wazee Digital Core and its automated metadataprocessing technology to store, view, and manage assets from Sony Pictures' inventory of feature films, including stock footage, fulllength features, and clip selects, with granular specificity.

Wazee Digital Core Wazee Digital Core is a cloud-native media asset management solution that

powers all other Wazee Digital products and services, including Commerce, the licensing pillar of the business, as well as Live Event Services. For the past six years, Sony Pictures metadata analysts have used Core to create time-based metadata for the inventory of feature-film assets Sony Pictures uses to fulfill licensing requests. The analysts then use the solution to manage inventory, share content, and create custom clips for delivery.

"Sony Pictures has been a loyal client of Wazee Digital's for many years, and it's an honor that a film studio of Sony Pictures' stature has relied on our technology for

so long to store, view, and edit content for metadata enhancement and distribution", has said Harris Morris, CEO of Wazee Digital.

"Sony Pictures' continued use of the tools within Wazee Digital Core to create, capture, and augment granular metadata makes its titles more easily discoverable, streamlines its licensing operations, simplifies its contractual compliance, and widens its market reach. It's a valuable example of how Wazee Digital can help companies like Sony Pictures make the most of their high-value content".

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ROMANIA'S PRO TV UPGRADES WITH CALREC'S ARTEMIS BEAM Romania’s Pro TV has upgraded its Calrec installation with a brand-new Artemis Beam audio console.

"For years now, Calrec has been one of our trusted partners. We know we can count on the reliability, ease of use, and high-quality sound output of Calrec audio desks", explains Octavian Diac, studios coordinator, Pro TV. "The new Artemis Beam audio consoles are allowing us to achieve new levels of routing and processing capacity for the locally produced shows that represent almost half of our programming lineup".

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Pro TV is one of Romania's most popular private TV channels, reaching around 99 percent of the country's viewing population. The broadcaster's Pro TV News received an International Emmy Award in 2008.

Based in Bucharest, the Pro TV operation relies on numerous previousgeneration Calrec Audio consoles. The 340-channel Artemis Beam replaces a 10year-old Calrec Sigma console that had been in use in the main studio and will now be reassigned for auxiliary studio use.

"We are pleased to be extending our ongoing partnership with Pro TV, one of Romania's most-watched and highly respected broadcasters", has said Michael Reddick, international sales manager, Calrec Audio. "The fact that Pro TV is willing to redeploy its 10-year-old Sigma rather than retire it speaks volumes about the reliability and high quality of our consoles".

Calrec also counts RDS/RCS, Digisport, and Romanian National Television among its installed base in Romania.

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OLYMPIQUE LYONNAIS BOOSTS FAN ENGAGEMENT WITH FANCAST Olympique Lyonnais installs EVS’ FanCast solution Following the move to its new 60,000 seat stadium, French football club Olympique Lyonnais has installed EVS’ FanCast solution and its DYVI ITbased switcher to enhance engagement with its fans.

OL Images, a subsidiary of the OL Groupe that owns the club and is responsible for its media output, wanted a broadcast-quality HD infrastructure to produce programing for its in-house television channel, OLTV. In addition, it wanted to generate further return on investment by using the same infrastructure to create and deliver matchday content directly to fans’ mobile devices, as well as the two large screens and more than 300 individual monitors located inside the new Parc Olympique Lyonnais.

matchday. This is done by delivering live action and instant replays to the instadium screens and monitors as well as fans’ mobile devices connected to the venue’s Wi-Fi. The speed of FanCast means that content, such as multi-angle replays, will reach the stadium’s Parc OL mobile app less than two minutes after the action happens on the pitch, giving fans a comparable in-stadium experience to those watching the match at home. OL Images publish between 50 and 80 video replay or highlights clips per match to the Parc OL app.

“Producing and delivering quality content directly to fans is becoming increasingly important as a way of connecting with them. And with the new stadium, it’s vital that we keep them engaged”,

has said Jean-Yves Meilland, Director of OL Images.

DYVI sytem Production switching of OLTV’s live content is undertaken using a DYVI system. Depending on what’s being produced, DYVI’s ITbased configuration can be easily scaled so OLTV only uses the resources it needs for that particular production.

“Olympique Lyonnais is one of a growing number of clubs to turn to EVS’ live production technology to create and distribute content faster and with greater impact”, has said Sébastien Verlaine, Marketing Manager EMEA at EVS. “As video has become an effective way of connecting with fans, it’s important that clubs which create content have a suitable production infrastructure in place to increase the engagement level of their fans”.

EVS’ FanCast package The FanCast package has been designed specifically by EVS for sports teams and venue operators. The easilyimplemented, all-in-one recording and production multi-screen solution enables Olympique Lyonnais to connect with fans on TMBi - 23

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SKY IMPLEMENTS EXTENSIVE FILMLIGHT NETWORK Sky has extended the capabilities of its postproduction department with a suite of high-performance colour tools and technology from FilmLight. The new systems will allow Sky to serve the increasing technological demands of external clients as well as inhouse departments at the company’s headquarters at Osterley, West London.

Now installed at Sky are two Baselight TWO highperformance 4K colour grading systems, each with a Blackboard 2 control surface.

The network also includes a Baselight ASSIST for finishing and rendering, and two Baselight CONFORM Mac OS X software seats for content preparation. In addition, there are four floating Baselight for Avid licences, which add Baselight grading and colour rendering capabilities to standard Avid editing workstations.

The systems interoperate fully using the metadatabased Baselight Linked TMBi - 24

Grade (BLG) for renderless throughput and are linked with colour science of Truelight Colour Spaces.

“We cover the most advanced television content, including commercials and trailers, panel shows and documentaries”, has said Cara Sheppard, Post Production – Senior Manager of Entertainment and Creative operations at Sky. “The colour toolset and grading capabilities in Baselight are by far the most advanced in the industry”, she added. “FilmLight has always led the way with advances in Ultra HD and HDR, which is of particular interest to us at the moment.

And of course Baselight is our clients’ preferred grading system, and indeed is the grading system of choice amongst freelance colourists as well”.

FilmLight collaborates with Avid “The fact that FilmLight has

put a considerable amount of thought, investment and development into collaborative workflows with Avid products – without compromising on quality or the grading toolset – is a huge bonus”, Sheppard has said.

Wolfgang Lempp, founder and CEO of FilmLight, has added: “One of the really important factors for television is productivity.

That’s why we’ve always pushed the idea to start grading early, and to keep the grade flexible throughout production and post.

Collaborative working is not only more creatively satisfying, it is the most efficient way to get the project finalized and delivered. Sky value this approach just as much as we do, and the new installation ensures that their audiences see the pristine content they are expecting, while Sky continues to push their ideas and productivity forward".

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TRANS7 PURCHASES PLAYBOX TECHNOLOGY PRODUCTION AIRBOX NEO Indonesian national television broadcaster Trans7 has expanded the broadcast playout facilities at its Jakarta headquarters with the purchase of a PlayBox Technology Production AirBox Neo. Trans7 transmits a wide range of programmes in high-definition and standard-definition via terrestrial UHF plus a streaming online channel.

"This new system integrates closely with the network's existing infrastructure", has commented PlayBox Technology APAC regional sales director Iulian Ionescu.

"Trans7 has performed

broadcast playout with AirBox servers very successfully for many years, all of them recently upgraded to the latest-generation Neo series".

"We find the AirBox platform easy to use and highly reliable", has said Trans7 technical manager Agung Wicaksono.

"Our existing AirBox servers were assigned to Studio One which is used for production of interstitials and Studio Two which is equipped for greenscreen virtual set presentations. This latest addition is dedicated to Studio Three which is designed for use in a

multiplicity of roles. The recent upgrade to Production AirBox Neo has added useful extra facilities including the ability to supplement our present HD and SD transmissions with a UHD channel if or when market conditions make that appropriate. PlayBox Technology Indonesia engineer Dandy Kurniawan and his team give us excellent after sales support which makes us very confident in using PlayBox Technology solutions. We are already in discussion both for system expansion and backup�.

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BROADCAST SOLUTIONS NOW DISTRIBUTES ABONAIR SOLUTIONS Broadcast Solutions GmbH has added ABonAir to its distribution division. Since now, the company distributes AbonAir’s wireless video link systems in Europe, Middle East and South East Asia.

This service is used to transmit video content from professional camera and production teams to OB Vans or broadcast stations through microwave technology with the 7 msec latency. What AbonAir’s system does is support integrated Intercom for communication between the cameraman and the director on the same RF channel as the video content.

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The ABonAir wireless broadcasting solutions are designed for news coverage (ENG), outdoor sports, reality shows, entertainment, live events and video assist.

Fields of use include TV channels, news broadcasters, production companies, OB Vans, rental houses and system integrators.

• Line of sight, wireless range up to 2.5 km

ABonAir's technical features:

• Low power consumption (10 W)

• Robust and reliable OFDM wireless link

• Automatic configuration for fast setup time

• Full duplex data channel (1 Mbps) for 100% availability

• Embedded intercom

• H.264 CODEC – broadcast quality (+52dB PSNR)

• Resolutions – SD/HD up to 1080p (NTSC/PAL) • Lowest delay in the market (only 7msec) • Embedded camera control unit (CCU/RCP and PTZ) • Unlicensed frequencies (4.9 Ghz-5.875 Ghz)

• Fiber coverage extender for Multi-Venue or Multi-Zone usage

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MUXLAB PARTNERS WITH ON CONTROLS TO ENHANCE THE USER EXPERIENCE

Under this partnership, all of MuxLab’s AV over IP products can be managed by the app-based ON Controls interface. ON Controls enables seamless control and integration of AV over IP systems from any iOS or Android smartphone or tablet.

“To give you an example of its simplicity in a matrix system, each source will be assigned a color and each display connected to that source will be assigned the same color automatically.

This makes for a very easy and intuitive system to manage, which is attractive to end users”, has explained

MuxLab President Daniel Assaraf. “Restaurants and multi-classroom installations are only a small sample of the type of end users that use MuxLab’s solutions”.

MuxLab tests the new interface at Cage Aux Sport restaurants One prime example is the installation at a number of Cage Aux Sport restaurants in Quebec, Canada. MuxLab provided the infrastructure to distribute sporting events to a large video wall for an engaging atmosphere. Cage Aux Sports uses ON Controls software on wireless tablets

to manage the video wall. It can easily be scaled up or down at any time. Matrix switching and video wall screen re-configuration, including creating sub-video walls, is managed remotely.

“ON Controls can support a wide range of commercial projects, offering a high level of customization to the system”, has added Marty Cooper of ON Controls. “We leverage the familiarity of mobile devices as the ultimate user interface for MuxLab’s AV over IP infrastructures”.

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AVID EXPANDS MEDIA STORAGE CAPACITY AND PERFORMANCE WITH AVID NEXIS New Avid NEXIS solutions are now available Avid has announced new innovations for Avid NEXIS™ are now available. Powered by the MediaCentral® Platform, Avid NEXIS scalability enhancements now double the capacity of Avid NEXIS | Enterprise systems. Avid NEXIS supports up to 48 Media Packs across a single scaleout enterprise-class system, enabling customers to mix and match a combination of Avid NEXIS | E5, E4, and E2 engines, whether for new installations or integrated with their existing Avid ISIS® systems.

With this new release, customers can scale the Avid NEXIS system’s total capacity up to nearly 3 PB of total storage with up to 19.2 GB/seconds of bandwidth, capable of delivering 250 streams of Sony XAVC-Intra TMBi - 28

59p UHD or more than 680 streams of DNxHD-220 media.

The new scale out features build upon the previously announced Avid NEXIS High Availability options—including the Avid NEXIS Redundant Storage Controller, Redundant System Director, and Redundant Networking— protect mission-critical productions against potential hardware performance issues. Avid NEXIS Media Mirror Protection protects an entire Avid NEXIS system against any five simultaneous disk failures, and even an entire engine failure.

“Media organizations need more robust storage infrastructure, greater reliability and control, and closer collaboration in order to create high-quality and engaging content”, has said Alan Hoff, vice president, Market Solutions, Avid.

“These new innovations for Avid NEXIS deliver the most resilient storage system in the industry with unmatched scalability, together with highavailability options that address these needs and boost operational efficiency”.

“Our clients primarily use Avid editing solutions, but we need the versatility to offer alternative workflows”, has explained Ollie Stratton, technical consultant and head of Video Europe’s edit department. “The fact [that] [Avid] NEXIS has the ability to natively support Adobe Premiere Pro, Apple Final Cut Pro, and Black Magic’s DaVinci Resolve, is a real leap forward for flexible, open workflows”.

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TNDV MANAGES 4K AND HD LIVE TV AND STREAMING PRODUCTIONS AT THE 2016 CMA AWARDS TNDV has used its Exclamation truck 4K infrastructure for the first time at the 2016 CMA Awards on November 2, bringing DirecTV viewers visuals in 4K of Red Carpet action and interviews for a live two-hour special.

In addition, TNDV’s Aspiration truck joined Exclamation on site at the Bridgestone Arena in Nashville to accommodate additional HD productions.

This included the livestreamed ABC Backstage program over ABC’s Facebook page, presenting interviews with award winners and celebrities including Entertainer of the Year winner Garth Brooks, Keith Urban, and Reba McIntire.

Taking place in TNDV’s home city of Nashville, the company celebrated its ninth year of association with the CMAs. “It started with an idea they had about producing a singlecamera live stream of their pressroom feed, and our responsibilities have grown every year”, has said TNDV Owner and President Nic Dugger.

hundreds of media members can view the show and record audio, and acting as their technical liaison for all Red Carpet video and audio needs. This year we provided three live camera feeds to the pressroom over SMPTE fiber that captured limo arrivals, the very popular step-andrepeat, and a wide shot of the carpet and all the action.

These feeds were available to more than 60 media outlets”.

Joe Foster, a Nashvillebased freelance technology manager working for DirecTV on site, noted that the quality of the infrastructure on board Exclamation along with TNDV’s expertise was instrumental to the success of what was his first live 4K broadcast project.

“I was in charge of physically building and managing the 4K encoding and uplink system, and with live 4K broadcast itself a very new delivery platform we

needed a reliable crew above all”, said Foster.

Live-streamed ABC Backstage program Another first this year was live streaming the ABC Backstage program over the network’s Facebook page, in addition to the usual stream on ABC.com that TNDV has produced for the past three years. TNDV employed Hitachi SK-HD1300 HD cameras to capture live celebrity interviews for distribution back to the truck, where it was live-switched to an onboard streaming server for delivery to the web and mobile platforms.

The same infrastructure was also employed for the “CMA Radio Remote,” an annual Awards event that hosts DJs from major country radio stations across the nation onsite. The event gives DJs an opportunity to broadcast live from Nashville in the three days leading up to the ceremony.

“In a way, this remains our first priority: Working directly with the CMA to ensure that TMBi - 29

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HUSSON UNIVERSITY EXPANDS HITACHI HDTV CAMERAS EQUIPMENT The New England School of Communications at Husson University (NESCom) has added three Z-HD6000 HDTV cameras from Hitachi Kokusai Electric America Ltd. (Hitachi Kokusai) to the school’s existing complement of Z-HD5000 cameras for studio and field production.

“Our curriculum revolves around delivering practical, relevant experience, so it’s important that both our faculty and equipment stay current with the latest industry trends”, has claimed Rodney Verrill, manager of events and facilities at NESCom. “Our acquisition of the Hitachi Z-HD6000 cameras continues our commitment to ensuring our students always have the latest technology. This gives them a leg up after graduation in landing their first professional position”.

Hitachi’s Z-HD6000 cameras The new Z-HD6000 cameras are used in NESCom’s television studio to produce live newscasts in conjunction with the university’s journalism department, as well as public affairs shows, sports roundup programs and more.

Meanwhile, six Z-HD5000 cameras are deployed with the school’s 32-foot remote TMBi - 30

production facility, NESCom Mobile Productions HD. The Z-HD5000s are equipped with a mix of studio and field production accessories and support equipment, enabling them to be set up for handheld, jib, dolly or fixedposition operation depending on the particular venue or event being covered.

NESCom’s video production program provides real-world, experiential learning for students as they create live, broadcast productions within the university and through curriculum-driven events with strategic external partners.

NESCom also has agreements with local broadcast affiliates to air live Division III sports from the Husson University campus, as well as Maine’s only

locally-produced, late-night talk show airing statewide. A business pitching competition show, broadcast throughout Maine over NBC affiliate stations, is also recorded at NESCom’s modern television facility.

What has attracted NESCom’s attention has been cost-effectiveness, quality and capabilities of the Hitachi cameras. “In today’s economy and the everchanging broadcast television landscape, price is always a major consideration, which first led us to look at Hitachi cameras”, explains Verrill.

“When we evaluated them, though, we discovered how much more they offered. We chose the cameras not just because of their affordability, but also their great quality and feature richness”.

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NRK PLACES MAJOR ORDER TO UPGRADE LIVEU FLEET TO THE FLAGSHIP LU600 Norwegian public broadcaster NRK has placed an order for over 60 LU600 units in order to upgrade its fleet. The deal has been overseen by LiveU’s Scandinavian partner Mediability.

The broadcaster has deployed a variety of LiveU units over the past four years, including the LU500. With the release of the LU600 at IBC2016 it decided to upgrade. Steinar Bjorlykke, NRK Regional CTO, has said:

“Norway is a geographically challenging country that often makes using satellite or microwave too difficult.

Having one of the world’s best 3G and now 4G networks meant that using cellular bonding, and specifically LiveU, was an obvious choice. It gives us the flexibility to contribute from almost anywhere in Norway as well as most of the developed world”.

NRK had used its existing units extensively, and having

tested the LU600’s capabilities felt the time was right to upgrade its fleet. The LU600 delivers a bitrate up to 20Mbps and is set to offer the fastest file transfer (80Mbps), lowest delay (0.5 sec) and 100Mbps high-speed bonded Internet connection, according to the company.

The new LU600 is field upgradable to H.265 HEVC, continuing LiveU’s adoption of the latest encoding standards and providing support for ‘Live & Store’ using the same video card.

Bjorlykke has said: “The LU600 gives an upgrade path to H.265. That’s exciting for us going forward, giving us the performance to use available bandwidth in a more efficient way, especially at locations with poor bandwidth”.

Zion Eilam, VP Sales EMEA, LiveU, has said: “This is a very significant order for the new LU600 and we’re very pleased that NRK has decided to so comprehensively upgrade its fleet. The LU600 is a major step forward in terms of its power and flexibility, not to mention its field upgradeability to H.265. Our technology is being used globally by the world’s top broadcasters in new and innovative ways every day”.

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RTL GROUP CHOOSES ATEME KYRION TO STREAM FORMULA 1 RTL Group is going to use Kyrion encoder and decoder ATEME has announced that Cologne Broadcasting Center Gmbh (CBC), part of RTL Group, has chosen the Kyrion encoder and decoder for its contribution link to stream the Formula 1 Championship throughout Germany.

The Kyrion encoder and decoder have been designed for contribution over fiber, OTT and satellite, with advanced features such as ultra-fast-boot. Covering main and multi-screen applications, they offer integrated Automatic Repeat reQuest (ARQ) to avoid the loss of packets. The ATEME encoder is based on ATEME’s 5th Generation STREAM compression engine, which delivers the highest video

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quality at minimum bitrates.

Kyrion contribution encoders and decoders can now be upgraded with HEVC codec via a simple software upgrade.

“Viewing experience in terms of video quality and latency is very important to us, especially for major sports such as Formula 1, as it gathers millions of viewers at each race”, has said Gerd Meyer, senior broadcast engineer at CBC. “We conducted a comprehensive evaluation of several solutions, but ATEME always reached the top. With ultralow latency mode and pristine H.264 video quality, ATEME Kyrion encoder and decoder were proven to be the best

option we had to reach our ambition and ensure reliability of the stream delivery”.

Rémi Beaudouin, vice president of marketing at ATEME, has said: “The Kyrion has become synonymous with major sports event distribution. The Kyrion encoders are streaming thousands of hours of sporting events worldwide, from baseball, soccer, regional games, to the Olympics. With the Kyrion ultra-low latency and high video quality, viewers are truly living the event”.

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QUANTUM LAUNCHES STORNEXT 5.4 Quantum announces StorNext 5.4, a new release of the company's workflow storage platform StorNext 5.4 enhancements include the ability to integrate existing public cloud storage accounts and third-party object storage (private cloud) — starting with Amazon Web Services, Microsoft Azure, Google Cloud, NetApp StorageGRID, IBM Cleversafe and Scality RING— as archive tiers in a StorNext-managed media environment. Another new feature enables users to deploy applications embedded within StorNextpowered Xcellis workflow storage appliances.

"One of the key challenges in today's media workflows is managing the ever-growing volume of higher-resolution video content”, has said Dave Frederick, Senior Director of Media and Entertainment, Quantum.

“Quantum has been at the forefront in helping users address this challenge and

capitalize on the opportunities to leverage this content for greater business and organizational success.

StorNext 5.4 builds on the company's leadership, enabling users to extend their StorNext multi-tier storage environments and achieve even greater workflow efficiency, flexibility and cost savings”.

Jimmy Engelbrecht, CTO, Cantemo, has added: "With the Dynamic Application Environment in StorNext 5.4, customers can deploy the Cantemo Portal application on the same underlying hardware as the Xcellis infrastructure. This reduces the cost of deployment because there is no need to purchase separate compute power and network infrastructure for the application. It also delivers higher performance because the application is closer to the storage".

"We have worked with Quantum for a long time, using the StorNext APIs to help our customers get the most out of their scale-out storage systems”, has claimed Eran Zeitoun, Solutions Infrastructure and Integration Services Manager, Dalet. “Now, with StorNext 5.4 and its rich enhancements to archive targets and connectivity, Dalet users working with Xcellis can take full advantage of our media asset management software while improving flexibility and performance”.

StorNext 5.4 is currently shipping with all newly purchased Xcellis, StorNext M-Series and StorNext Pro Solutions offerings, as well as Artico archive appliances. It is available at no additional cost for StorNext 5 users under current support contracts.

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IMAGINE COMMUNICATIONS BOLSTERS LEADERSHIP TEAM WITH EXECUTIVE APPOINTMENTS Imagine Communications has announced the appointment of several executives to head pivotal product and services initiatives. The company has promoted Ajay Kapoor to lead Global Services. Kapoor, formerly the head of Avaya’s professional services organization, joined Imagine Communications in 2014.

Kapoor will oversee a team of more than 200 support engineers and analysts in 30 countries.

Imagine has also promoted Sarah Foss to the position of Chief Product Officer (CPO) for the company’s Advertising Management Solutions (AMS) portfolio. In the newly created position, Foss will report to Imagine CEO Charlie Vogt and assume overall strategic responsibility for the global development and direction of Imagine’s ad management product portfolio.

Recent appointments also include the promotion of Chris Sjerven to Vice President of Operations.

Sjerven, who will also report to Vogt, has more than 20 years of global manufacturing TMBi - 34

and supply chain experience.

Prior to joining Imagine, Sjerven was with Flextronics, a $28 billion contract manufacturer. He has also held positions at Advanced Energy, Nexergy and Cornice, accumulating expertise in the data storage, power management and semiconductor capital equipment business sectors.

Leonardo Emilo Gañán, another appointment, will lead the company’s CALA sales region.

The company launches Image Communications Labs Also, the company has launched Imagine Communications Labs, an advanced service offering

designed to help customers and partners quickly and efficiently test proof of concepts (POCs) and validate complex workflow integrations, including interoperability.

Imagine Communications Labs will be led by Peter Riordan, an industry veteran who recently joined Imagine Communications from Encompass Digital Media.

Riordan has made significant contributions to the media industry over the past two decades as part of distinguished technology teams at HBO, Discovery Communications and Encompass.

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ROHDE & SCHWARZ AND PORTRAIT DISPLAYS RELEASE NEW HDR CALIBRATION CAPABILITIES Portrait Displays has partnered with Rohde & Schwarz to provide test pattern support for HDR-10 High Dynamic Range (HDR) displays. High dynamic range (HDR) is a technological advancement that makes the home theater experience more intensive and more realistic, Rhode & Schwarz claims. This technology matches the picture's luminance dynamic range to the perception of the human eye.

But HDR has also presented technical challenges at every step of the video chain, from capture through post production to the final viewing platform, according to the company: “The need for accurate, objective measures of video performance has never been greater”, has said Harald Ibl, Product Management and Application.

Rohde & Schwarz’s R&S®VTC/VTE/VTS test pattern generators

the R&S R&S®VTC/VTE/VTS family”, has said Portrait’s head color scientist and chief

In April, Portrait Displays acquired SpectraCal, which develops CalMAN video calibration solution. The latest version of this software (version 5.7.2), offers full support for the Rohde & Schwarz R&S®VTC/VTE/VTS family of professional test pattern generators.

software architect Stacey

The R&S®VTC/VTE/VTS family offers data rates of up to 18 Gbit/s as well as functions introduced with the new HDMI standard, such as scrambling. It supports both HDCP 1.4 and HDCP 2.2 and covers realtime protocol testing and compliance testing in line with HDMI CTS 1.4/2.0.

HDR. It displays the

“We were extremely impressed with the comprehensive capabilities of

Spears. “And CalMAN 2016 now takes full advantage of all the R&S®VTC/VTE/VTS’s capabilities”.

The generator function can be used to edit the Dynamic Range and Mastering InfoFrame specifically for enhanced extended display identification data (E-EDID) of the connected sink, including the HDR metadata block. It also permits the playback of customer-specific, uncompressed moving picture sequences. The analyzer unit provides suitable E-EDID and displays the Dynamic Range and Mastering InfoFrame. HDRCTS tests are available for both the generator and the analyzer.

Portrait and Rohde & Schwarz are demonstrating the combined capabilities at the CES exhibition 2017 from January 5 to 8 in Las Vegas NV. TMBi - 35

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THE BEST OF 2016

Another year has passed, and we shall end it with our editorial of the very best of this year.

TM Broadcast attends the most important trade fairs of the audio-visual market, where we have had the privilege of learning first-hand about the latest technical developments. And not just this, we also have regular contact with a large number of expert users of these technologies. Thanks to this, we are fully qualified to offer our readers a summary of the things that have most caught our attention and also of those that we know have connected with the real needs of customers. There are many different awards out there that focus on what's best technologically speaking, but we do not feel this is altogether coherent given the ever-changing market. For the time being, it is very important to ascertain what the market really needs, which does not necessarily mean the most technological device or that with most qualities will be better. The list we offer in this selection is based on this premise: technology is indeed important, but so is the concept of use and audience they are going to cover. This year, for instance, we have not awarded any “top of the range� mixer because the very best of this year has come from another target market. This is why our annual awards benefit from increasing credibility and prestige each year, precisely because they are adapted to the reality of what professionals need. And with nothing else to add, take a look at the best of 2016.

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THE BEST OF 2016

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THE BEST OF 2016

AJA FS4

AJA FS4 is a 4-Channel 2K/HD/SD or 1Channel 4K/UltraHD frame synchronizer and up, down, cross-converter. It offers incredible versatility and connectivity in a sleek 1RU frame for all your 4K/UltraHD and 2K/HD/SD conversion needs. Providing a wide range of connection options for both video and audio, FS4 can do the work of four separate devices in 2K/HD/SD or combine all processors and channels together for maximum flexibility for 4K/UltraHD productivity.

Key FS4 Features - Support for two modes: Four independent channels of 2K/HD/SD or Single-channel 4K/UltraHD frame–sync and conversion - 4K/UltraHD/2K/HD/SD video processing and up, down, cross-conversion - Full range of I/O options for 4K/UltraHD include Quad 1.5G; Dual 3G; and Quad 3G,

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6G and 12G over a range of SDI and optional Fiber choices - SMPTE 2SI I/O support for 4K/UltraHD workflow options - Unprecedented four-channel 2K/HD/SD video processing and conversion - 1RU frame offering space, power and cost efficiencies ideal for broadcast trucks, post production or broadcast settings - Audio I/O processing with an incredible 272x272 matrix of audio possibilities; FS4 offers support for a flexible range of audio feeds from discrete AES to MADI and embedded SDI audio - Simple operation, a redesigned menu structure and quick access to features via front panel buttons or web UI.

THE BEST OF 2016

ANYWARE VIDEO ONE GENIE® – Anyware Video has released a solution, offering, all the premium channel functionalities, the reliability and the right operational ergonomics, in a compact powerful and cost-effective design. Whether it is deployed in its single box version to carry out monochannel playout, or in a secured N+M redundant configuration to serve a multichannel playout master control environment, OneGenie® will allow seamless play-out of SD, HD and UHD TV Channels.

OneGenie®® is now deployed in SD, HD and Ultra HD Automated, operated and monitored through a web client, OneGenie® has been designed to guarantee fully distributed architectures, with remote operation and complete system virtualization. Thus not compromising with performance and security, since it can be set with 1+1 or n+1 active redundancy and provides complete range of broadcast quality monitoring (SDI, SNMP…) In addition to the full control of the broadcast equipment

“CHANNEL-IN-A-BOX”

chain (main & backup), the All-In-One automation application, controls the media transfers from nearline or deep archive to the Online, OneGenie® playout server. It also manages the purges tasks according to your preset rules, to guarantee the system performances.

Media can be retrieved from NAS, FTP, http or LTO tape library (through main API’s such as Front Porch®, XenData® or cloud based storage solutions).

Anyware Video’s automation has been designed from the beginning to allow distributed and virtualised operations. It offers a multi-client and multiuser interface with very fine management rights. This approach allows operators to access every control and

supervision screens and guarantees your maintenance team can proceed round the clock, on any critical point of the system configuration.

User groups definition sets the rights of each user (operators, maintenance, management) simply and efficiently. Television Channels can, that way, share access to third parties for all or part of the system operation.

The broadcasted video signal can be internally DASH encoded to allow remote monitoring through the application embedded dash player. Alarms detected by the Monitoring tool, can be sent automatically via email to preventive (like corrupted or missing media) or curative maintenance staff.

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THE BEST OF 2016

AVID NEXIS

Avid NEXIS™ is an only software-defined storage platform that enables true storage virtualization for any media application. This powerful system delivers unmatched flexibility, scalability, control, and extensibility to Avid MediaCentral™ Platform applications. Mix and match engines to form virtualizable pools of storage to streamline, expand, and accelerate workflows. Avid NEXIS is designed to accelerate online and nearline production, giving teams easy on-demand access to a shared pool of storage—scalable to nearly 3 PB of raw media (or more than 2 PB protected) and 19.2 GB/s of bandwidth—that can be quickly provisioned and repurposed. Tailor and tune each workspace’s TMBi - 40

capacity, performance, and drive protection to the project and client. Conveniently manage the system through a web interface or management APIs. And easily scale it to accommodate the smallest teams to the largest media enterprises.

Thanks to the openness of Avid Everywhere, Avid NEXIS works with all top media creation applications, including Avid Media Composer®, Avid Pro Tools®, Apple Final Cut Pro, Adobe Premiere Pro, Grass Valley EDIUS, and many more.

Production teams can quickly access a shared pool of virtualized storage resources, which dramatically increases their efficiency.

The software-defined storage architecture of Avid NEXIS allows customers to

select components that meet their current needs, and easily expand storage capacity and bandwidth as their business grows. Avid NEXIS is also the only scaleout storage solution that enables customers to dynamically tune the system to ensure that high-priority workflows always have the capacity, performance and data protection levels they require. Customers can give critical projects maximum performance, while throttling back on less critical workflows. This ability lets teams react quickly to changes, adjusting performance and protection levels to match the needs of a project at any stage in the workflow.

THE BEST OF 2016

BLACKMAGIC DESIGN URSA Studio Viewfinder The Blackmagic URSA Studio Viewfinder features a large 7” high resolution screen and is perfect for camera operators working on live events at which they need to stand behind the camera and capture the action for hours on end. The all metal design is durable and features the highest quality variable tension mounting points available, as well as an articulated arm so the viewfinder can be raised, lowered, moved forward and backward. These mounting points can be set for the perfect amount of resistance so that customers can pan

and tilt the viewfinder to whatever position they need.

for easy camera identification from up to 20 feet away.

This means camera operators can use the large viewfinder handles to move the camera completely independently of the viewfinder itself. This gives camera operators the ability to look directly into the viewfinder while the camera moves to follow the action.

When shooting a live event, it’s important to have physical buttons to quickly adjust settings on the fly. The Blackmagic URSA Studio Viewfinder features a physical dial, knobs and three customizable function buttons that let camera operators quickly adjust brightness, contrast, and peaking without having to hunt through menus while live on air. The customizable function buttons can be used for zoom, false color, edge focus detection, loading 3D LUTs and more.

The large RGB tally light on the rear of the monitor lights up red when the camera is on-air and orange for ISO recording. In addition, it includes customizable clip-on numbers that can be inserted

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THE BEST OF 2016

CALREC BRIO All Brio consoles feature: • 36 x dual layer faders.

• 64 legs assignable as mono, stereo or 5.1 Input Channels.

• 6 band EQ on every channel, group, aux and main path.

• Dynamics on every path, including Expander / gate / ducker, sidechain EQ, key inputs, compressor and multi-band compressor.

Brio is a best in class compact digital broadcast audio console. It has a comprehensive broadcast feature set to support a wider breadth of broadcasters, and the same market-leading levels of quality and customer support which Calrec is renowned for.

The smallest in Calrec’s Bluefin2 family, Brio’s control surface is unlike any other console. At only 892mm wide with a 36 dual-layer fader surface, Brio is entirely selfcontained with analogue and digital I/O, and GPIO, built into the surface. Additional expansion I/O slots are also fitted to allow for further I/O to TMBi - 42

be connected. A Hydra2 module can be fitted to connect to and share audio over Calrec’s Hydra2 network.

This means Hydra2’s sophisticated management facilities can be utilised for network-wide control, including interfacing with multiple Video and Audio over IP networks such as SMPTE2022, Dante, AES67, Ravenna and Soundgrid. This protects the system against any future formats that may emerge and allows the console to sit on multiple networks simultaneously if desired.

• 36 legs assignable as mono, stereo or 5.1 Mains or Groups.

• 24 legs assignable as mono or stereo auxes.

• Automatic Mix-Minus.

• Off-Air Conference.

• 8 x GPI and 8 x GPO built in.

• Significant built-in I/O, with 3 x expansion slots for expand I/O or to interface to multiple formats.

• An extensive range of Hydra2 I/O available.

• Excellent green credentials; Low weight, power consumption and heat generation.

THE BEST OF 2016

ELEMENTS CUBE Introduced at this year’s IBC, the portable highperformance media storage ELEMENTS CUBE packs up to 32TB in an ultra-small portable media storage unit.

Even when fully populated, the latest version of the mobile storage puts less than 8kg (18lbs) on the scale, allowing users to simply take their media assets as carryon luggage on every commercial flight.

But the technical makeover of ELEMENTS CUBE show further improvements: in addition to supporting SAS, SATA and even SSD drives, it now has USB 3.0 and eSATA slots on board, while also allowing the use of ingest cards. New and advanced cooling fans ensure whisperquiet operation.

ELEMENTS CUBE is a lot more than just portable highperformance storage though.

With its comprehensive set of field-proven and fully intuitive workflow enhancement features and media asset management tools, CUBE provides access to ELEMENTS’ Media Library, a sophisticated media asset management tool, allowing users to view and pre-select

media assets on location via a HTML-5 platform.

Equipped with a full-text search engine, the web-based Media Library provides practical features such as adding notes or comments to certain clips or frames, rating particular sequences and even create onscreen drawings, using any standard computer or tablet.

ELEMENTS Media Library also provides access to its easy-to-use Rough-Cut editing tool, empowering the director or editor to create rough-cuts right on set, using any laptop, tablet PC or even a smartphone. Rough-cuts made in the Media Library are fully compatible with virtually every professional editing application available

today, including Avid Media Composer and Adobe Premiere, so the entire project can be transferred seamlessly with even all comments, remarks and drawings added in the Media Library being fully visible and accessible in those professionals editing suites.

ELEMENTS technology also fully supports Avid bin-locking and project sharing.

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THE BEST OF 2016

EVS XT4K The EVS XT4K is a dedicated server offering the most reliable and fastest UHD-4K replay. With up to four channels in flexible in/out combinations, the XT4K drives complete UHD-4K media control from ingest to playout. The added flexibility of the XT4K lets you bridge your investment to execute HD and Full-HD productions from the same server.

live editing, slowmotion replays and multi-channel playback with server-to server transfer options. And unlike other systems, the XT4K makes expansion of your onboard storage easy, and without complex SAN interconnections or clustering.

In addition to EVS Loop Recording technology and on-board networking option, XT4K provides support of SuperMotion cameras and native XAVC-4K Intra encoding and decoding for

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• Audio Options: 192 uncompressed audio tracks , built in audio router, with Analog, AES, Embedded and MADI support • 4x Integrated Multiviewers • Internal storage up to 9TB (Externally expandable up up to 40TB)

Specifications

• Recording Capacity: Up to 130 Hours of UHD-4K

• 6RU orderable option

• Triple Networking

• 4 channels of UHD-4K or 8 channels of HD

• EVS XNet - 3Gbps Production Network

• XVAC-Intra class 300 codec for UHD-4K

• Dual 10Gbps Media sharing network

• AVC-I, DNxHD codecs for HD

• Redundant management LAN ports

THE BEST OF 2016

FUJINON UA107x8.4

Destined to set a new standard for 4K UHD and HD production worldwide, the UA107 provides superb 4K optical quality across the entire zoom focal range - a hallmark of the FUJINON ZK series of Cine-Style lenses.

The UA107’s refined optical quality has been engineered using FUJIFILM’s latest optical simulation software, which was used to model the UA107’s large diameter aspherical elements. This lens has a multi-group zoom system that suppresses image distortion and ensures that 4K UHD images captured remain consistent and accurate from center to corner, making the UA107x a solid choice to complement today’s 4K 2/3” UHD cameras.

High resolution, high contrast, and high dynamic range are hallmarks of the Premier 4K UA Series. The UA107x’s aspherical elements have been treated with the latest High Transmittance Electron Beam Coating (HT-EBC). Using HTEBC in tandem with FUJIFILM’s exclusive Aspheric Technology, the UA107 is able to reduce ghosting and lens flares, while increasing the amount of light transmitted through the lens to the camera’s sensors.

Specifications • Camera Format: 2/3″ • Focal Length. 1 ×: 8.4 - 900 mm. 2 ×: 16.8 - 1800 mm.

• Zoom Range: 107 ×

• Extender: 2 × • Maximum Relative Aperture: 1 : 1.7 (8.4 - 340 mm). 1 : 4.5 (900 mm) • M.O.D. from the Front of the Lens: 3.05 m • Object dimensions at M.O.D. 16 : 9 Aspect ratio. 1 ×: 8.4 mm 3053 × 1717 mm, 900 mm 30 × 17 mm.

2 ×: 16.8 mm 1594 × 896 mm, 1800 mm 15 × 9 mm.

• Angular field of view 16 : 9 Aspect ratio. 1 ×: 8.4 mm 59°26′ × 35°35, 900 mm 0°37′ × 0°21. 2 ×: 16.8 mm 31°52′ × 18°14, 1800 mm 0°18′ × 0°10′.

• Macro: Available • Approx. Size (H x W x L): 258 × 264 × 610 mm.

• Weight (Lens hood excluded): 23.9 kg TMBi - 45

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THE BEST OF 2016

GRASS VALLEY iTX On-Demand iTX from Grass Valley, a Belden Brand, provides everything you need for playout. It combines automation, master control, branding, graphics, captioning and subtitling in a modular, software-based environment. iTX has a proven track record, delivering more than 20 million hours of broadcast television every year.

Customers range from national broadcasters and global brands to local stations, and they carry many of the biggest live events on television.

How viewers consume content is undergoing a dramatic change, with many choosing to watch shows at a time more convenient to them. iTX On-Demand specifically addresses the preparation of video-ondemand (VOD) and catch-up TV assets in a way that dramatically reduces operational costs and the time it takes to get content onto VOD platforms, for both pre-recorded and live content, unlike many other competing solutions.

Typically broadcasters run their traditional linear and TMBi - 46

new media operations independently, but as video on demand has grown, they can no longer afford to have duplicated production paths – they need to incorporate digital media publishing into their traditional linear production workflow. iTX On-Demand is not a separate, or downstream process. With iTX OnDemand VOD asset creation is embedded into the production from the outset.

The VOD process is automated using templates to organize source materials, add metadata to monetize assets or flag embargoed content, and transcode to various formats for delivery to a range of online platforms. iTX not only automates the VOD process, but can cut preparation time of VOD assets by up to 75 percent.

This means broadcasters no longer have to wait 15-20 minutes to prepare a 30minute asset. For prerecorded media, preparation can start many hours before VOD playout, this includes ad insertion. This way, broadcasters can maximize revenue by getting content to VOD platforms sooner; effectively winning back hours lost waiting until the scheduled playout time. For live production, iTX OnDemand works with growing files to make content available for VOD minutes after the live event finishes, not hours as other systems require. This also means broadcasters can insert ads as the show is airing minimizing prep time to just minutes after the show finishes and maximizing revenue opportunities.

THE BEST OF 2016

IKEGAMI UHK-430 First in Ikegami's nextgeneration Unicam XE series, the UHK-430 employs three newly-developed 4K-native 2/3 inch CMOS sensors which provide full 3840 x 2160 ultra-high definition resolution plus the depth of field required for studio and outdoor production. The camera is equipped with a B4 bayonet mount compatible with 2/3 inch HD lenses. An optional SE-U430 expander accommodates large studio or OB lenses.

Key Features • Newly developed 2/3 inch 4K-native (3840 x 2160) 3x CMOS sensors that delivers real-4K resolution.

• Conventional B4 mount lenses: Integral 2/3 inch

bayonet lens mount with compatibility to conventional 2/3 inch HD lenses.

• No colour Aliasing: Threechip optical technology ensures no colour aliasing which is always an issue in single-chip cameras.

• Flexibility with swappable optical blocks: Two piece construction allows the UHK-430's sensor and lens head to be detached as a compact unit for easy deployment on a support devices such as long-reach manually-controlled camera poles.

• Future expandibility: The Docking design of the UHK430 and the possibillity to swap the optical block to an optional assembly like 35mm 4K Sensors or High

frame rate sensors creates a flexible and future proof camera design.

• 16 axis colour corrector and focus assist: Ikegami’s new ASIC AXII delivers full functionality including 16 axis colour corrector and focus-assist for 4K and HD video modes.

• Ultra wide-bandwidth fibre transmission: Built-in 40Gbps optical transceiver enables full bandwidth of 4K resolution signals transmission between camera and CCU enabling full colour space in 4K, RGB 4:4:4; to create super high quality Chroma key signals.

• 4K/2K simulcast operation: An optional plug-in board makes 4K video, HD video, and HD cutout from 4K available simultaneously.

• Various interfaces: Next to Quad 3G SDI also 12G SDI, Gigabit Ethernet Data Trunk line and Video IP Interfaces are available.

• Wide colour space and HDR: BT.2020 wide colour space specification is supported in 4K mode. BT. 709 colour space is supported in 4K and HD modes.

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THE BEST OF 2016

LAWO V__matrix Lawo V__matrix is the world’s first virtualized broadcast ecosystem with software-defined functionality based on high-capacity generic compute blades.

Free from the restrictions of legacy hardware platforms V__matrix offers a completely virtualized real-time routing and processing infrastructure.

Instead of connecting single purpose modular products in elaborate production chains, the V__matrix is based on data center principles of flexibility, fabric computing and COTS economics and makes these available to any live production broadcast environment. Whether OB truck, TV studio or broadcast operation center, V__matrix creates a fully virtualized core infrastructure.

The V__matrix ecosystem is based on generic high performance core processing blades upon which Virtual Modules are loaded to create the functionality required.

Each core processing blade has dual QSFP+ connectors and can connect to COTS switches with redundant 10GE or 40GE to create a fully distributed IP routing and processing matrix. Using VSM SDN control X/Y routing TMBi - 48

is frame-accurate just like with a legacy baseband router. The V__matrix ecosystem scales linearly from tens to thousands of I/O and processing functions which makes it ideal for any size live broadcast facility, small or large.

The functionality of any core processing blade can be changed in minutes by simply loading a different Virtual Module software package thereby easily adapting to new requirements. A large selection of available Virtual Modules includes IP/SDI En/Decapsulation, Routing,

Frame-Synchronizing, Audio & Video Delay, Audio Embed/De-embed, Audio/Video Proc, Color Correction, Timecode Insertion, Test Signal Generator, AV sync measurement, Waveform and Vectorscope Display, Sync Generator & IEEE1588/PTP Master clock and lots more.

V__matrix opens the door to a fully format and function agnostic infrastructure that finally provides broadcasters the flexibility and capability to cope with the challenges of the future.

THE BEST OF 2016

LYNX TECHNIK greenMachine greenMachine is a new and radical change in the way we think about broadcast and ProAV signal processing. It is a customizable approach to functionality that will provide you with true flexibility and future-proofing in today’s rapidly changing industry.

LYNX Technik has developed a range of 2, 4 or 8 channel general purpose hardware platforms that are 100% APP driven (think smart phone!) and you can mix and match the APPs to build your own greenMachine system.

Don’t be tied to a fixed function box…buy what you need, when you need it. greenMachine callisto, the 2 channel platform is available now. IP versions, as well as the 4 and 8 channel platforms will be coming soon. greenMachine takes a three prong approach to product definition and function.

Rather than being a fixed,

application specific box, greenMachine is a combination of incredibly powerful general purpose hardware, software APP’s and powerful control software.

Firstly, you select a hardware processing platform, (or platforms) which are basically inactive transparent signal processing channels combined with a variety of I/O connections.

Then you download and build the functionality you need by stringing together APPs from the LYNX “greenStore.” APPs can be mixed and matched to reconfigure greenMachine to suit virtually any application.

As new APPs will be constantly added to the “greenStore,” this enables the hardware to be easily adapted into new applications, future proofing your investment. APPs are

purchased through the greenStore and are all available on a try before you buy basis.

The last component is greenGUI, a powerful control software application providing intuitive graphical editing and visualization tools to facilitate the navigation, configuration and control off all the connected machines in your green universe. The free greenGUI software offers a suite of virtual greenMachine’s to simulate your new system. This allows you to fully test your system and functionality before you commit.

An entire system(s) can be visualized in a “greenUniverse,” which shows all greenMachine hardware and installed APPs. It provides a complete system view, from a global perspective all the way down to intricate signal connection details with just a click and spin of a mouse.

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THE BEST OF 2016

NEWTEK IP SERIES

Designed to work cohesively in an ecosystem, the NewTek IP Series is the first large production system designed for IP video while also fully backwards compatible with SDI; using separate scalable highperformance components for the mixing and control, input, and output of sources allowing virtually unlimited scalability. Video, audio, and control signals from these components are transferred digitally using NewTek’s Network Device Interface (NDI™) technology allowing multiple video systems to identify and communicate with any other system over a standard computer network.

The result is a fully customizable IP workflow TMBi - 50

solution with the flexibility to handle the most demanding production needs.

With the NewTek IP Series, current and future resources can be integrated through an interconnected production workflow using commercialoff-the-shelf network infrastructure. Implementing NewTek’s industry leading live production software, NewTek IP Series users have access to more workflow possibilities and expansion capabilities. Additionally, facilities and organizations don’t have to abandon existing investments in SDI infrastructure or implement high-priced, high-bandwidth networking to migrate to IP. The nucleus of the NewTek IP Series is the NewTek

VMC1 Video Mix Engine capable of switching up 64 source channels, including 44 external inputs (each with key and fill) and full mixing control with 8 M/Es with full re-entry, plus PREVIZ. Each Video Mix Engine includes integrated compositing, a sophisticated macro automation engine, and the most flexible and scalable effects system available with almost unlimited matting, DVE, transitions, overlays, virtual sets, real-time data and much more. Multiple NewTek VMC1 Video Mix Engines can be placed on the network allowing for both expansion and full redundancy as needed, keeping up with demands of any size of production.

THE BEST OF 2016

PIXEL POWER StreamMasterTM Virtualized Playout Platform for On-Premise, Datacenter or Cloud Playout The move to IP has enabled software-defined solutions to replace hardware boxes with virtualizable software modules. Pixel Power offers a complete virtualized playout solution with huge added benefits to help broadcasters take full advantage of everything – now.

StreamMaster is a fully integrated, software defined virtualized playout platform for IP workflows and either simple or complex TV channels. Running on COTS (Commercial Off The Shelf) hardware on your premises, in a datacenter or in the public cloud, StreamMaster delivers real-time master control with live feeds, realtime sophisticated graphics and DVE through to a content delivery network. Optional SDI I/O to support hybrid and transitional environments are also available.

powerful media asset management tools.

StreamMaster also includes a fully integrated automated master control switcher with the ability to offer manual control as required through either hardware or software control panels. This can be interfaced to traffic, MAM, archive and storage devices for seamless workflow integration.

This software-defined system is format agnostic, scalable and flexible, which enables cost saving & new pricing models, including payas-you-go for pop-up channels. StreamMaster is perfectly suited to premium channels, IP workflows, popup/event channels, or costeffective disaster

recovery/business continuity, for all your channels.

With 30 years experience in playout, graphics & branding Pixel Power has a long track record of helping broadcasters innovate to earn more revenue and save costs. The StreamMaster/GalliumAutomation combination includes a host of other tools to enable functionality that allows users to create a more integrated and compelling dynamic look and feel for a greatly enhanced viewer experience.

With StreamMaster all your channels, whether VOD, OTT, IP or multi-screen, can have exactly the same brand sophistication as linear channels.

StreamMaster integrates perfectly with Pixel Power GalliumAutomation software which is a fully featured workflow solution that provides multi-channel playout functionality and TMBi - 51

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THE BEST OF 2016

RIEDEL COMMUNICATIONS MediorNet MicroN as a Descentralized Route

The newest addition to the MediorNet family, the MicroN network device, provides a highly versatile signal interface that can be used in productions of every size and complexity. In just one rack unit, MicroN features eight 10G high-speed SFPs, 12 bidirectional 3G-SDI video, two MADI, Gigabit Ethernet, and integrated routing and sync reference I/Os. Built-in video and audio processing capabilities include automatic format detection, a frame sync and framestore on all video outputs, a 16-channel audio embedder/deembedder, a test pattern generator, on-screen and system VITC displays, an integrated sample-rate converter, and audio/video delay lines.

Operating in standalone mode, the MicroN can act as a 12x12 router and audio embedder/de-embedder with MADI SRC and delay with video frame sync and delay.

Multiple MicroN units can be deployed as part of a larger network or in a stand-alone point-to-point configuration to TMBi - 52

provide an economical solution for smaller productions. The interconnection of MicroN nodes in a meshed fashion creates a scalable, decentralized video router that can replace small to medium-sized routers and enable unprecedented flexibility in system design.

Users can extend both signal capacity and distributed system locations by adding MicroN nodes to the network.

Main System Characteristics • Compact 1RU Design for rackmount applications

Video and Audio Processing Features • Automatic Format Detection • Frame Synchronizer & Framestore on all Video outputs • 16 Channel Audio Embedder / De-Embedder • Test Pattern Generator • On Screen Display (OSD) • System VITC Display • Built-in Sample Rate Converter • Audio and Video Delay Lines Signal Inputs and Outputs

• Integrated Video, Audio and Data Router

• 12× SD/HD/3G-SDI Video Inputs

• 10G Highspeed Links

• 12× SD/HD/3G-SDI Video Outputs

• Sync Reference Input and Output (BB, Tri-Level, WC) • 3G-SDI video, MADI audio, Gigabit Ethernet ports • Redundant Wide Range AC Power Supply • Temperature Monitoring and adaptive Fan Control • 160 x 49 px color OLED Display

• 2× MADI Digital Audio Ports (Optical) • 1× Gigabit Ethernet Port • 1× Sync Reference Input/Output (switchable) • 1× Sync Reference Output • 8× 10G SFP+ Highspeed Ports

THE BEST OF 2016

ROSS VIDEO ACID H200 The ACID H200 is a full HD 1080P, 3 imager camera that utilizes the very latest 2/3” UAIT CMOS sensors that provide unrivaled performance of the very highest quality. Sensitivity, Signal to Noise and overall picture resolution are unmatched by any competitor with its three 2.6 Mega Pixel image sensors and standard 2/3” B4 lens mount. This camera is the perfect fit with Ross Robotics Furio and CamBot systems.

ACID Cameras provide standard SMPTE 4:2:2 video outputs as well as adding a new, unique output called UltraChromeHR. This signal contains full bandwidth color

information in a patent pending 0:4:4 coding format.

The standard 4:2:2 and UltraChromeHR outputs are received by the Carbonite UltraChromeHR chroma keying system and internally combined to create beautiful keys from the resultant 4:4:4 signals. UltrachromeHR is a full bandwidth 0:4:4 chroma output from our ACID cameras that is combined with a standard 4:2:2 output and processed within the new Carbonite UltrachromeHR chroma keying system as 4:4:4.

ACID cameras include fully integrated DashBoard controls for set up and paint.

These controls are DashBoard native and can be combined with other DashBoard connected products to create unique control interfaces tailored to various applications.

ACIDH200-UCHR Specifications - 3 – 2/3” x 2.6 Megapixel UAIT MOS sensors - 1100 TV Line Resolution - Ultra Low Noise – Better than 64dB (with DNR and 6dB Gain) - Ultra Sensitive – F13, 1080P/50. F12, 1080P/59.94 (@ 2000Lux) - Ultra Gain Range -6 to +36dB - Noise Reduction - 12 Vector Color Correction - Real Time Lens Chromatic Aberation Correction - Skin Masking and Detail adjustment - UltrachromeHR 0:4:4 full resolution chroma output - Standard SMPTE 292/424 (1.5/3Gb) 4:2:2 video output - Formats: 720p, 1080i, 1080p, 50 or 59.94

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THE BEST OF 2016

SAM KULA The Kula range of multiformat production switchers is built on the heritage of SAM’s award winning Kahuna switcher. Available as 1, 2 M/E’s and 1 M/E 4K versions, Kula can handle multiple formats making it both futureproof and adaptable for today’s production environment. The 2M/E HD/SD version can be switched to 1M/E 4K mode, allowing users to benefit from higher production values.

The new Kula switcher combines a powerful feature set with a market leading price point, while easy installation and set-up means operators can work quickly and efficiently, focusing on high value creative tasks.

Ideal for multiple applications, from live events (flyaway packs, OB vehicles), broadcast production, sports and house of worship to entertainment and conference/events, With a wide range of control panels including the 19” panel for rack mounting for-

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on- the- road productions and introducing the new 24 crosspoint panel, makes operations easy and gives operators access to up to 42 inputs, enabling a larger pool of sources to take to air instantly.

The Kula range offers: • 1 or 2 M/Es with 5 keys per M/E and 2 sub M/Es consisting of A/B mix with 2 keys and one assignable 2.5D DVE resize engine • Up to 32 key layers • Linear and Luma key functionality on each M/E as standard • High quality chroma keys on every key • A dedicated animated clip

• •

•

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•

transition on each M/E called a MAV Trans Up to 20 2D and 2.5D DVE for creative effects Four floating DSKs with resize engines and split dual tile mode to create eight PIPs to be allocated to any M/E or aux output Extensive internal clip and still store – 10 output channels from 16GB of storage capacity Multi-format production capability as standard including SD/HD/1080p and 4K using FormatFusion3TM technology Up to 36 inputs and 18 assignable outputs plus 6 bi-directional ports to increase your inputs to 42

THE BEST OF 2016

SHOTOKU TP-200VR/SX-300VR The TP-200VR pedestal and SX-300 VR head combination offer Shotoku’s well-known light-touch control and robust stability to match even the most demanding applications. Highly accurate

pan, tilt, zoom, focus, X, Y and height data output keeps the VR graphics system precisely synchronized to the camera’s floor position, orientation and height.

Features of the system

include the lightweight twostage pneumatic TP-200 VR pedestal, the high-resolution and robust EFP SX-300VR head, fast and simple referencing using origin sheet on studio floor, unlimited X-Y tracking area, RS422 serial data output and industry standard data protocols.

Specifications • System Payload 40kg / 88lbs • System Max. Height 1,754mm • System Min. Height 984mm • System Weight 114kg / 251lbs • Counterbalance Continuously Adjustable Perfect Balance • Camera Fixing TwoDirection Sliding QuickRelease Plate • Pan Bar Two Telescopic Pan Bars (TJ-60) • Data Box Connectivity SHOTOKU SPI-4 TO-25 • Mount M40 Mini Mitchell TMBi - 55

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THE BEST OF 2016

VSN VSNEXPLORER

VSNEXPLORER makes intuitive media management possible, allowing Broadcast and Media industries to efficiently organize all their content, automate and manage their workflows, and concentrate on what they do better: creating quality media.

The whole solution centralizes all content under one single, open and scalable platform, composed by the modules VSNEXPLORER PAM for production and TMBi - 56

postproduction; VSNEXPLORER MAM, for the complete management of the whole media lifecycle; VSNEXPLORER BPM, which contributes to the definition and orchestration of business process management workflows, and VSNEXPLORER BI for advanced Business Intelligence to improve productivity based on analytics and business reports.

Either locally or in the Cloud, it offers Broadcast and Media companies total visibility and control over their businesses, allowing them to massively ingest media in the system, automatically catalogue it, validate files, transcode them and monitor all these tasks, while relying on an advanced search feature for locating content by using custom metadata.

THE BEST OF 2016

YELLOWTEC INTELLIMIX A desktop console designed to simplify the daily work and stimulate the creativity.

• ADAT-S/PDIF 1 - TOS Link, selectable ADAT 8-channel input or S/PDIF stereo input

Specifications

• USB 1 - multichannel PUC 16 mono/8 stereo inputs with SRC

Control Unit • Display Light hi-res color TFT transreflective widescreen with 250Cd/m2

• AoIP (DANTE) 1 - RJ45 4 mono inputs

• Displaysensor 5-finger touch sensor, gesture ready

• Line Outputs analog 4 - balanced, max. 24 dBu (2 XLR; 2 D-SUB)

• Faders 4 x G-Touch© 120mm faders with multifunction position indicators

• Line Outputs analog 2 - RCA, unbalanced, max. 24 dBu

• Keys 12 x illuminated sealed hard keys

• Headphone 2 - 1/4“ jack stereo

• Chassis Solid aluminum desktop cabinet with SD-Card reader

• Line Output digital 3 - AES3/EBU with sample rate converters

• Power consumption 10W PoE

• ADAT-S/PDIF 1 - TOS Link, selectable ADAT 8-channel output or S/PDIF stereo output

• Voltage 48V DC (PoE)

Base Unit 19“ Inputs • Mic/Line Inputs 2 - XLR, balanced, with selectable sensitivity -77 dBu ... +18 dBu

Outputs

• USB 1 - multichannel PUC 16 mono/8 stereo outputs • AoIP (DANTE) 1 - RJ45 4 mono outputs Other

• Line Inputs analog 2 - XLR, balanced, max. +24 dBu

• GPI/GPO‘s 2 - GPI on optpcoupler + 4 GPO from PhotoMOS relay

• Line Inputs analog 2 - RCA, unbalanced, max. +18 dBu

• APC extension ports 4 - RJ45 powered Ethernet for audio, power, control

• Line Inputs digital 3 - AES3/EBU with sample rate converters

• Power consumption 30W • Voltage 48V DC

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ÖTILLÖ Swimrun World Championship user report TMBi - 58

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Author: Kim Svensson, Head of Technology with Spocks Family

Through the open waters and across the islands of the Swedish wilderness, battling the elements in the ÖTILLÖ Swimrun World Championship isn’t for the faint-hearted. The total distance is 75 kilometres, of which 10 km are open-water swimming and 65 km are trail-running, presenting a huge physical – and doubtless mental – challenge.

Taking place in early September, competitors battle along remote islands that form the archipelago to the south east of Stockholm.

The race was first held in 2006 with a series of build-up races now supporting it and leading up to this annual event. Involving teams of two people, they swim between 26 islands and then run across them. This year a new world record of 7:59.04 was set but some competitors took over 14 hours. It offers an extremely tough challenge to participants and an almost equal challenge to anyone wishing to bring the event to viewers!

We are Spocks Family, a communications company that specialises in storytelling for video production. The Spocks Family name is new but the company has been operating for four years. Right

from the outset ten years ago we’ve been wondering how anyone could bring this extremely tough race to a much wider audience. But given that it takes place across an archipelago, in and out of water and over 75 km you can immediately see the immense challenges, connectivity being a main one. While 3G networks are available, a single connection was never going to be enough. Of course the islands of the archipelago are not connected to one another via fibre and given our budget using satellite was out of the question too.

So four years ago we did the first actual test. We used simple, cheap solutions to see if it was possible to even get any image out of there.

We found that it was possible but that it’s, of course, very technology-dependent. 3G coverage is there but as mentioned above, this wasn’t ever going to be sufficient.

We needed several. Because we are moving on boats, across islands, slipping, sliding in water, out of water we needed a much more reliable as well as flexible solution.

After a variety of further tests across other events – including trialling two LiveU TMBi - 59

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units at last year’s race – this year we were in a position to deploy three LiveU units with three mobile camera operators. There were a further two fixed position cameras. Spocks Family built a temporary studio and small control room on one of the islands. This had 100Mbit/s fibre connectivity back into mainland infrastructure so getting the overall feed out was no problem. A sports commentator helped to bring

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We found that it was possible but that it’s, of course, very technology-dependent. 3G coverage is there but as mentioned above, this wasn’t ever going to be sufficient. the event alive to viewers across the day.

LiveU gave us the ability to shoot from a helicopter, car

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and boats, which we did, and the camera opertars could move freely and not worry about the technology. I controlled the units and monitored their power using the LiveU Central management platform. This was very important in this production. We could monitor the parameters that we needed to using mobile phones to communicate with the camera operators.

From the two LiveU servers

(two units on one server and the third on a second server), we output HD-SDI to our BlackMagic Atem video mixer. We streamed 720p50 so we had all our equipment set to that, except from the third LiveU field unit that sent 1080i50 from the helicopter.

The reason for that was the feed was also being used for a VOD clip that was going to be separately produced after the race and the native resolution required was 1080.

We took the 1080i50 feed that passed through the server into a tvONE scaler in the control room that transcoded it to a 720p50 before it went into the Atem mixer. Each video team had a wireless handheld mic: sound was embedded in SDI and that was then de-embedded from the SDI feeds in the

We streamed 720p50 so we had all our equipment set to that, except from the third LiveU field unit that sent 1080i50 from the helicopter

control room into a sound mixer and then back to the program output.

In the Atem mixer the sound, graphics, race results, three video teams, a wired studio camera and a wired finish line camera were mixed and put together and the 720p50 output was sent via HD-SDI to an encoder to create the program feed. It was then sent to our reflection server in Prague that could mirror the stream to YouTube.

We set a finish line camera whose stream was separately encoded since the main broadcast ends before everyone has reached the finish line. This meant the audience could still watch the finish line until the very end.

It’s a small service we can provide for them and it meant a lot for the family and friends of the racers. In total, Spocks Family streamed for nearly 12 hours.

Using LiveU allowed our camera operators to concentrate on what they were doing – a very difficult task – without having to worry at all about the technology.

Without this we couldn’t have created this production.

Using LiveU solved many problems and provided us with the mobility, robustness and flexibility we needed. We had no connectivity issues during the race – not a single black frame.

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Measuring Up To PROVYS Accurate measuring of audience viewing behaviour has always been of crucial importance for a broadcaster’s competitive advantage. Modern technology and software development enable the sophisticated collection of data which very accurately reflect TV audience viewing patterns.

One of the main players in the monitoring market is the Nielsen Group, a global technology expert in the field of “People Meters”. Step back a few years, and Nielsen were using the diary method for collecting this data. The

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diary method required viewers to physically record the shows they actually watched, but of course, there were some problems with this system. Lower-rated stations believed that the diary method was inaccurate and

biased. They claimed they had lower ratings because those who relied on memory within the diary method usually only remembered to track their favourite programmes. In addition, smaller broadcasters argued

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that the new and wider variety of channels for viewers to choose from also skewed the ratings. And finally, viewers were obviously not able to record everything they watched and the truth was not accurately reflected. Eventually, in 1986, Nielsen developed the first electronic People Meter, to solve the problem. From that date, the accuracy and reliability of viewers’ watching habits have continued to improve to the point where they now constitute a critical part of strategic planning.

The mere existence of this collected data is however, not sufficient in itself. The next step requires an intelligent storage and retrieval system and it is at this point that Provys enters the game with its uncompromising database software solutions. Market research agencies such as Nielsen need not only precise data from People Meters tactically distributed among the viewers in the field, but they must also have timeprecise programming details supplied by all the broadcasters who participate in this country-wide research.

As explained in the accompanying illustration, Provys are responsible for creating a detailed programme schedule which must then be matched with the actual as-run-log supplied by any playout system in use.

Provys then produces a definitive programme report

The diary method required viewers to physically record the shows they actually watched, but of course, there were some problems with this system comprising timings, programme titles, advertisements, genre, target audience, ad ID numbers, EBU classifications, etc., which is then sent to the research agency where it is reconciled against their viewing statistics. All of the results are then distributed to broadcasters who are participating members in the scheme. It is necessary to import, store and manage this massive collection of raw data before it can be useful to management. This is where Provys brings in its added value by linking data to particular programmes, advertisements, competitors’ programming at comparable times, etc. In addition, Provys sets no limit to the number of programmes which can be

managed simultaneously.

Taking advantage of this, some advanced users even run simulated broadcasts of their competitors’ output compared minute-by-minute against their own programmes together with all relevant viewing statistics.

The above description of people metering gives a broad understanding of some of the complexities in this specialist area of collecting and analysing broadcasting statistics, for example: genre against age and sex, target audience against socioeconomic groups, etc. You may well ask whether such energy, investment and time is really worthwhile being spent on the domestic habits of our famous couch potatoes. And the answer is a resounding “YES” because, as Pavel Kobersky, Senior Consultant at Provys, says: “It is the accurate collection and storage of this metadata in an enduring content library which underpins all future programming decisions, enabling management to know with certainty their potential advertising rates, thus ensuring continuing profitability”. And as you would undoubtedly agree, every aspect of the broadcasting business hinges upon its profitability.

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XEEN 35 mm T 1.5

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Lab testing performed by Ă lvaro Bernal

Today, we are reviewing the XEEN 35 mm T 1.5 lens, which, put simply, is the democratised true "cinema style". Whether we like it or not, since the appearance of the DSLR, which recorded video 10 years ago, the profession has changed.

There will always be audiovisual products that, for their projected income generation life, will aim to have maximum quality, but the fact is more and more productions accept that costs determine the technical bill. They are very worthy products, and the spectator has also learnt how to be less critical in this respect. We see drones where we used to see helicopters; we see gimbals where we used to see steadycams, and so on. But what currently seems to be an airtight field is lenses, either we chose cinema optics or we must settle for photography lenses. The lens we are presenting today forms part of a kit (14 - 85), which already covers the standard cinema focal lengths but with a price we could say is among the highquality photographic optics range. Our intention is not to conduct a technical analysis, but only give you our impression, and as we know that many of you work with TMBi - 66

XEEN 35 mm T 1.5

Cinema optics compared to photograph optics are more robust, and they must be capable of working in adverse weather conditions, which is why you won't see any plastic, spare spaces. This alone entails a higher cost. video and photo lenses, we would like to speak about some things that come handin-hand with cinema optics.

Without wanting to go too deep, cinema optics compared to photograph optics are more robust, and they must be capable of working in adverse weather conditions, which is why you won't see any plastic, spare spaces. This alone entails a higher cost. You will also see that the lens is nearly always part of a set of filter holders, bars, focus controls, etc. and TMBi - 67

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 TEST AREA it becomes frustrating, and above all, slow, very slow, to have to change these elements every time we change a lens. While it is true that, in cinema, they use zoom lenses, fixed focuses are used more often. The perfect lens kit should be formed by lenses that have the same physical dimensions and no external movements when handling them, as this would entail changing the focus control, filter holder.... It would also require the focus and aperture rings being very wide and jagged to be as precise as possible in use, and obviously, with standardised letters to avoid doubts when in use, so many things... And little by little, we begin to understand this is how things work and that they are dearer than photographic ones. This is why this optic and its price come as a breath of fresh air. It is most likely that acclaimed brands in this product segment will react with cheaper ranges. It is neither better nor worse; it is simply about responding to the market’s demands.

All the XEEN lenses can be used in complete format sensors, Super 35 APS-C and APS-H. They are built in aluminium, lightweight and very resistant to work under any filming conditions. They are available in five different frames: PL, Canon (E), Nikon (F), Sony-E and MFT. 35 offers a T 1.5. It is a notable TMBi - 68

They are available in five different frames: PL, Canon (E), Nikon (F), Sony-E and MFT

aperture, and as we said, even though you will hardly ever use it with its maximum aperture, you do have the option. As you will know with

XEEN 35 mm T 1.5

is lost on the way due to the clash of lenses. This number correctly indicates the light that will end up in the sensor.

It is calibrated for each lens.

So, for the same t, different lenses with different focal lengths will yield the same amount of light and will, therefore, have the same exposure.

these types of lenses, you don't use the indicator "F" but "T". The number t is the number f corrected depending on how much light

According to the manufacturer, the resolution clearly exceeds 4K, and besides this piece of information, the sensation of definition is remarkable.

Perhaps the image appears less contrasted compared to that of other lenses made by leading brands but being humble, from a certain level onwards, everything becomes subjective. I do not feel embarrassed in acknowledging that today, I may agree and tomorrow, I might not see the difference.

As the manufacturer says, it has been treated with a covering that reduces chromatic aberrations to the max and, leaving the theory aside, it certainly seems that way. It has a solid construction, made of aluminium and steel. Do not look for plastic, because you won't find any. Even so, you will find it lighter than those of the competition, which we understand this is due to the extensive use of aluminium.

The manufacturer gives us a weight of 1360 grammes. As I'm a fanatic, I did the test myself. I got 1377 grammes

three times. The minimum aperture is 22 and the maximum, as we have already said before, is 1.5.

The bokeh is very pleasant.

In this 35 mm version, the minimum focus distance is 33 cm. I am a 35 mm enthusiast.

I like it even more than the 50, but I don’t have rational explanation for this.

The focus ring has a turning range of 220 degrees, which permits good precision with the focus control (this always catches the attention of those who nearly always use photo lenses), and the diaphragm has 11 blades and a low diffraction, which, when nonexistent, devalues the image.

We have already said that the lens covers the complete sensor, so you need to bear in mind the trimming if you use it in super 35 or cameras with smaller sensors, like the micro 4/3. The only thing I have left to say is that this lens is an option you should consider if you are not a purist who becomes paralysed when leaving the comfort zone. I would like to see a blind test with other lenses of the competition that triplicate in price. This market fascinates me. There is not one single day in which a product that brings into question the status quo doesn’t appear.

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