TM Broadcast International 42, February 2017

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Editor Javier de Martín


Editor in chief Jesús Carrillo Key account manager Cristina Feduchi



Creative Direction Mercedes González Editorial staff Daniel Esparza Administration Laura de Diego Marga Quevedo

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TM Broadcast International #42 February 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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Editorial News programs increasingly focus on offering their content in real time through as many direct spots as possible, full coverage, "here and now" as a differentiating element that positions them in front of others and which gives them a high audience. That is why the productions in which mobile phones will be used will increase when the immediacy prevails at a lower cost. The number of content provided with Smartphones is growing, in the same way that connections are integrated through live Skype, 4G technologies and Ka Band - which have been welcomed with open arms in the local channels. However, Smartphones can´t do everything, in the same way that not all productions can be operated with a traditional computer. We are facing a revolution as great as the birth of digital photography or non-linear editing. Would anyone work in an A/B Roll room today? The answer is no. Consequently, the inescapable coexistence of a mobile phone and the most exclusive digital cinema camera is confirmed. The choice will depend on where we put the accent on what we want to broadcast and on how we strike the balance between the content that is sought, the efficiency required, the term that is available and the budget that is set for it.

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AJA RELEASES ROI-SDI SCAN CONVERTER AJA Video Systems' ROISDI scan converter began shipping today. Wrapping Region-of-Interest (ROI) controls for professional SDI sources into a portable MiniConverter form factor, it boasts a 3G-SDI input and simultaneous 3G-SDI and HDMI outputs, and facilitates quality image scaling, in addition to region-of-interest and image rotation at a range of resolutions and frame rates, according to AJA. ROI-SDI addresses a growing demand for customizable video signals to meet an array of display and workflow needs. It features TMBi - 6

extensive aspect ratio conversion and audio functionality and allows users to easily rotate source signals, define a portion of an image or reframe the source image from any 3G-SDI signal. Paired with free AJA Mini-Config software, ROISDI makes it easy to select a region-of-interest in realtime and on screen with complete control over how that region is scaled to the output resolution, enabling pristine picture quality. AJA’s ROI-SDI features: • 1x 3G-SDI BNC Input. • 2x mirrored processed

outputs (1x 3G-SDI BNC and 1x HDMI). • 1x clean 3G-SDI BNC loop out. • 1x USB port for device configuration via free AJA Mini-Config software running on Mac or Windows. • Support for a range of video formats including 1080p, 1080i, 720p, 625i and 525i. • 2-channel analog RCA audio outputs; embedded 8channel SDI audio. • 2-channel or 8-channel embedded HDMI audio.


OPENING CONCERT OF THE ELBPHILHARMONIE OPERA HOUSE IN HAMBURG WITH LAWO The concert was recorded by German public broadcaster Norddeutscher Rundfunk The Elbphilharmonie Symphony Orchestra opened the Big Concert Hall in Hamburg on 11 January 2017. And the concert was recorded and broadcast by German public broadcaster Norddeutscher Rundfunk (situated in the North of the country) from an audio control room in the same building as the performance using a Lawo mc²66 audio production console for the mix. Sound for both live transmission and recording were mixed in the NDR audio control room within the

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Elbphilharmonie facilities. This studio forms part of an audio concept that networks this mc²66 console with five further Lawo mc²36 consoles (used for the sound mix in the Big and the Small Concert Hall and in Hall 3) as well as DALLIS I/O Systems, via a Nova73 router using RAVENNA. This infrastructure allows all audio consoles to have access to all of the DALLIS units in the building, and gives coordinated access rights management. For parallel live broadcasts from multiple halls, this concept

allows the link-up of an NDR OB van – currently NDR Ü42 – with the RAVENNA network in the Elbphilharmonie complex. Among the many guests of honor for the première were Germany’s President, Joachim Gauck, Chancellor Angela Merkel and Hamburg’s Governing Mayor Olaf Scholz. The NDR broadcast this festive event and the concert live to a combined TV and radio audience and via its website (


ELEMENTS CUBE AWARDED ‘BEST PRODUCT OF 2016’ TM Broadcast Magazine chooses the best product of 2016 TM Broadcast Magazine has recognized ELEMENT CUBE as ‘Best Product of 2016.’ The mobile media server and storage appliance allows customers to carry up to 32TB portable highperformance media storage in an ultra-small chassis. “We are very proud that ELEMENTS CUBE has been awarded ‘Best Product of 2016’ by TM Broadcast just weeks after ELEMENTS Media Library won the Coup de Coeur award at SATIS in Paris,” has said André Kamps, CEO of ELEMENTS. “It is truly rewarding to receive recognition for our solutions that are specifically designed for video professionals, not IT professionals. We continue to actively develop new features to make media workflows even faster and simpler for our users,” has concluded.

ELEMENTS CUBE weighs less than 8kg The latest version of ELEMENTS CUBE puts less than 8kg (18lbs) on the scale, even when fully populated, allowing users to simply take their media assets on commercial airlines as carryon luggage. Equipped with whisper-quiet fans and USB 3.0 and E-SATA ports, TMBi - 10

ELEMENTS CUBE supports combinations of SAS, SATA and SSD drives, and allows utilization of ingest cards. ELEMENTS’ set of workflow enhancement features and media asset management tools embedded in the appliance make ELEMENTS CUBE better. Providing users with access to ELEMENTS’ award-winning Media Library, its web-based media asset management tool, CUBE customers are able to view, pre-select and annotate

media assets from anywhere. Also, Rough-Cut editing tool empowers the director or editor to create rough-cuts right on set, using any standard computer or tablet. Rough cuts conducted with the Media Library are compatible with every professional editing application available today, including Avid Media Composer and Adobe Premiere, as ELEMENTS confirms.


HD BROADCAST UPGRADES ITS HD1 MOBILE PRODUCTION TRUCK WITH RIEDEL’S MEDIORNET networking infrastructure and support future 4K productions." HD Broadcast completed the networking upgrade of OB HD1 in three days. The new MediorNet-based network infrastructure gives the production truck greater flexibility and increased capacity through higher bandwidth and additional connectivity options, confirms Riedel. The fiber-based network also allows HD Broadcast to minimize cabling, setup, and logistics expenses. HD Broadcast has upgraded its HD1 mobile production truck with Riedel Communications' MediorNet real-time network. Three MediorNet Compact Pro frames and six Riedel MicroN high-density media distribution network devices are connected over a 10 Gbps optical fiber network to create a redundant, decentralized routing matrix, according to Riedel. Working in combination with HD Broadcast's existing Riedel Artist digital matrix intercom system, the new MediorNet infrastructure combines integrated signal transport, routing, and TMBi - 12

processing with pristine communications. "We are very impressed with the flexibility and interoperability that MediorNet, MicroN, and Artist offer us. With their outstanding quality and reliability, these solutions have set the market standard for future-proof networking," has claimed Constantin Novotny, CEO of HD Broadcast GmbH. "MediorNet's integrated signal management has enabled us to deploy decentralized router capabilities with distributed system intelligence — an ideal foundation on which to move towards an IP-based

"MediorNet gives our customers tremendous freedom to build sophisticated media infrastructures. In addition to full video router functionality, MediorNet offers powerful signal transport and integrated processing features such as embedding/de-embedding, frame storage, frame sync, a test pattern generator, and sample rate conversion," has explained Olivier Görts, Broadcast Sales Manager of Riedel Communications. "With the integration of MediorNet, HD Broadcast has strengthened its commitment to mobile, flexible productions and is well-equipped for the future."



Manchester City relies on Blackmagic Design Manchester City Football Club has integrated a solution featuring Blackmagic Design infrastructure products to handle all aspects of video production across its Academy Stadium, which is located at its elite training and youth development facility, the City Football Academy. As well as delivering big screen content during the club’s Under 21, Under 23 and Women’s Super League fixtures, the system, built around four Blackmagic Studio Cameras, ATEM 1 M/E Production Studio 4K and Smart Videohub 40x40, is also the main production hub for streaming matches

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via Facebook Live. The solution, which was delivered by Timeline TV, produces two mixes during games; one which is fed to the stadium’s 15m2 jumbo screen and through to broadcasters, and one for the club’s streaming channels.

“We required a solution to the club’s international fans” “Our brief for the install reflected the ways in which sporting events coverage has evolved over the past few years. From the outset we required a solution that would allow us to share the action on the pitch, not only with those watching at the Academy Stadium but also to the club’s international fans across the globe,” has

explained Paula Livsley, Production Manager, Manchester City. “The production crew on any given match day could number up to fifteen people depending on the game, including camera operators for the four camera positions, located pitch side and in the gantries, as well as commentators and graphics producers. The fundamental difference between our two feeds is the graphics overlays and analytical information added to our programs which we create on the ATEM switchers. As well as the camera feeds, we also add in instant replays and contentious review footage during the matches,” continues Paula Livsley.


Before and after games the team also produces player interviews and additional exclusive content, which are predominately screened on Manchester City’s media channels. Livsley added: “Blackmagic’s Studio Cameras can be pole or tripod mounted, and produce excellent image quality whether outdoors in the stadium or when in use during a studio shoot. Within the stadium, we rely on optical fiber to connect our camera positions to the main production gallery. Each location is equipped with its own ATEM Camera Converter

while an ATEM Talkback Converter 4K in the control room closes the loop and allows for talkback and tally using the same optical fiber runs.” All of the signal management throughout the Manchester City Academy Stadium relies on a Blackmagic Smart Videohub 40 x 40, which forms the central hub for the stadium’s fiber infrastructure.

Facebook Live The matches being streamed on Facebook Live are already attracting big audiences, and the Club

hopes the numbers will continue to grow. “This installation demonstrates the variety of distribution channels that we as a club can now harness to help fans watch their team in action,” concludes Paula Livsley. “The solution we’ve built around Blackmagic gives us all the flexibility required for a traditional stadium install, but also allows us to meet our growing needs as a content publisher. Timeline TV played an essential role in the design and implementation of an incredibly powerful and reliable system within our budget.”



GatesAir and Nigerian channel partner Pinnacle Communications Limited have announced the buildout and launch of a turnkey DVBT2 transmission system serving the Federal Capital Territory (FCT), Abuja, Nigeria’s capital city. The DVB-T2 system supports the switch-on of a new over-theair DTV service now delivering 30 channels of high-quality news, information and entertainment to Abuja residents. GatesAir and Pinnacle Communications designed, delivered, integrated and commissioned the complete solution on behalf of Nigeria’s National Broadcasting Commission (NBC) over a three-month period, which includes main and backup GatesAir high-efficiency Maxiva™ ULXT liquid-cooled transmitters for content delivery. GatesAir also supplied the DVB-T2 headend, which optimizes UHF spectrum for multichannel services, along with all electrical material and RF systems required for the greenfield buildout. GatesAir has worked closely with Pinnacle Communications since 1998, launching TV and FM radio systems across Nigeria. The TMBi - 16

GatesAir CEO Phil Argyris

FCT Abuja system represents the second phase of a digital switch-on, which is expected to eventually reach more than 50 million homes and 170 million residents. “The Abuja project began as a greenfield site in early September, and we worked closely with GatesAir and the National Broadcasting Commission through its inauguration on December 22,” has said Mr. Dipo Onifade, Executive Director of Pinnacle Communications. “This tight schedule was quite a challenge, and its success proves how well the two companies work together to deliver complete digital broadcasting solutions with exceptional quality.”

“GatesAir accelerated delivery of the ULXT transmission system and DVB-T2 headend to support the launch of two program multiplexes, which was an enormous help to meeting this deadline,” has explained Sir Lucky Omoluwa, Chairman of Pinnacle Communications. “GatesAir worked closely with Pinnacle Communications and Nigerian stakeholders to architect the most efficient configuration, ensuring the complete ecosystem is consistent. Viewers within the Federal Capital Territory, Abuja ultimately benefit with 30 free-to-air channels.”

The next phase is targeted in June 2017 Pinnacle Communications anticipates a total of 70 additional RF sites for comprehensive national coverage. The next phase, targeted for completion in June 2017, according to the Director-General of NBC, is expected to cover six states from each of Nigeria’s geopolitical zones. Pinnacle Communications confirms that GatesAir will deliver ULXT liquid-cooled and UAXT air-cooled transmitters to support the rollout.


AVT JOINS RAVENNA COMMUNITY AVT is expert in the field of telephone hybrids or talkshow systems and audio codecs ALC NetworX has announced that AVT Audio Video Technologies has joined the RAVENNA community to contribute their expertise and provide yet another building block in the growing landscape of RAVENNA/AES67-enabled products, according to the company. AVT are experts in the field of telephone hybrids or talkshow systems, which are technologies that convert an incoming phone call into an audio signal that is suitable for a studio environment. Another field of expertise for AVT concerns audio codecs

that are needed for high quality audio transmissions over different networks. Wolfgang Peters, AVT’s Sales Director states: “As a manufacturer of high-quality IP-based audio systems, the move to implement RAVENNA into our new products represents another milestone towards open standards. In addition, we want our customers to decide freely which solution they prefer in the market. In the long term, a manufacturerindependent Audio-over-IP implementation means security both for us and our customers.”

“We absolutely welcome AVT to the RAVENNA community”, adds Andreas Hildebrand, RAVENNA Evangelist at ALC NetworX. “AVT’s products are widely used in typical broadcast installations, and it makes perfect sense to enhance connectivity to other broadcast equipment by adding RAVENNA and its native AES67 interoperability genes. The whole RAVENNA community will benefit from AVT’s high quality standards and vast experience in the field of codecs and telephone hybrids.”



The Australian Broadcasting Corporation (ABC) has used Grass Valley’s K-Framebased switchers to upgrade 13 studios in eight capital cities around Australia. The ACB has been using production solutions from Grass Valley for more than 20 years. It has selected a mixture of Karrera (in the featured image) and the new awardwinning GV Korona switcher panels. Both solutions TMBi - 18

combine ultimate video processing performance, proven workflows, simplified control of complex productions and multiformat support including 1080p and 4K UHD, according to Grass Valley. These capabilities are offered as two system packages, with 3 M/Es or 2 M/Es, for exceptional affordability, while the compact 6 RU video frame delivers a high level of functional integration for space efficiency.

The new K-Frame systems are replacing a fleet of older Grass Valley Kayak switchers and will continue to be instrumental in the production of news programming for the company. Also, the new switchers will join the existing fleet of Grass Valley Kayenne K-Frames currently in operation in the ABC’s studio production facilities. For more information: oducts/karrera_s-series.


CHYRONHEGO'S LYRICX 2.0 IS NOW SHIPPING ChyronHego has announced that LyricX 2.0, the latest version of the company's LyricX graphics creation and playout solution, is now shipping. According to ChyronHego, LyricX 2.0 adds powerful usability enhancements and greater performance to LyricX, launched last year as a 64-bit release of ChyronHego's flagship Lyric PRO platform. "Lyric has been adopted by more broadcast outlets around the globe than any other graphics solution, and with good reason,” considers Sören Kjellin, chief technology officer, ChyronHego. “Lyric transcends traditional

boundaries with unequaled creative freedom, seamless interoperability, and advanced 3D object rendering, while leveraging the latest in 64-bit architecture," he continues. "With LyricX 2.0, we're giving broadcasters everything they need to drive operations into the future, with support for any type of graphics application including HD and 4K, while providing a seamless transition from Lyric PRO." And he adds: "LyricX 2.0 provides our customers with an unmatched user experience. With the addition of the product's usability enhancements, graphic designers and authors will

notice a considerable performance boost for the system's most popular and widely used features." LyricX 2.0 now enables users to execute macros and perform other tasks, such as load-and-play and clip handling, up to five times faster than the previousgeneration LyricX, confirms ChyronHego. LyricX 2.0 allows users to move between SDI and IP, and 4K and HD video all within the same graphics platform. In addition, LyricX 2.0 provides native support for the emerging NewTek NDI IP protocol.

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ITV CHOOSES QUICKLINK TX FOR LORRAINE SHOW The Lorraine show features live consultation with Dr Hilary Jones, where it was required the solution

The Lorraine team required a solution to allow viewers to join the ‘Open Surgery’ segment to get health news and advice from Dr Hilary. One of the requirements needed by the Lorraine production team was to be able to speak to the callers through the Studio 3 Gallery Talkback system, which was made possible using the Quicklink TX Quad. The Quicklink TX Quad allows the Loraine production team to queue up to 4 callers in a Virtual Waiting Room to speak to Dr Hilary during the ‘Open Surgery’ segment of Lorraine. Lorraine is the early weekday morning, lifestyle and entertainment show for ITV presented by Lorraine Kelly. TMBi - 20

Before the production, producers send out Skype invitations to those that have pre-registered their interest on the show website. The production team are then able to line up the contributors on the Skype TX Controller management interface. John Barling of ITV explains: “Being able to professionally manage the contributors in a controlled environment is an important part of our workflow”.

Quicklink TX Quad The Quicklink TX Quad, designed in partnership with Microsoft, is a video call management system that enables professional reception and transmission of multiple Skype video calls through multiple SDI outputs. The Quicklink TX Quad

supports both Video and Audio over IP as inputs and outputs. Features also include colour correction, HD recording and tally overlay return. The Quicklink TX Quad is also available with 4 channels of analogue XLR audio, allowing user to use separate channels of audio for each of the four simultaneous callers. The Quicklink TX Quad is designed for live transmission with its high availability option. The dual power supply raided swappable front loading drives and system monitoring with alert notification via SMS/SNMP/email offers piece of mind.


GATESAIR CELEBRATES 95TH ANNIVERSARY GatesAir celebrates its 95th year in business. In celebration, the company is planning a significant number of events and activities throughout the year. “It’s an exciting time to be in this industry given the many opportunities that exist for the broadcaster moving forward,” said Phil Argyris, CEO, GatesAir. “Given the company’s recent sales success and product innovations, there is perhaps no better time to recognize our company’s achievements over the past 95 years as we lay the groundwork for the

future of over-the-air television and radio.”

website and social media channels.

In February, the company will unveil special customer contests regarding the oldest GatesAir transmitter and oldest “working” GatesAir transmitter installed today. Contest winners will be publicly announced in December, with winners recognized at a special party that will coincide with a private customer event in Quincy in November. Additional details on all events will follow in the coming weeks and months, to be announced on GatesAir’s

Industry firsts includes the world’s first solid-state AM transmitter in 1974; the 1981 development of the “Mod Anode Pulser” to reduce UHF TV power consumption, which planted the seeds for its PowerSmart® green transmitter architecture in 2009; and Intraplex® LiveLook, the broadcast industry’s first network analytics and optimization software for Audio over IP transport.

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TNDV PROVIDES TURNKEY PRODUCTION SERVICES FOR DOLLY PARTON’S SMOKY MOUNTAINS RISE TELETHON TNDV has delivered turnkey production services for country music superstar Dolly Parton’s Smoky Mountains Rise telethon to aid families affected by the Great Smoky Mountain wildfires that began in late November. Working within a extraordinarily short timeline, TNDV provided production and uplink trucks, equipment, crews and expertise while managing all key video, audio and lighting elements for the live television event. TNDV owner Nic Dugger was approached by event organizers just a week before the live show: “They needed complete turnkey services, from a production truck, playback and transmission to help with directing and scripting,” has explained Dugger. “I was happy to participate — my family and I regularly vacation in the Gatlinburg area, and I happened to be there just a day before the evacuation. I quickly started engaging some of our trusted partners to take on the challenge.” The first such partner was producer Edie Lynn Hoback, with whom Dugger had worked on numerous previous projects. “Edie agreed to serve as producer, and we had one week to put TMBi - 22

together a live, three-hour TV special with no commercial breaks and a star-studded lineup of internationally famous artists. It’s a testament to the talents and commitment of everyone involved that we succeeded.” Streamed online and televised on over 50 regional stations and three national channels, the benefit raised well over $9 million. The proceeds began reaching impacted families just a week later, and further donations continue to come in through the fund’s website. The fires in Tennessee’s Sevier County burned over 17,000 acres, claimed 14 lives, and damaged or destroyed more than 2,000 homes and businesses.

TNDV loaded equipment into the studio the day before TNDV began loading cameras, lights and set pieces into the studio the day before the telethon, and less than one week after being first contacted. To accommodate the space constraints of the location, TNDV deployed one of the mid-sized production trucks in its fleet, the 40-foot Elevation. “A show of this caliber and substance should take many months to prepare, but this immensely talented group of people pulled it off in just seven days,” has claimed Hoback.


BYU-HAWAII STARTS TRANSITION TO ULTRA HD PRODUCTION WITH HITACHI Taking its first step towards a 4K production future, Brigham Young University-Hawaii (BYU-Hawaii) has purchased four SK UHD4000 ultra high definition (UHD) studio and field cameras from Hitachi Kokusai Electric America Ltd. to provide superiorquality video acquisition for its diverse projects and longterm content archives. With BYU-Hawaii’s six-yearold HD cameras due for replacement in the university’s equipment cycle, they turned to the added resolution of 4K Ultra HD to future-proof their content for subsequent workflow upgrades. “We are frequently asked by the Church or within the university to bring back historical footage, so the quality of our archives is very important,” has said Brenn Nakamitsu, MPC field production manager at BYUHawaii. “The future of our footage all starts with the camera, so capturing and archiving it in 4K today will enable us to make the best use of it later when we move to full 4K production.” Very satisfied with the performance and reliability of the university’s earlier HD

down-conversion let us archive in 4K while simultaneously broadcasting in HD.”

BYU-Hawaii hosts 2,500 undergraduate students from over 70 different countries and cultures HITACHI cameras, BYUHawaii looked again to Hitachi Kokusai for their move to Ultra HD and found a great fit. “The SKUHD4000s gave us 4K at a price that fit our budget, while providing the same rich features we had in HD,” has said Nakamitsu. “Their ability to directly use standard B4mount bayonet lenses was also a significant benefit, as it allowed us to get started with 4K using our existing HD lenses until we have the budget to replace those too.” The multi-format flexibility of the SK-UHD4000s has proven ideal for BYU-Hawaii’s transition from HD to 4K. “For now, we’re continuing to shoot HD for sports, but for bigger events such as the inauguration of our university president, we shoot 4K,” explained Nakamitsu. “The camera system’s concurrent output capabilities and built-in

Situated on the island of Oahu in Laie, Hawaii, BYU-Hawaii hosts approximately 2,500 undergraduate students who represent over 70 different countries and cultures. At BYU-Hawaii’s Media Production Center (MPC), staff and students produce programming for use both within and beyond the 100acre campus. Internal productions range from recruiting videos to the live, campus-wide broadcast of the university’s weekly devotional on topics relevant to the LDS Church. Original programs including educational shows, documentaries and live BYUHawaii Seasider volleyball and basketball games are broadcast on BYU Television, reaching more than 53 million U.S. households via cable and satellite, plus a global audience through its website, Roku channel and mobile apps.

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BYU-HAWAII STARTS TRANSITION TO ULTRA HD PRODUCTION WITH HITACHI Taking its first step towards a 4K production future, Brigham Young University-Hawaii (BYU-Hawaii) has purchased four SK UHD4000 ultra high definition (UHD) studio and field cameras from Hitachi Kokusai Electric America Ltd. to provide superiorquality video acquisition for its diverse projects and longterm content archives. With BYU-Hawaii’s six-yearold HD cameras due for replacement in the university’s equipment cycle, they turned to the added resolution of 4K Ultra HD to future-proof their content for subsequent workflow upgrades. “We are frequently asked by the Church or within the university to bring back historical footage, so the quality of our archives is very important,” has said Brenn Nakamitsu, MPC field production manager at BYUHawaii. “The future of our footage all starts with the camera, so capturing and archiving it in 4K today will enable us to make the best use of it later when we move to full 4K production.” Very satisfied with the performance and reliability of the university’s earlier HD

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down-conversion let us archive in 4K while simultaneously broadcasting in HD.”

BYU-Hawaii hosts 2,500 undergraduate students from over 70 different countries and cultures HITACHI cameras, BYUHawaii looked again to Hitachi Kokusai for their move to Ultra HD and found a great fit. “The SKUHD4000s gave us 4K at a price that fit our budget, while providing the same rich features we had in HD,” has said Nakamitsu. “Their ability to directly use standard B4mount bayonet lenses was also a significant benefit, as it allowed us to get started with 4K using our existing HD lenses until we have the budget to replace those too.” The multi-format flexibility of the SK-UHD4000s has proven ideal for BYU-Hawaii’s transition from HD to 4K. “For now, we’re continuing to shoot HD for sports, but for bigger events such as the inauguration of our university president, we shoot 4K,” explained Nakamitsu. “The camera system’s concurrent output capabilities and built-in

Situated on the island of Oahu in Laie, Hawaii, BYU-Hawaii hosts approximately 2,500 undergraduate students who represent over 70 different countries and cultures. At BYU-Hawaii’s Media Production Center (MPC), staff and students produce programming for use both within and beyond the 100acre campus. Internal productions range from recruiting videos to the live, campus-wide broadcast of the university’s weekly devotional on topics relevant to the LDS Church. Original programs including educational shows, documentaries and live BYUHawaii Seasider volleyball and basketball games are broadcast on BYU Television, reaching more than 53 million U.S. households via cable and satellite, plus a global audience through its website, Roku channel and mobile apps.


CLEAR-COM HELPED TO COVER CHINA’S 2016 GREAT WALL MARATHON RACE Clear-Com was chosen as a Communications Technology Supporter for television relay service of China’s 2016 Great Wall Marathon race, which saw thousands of athletes take on 28.1miles (45.195 kilometers) of the legendary landmark on October 16, 2016. Coverage of the Great Wall Marathon was streamed live to the world by the Chinese media company Sina. To help cover this event, Clear-Com supplied an Eclipse HX digital intercom matrix to connect the production team. Via the IVC32-HX frame card, ClearCom’s Agent-IC app for iOS devices were deployed for the production team to use on site via their Apple smartphones. The Agent-IC app turns an iOS device into a two-way duplex intercom for its user, connecting them into the main intercom system and with other users on the IP-based V-Series control panels.

Eclipse HX at the Beijing production facility to 20 personnel with Agent-IC loaded smartphones at the marathon’s starting line (the Jiugukuo Great Wall) and at the finish line (Mutianyu Great Wall).The system even connected motorcyclemounted camera operators back to the production center in Beijing. “Broadcasting for long distance outdoor events generally use simple intercom systems. Such wired systems typically offer limited functionality and range, which is very inconvenient for the director who is organizing and controlling the broadcast event,” has said Yang Xiang, Longway’s production director. “In contrast, the IP-enabled Eclipse HXsystem and Agent-

IC app provided us with the kind of secure, reliable duplex intercom service normally only found inside a studio. The IP-based system outdoors allowed us to cover a huge area efficiently and effectively,” he concluded. Longway will be using ClearCom’s intercom system to cover all of the big outdoor events they will undertake in 2017, such as the TDQL cycling race. “The Great Wall of China is an iconic world treasure, which the Great Wall Marathon pays tribute to with its feats of world-class athleticism,” has explained Jeffrey Wu, Clear-Com’s Regional Sales Manager and Chief Representative in China. “We were excited to see Clear-Com solutions play such a pivotal role in bringing this marathon to the world.”

The Clear-Com intercom equipment was provisioned and managed by the Beijing Longway Broadcast Technology Company, one of the technical support companies for last year’s Great Wall Marathon televised relay race. The IPbased system connected the TMBi - 25



PARIS WEBCUBE STREAMS LIVE MULTISPORT TREK IN ECUADOR WITH AVIWEST TECHNOLOGY AVIWEST has announced that producer Paris WebCube recently covered the "Raid La Saharienne," a fair-trade trek for women in Ecuador, on Facebook Live using AVIWEST's DMNG PRO180RA transmitter, DMNG StreamHub receiver platform, and an Inmarsat GX antenna. Between Nov. 5-13 in the Loja region of Ecuador, 50 pairs of women took part in several multisport challenges. Paris WebCube offered the public a glimpse into the everyday life of participants and supporters via the trek's Facebook page. The daily 20minute broadcasts showed the various stages of the trek, challenges encountered, and participant interviews. "Thanks to the high stability

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of the DMNG PRO, we were able to stream live highquality videos via cellular connection," has said Eric Caucheteur, CEO, Paris WebCube. "The AVIWEST equipment enabled us to deliver interactive content that generated more than 14,000 views and 200 comments during the first one-hour-long live video session. Moreover, the Raid organization was able to offer a new type of content and grow its community." Leveraging the DMNG PRO180-RA's network aggregation capabilities, Paris WebCube covered every trial during the trek in superior quality, regardless of the location and network conditions, according to AVIWEST. After a HD stream

was received by the DMNG StreamHub, the AVIWEST receiver platform in the cloud, it was directly delivered to the Raid organization's dedicated Facebook page. "The DMNG StreamHub supports a wide range of resolution and streaming protocols such as RTMP and RTSP dedicated for online streaming, making it the ideal system for the Raid's live Facebook coverage," has said Florian Kolmer, sales and business development at AVIWEST. "Because of the flexibility and reliability that AVIWEST solutions provide, they are suitable for any project, including sports, live events, and political meetings."




FOR-A Corporation of America has just announced that Steve Lindenmeyer has been hired as the Western Regional Sales Manager. Based out of Steve Lindenmeyer the company’s American Headquarters in Cypress, CA, Lindenmeyer is now responsible for FORA sales as well as managing the Dealer network in the Western United States.

Broadcaster SBS brought into service in 2016 its UHD 1 OB Van. Conceived and built by Broadcast Solutions GmbH, the OB Van is the first ever 12G-SDI UHD single link production vehicle to date. UHD 1 is based on a new Streamline variant, called Alphaline, which comes with special workplace design, room concept and with reduced length in order to cope with the special conditions of South Korean roads.

“Steve is a great addition to our U.S. sales team and brings valuable technical and industry experience to FOR-A America,” has said Hiro Tanoue, President, FOR-A Corporation of America. “We are confident that Steve will be a great addition to our sales efforts in the Western region and will provide outstanding support to current and new customers alike,” has concluded. Steve Lindenmeyer has held several sales positions for the past 15 years in the Broadcast, Pro AV and Digital Signage markets. “I am really excited to be working at FOR-A, a true global leader in broadcast production equipment,” has claimed Lindenmeyer. “The experience of my peers is unmatched and I’m confident that my abilities will contribute to the further success of the Western territory,” has commented.

The OB works with up to 12 4K/UHD cameras on the basis of 12G-SDI UHD Single Link and offers sufficient 3G-SDI Quad Link gateways for monitoring purposes. The OB offers sufficient space for teams of up to 18 people working smoothly, as the company confirms. The OB Van passed its first test when producing the ISU World Cup Short Track Speed Skating competition at Gangneung, South Korea. During development and manufacturing of the OB as well as for support during its first production Broadcast Solutions again teamed up with South Korean partner company DongYang Digital (DYD). The SBS OB Van works with 12G-SDI UHD Single Link format, using Ikegami cameras and vision mixers. For videorouting and multiviewers SBS relies on Evertz equipment.

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CAMERA CORPS PARTNERED WITH IMG PRODUCTIONS FOR THE BDO WORLD DARTS CHAMPIONSHIPS Camera Corps has partnered with IMG Productions in a highly innovative project for the BDO World Darts Championships. "Channel 4 UK secured an agreement in summer 2016 to become the new terrestrial home of the British Darts Association's 2017-2018 BDO World Darts Championships," comments IMG Productions' executive producer/director Simon Wheeler. "We produced the live coverage and managed the technical resources. Keen to try something new for the event's 40th year, we approached Camera Corps to deliver an advanced style of tracking shot showing players entering and exiting the stage. Camera Corps has long experience of capturing sports action in a really eyecatching way and proved highly efficient. The shots were excellent, offering stable tracking and insightful shots of players connections." "The challenge was to televise each player's entrance plus the audience reactions as contestants walked towards to the oche prior to commencing each game," details Camera Corps' commercial manager Barry Parker. TMBi - 28

"We proposed locating our recently developed low-level track behind the player’s walkway. This was fitted with an Egripment 205 remote head, Hitachi DKH-200 camera and Fujinon 12x4.5 lens. It formed an ideal solution and integrated well with the existing camera coverage. Working closely with IMG, the OB provider, set builders and the venue, our senior track engineer James Woods provided and operated an 8 metre section of track. The track was mounted at head height and semi-concealed so that all the audience could see was the camera lens. Used across the finals weekend, it proved to be a smooth, quiet and unobtrusive system providing memorable shots of players and fans as well as adding to the overall coverage both in HD 1080P and upconverted to 4K for BT Sport’s coverage."

Held on January 7-15 at the Lakeside Country Club in Surrey, the BDO 2017 World Darts Championship was broadcast free-to-air on Channel 4, with live coverage also available in 4K on BT Sport. Channel 4 showed afternoon games and the first semi-final. BT Sport showed the evening games and the second semi-final and the final was shown on both channels. Live coverage of all matches was also made available via the BDO's globally accessible YouTube channel. World number one Glen Durrant won the Championship with a 7-3 victory over Danny Noppert on a memorable night of action. Lisa Ashton was crowned women's world champion for a third time after recording a comprehensive straight sets victory over eighth seed Corrine Hammond.


BELAR IS NOW SHIPPING ITS LITE SERIES OF MODULATION MONITORS Belar Electronics is now shipping new low-cost versions of its flagship HD Radio and All-in-One modulation monitors, introduced to broadcasters at the 2016 NAB Show. At half the size and nearly half the price point of the company’s traditional monitors, the new FMHD-1 Lite and FMCS-1 Lite integrate the same monitoring power and extensive feature sets, emphasizing remote access over front-panel management, as the company explains. The 1RU Lite monitors eliminate the front panel user

interface and instead rely on Belar’s WizWin software. Still, the Lite Series retains all pertinent meters, alarms and enhanced monitoring features, including Belar’s Automatic Delay Correction software for flexibly managing HD Diversity Delay; automated, multichannel scanning of FM and HD Radio stations; and enhanced WizWin graphing to display up to 24 hours of monitoring data. Mark Grant, Belar Electronics’ CEO, reiterated how the Lite Series aligns with the changing needs and preferences of RF engineers

that increasingly leverage the efficiency of IP connectivity and networking over trips to the transmitter site. “Simply put, radio stations have fewer engineering sources to spare today, and the role of the RF engineer is often combined with significant IT responsibilities,” has said Grant. “The Lite Series allows our customers to further leverage today’s network intelligence and operational efficiencies of IP to solve traditional RF performance issues.”

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IABM LAUNCHES A WORLDWIDE SURVEY FOR THE BROADCAST AND MEDIA INDUSTRY IABM has launched an international research project, the Score, and is calling for everyone involved in the broadcast and media technology industry to participate. The Score is designed to gather industry-wide data on demographics, professional development status and needs, and remuneration around the world. The survey is entirely anonymous to encourage the maximum number of people to participate. It can be complete online at The more people who engage, the more representative the results of the Score will be, as the company explains. TMBi - 30

The outcome will be an authoritative, international review of the state of the broadcast and media industry, against which individuals and companies can benchmark themselves – find out what the Score really is. IABM will first announce the results in March 2017 at the Tom McGann Memorial Summit in Kuala Lumpur. The results will then be published on the IABM website, together with detailed analysis and commentary provided by Lorenzo Zanni, IABM Research Analyst. IABM plans to repeat the Score every two years to provide the industry with ongoing feedback on how it is meeting the challenges that

our constantly changing industry faces. “IABM undertakes a wide range of industry research and analysis as part of its services to members, and skills shortages are regularly quoted as a major reason that companies are struggling to develop new products in a timely fashion and win new business,” has said Peter White, IABM CEO. “The Score will for the first time provide some hard facts against which individuals and companies can benchmark themselves, and will also provide real direction on where the wider industry needs to concentrate its firepower. It’s a bold initiative from which everyone can benefit.”


RTW LAUNCHES FIRMWARE VERSION 6.0 FOR TM7 AND TM9 TOUCHMONITORS RTW has launched new firmware for its TouchMonitor TM7 and TM9 series. Firmware version 6.0 enhances the sought-after TM7/TM9 meters with customer-requested features. With this new update, RTW’s TM7/TM9 TouchMonitors now offer up to four parallel instances of its stereo vector scope, allowing simultaneous monitoring of transmission streams. A 12th octave filter bank has been added to the RTA (Real Time Analyzer) feature set for a more refined graduated frequency distribution analysis. A custom selected password feature has also been

implemented to meet the demands of users who desire increased security against unauthorized adjustment changes, according to the company. “We are excited to offer new functions and features for the TM7/9 series instruments,” has said Andreas Tweitmann, CEO of RTW. “We pride ourselves on listening to the needs of our customers. As a result, we are constantly developing and updating our products and software to enhance the efficiency of our customer’s workflows.” In addition, Firmware version 6.0 now supports four-channel operation of a TouchMonitor, even without

the presence of the multichannel license. This allows attractive combinations in operation with RTW’s TMR7. Besides the new features, bug fixes have also been performed, as well as adjustments to the recent changes in the loudness standards around the world. The new firmware can be installed into all RTW TM7 and TM9 series instruments, as well as into TMR7 units. TM7 and TM9 “TC Electronic” devices can be updated to benefit from bug fixes. To access all new features and functions these devices must be upgraded with the SW20021 TC Conversion Kit.

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Centralised Production in ATRESMEDIA

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We have visited the facilities of the Atresmedia Group to see what’s new. What impressed us most was the outstanding job performed by the technical division team, overseen by new CTO José María Martínez, who is also the Production, Filming and Operation Manager. José María introduced a new work concept that has permitted an integral renovation of the studios, with a revolutionary centralised production architecture. We visited their facilities in San Sebastian de los Reyes, where the project chiefs told us everything there is to know about these incredible facilities and the latest technological developments they have been working on.

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At the beginning of 2014 and in a very adverse economic climate in the Spanish market, Atresmedia had to face the technological evolution where their entire production and broadcast centre, located in Madrid, moved on to high definition so as to produce live programmes.

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The scope of this technological revolution covered a total of six studios, understanding a studio as a set, controls and electronics with the traditional connections and a central control system for the exchange of signals and the allocation of sources and destinations. The initial project, prior to 2014, was a gradual individual remodelling

plan. The investment figures needed to materialise the project were considerably high, as each studio had to be fitted out as per their individual technical needs. Sometimes, the needs and the joint work of several departments in pursuit of a common goal, serve as a turning point for the development of an intelligent production model, which


The complex challenge consisted in covering all the needs with a much lower investment than those envisaged in the first quotes, without the quality of the equipment or future scalability being affected. It was, therefore, essential to define a new approach.

entails applying an innovative engineering process capable of optimising the investment in technical equipment and, at the same time, obtain the best security configuration, versatility and quality in operation. "The lifecycle of the facilities had unfortunately come to an end, and it became essential to update

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things, both for reasons of obsolescence and the need for technical developments. We faced the HD-SDI evolution based on an SMPTE292M 1080/50i configuration at 1.5 Gbps on an infrastructure prepared to support 3 Gbps flows. The investment plan placed too high a cost on the company accounts because of the crisis. The solution was to redefine the manner in which we design these type of facilities but without sacrificing redundancies or robustness, and what’s more, we needed to improve them without losing access to firstclass equipment”, said Raúl Lorenzo, Assistant Technical Manager.

The set of centralised and redundant technical resources for production purposes in a studio is called a Control Cluster and it requires a management layer when allocating the different resources. The complex challenge consisted in covering all the needs with a much lower investment than those envisaged in the first quotes, without the quality of the equipment or future scalability being affected. It was, therefore, essential to define a new approach.

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The new approach stemmed from the teamwork of the areas that make up the Production Management and the Technical Divisions, which analysed the group’s production and operational needs as a whole. From this point of view: (1) a control need not be attached to a specific set, (2) the controls are never all used at the same time, and (3) a large part of the equipment of each control is only used on rare occasions, since they were configured for peak situations. The challenge was to seek a technical solution that enabled centralising all the resources, re-dimensioning the necessary equipment, but bearing in mind the peaks of the production centre and not those of each control, reducing the number of controls based on those used simultaneously, so that all the controls could work with all the sets. Jesús María Daza, Assistant Production Manager, says: “We decided to flip the concept around. We thought about addressing the production centre as a whole. We thoroughly analysed studio planning, taking into account daily, weekly, special and extra programmes, and we estimated the maximum number of cameras we needed operating at the same time. We realised that this number differed very much from the one we got if we considered each studio independently. Our goal became centralising the cameras and allocating them dynamically according to the productions in such a way that this peak is the real provision for all the studios. We extrapolated this concept to the entire group of production resources.” The pooling of ideas from the Production, Operations and Engineering Departments led to several specifications that, as a whole, seemed to be unrealisable feats, but the determination of the team to seek confirmation of the feasibility of this new approach, allowed making major adjustments to the scope. The ability to maximise the occupation of centralised controls would enable planning the work of the former six SD studios on four HD controls. This entailed savings in building works, fitting out, TMBi - 37


consoles and means of control. The key, however, was to change the type of electronics and how they were being used. The electronics must be centralised and have the possibility of “virtualising” resources to make them allocatable to different controls. The configuration and allocation of resources must be performed in such a way that, in the event of a failure or contingency, the continuity of live production can be guaranteed without losing performance.

CONTROL CLUSTER The set of centralised and redundant technical resources for production purposes in a studio is called a Control Cluster and it requires a management layer when allocating the different resources. This is why, now, they are fully engaged in a project to provide this operation with automation layer. José Manuel Serrano, Assistant Operations Manager, explained: “We are working on the integration process of a VSM system to help simplify the manner in which we prepare the controls because it is very dynamic. For instance, Control 1 begins with Espejo Publico for Antena 3; it continues with Jugones for laSexta, then Más Vale Tarde, also for laSexta and it ends with El Chiringuito for Mega. Each configuration is TMBi - 38

completely different and carried out in different sets. There are procedures that the Operation Department sees very clear, but this software will change it with a click of a button”. “Now, each control is peripheral with centralised electronics. We are obtaining an increased performance from our facilities, in addition to knowing that we can invest in other ways when expanding”. The key to the project is in the double video mixer, which assumes most of the functions that have traditionally been performed

by the central control. All the video sources of the production plant are distributed simultaneously in two video mixer chassis (chassis A and chassis B). Each control accesses the resources required by each of the mixers, according to the needs of each moment in time. In normal conditions, the main programme outputs of two of the controls are allocated to chassis A, and each one uses 3 M/E processing cards. The backup outputs for these controls are allocated to chassis B, and each one


paramount in assessing the feasibility of the approach and the subsequent savings.

uses 1 M/E card. The distribution of resources in the other two controls is inversely symmetrical. They have their main program outputs in chassis B and backup output in chassis A. These resources can be redistributed according to the needs of each moment in time, and up to 9 M/E processing cards can be used with total redundancy for a single production. All kinds of shared resources can be connected to these mixers. This is something simple for resources that can be duplicated or whose signals

can be distributed, such as the video server channels. However, the centralisation and dynamic allocation of some resources entail a higher complexity, which is particularly noteworthy in camera systems. The dynamic allocation of a CCU means that it can be moved from one control to another in a change of band in a flexible, operational, fast and secure manner. When moving a camera base station their feedback, tally, prompter and intercom signals must be taken into account. Finding the solution to this problem was

The possibility of allocating camera systems dynamically according to the production bands permitted an overendowment of units by means of a general preinstallation of the maximum number of cameras possible for each of the controls, and to carry out a long-term provision of equipment according to the maximum number of cameras used simultaneously by the production at a given moment in time. In other words, the use of the technical resources available in time is maximised and permits providing a studio with many more resources than those permitted by a traditional configuration if need be. This new approach, in the case of Atresmedia, has meant saving 20 camera systems. The Atresmedia campus is well and truly large. The NOC equipment room, where the electronic production centres are located, is at about 150200 metres from the studios. This is why they have set up some small intermediate rooms that receive all the necessary signals from the equipment room via fibre optics. Everything is transformed into electric signals in this room, reaching the studio by coaxial cable. That same structure is used to reach the sets. Fibre optics obviously run through TMBi - 39




permits the wireless microphones to reach any control regardless of the set in which they are located.



As we were able to see, the configuration of these four controls is the same. They are like four peas in a pod.

different paths: “This cluster has been operational since 2014 with four HD studios. There is a fifth control, currently isolated. We already have projects underway to build new sets and assemble an additional studio cluster exactly the same as the one we have but in another building, to separate it from the risk of an extremely serious contingency that may affect the entire technical building. A very important part of our programming schedule is live TV, and we need to safeguard it as much as we possibly can", explained RaĂşl Lorenzo. As regards audio, all the sources and destinations of TMBi - 40

the production centre are connected to a major matrix, which, in turn, is fully integrated with the mixing surfaces of each of the controls. This matrix is connected to the intercom matrix via MADI to facilitate communications. The codifiers for exterior RDSI/IP communications are also centralised and operated remotely from the controls. Integrated processors have been installed in the audio matrix, as well as remotable and IP assignable multieffects processors. The audio installation is complemented with a common RF installation for all the studios and sets, which

From a design and layout point of view, an adaptable configuration has been established, which enables them work with very few versatile members of staff for low-cost productions or with a large production equipment for large formats. Each of the workstations has a standard pre-installed infrastructure to monitor audio and video, intercom and KVM control of the workstations, with the ability to adapt its use to the required operational role in each production: filming, management, script, prompter assistant, sign assistant, video servers operator, etc. The only thing is that there are a limited number of fixed workstations but their layout in the room has been carefully considered to adapt to any need. For instance, the image control is located to the left of the mixer and the illuminator to the left of the image controller, so that in low-cost productions one single person may carry out all the functions. All the controls are identical. If, due to the needs


of the technical service, a production control needed to be changed, once inside, the production team would not be able to tell the difference. As regards monitoring, a double multi-screen composition system in a redundant configuration is in charge of processing the monitoring signals, which are distributed among the different controls. There are production compositions, backup compositions and parallel installations in DVI and HD-SDI, through the commutation matrix and changeovers to facilitate contingency procedures in the event of a failure of any individual element, connection route or complete multi-screen composition system. All in all, it is an installation that guarantees that no live production will go without all its signals being monitored. Most of the multidisciplinary workstations have been fitted out with an optimum video

system for presence, LCD monitors, computer systems and SDI-HDMI converters. Workstations that require an added image quality or specific control functionalities have professional JVC monitors. The great advantage is that they all receive a monitoring matrix, the function of which is precisely to ensure greater versatility. Another innovation of the Atresmedia equipment is regarding the resources of these workstations: the current trend dictates that CPUs should be in a room outside the studio and the signals be transported by a KVM system. However, after a lot of design work and tests in different scenarios, they reached the conclusion that it would be more effective to do precisely the contrary. The savings in extension or KVM commutation equipment were used to incorporate much more powerful workstations, compatible with all the

production applications used. This also simplified the installation and their possible errors. As regards quality, the highest requirement standards have been established for all the capturing, mixing, effects, distribution, commutation and monitoring equipment. As a result of the different specification documents and tenders, with the participation of the main broadcast technology suppliers, the engineering equipment has 36 Sony HDC1700 camera systems, 2 Grass Valley Karrera K-Frame central electronic mixers with 192 inputs x 96 outputs (with 9 M/E processing cards), 2 extended Miranda Kaleido-X multi-screen monitoring system, providing 192 inputs and 24 outputs that permit making multi-screen compositions to be distributed between the 4 controls. The audio equipment is an integral Stage Tec solution based on Nexus and Aurus.

These resources can be TOTAL SECURITY The contingency redistributed according to the procedures provide for any failure in the video needs of each moment in time, and eventual mixer, audio mixer, monitoring system or physical delivery up to 9 M/E processing cards can path, and the engineering be used with total redundancy for a and operations departments jointly refined them to make single production. them more intuitive, simple and fast to apply. The studio can be taken into “emergency TMBi - 41



mode” with one single action. To support the constant control of the state of health of the central electronic production components, views have been developed in the Dataminer alarm monitoring system through which Atresmedia centralises all the information of the state and events of the main media and installations of the production and broadcast centre. This way, these views are integrated into the system with those existing beforehand in the NOC, continuities and distribution of network services. The two premium channels of the Atresmedia Group have an identity closely related to the news bulletins, so studio and live production have considerable relevance. This is why redundancies have a very specific and high importance in any project that is undertaken. In fact, the San Sebastian de los Reyes campus does lots of in-house productions every day, which is why they need contingency facilities. “Security is virtually an obsession for us”, continues Pablo Ferreiro, Assistant Director and Head of channel distribution, "We actually have a triple header scheme on the end of the system. The main one formed by main and redundant Ericsson coders, and the other, an emergency one, in an alternative location made with Cisco technology. TMBi - 42

We have a double fibre optics ring with Cellnex, as well as an additional radio-frequency transport with delivery in different buildings and separated within the campus. We use independent paths for everything. We also apply this to the world of contributions. Consumption is growing on IPTV and through operators like Movistar or Vodafone, etc. We have reached a point in time where we give more importance to the delivery of our signals, regardless of their use”. Atresmedia obviously

invests efforts to obtain a return on investment, but do not lose sight of sustainability, ensuring the different services are covered properly. Therefore, a lot of care is given to internal support. Atresmedia ensures that a system is not set into operation before it has been sufficiently tested and the preventive and corrective procedures are very clear. An example of how important redundancies are to them can be seen in the development of a project to integrate a support intercom


largest challenge in this project was to convince the entire team. During the design phases, most of those involved thought that we would not be capable of solving all the problems that kept arising and that it would not be successful, and those who didn’t, thought that the end result would not be operational.”

system into their existing systems. It has been installed in an independent building with different cabling and structure, both on the fixed cabling workstation and the wireless part. This way, they have a main Riedel Artist intercom system integrated with a wireless DEC technology Acrobat system, and in parallel, they incorporated a new AEQKroma system based on Dante and Wi-Fi. This virtually armour plates their communications. But this path does not end

here. Nowadays, the engineering and operations teams continue working on the implementation of an LSB automation system, which will enable taking one more step forward to improve the efficiency of the operations, and will put the final touches in the coming months to an integration project reaching all levels, including broadcast engineering, communications engineering, information systems and operations. As José María Martínez, Production Manager and CTO of the group, put it “The

"Time has proved us right. Technologically-speaking, we have been capable of overcoming everything to the maximum detail, and we have not only achieved the investment savings that we had envisaged, but also the operational possibilities of an end solution are much higher to those of a project based on traditional formulas." "The most critical, those who did not believe in the project at the beginning, have become its greatest supporters and nobody in Atresmedia considers never going back to the traditional production formulas." He ends by saying that “This project is the pure demonstration of the fact there is always another way of doing things and results that would otherwise have been unachievable with traditional formulas are indeed possible if we work in a team and innovate ”. TMBi - 43



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BITAM continues to grow in its fourth edition The BITAM technology show is proving to be more solid year after year. Despite not having it easy in 2016 due to another two events being held in the Broadcast and audio/illumination sector, the event organised by TM Broadcast and the Editorial Daró Media Group closed another edition with resounding success.

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The show has a noticeable cross-sectional character, and the tendency is for it to become an event of reference, which has been quite sought-after in Spain for some time now: a show covering all the segments of the audio-visual world. Professionals and companies have an increasing interest in parallel -yet closely relatedmarkets. In the same way that it makes sense to have a major broadcast event for Europe, like the IBC, in our country, the opposite occurs. The ideal profile is a mixture of Digital Signage, pro-audio, illumination, broadcast, video, media, contents, etc., and this is exactly what BITAM is all about. TMBi - 46

FIGURES The first edition took place in 2013, at the Auditorium Hotel in Madrid. In its debut, 2,724 visitors of 9 different countries visited the show. It had 3,300 m2 of exhibition space, where 67 companies showcased their products on 46 stands. Those were hard times, times of a strong economic crisis. Even so, people took a liking to the project, and this was the beginning of what was to come after. Fruit of the success, in 2015, the location for BITAM changed to the Palacio de Cristal in the Casa de Campo in Madrid, which turned out to be a true accomplishment. 2016 faced difficulties, yet two sectorial broadcast and

If we translate the figures into percentages compared to 2015 and we calculate the mean values, we can see that the show grew by 27%, taking all its parameters into consideration. audio/illumination shows were held. Despite vox populi being that three national events in the audio-visual market was a bit over the top, it is true that the crosssectional model, turnkey project resemblance and the contained costs of BITAM permitted the show to grow and reap great opinions among exhibitors and visitors alike. In this case, the 2016 edition closed with a total of




Manager - Managing Director




Technical Director


Sales Director


Marketing and/or Communication Director


Photography Director


Film Producer














Camera operators






Purchase-Sale of programming Area


Production Area

translate the figures into percentages compared to 2015 and we calculate the mean values, we can see that the show grew by 27%, taking all its parameters into consideration. As far as the One to One application is concerned, which offers the possibility of organising meetings between exhibitors and visitors in a very straight-forward manner, a total of 2,807 meetings were generated, 11% more than the past year, which is also very far from the 496 of the first edition. Year after year, this application is refined with the opinions of



Association - Organisation



Audio and illumination








Themed TV channel




Digital Signage


Sales Agents


Distributor - Importer






Editorial departments Journalist










Contents Platform B2C B2B




Producer - Distributor


Television - Radio Operator


DTT television




5,726 visitors from 17 different countries and 8,216 square metres of exhibition space, occupied by a total of 92 stands for 165 participating companies. If we

the users to bring it closer to people’s needs, having become a reference for some and an example for others. Therefore, this application will be bi-directional next year, as requested by the exhibitors. BITAM’s organisation team is always eager to improve.

VISITORS This year, we observed a major growth in audio and illumination visitors, as a result of the great exhibition representation we had from this sector at BITAM. Being a cross-sectional show not only ensures room for a large number of professionals and companies with synergies among themselves, but it also brings the show to life and very close to the true beat of the market. This is why we find different percentages of participation each year. For the next edition, we are planning a substantial increase in the area dedicated to broadcast, and as a novelty, a space dedicated to digital cinema. As far as positions are concerned, the figures speak for themselves in terms of the quality of the visitor. The percentage of “C-level” (CEO, Directors, etc.) was 40.8%. This means that virtually half of the visitors have real decision-making power. Certainly, being at the show is synonymous with sales. TMBi - 47


SYMPOSIUMS The symposiums organised for the event were also a great success. This year, they focused on the Digital Dividend, a new way of seeing and making television, the reduced filming tax of the Canaries, the presentation of the C700 camera and a technical seminar on 4K and IP. The round table on the second Digital Dividend counted with the presence of Josep Ventosa (Spanish Business Unit Director), Andrés Armas (Managing Director at UTECA), Miguel Ángel Cristóbal (Managing

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The percentage of “C-level” (CEO, Directors, etc.) was 40.8%. This means that virtually half of the visitors have real decision-making power. Director at SAPEC) and Miguel Pingarrón (Business Development Director at SES Ibérica). Josep Ventosa and Andrés Armas centred their speeches on the need to establish a framework for DTT and how this must be

open and universal. On his part, Miguel Pingarrón defended the use of satellite and their incorporation into the plans for Spain. The decision taken on the DTT aids was mentioned, albeit with opposing stances. Miguel Ángel Cristóbal


provided a layer of technology to the debate, as for this SAPEC director, the urgent migration of the platform to DVBT2 and HEVC was a key element. Then, they moved on to speak about the Canary Islands and the best tax advantages of Europe. Natacha Mora Yanes, the Coordinator of the AudioVisual Department of the Government of the Canary Islands, Sabita Jagtani, Senior Technician, ZEC Consortium and Pilar Moreno, Senior TechnicianPROEXCA - CANARY ISLANDS IPA were in charge of addressing this section. During the second day, the round table centred on the trends of the new television. It was the turn of Zigor Gaubeca, Network Director at Aire Networks, Alejandro Bárcena, Director of Digital Media at Deluxe, Antonio Tablero, Head of Broadcast Engineering and Technology Fox Networks Group Europe and Africa, and Richard Craig Mc-Feely, Strategy & Marketing Director, Digital Media at Interxion. They spoke about the new television scenario and the irruption of new actors, in addition to the importance of Internet, not only as regards the Over-The-Top (OTT) platforms but also as regards

the life the contents have on social networks. Wednesday, the 23rd was the moment of the presentation of the Canon C700 for the first time ever in Madrid. The camera represents a further step forward taken by the manufacturer to qualify for the highest cinematography segments. The presentation was conducted by TM Broadcast collaborator, Álvaro Bernal. In conclusion, Vicente Pla, Head of Training and Technology at Abacanto Solutions and Speaker of COGITCV, offered a magnificent seminar on Challenges and solutions for UHD interfaces.

WHAT’S 2017


Here at the organisation committee, we are preparing several new developments for the next edition of BITAMSHOW. After the

incorporation of a Digital Signage area, 2017 will be the moment of including digital cinema, which will also have its space at the show. There is no doubt that this has been one of the sectors that have undergone most changes in recent years. In very little time, we have gone from working on photochemical paper with artisan procedures to digital with completely different possibilities and flows. Not only do we speak about companies displaying their products, but we will also be organising conferences and workshops in this respect. The exhibitor will also have other benefits compared to the 2016 edition, and we also plan to add some changes suggested by participating companies, some of which are listed below: - More assembly hours - More exhibition metres, up to 10,000 square metres - More demo rooms - More conferences - The application of a bidirectional One to One - Exclusively professional show. Although in the first four editions, students of their last year have been admitted, it has been decided not to continue this initiative in the next edition.

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ISE 2017 Preview



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ISE 2017 Preview

The 14th edition of ISE, taking place at the RAI Amsterdam on 7-10 February 2017, is expected to attract more than 65,000 visitors to more than 1,100 exhibitors. For four days, the newly extended show floor will be home to a community of manufacturers, distributors, integrators, service providers and end-users. ISE 2017 will feature over 3,000 square metres of additional show-floor exhibition space compared to ISE 2016. Not only is ISE 2017 set to be the largest show in the event’s history, it will also welcome 135 new exhibitors to its vibrant show floor. This confirms ISE as the destination of choice for companies looking to build their profile and business opportunities in the AV marketplace.

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ISE 2017 Preview

ADDER TECHNOLOGY The new Adder CCS-PRO8 switch will be previewed to show visitors for the first time and will be demonstrated on stand alongside other products including the fourport variant, Adder CCSPRO4, the Adder RED PSU power distribution unit with redundancy, the newly launched Adder XDIP and the company’s flagship AdderLink Infinity range. The Adder CCS-PRO8 allows operators to control up to eight machines across eight displays using just one mouse and keyboard. It is

Adder CCS-PRO8

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BOOTH 10-P122 ideal for improving ergonomics in a control setting where space is at a premium or management of multiple computers from one station is required. Featuring FreeFlow technology, the Adder CCS-PRO8 enables users to move from one display to the next simply by moving the mouse across screen borders. The switch was developed as a result of user feedback and is much anticipated by Adder Technology’s customer base. The AdderLink XDIP (a high performance, IP-based AV

extender with USB) will also feature in the innovation showcase. The device enables remote access to critical computing and flexibly extends the desktop experience, and forms part of Adder Technology’s easy-toinstall AdderLink KVM and AV extension portfolio. Both the Adder CCS-PRO8 and AdderLink XDIP will be available later this year in Q3 and are ideal for use in industries with a strong need for command and control connectivity solutions. In addition to technical

ISE 2017 Preview

demonstrations on stand, Adder Technology’s Jamie Adkin, VP Sales EMEA, will be presenting in the Commercial Solutions Theatre at the event, delving into the future of the control room and the role that technology plays. “The ideal control room environment is one that is a combination and integration of the right technologies, furniture and lighting. The aim is to ensure that operators are productive, efficient and can make mission critical decisions based upon accurate information. We’ll be looking at current and future trends within the command and control and how each contribute to making the control room more effective

pressure environment where mission critical decisions are made. As a result, it has to be a space that is comfortable, ergonomically sound and featuring the right mix of technologies to ensure operators can function at optimal levels.

Jamie Adkin

and users more productive, whilst reducing risk,” says Adkin. David Watts, managing director, CCD, an ergonomics and design agency, says: “The control room is a high-

“This is something that will be explored at ISE, but its importance is reinforced with the theme topping agendas at other global events, including the successful 2016 Control Room Summit held in Dubai, and its follow-on event later this year. The Control Room Summit brings together experts in all complementary fields related to control room design in a collaborative space where critical elements are discussed in-depth against the backdrop of industry change and experience.”

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ISE 2017 Preview

AJA AJA will showcase its award-winning line of products for the ProAV market at ISE 2017, from its new HELO H.264 streaming and recording device to its popular RovoCam compact block camera with an HDBaseT interface, in

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BOOTH 8.R188

addition to the company's production-proven lines of Mini-Converters, Ki Pro recorders, KUMO routers and other professional I/O solutions. For more information, visit AJA at stand 8-R188 or


ISE 2017 Preview

APANTAC What is Apantac showing at the ISE? At ISE 2017, stand 10-S114 Apantac is focusing on HDMI 2.0 and launching new products that support 4K/UHD up to 50/60 Hz, and no compromise 4:4:4 sampling. We will also highlight our openGear chassis solutions. We have turned our bestselling converters, scalers, multiviewers, extenders, etc. boxes into cards for the rugged and modular openGear chassis. We are providing a professional and organized solution to help users save space… no more tripping over multiple individual power supplies… One chassis can hold up to 20 cards. Our openGear solutions also includes a unified DashBoard control and monitoring interface. Tell us about your new products… We are introducing several

BOOTH 10.S114

new products at ISE 2017: The MiniDE-4-UHD is a 4K/UHD multiviewer with the following inputs: 4 HDMI, one VGA and one DP. Up to four sources can be displayed at a time to the output available as both HDMI 2.0 and DP 1.2. We are also introducing two new 4x4 and 6x2, 4K/UHD HDMI 2.0 matrices. In addition, we are showing our new 4K/UHD to 1080p up and down converter, the HDM2.0 UHD-UDC. ISE 2017 also see the introduction of an UHD output for our truly modular, multiformat flagship T# multiviewer & video processor. It will be showcased with a mix of HDMI, SDI, VoIP sources. Various layouts will be displayed on one UHD output shown both on a UHD monitor and a 2x2 HD monitor stack and on four HD outputs. We will also show new

4K/UHD HDMI 2.0 1x2, 1x4 and 1x8 splitters, DisplayPort 1.2 1x2 and 1x4 splitters and 4K/UHD HDMI 2.0 and DisplayPort 1.2 fiber extenders. What are your main reasons to exhibit in this trade show? Tell us about your expectations. ISE is now the largest AV show worldwide and it provides us an excellent platform to launch new solutions to the professional AV marketplace as well as network with new and existing customers and partners. Companies working in command and control, medical applications, cruise ships, broadcast production rooms with visualization, processing and distribution needs will find a vast number of solutions at our ISE stand, 10-S114. We welcome ISE visitors to stop by and see for themselves.


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ISE 2017 Preview

ARGOSY Argosy features Belden REVConnect at ISE 2017 Argosy, a leading international supplier of HD broadcast cables and studio infrastructure products, is introducing Belden’s field mountable REVConnect cable termination system to the pro-AV market for the very first time during the ISE 2017 show. “Since the acquisition of Argosy by IEWC last year, our company has broadened its remit from TV studios and outside broadcast (OB), to pro audio recording and commercial pro-AV applications,” said Chris Smeeton, Managing Director,

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BOOTH 12 F68

EMEA at Argosy. “Bringing our expertise to the pro-AV market is now a major focus for Argosy. As part of this drive, we recently hired Daniel Hinton a specialist from the pro-AV market.” Argosy offers a wiring service to support customers in meeting the changing demands on their businesses. As part of that, Belden’s REVConnect is a brand new RJ45 connectivity system that offers single, reliable and easy cable termination covering jack and plug, shielded or unshielded, Category 5e through Category 6A cables. This versatile connectivity

solution is ideal for all sorts of AV applications, including building security systems, LED lighting and sensors, wireless access points, HVAC, digital signage, audio mixing consoles and more. The use of Belden’s REVConnect eliminates the jack, box and patch cord assembly needed to plug into devices. It also ensures a single termination process for every application and has been shown to work over 50 percent faster than other existing connectors. With REV-Connect, termination reworking is reduced to less than 1 percent of all terminations.

ISE 2017 Preview

CRESTRON New Avia™ DSPs Crestron has begun shipping its complete line of new Avia DSPs. Consisting of five models, offering a full range of professional-grade features, Avia DSPs streamline audio programming, commissioning, and expansion in meeting rooms and video conference rooms. Using the powerful and flexible Avia Audio Tool software, Avia DSPs enable technology integrators to deliver world-class audio performance with an unprecedented level of efficiency. The top of the line Avia DSP-1283 (shipping January 2017) is engineered for use in state-of-the-art meeting spaces and collaboration environments. It provides high-performance AEC that meets the most stringent professional standards on all 12 channels. DSP-1283 supports audio conferencing via VoIP and POTS, and USB connectivity for video conferencing via a Crestron RL®2 Skype® for Business solution, or BYOD presentation using Crestron AirMedia® wireless gateway. I/O expansion with amplifiers and DigitalMedia™ blade-

BOOTH 2.C24/E24/E36

based switchers is supported via the Dante™ audio network. Additional models include DSP-1282, DSP1281, DSP-1280, and DSP860. All models leverage the revolutionary Avia Audio Tool for audio design and programming. “The Avia platform delivers a new level of performance and simplicity for audio professionals,” said Dennis Fink, Audio Technology Manager at Crestron. “Programming, tuning, and expanding meeting room audio is actually easy with the Avia Audio Tool, which is loaded with powerful built-in tools, including channel strips with microphone and speaker profile presets, a real-time analyser and an exceptional echo canceller. Plus, audio controls and even VUs can be exported to touch screens in a small fraction of the time it used to take.” The Avia Audio Tool provides a powerful and intuitive workspace that streamlines audio programming. The unique channel-strip architecture simplifies configuration, with a library of preconfigured strips for the most popular microphones and Crestron speakers. Built-in tools

include a real-time analyser (RTA), virtual mixer, EQ editor, and state-of-the-art AEC processor. Avia DSPs connect directly to Crestron touch screens without a central control system. There’s no code to write or GUIs to design. Just drag and drop channel strip objects for control and to generate a touch screen UI, including VU meters for visual confirmation that audio is passing through the system without needing special test equipment. The new DSPs are a part of the new Crestron suite of Avia Audio Solutions, which also includes a companion line of network-controlled and monitored multichannel amplifiers. Avia Audio Solutions are engineered to work together to deliver optimal audio experiences for better meetings in huddle spaces, presentation rooms, and collaboration rooms. TMBi - 57

ISE 2017 Preview

DPA MICROPHONES ”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,” says 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.” Sleek Scandinavian design is certainly visible in DPA’s newest installation product – the aesthetically pleasing Microphone Base. On show for the first time and designed for use with the d:screet™ SC4098 Podium Microphone, the Microphone Base can be placed on a table or podium, or attached to the ceiling or even the wall. Furthermore, it has an TMBi - 58

BOOTH 7.T235

internal shock mount that highly dampens unwanted sounds from tables and lecterns, securing a troublefree installation. 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. Hanging, Podium, Floor Stand and Table Microphones One of the biggest issues faced when using lectern mics is the speaker drifting off-axis. DPA's solution is the d:screet™ SC4098 Podium Microphone, which features a directional (supercardioid) polar pattern with the extreme clarity and performance that has long been associated with DPA's miniature capsules. Completely linear, it is

ISE 2017 Preview

designed to deliver a more natural sounding off-axis response. The d:screet™ SC4098 capsule ensures that speakers are always clearly heard, while still attenuating ambient noise. The miniature capsule is mounted on a delicate gooseneck and comes in several lengths for hanging, table or podium mounting or on floor stands. It comes with an XLR for a wired solution but also as a MicroDot version that can be used in a wireless configuration by employing the company’s ingenious adapter range, which is already used for other miniature microphones. It is proving to be the best choice for a wide range of speech applications, especially in difficult acoustic environments.

DPA's range also includes the d:dicate™ Podium Microphones that incorporate modular capsules from DPA's d:dicate™ Recording Microphones, which are acclaimed for their exceptional linear frequency responses, high SPL and superior gain before feedback. By combining state-of-the-art capsules with modular active booms and floor stands, DPA customers can access the precise high quality microphone for their needs. DPA will be showing these microphones in a range of configurations, including floor standing and hanging from the ceiling, to suit different acoustic environments and demands.

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ISE 2017 Preview

GUNTERMANN & DRUNCK GMBH DP1.2.-VisionXG – the world’s first and only KVM extender to transmit 8K video At ISE 2017, Guntermann & Drunck GmbH can claim another superlative in the KVM industry: the DP1.2VisionXG-MC4, the world's first and only KVM extender for uncompressed, latencyfree transmission of 8K video at 60Hz. The high-class KVM extender system consists of a computer module and a user module. It allows users to

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operate their computers remotely while benefitting from the pixel-perfect, uncompressed transmission of high-resolution DisplayPort video over four video channels and distances of up to 10,000m. Thanks to the source synchronicity of the video channels, even the highest video resolutions can be extended over long distances. This fact is especially interesting since DisplayPort cables for transmitting high resolutions

BOOTH 10-P126

are usually extremely short. The dedicated transmission over optical fibres provides enough bandwidth for uncompressed DisplayPort 1.2 video signals, keyboard/mouse, RS232, USB2.0 and audio. The system includes many mission-critical features such as the screen-freeze function, the monitoring function, a redundant power supply, SNMP and two network ports.

ISE 2017 Preview

IHSE IHSE releases OPS+ KVM extender for displays IHSE announces the launch of the Draco OPS+ KVM extender for use in displays equipped with the Next Generation Open Pluggable Specification (OPS+) slot. The extender offers convenience and cost-saving to professional display installations. The new Draco OPS+ KVM extender unit simplifies the installation, operation and management of remote displays, providing single-wire connection from remote media players and source devices to screens wherever they are located. Video signals up to 4K/60Hz 4:4:4 resolution can be transmitted using this extender at distances of up to 140 meters with Cat X cable or multi-mode fiber, or 10 km with single-mode fiber and provides full, instant, interactivity with artefact-free images and no delay in signal transmission. With the addition of a KVM matrix switch, networks of screens can be controlled and content delivered to appropriate displays as and when required by simply switching sources. USB data is supported, allowing touch and gesture controlled screens and cameras to be

BOOTH 10-P148

deployed. “Separating the display from the source computer makes a lot of sense in many situations,” says Mark Hempel, head of product management at IHSE. “System maintenance, reliability and security are greatly improved by locating the source devices in

environmentally controlled secure areas, rather than at the screen location, where it is often very difficult or expensive to reach them. The unit plugs into the OPS+ slot, removing the need to install an additional box at the screen location, together with the additional power and wiring.”

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ISE 2017 Preview

IMMERSIVE TECHNOLOGY ZONE New feature to showcase cutting edge virtual, augmented and mixed reality The ISE Immersive Technology Zone will take the form of a dedicated area within the RAI exhibition center, located in the Park Foyer at the rear of Hall 8. The space will feature four virtual environments. These will allow visitors to ISE 2017 to explore the various immersive options available,

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from VR (virtual reality) to AR (augmented reality) and MxR (mixed reality), highlighting how they differ and the business challenges they can help overcome. No prebooking will be necessary.

becoming utilised by a growing range of AV businesses. This is being increasingly seen in the areas of product design, workforce training, factory planning and construction.

Holovis staff will be on hand throughout the show to ensure that attendees will not only be able to experience the features on offer but also get professional insight into how this type of technology is

The environments on display at ISE 2017 will feature content created by the Holovis media and software development teams from within the VR remit. These will include the Near

ISE 2017 Preview

Miss Simulator, a virtual training environment delivering compelling content for those working in high-risk jobs and a Driving Simulator showing the enhanced impact of VR when combined with perfectly synched motion and audio. In addition, an Augmented Reality Zombie game will highlight the interactive networked capabilities of this technology accessible from any personal device while the physical challenge of removing as many balls from a Virtual Ball Pool as possible will demonstrate MxR in action. Stuart Hetherington, CEO, Holovis, commented: “We design complete solutions that transport guests into alternative realities, whether that’s fictional worlds for

entertainment or real situations for R&D or training. We are excited to be partnering with ISE to showcase a complete suite of virtual options, from singular immersive experiences to those that can be shared by a group to inspire end users and show the AV industry how they can support the development of complex setups.” Integrated Systems Events MD Mike Blackman said: “We are delighted to be linking with a market leading company such as Holovis on the Immersive Technology Zone. It will showcase how quickly this innovative application of technology is opening up exciting new options and solutions for the AV industry.”

Holovis is an experiential designer working within the attractions and enterprise industries to deliver virtual, augmented and mixed reality solutions. These installations are embedded in industrial design studios, theme parks, planetariums, science centres, ride simulators, retail digital media and (big) data rooms. Holovis works on both permanent and mobile applications.Within the attractions space this includes transforming any passive scenario such as queue lines into rich forms of entertainment using Augmented Reality to elevate boredom, support wider eco systems and extend the guest experience to encourage repeat visits. TMBi - 63

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LAWO IP-based audio and video infrastructure for increased flexibility Featured products include the Lawo mc²36 all-in-one audio console and Lawo’s latest IP video & audio routing and processing solutions as well as Lawo’s RƎLAY Virtual Radio Mixer and the sapphire compact on-air mixing console. The IP products include V__line I/O units for video, A__line I/O units for audio as well as

Lawo mc²36

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BOOTH 7.V210

networked based processing and mixing engines such as the 19”/1RU Compact Engine. Sophisticated VisTool touch-screen control solutions with integrated logic functionality and features like auto-mix and auto-gain enable easy workflows and fail-safe operation for routing and mixing also for less experienced users. All Lawo IP products are future-proof, based on open standards such as RAVENNA/AES67, TR-03 and SMPTE2022-6/-7.

Lawo mc²36 Lawo’s mc²36 all-in-one live mixing desk provides a comprehensive feature set covering broadcast, theater, house of worship, live and install applications. The console features uncompromised sound quality and Lawo-grade mic preamps, offering unprecedented value for money. A powerful DSP micro-core with internal 512x512 port audio matrix,

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RƎLAY Virtual Radio Mixer

and integrated I/O make it ideally suited to permanent installations with limited space. As it is natively equipped with RAVENNA/AES67 technology, the mc²36 integrates seamlessly into IP infrastructures. In combination with the Nova37 audio router and mc² Compact I/O stageboxes, multiple mc²36 can be easily combined to a very smart package for networked applications in live performance, installed sound and houses of worship. Lawo Compact Engine with VisTool Control Software The Lawo Compact Engine is a 19”/1RU IP-based

networked audio I/O, processing and mixing engine featuring power supply redundancy and expansion slots for easy addition of I/O cards. Optimized for both touch-screen control and control via classic physical faders from Lawo crystal mixing consoles, the unit provides all of the comprehensive functionality found on a conventional mixer, as well as an integrated matrix of up to 288 I/Os. These I/Os can be prepackaged from a broad range of modules, including RAVENNA/AES67 Audioover-IP, MADI, AES, and Mic/Line. VisTool, the powerful touchscreen optimized control software,

provides additional functionality and visualization beyond the limitations of hardware user interfaces, e.g. of DSP parameters, signal levels, and the snapshot database. The software is designed to be the central screen and interaction system for users, providing full control over all relevant functions of the Compact Engine. It offers access to channel DSP processes, including EQ, dynamics, and bus routings, input parameters, and fader channel control. RƎLAY Virtual Radio Mixer RƎLAY VRX is a multi-touch enabled virtual mixing software that acts as a TMBi - 65

ISE 2017 Preview

LAWO V__remote 4

“virtual radio environment”, hosting software apps that eliminate the need for expensive hardware peripherals. Taking advantage of computer virtualization technology adapted from the IT industry, RƎLAY VRX lets engineers replace physical consoles, and entire racks of accessory gear, with a single desktop or laptop PC — with significant cost savings. RƎLAY is perfect for remote kits, field journalists, fast setup of on-location studios, webcasting — even as a replacement for older studio hardware or as a permanent personal studio. RƎLAY VRX4 (four-fader) and VRX8 (eight-fader) software can be used alone, or bundled with a Lawo OnAir 4 audio interface for professional mic, line, AES3 and RAVENNA / AES67 I/O. A heavy-duty RƎLAY backpack with space for a laptop, mic and headphones is included in these bundles. TMBi - 66

LAWO V__remote 4 – the all-in-one solution for IPbased remote productions Lawo’s V__remote 4 is designed to provide a onebox-solution for all the requirements of video and audio signal transport and processing in WAN-based remote productions. It includes everything from Video-over-IP coding to various monitoring and processing tools. All designed for one purpose: to provide a tool that increases the flexibility of any broadcast application, while saving valuable rack-space, set-up time and production costs. With its virtual cabling capability, V__remote 4 immediately brings IP infrastructure advantages and cost savings, providing an unparalleled degree of flexibility and scalability. Lawo V__remote4 is also available as a stand-alone Plug & Play Remote Production Kit, providing fullyintegrated video, audio and

intercom transport (via qualified IP WAN connections) for any thirdparty video and audio equipment. The kit connects up to four camera CCUs via SDI for video and TCP/IP for control, with audio mixers connected via MADI or RAVENNA / AES67. An IPbased Compact Engine with audio I/O and GPIO on the remote site provides nolatency audio monitor mixing, e.g. for IFBs. The unit is operated via Tablet or PC – in addition to the local operation it can be controlled from a remote studio (e.g. via a Lawo mc² console). Additional microphone inputs are furnished with A__mic8 Analog-to-IP interfaces. The kit is completely controllable via a VSM control system. Lawo V__link4 – The Way to Transport Production Quality Video Over IPNetworks V__link 4 is designed to provide a one box- box-

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time and production costs. With its virtual cabling capability, V__link 4 immediately brings IP infrastructure advantages and cost savings, providing an unparalleled degree of flexibility and scalability. solution for all the requirements of IP-based stage boxes including video and audio signal transport and processing. V__link 4 provides everything from Video-over-IP coding to various monitoring and processing tools. All designed for one purpose: to provide a tool that increases the flexibility of any broadcast application, while saving valuable rack-space, set-up

Lawo A__line High-Quality Audio-to-IP Interfaces The Lawo A__digital 8 and A__madi 4 are the latest members of Lawo’s A__line series of high-quality Audioto-IP interfaces for install, live and broadcast applications. In combination with the existing A__mic 8 the compact 19”/1RU devices provide easy and reliable solutions for intuitively transporting analog and digital audio signals via IP

network environments, and to establish IP-based audio networks. Based on RAVENNA technology, all A__line devices are also compatible with the AES67 audio-over- IP interoperability standard, and come with VisCon__navigator software for easy set-up of audio and video streams in IP networks without the necessity for deep IT knowledge as standard. The A__mic 8 features eight Lawo-grade mic/line inputs and four line outputs, A__digital 8 eight AES3 inputs and four AES3 outputs and A__madi4 four MADI interfaces. All units also provide two RAVENNA / AES67 Ethernet ports and eight GPIOs.

Lawo A__line

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MERGING TECHNOLOGIES Merging Technologies will be exhibiting on stand 7C169. The main focus of the display will be the recording and delivery of immersive audio content to a wide variety of users. The company has achieved considerable success with its Ovation Audio and Event Server which is backed up by the Pyramix Virtual Studio recording and editing engine. The latest versions of these provide for virtual room panning that is format agnostic. The user can choose the speaker number and configuration plus the size of the room and the 3D panner allows for simple and effective manipulation of the audio content. The company has attracted major clients in theme parks, concert halls, opera houses, theatres, sports venues and virtually any location requiring the firing of audio cues in an intelligent way. Increasingly the interest in VR (Virtual Reality) is demanding a much more integrated audio solution and Merging is addressing these demands. Merging has been leading the charge in networked audio solutions and will be showing a new AD card for its Horus and Hapi TMBi - 68

BOOTH 7.C169

RAVENNA/AES67 audio interfaces. The AKD8D and its DP Premium version continues to cover all sampling rates from 44.1kHz to DSD256 and DXD but there are significant improvements to the preamp stages and the overall dynamic range and harmonic distortion, which were already remarkable with the previous generation.

scalability, security and control of networks of a significantly larger size. This technology is not yet released and the aim is to garner industry feedback on the features and operation of the manager. The immersive speaker display on the stand will be connected via RAVENNA/AES67 and will feature Genelec units in a 12 speaker cube.

Control of networked audio is another major challenge to the ultimate success of the technology and Merging will be showing a version of its ANEMAN RAVENNA/AES67 management tool. Jointly developed with Digigram of France, this provides the

Experienced operators will be on hand to demonstrate the unique operational benefits that Merging can offer the ISE attendee. One of them, Davey Williamson will be presenting “Mixing 3D content to 360 degree picture in a dome environment.”

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MUXLAB Three New 4K/60 4:4:4 Matrix Switches Integrate AV for High Performance Installations The HDMI 4x4 Matrix Switch, 4K/60 4:4:4 (500444) links four sources to four displays. Independent EDID control ensures a flawless signal transmission. Full routing of any source to any or all displays is controlled by IR remote, RS-232, Telnet or front panel buttons. “This new 4x4 Matrix is a next generation solution that


provides true 4K quality with absolutely no picture loss or delay,” said MuxLab President, Daniel Assaraf. “Commercial and residential AV systems, classroom projector systems, digital signage, boardrooms, collaborative PC systems, and medical information systems would all benefit from using this type of matrix system.” The HDMI 4x4 Matrix Switch Kit, HDBT, PoC, 4K/60 4:2:0 (500412) offers

the same features, with the added ability to support HDBaseT transmission with power, and may also be managed by a web interface. Separate receivers are included with full 4K/60 support. The HDMI 8x8 Matrix Switch, 4K/60 4:4:4 (500443) provides an expanded option for 4K matrix switching, supporting up to eight sources and eight displays. Independent port scaling of displays with different

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resolutions makes this matrix excel. This ability provides simultaneous access to displays that support different resolutions in the same installation. Any source is accessible at all times by any display via IR remote, RS232, Telnet or front panel buttons. Dante Support MuxLab’s new Dante/Quad Channel Audio PoE Gateway (500765) connects analog audio equipment to Dantecompatible professional audio equipment over an IP network. Integrators can easily scale their audio systems and route their audio over a network, with multipoint configurations enabled. This Gateway provides four full range (20Hz to 20KHz) single-channel analog audio inputs that can be transmitted over the network to professional audio equipment. Four singlechannel analog audio outputs are provided for two-way receptivity. The inputs support balanced audio or balanced microphone signals. The outputs support balanced analog audio amplifiers supporting line level inputs, such as the MuxLab Audio Zone Amplifier 100W (500217), or two pairs of powered speakers for direct sound. Standard Cat5e/6 cable connects hardware up to 100 meters from the Ethernet switch. PoE support allows this product to be powered by the Ethernet TMBi - 70

switch. Remote, web-based control and integration is enabled when combined with MuxLab’s ProDigital Network Controller (500811). These features free the integrator and end users from being onsite to enable an enhanced performance. MuxLab Adds New AV Innovations to its Product Lineup & Introduces New “Over IP” Solutions MuxLab’s new HDMI 2.0 Extender with Audio Extraction (500439) extends any source to a local display, doubling the normal extended distance when placed centrally in between source and display. Resolutions are supported up to 4K/60 (4:4:4). The unit extracts and downmixes Dolby TrueHD and DTS-HD Master Audio and delivers it as two-channel analog audio via RCA left and right jacks. The new HDMI 2.0/3G-SDI Signal Generator (500830) provides SD/HD/3G-SDI and HDMI 2.0 test patterns in a full range of resolutions up to 4K/60 (4:4:4). Integrators can assess and validate the capabilities and proper operation of their sources and displays as well as the entire transmission infrastructure. Included with the Generator are numerous test patterns,

resolutions, refresh rates, color spaces and other related parameters. When used with the Signal Analyzer (500831), a useful set of cable connectivity quality tests and device compatibility tests can be performed to trouble-shoot and problemsolve. “The MuxLab HDMI 2.0/3GSDI Signal Generator is an exceptional tool for any AV engineer, developer, integrator or installer to have at hand, now available at a very attractive price,” added MuxLab President Daniel Assaraf. Designed as a companion tool to the Generator, the HDMI 2.0/3G-SDI Signal Analyzer (500831) allows integrators to analyze SD/HD/3G-SDI and HDMI 2.0 test patterns in a full range of resolutions up to 4K/60 (4:4:4). Sources can be quickly and easily validated to ensure they are working properly. AV signal characteristics are provided along with seven audio sample rates. When used with the Generator, a complete set of cable connectivity quality tests and device compatibility tests can be accessed to eliminate potential problems from the entire system.

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NEWTEK MediaDS™ Makes European Debut at ISE 2017 Developed in partnership with Wowza, the fully integrated hardware and software offering, MediaDS is an industry first end-to-end streaming solution that allows any production, presentation, or live event to be delivered to any device with browser capability (mobile, desktop, OTT, etc.) – regardless of location. MediaDS elegantly combines NewTek’s industryleading live production technology with the powerful

BOOTH 12.F62

and proven Wowza streaming software in a compact 1RU footprint, making multichannel content networks more accessible for a range of use cases.

seamlessly integrates with an existing video infrastructure and cuts out the need to first send content to a CDN or third-party streaming service before delivery.”

“MediaDS has been designed from the ground up to make it easier to deliver content to any audience, in any location, whether directly or through the cloud,” said Dr. Andrew Cross, president and chief technology officer for NewTek. “NewTek has worked hard to create an innovative multi-stream distribution system that

For enhanced scalability, producers can also create a virtual CDN or edge network by connecting multiple MediaDS together – either through a local area network, or remotely over IP to cross wide geographic boundaries. Video production to content delivery over IP makes enterprise deployments effortless.

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Signature Online Experience MediaDS also allows organisations to extend their brand and exposure beyond actual video content. The system not only acts as a media server, but also will host all required content – including web pages which are independently customisable – for audience viewing, to ensure that the onscreen experience adheres to organisational brand guidelines. Embed codes are also available to insert the Wowza Player into existing webpages to complement your current web presence. Extensive Channel Configuration MediaDS ensures the optimal audio-visual experience for viewing audiences right from the system by introducing another layer of quality control into any signal flow. With support for dedicated multiviewer monitoring, a local operator can observe all video streams in real time or focus on a specific channel fullscreen, and manage image and sound quality with integrated waveform and vectorscope

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displays, independent colour correction tools, and multi-channel audio level control available for every stream. Producers can also stack multiple channels from the same source, and encode them into different renditions as a grouped stream to enable adaptive bitrate streaming. MediaDS Highlights include: - Included video player for each channel provided by locally hosted web pages - Support for external streaming to Facebook Live, Microsoft Azure, YouTube, Wowza CDN, Wowza Streaming Cloud and custom RTMP configurations - Integrated NDI™ technology supporting live input and output over IP - NewTek’s real-time video and audio production tools - 4 SDI inputs supporting up to 3G 1080p

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BOOTH 11.D113

Enabling clear, natural, and effective communication, Revolabs will demonstrate microphone and conference phone systems designed to meet the demands of education and unified communications (UC) applications as well as a lineup of conference solutions from Yamaha. Also featured at the show will be the company's latest technology partners. "With the support of Yamaha, our parent company, we continue to push high-quality audio across every conferencing and UC application," said Russell Harpham, EMEA Director, at Revolabs. "No matter how our customers choose to communicate, our solutions are designed to deliver clear audio that's the cornerstone of effective communication. At ISE 2017, attendees will have an opportunity to see our superior audio solutions for these markets and how they can integrate with technology from our new partners." A highlight of the show will be the Executive Elite 2Channel wireless microphone system. Ideal for auditoriums and lecture halls, the wireless rackmount microphone

system can also be part of a lecture capture system, providing natural, intelligible sound of a speaker's voice in remote learning applications. The system features superior functionality for the price point, including simple connectivity, remote monitoring and diagnostics, and straightforward network management alongside other network devices. Also at the booth will be the HD Venue and HD Dual Channel wireless microphone systems. The HD Venue rackmount system supports two microphones in conference rooms, training rooms, auditoriums for lecture capture, and video carts. The HD Dual Channel is a plugand-play wireless offering for

spaces that need only one or two microphones and require less range between the microphones and base unit. Revolabs will also introduce the latest technology partners, including Google, Yamaha, Sonic Foundry, Zoom, and BlueJeans. To ensure a successful technology environment, Revolabs products are interoperable with solutions from these select technology providers. This integration gives users access to premium audio solutions designed to complement their UC environments by enabling clear communication that sounds as natural as inperson conversation. TMBi - 73



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RIEDEL COMMUNICATIONS Riedel Communications designs, manufactures, and distributes pioneering realtime video, audio, data, and communications networks that scale easily for pro A/V deployments of any size. Landmark deployments include France's new Parc Olympique Lyonnais Stadium, which is using Riedel systems to redefine the live sports and entertainment experience, and the Lusail Sports Arena in Lusail, Qatar, where Riedel solutions are simplifying signal management throughout the venue. "As Europe's No. 1 A/V and systems integration show, ISE is always an important venue for Riedel. At ISE 2017, we're looking forward to showcasing our latest

Riedel Tango

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innovations and solutions that are changing the way broadcasters work. A great example is MediorNet MicroN, which enables exceptionally versatile and reliable transport and routing at an outstanding price point. We'll also feature our SmartPanel multifunctional user interface and its powerful new Control App, which together facilitate everricher and more flexible control in signal distribution and communications applications. Also, our Tango platform combines AES67 and AVB support with robust processing to facilitate flexible, efficient, and highly configurable communications." — Jens Miedek, Sales Director at Riedel Communications

BOOTH 6-H152

At ISE 2017, Riedel will highlight: MediorNet MicroN as a Decentralized Router MicroN is a high-density distribution network device for Riedel's MediorNet line of real-time media transport and management solutions. At ISE 2017 in Amsterdam, Riedel will demonstrate how interconnected MicroN units can be deployed to create a decentralized routing system that distributes signal load, takes advantage of flexible node placement, and eliminates any single point of failure to create a viable alternative to traditional monolithic routers. With on-board signal processing capabilities including frame

ISE 2017 Preview

synchronization, embedding/de-embedding, and delays, a MicroN-based solution can handle SDI signals in a very powerful, tremendously versatile, and highly scalable routing solution. RSP-2318 SmartPanel With Control App The RSP-2318 SmartPanel offers features and capabilities that will enrich the user experience and change the way broadcasters and A/V professionals communicate. As the world's first control panel designed to serve as a powerful multifunctional user interface, SmartPanel boasts a unique feature set that includes three high-resolution, sunlightreadable, multitouch color displays; premium-quality audio; a multilingual character set; and 18 keys in just 1 RU. It offers AES67 and AVB connectivity as standard and AES3 over CAT or coax cable as an option.

The MediorNet Control App is the second app developed for Riedel's SmartPanel interface. By equipping the SmartPanel with the new MediorNet Control App, users effectively consolidate two panels into one that provides full intercom and control functionality. With the Intercom and MediorNet Control Apps running in parallel, the SmartPanel serves as a robust and highly cost-effective A/V control system. As Riedel continues to develop apps for the SmartPanel, users will gain increasing capabilities that help to optimize signal transport and production workflows. Tango TNG-200 Fully Networked Platform Supporting AES67 and AVB The Tango TNG-200 represents Riedel's first network-based platform supporting the AES67/RAVENNA and AVB standards. With its own

dedicated intercom application, the platform can be turned into a flexible, cutting-edge solution for a variety of communications scenarios. The unit itself is equipped with a highresolution, full-color TFT display that ensures perfect readability at all times. Intuitive front-panel controls simplify the recall of presets and adjustment of audio levels. Along with powerful processing capabilities, the Tango TNG-200 features two integrated Riedel digital partylines, two AES67- and AVB-compatible ports, two Ethernet ports, one option slot, and redundant power supplies. The dedicated intercom application, "My First Riedel," turns the Tango platform into an efficient intercom system that users can tailor according to their needs.

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RTI RTI to Celebrate 25 Years of Innovation at ISE 2017 "RTI was started with a vision of creating a universal remote that would simplify the control experience, making it more intuitive and enjoyable for users," said Mike Everett, Vice President of Sales and Marketing, Americas, RTI. "Now, 25 years later, we continue to build on this vision by delivering innovative control and automation solutions that allow users to interact with their entertainment and environment with confidence and ease. At ISE, attendees will learn just how much they can do with RTI at the heart of their systems." At the show, RTI will spotlight Integration Designer APEX's range of capabilities. Integrators will see how the software speeds up programming and installation while maintaining the ease of customization that RTI is known for. The software's feature set includes automatic generation of the graphical user interface and programming, a new IR library, multi-room programming, advanced graphic resizing, making system design more efficient than ever before. TMBi - 76


RTI will also display its new range of control and audio distribution products, including the KX10 in-wall and CX10 countertop/undercabinet user interfaces. Both feature a large fully customizable 10-inch LCD touchscreen, along with direct control options and HD video capabilities. The new CX10 is designed with flexibility in mind, enabling it to be set on a countertop or inverted and mounted under a cabinet with a wide tilt range to provide the best viewing angle. Both touchscreens double as highresolution displays where users can watch HD video via the HDBaseT video input, and also support video intercom functionality. The ZW-9 Z-Wave interface will also be on display, which enables simple and costeffective monitoring and control of Z-Wave-enabled systems and devices via an RTI control system. In addition, RTI will demonstrate a new video intercom

capability for use with many of its user interfaces and third-party door stations. Part of RTI's powerful lineup of audio distribution solutions, the new AD-16x 16x16 audio matrix switcher is the ideal solution for large, multi-zone audio installations. The AD16x delivers complete audio management in every zone, including parametric equalizing, input gain adjustment, volume, and balance control — all configurable via a convenient web interface. Rounding out RTI's control and automation ecosystem is the company's two-way driver integration. Supporting the latest devices and equipment on the market, RTI integrates with a variety of third-party electronic systems, including recently released drivers for Bose, Bluesound, MuxLab, QMotion, and more.

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SOMMER CABLE Conference Room Solutions The demands on modern conference and training rooms have changed completely over the past few years. Even in small rooms we expect perfectly working media integration these days. For instance, the room should automatically go to standby on time with the beginning of the seminar or the meeting, turn on e.g. the beamer lamp, depending on the resource booking, wake up the amplifier, the mixing desk and other devices from standby mode and adjust the illumination. In the ideal case the same steps should be carried out again in the reverse order at the end of the event. Especially in view of today’s energy debates, saving energy by automated standby activation is becoming more and more important. So far, all this could only be realized by means of very expensive and extremely complex media control systems. With the CARDINAL DVM 194 series SOMMER CABLE is presenting a new, very reasonably priced and fully modular device generation. “The customer response was encouraging when the

BOOTH 1.N117

DVM 194 series was introduced at the ISE in 2013“, says Peter Rieck, Key Account & Distribution Manager with SOMMER CABLE. “Since the interest did not fade, we were refining the prototypes last year and can now present a DVM 194 series which will hit the market with a lot of extra features”, concludes Rieck. All devices are fully assimilable into the IP environment, have a LAN link out for structured wiring (builtin 2 port 100 Base-T switch) and are based on the same controller platform. The use of variable instruction sets ensures full compatibility with most common devices on the market (also with “large“ media controllers, building technology US systems, displays, beamers etc). Setup is quickly done without programming skills through the integrated web interface – like e.g. on your internet router at home. A preprogrammed “plug and play“ solution is also available. Via this IP interface maintenance and surveillance can also be remotely controlled, which in case of service will allow a fast and efficient troubleshooting process. TMBi - 77

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BOOTH - 2.A42

presets. Its underlying distributed processing model can deal with any size video wall and even manage multi room video wall set ups. ICUE GRID also recognizes NDI (by NewTek™) sources and displays these with nearzero latency anywhere on the Video Wall.

ICUE-GRID: flexible multiroom IP Video presenter and Video Wall ICUE-GRID is an IP Video Wall Presenter for multiple content sources within the video wall. It allows complete on-the-fly control over the visualized live and/or ondemand content in any resolution on any screen in any room. Through webbased management you can access and display IPTV signals, security cameras, broadcast contribution streams, In-house studio video signals, PC presentations, weather radar signals or live events. Any video source can be turned into a suitable video stream. ICUE GRID layout designs can be totally creative or align themselves to layout TMBi - 78

ENC-400 multi-purpose H.264 stream encoder The new ENC-400 Streaming encoder accommodates dual HDSDI or HDMI loop thru inputs with redundancy switching. Combined with multi-bitrate RTMP and/or HLS streaming, low latency, DVB compliant transport stream and ProMPEG FEC the ENC-400 is the smart choice for anybody who needs to deliver a reliable streaming solution regardless of the specific use case. This HD/SD H.264 fan less video encoder is able to deliver multiple streams in multiple bitrates and protocols to multiple destinations. The build-in frame synchronizer guarantees stable signal processing. Both inputs provide loop through outputs and can be used for redundancy switching or as sources for two individual

encodings. Besides the latest in H.264 encoding technology, the ENC-400 features MJPEG for legacy as well and offers optional Recording to USB memory. The compact lightweight aluminum PORTABLE unit is ideal for IPTV, webcasting and Broadcast contribution. MC-Route: smart IP Video router and matrix switcher Video streams come in many formats and from many sources on your IP network. MC-Route simplifies stream management and control and enables efficient use of network capacity. It helps to add web streams or security cameras to your IPTV channel lists, it duplicates streams for various viewing devices as TVs and mobile devices, and it also standardizes video content for display on the ICUE GRID IP video wall. MC-Route works in most IPTV environments and it even connects different multicast networks over public Internet. For live stream routing and protocol translation, this video stream management and control solution is your multifunctional problem solver.

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BOOTH 10.R110

Thinklogical TLX Uncompressed KVM Extension and Switching TLX is the premiere KVM system in the market for professional audio-visual applications, capable of extending and switching uncompressed 4K and Ultra High Definition (UHD) video at full resolution and color depth (up to 4096 x 2160 resolution, 4:4:4 color depth, 30-bits per pixel) at full 60Hz frame rate, using only twofiber optic or CATx cables. With the lowest signal latency in the industry (microseconds, vs. milliseconds for compressed solutions), TLX offers precise pixel-for-pixel transmission of 4K/UHD video and computer with no visual artifacts, jitter or lost frames. With the new TLX product line, Thinklogical has leveraged its industry-leading expertise in fiber-optic extension and switching to develop an innovative, uncompressed 10Gbps signal transmission architecture using both fiber-optic and standard CATx Ethernet copper network cabling. With a flexible and modular hybrid form factor, TLX simplifies and reduces the cost and infrastructure required to TMBi - 79


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manage video content created in resolutions up to 4K/UHD -- increasing user efficiency and productivity without compromising quality, resolution, reliability or performance, and saving on infrastructure expenses.

smooth and accurate video delivery and peripheral performance enabled by the uncompressed highbandwidth signal stream found in all Thinklogical KVM products.

Other demonstrations in the Thinklogical stand 10.R110 at ISE 2017 include:

TLX Series Product Features and Specifications

• Intuitive Mouse Control with Mouse-Over Cross-Display Switching: Seamless, instant, screen selection by just moving the mouse from screen to screen allows for intuitive access to multiple independent computer sources without manual switching or interrupting workflow. • Text Overlay: Provides a customized display capability to more easily identify source, with custom overlay size, color and positioning. • System Management Portfolio and System Management Interface (SMP/SMI) with Enhanced Configurable On-Screen Display (OSD): Interactive drag-and-drop and flexible user-definable Hot Keys system management. Features include remote system monitoring and updating, and mouse and keyboard sharing. • Compressed vs. Uncompressed KVM Signal Management: Side-by-side competitive product comparison, highlighting the TMBi - 80

TLX Video and KVM Extenders • Uncompressed signal extension of up to 80km over fiber, 100m over CAT6a • DisplayPort 1.2 and HDMI 1.4 extenders • Support for a single display up to 4096x2160 @ 30Hz • Support for a single display up to 4096x2160 @ 60Hz, or two displays up to 4096x2160 @ 30Hz over two fibers or CATx cables • Support for two displays up to 4096x2160 @ 60Hz over four fibers • Supports HDCP content • Local output port(s) on fiber modules • Ethernet port for configuration, management and updates • Support for full duplex stereo and embedded audio, with ability to deembed at the receiver • Support for unbalanced analog audio and serial RS232 • Support for USB 2.0 (480Mbps) and USB HID

• Modular, hot-swappable form factor for fiber modules • Compact chassis for CATx surface mount models TLX Matrix Switches • Non-blocking and protocol agnostic • Scalable chassis sizes from 12 ports to 640 ports • Hot-swappable critical system components available: power supplies, fan trays, control cards, data input/output cards • Redundant and currentsharing power supplies available • Redundant control cards with automatic failover available • Interoperable with Thinklogical’s 6.25Gbps Velocity series products • Common Criteria EAL4, TEMPEST SDIP 27 Level B and NATO NIAPC Evaluation Scheme: GREEN information assurance (IA) accreditations



Television is dead: long live television

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By: Ephraim Barrett, Sales Director, Rascular

After decades of operating within the same fundamental model, the walls around our world – what was the broadcast world, or “vertical”, in marketing terms – are crumbling. NAB 2016 clearly showed this and IBC 2016 took it one step further: momentum is strengthening as we push towards an IP future. The TVB2020 conference earlier this year also reflected this. Chris Exelby, Chairman of the UK Regional Council of the IABM, wrote an excellent piece in a recent newsletter, highlighting the “perfect storm”, as he terms it, of “financial, technical and structural” changes. He added, “The move to IP heralds a fundamental change in the infrastructure and opens the doors to new suppliers from the IT sector.” And that is really the nub of the issue. It’s important at this point that we distinguish between content production/playout and distribution. As we all know, in markets around the world – though at massively varying speeds and penetration – viewers can now increasingly select how they want to watch what they want to watch courtesy of internet-delivered content. This has led to a very fractured market where maintaining or growing an audience is a massive challenge for broadcasters; for viewers finding the right services and therefore content is challenging

and potentially expensive. We’re dealing with hybrid world for sure, but the shift continues. NAB and IBC both clearly showed that what has been a drip-drip effect is now, while not a torrent, the start of a paradigm shift on the content production and playout sides. As has been noted by many others, SDI isn’t dead but if you aren’t now truly preparing for this IP-based future across relevant products then ignorance won’t be bliss. We’re moving into a hybrid world of threat and opportunity. As Exelby highlighted, there are some areas where physical product dominates that are threatened. The technical boss of a TV station is now looking at a combination of technologies, rather than filling up racks with hardware, based on what kind of channels they are playing out. Now you can rent hardware in the cloud and remove that cost from your CAPEX, though each business case has its nuances. Let’s look more specifically at the area in which we work: control and monitoring of third-

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party technologies using PCbased software. Our technology works in on-air environments, providing both manual and, more recently, automated control and media management via user-defined soft panels. When it comes to virtualised playout technologies, the same issues surround control as in the physical world: operators have to be able to press a button on a screen

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As we all know, in markets around the world – though at massively varying speeds and penetration – viewers can now increasingly select how they want to watch what they want to watch courtesy of internet-delivered content


and know that it will do precisely what they want, immediately. Users still need to make things happen in a time-critical universe. At this point, software designers have to focus on getting the main functionality of their product correct, not on wider issues like control. Looking at media management, the same issue appears whatever the protocol: ensuring that very precise media for secondary events is where it should be, when it should be. Our experience shows that there’s a gap between what an overarching MAM system takes care of and what automation/scheduling does. For either to handle secondary events – now and next, for example – across multiple channels generally requires bespoke work that costs or simply isn’t possible. From our perspective, it doesn’t matter whether we’re talking to a SDI branding device or an IP playout encoder with that capability. It doesn’t matter whether it’s virtual or physical. We now here the word “orchestration” used when asking how do you automate? What do you automate? How do you manually intervene? How do you control all of this? This is in reference to this new hybrid SDI/IP world. The answer is more of the same based on our ongoing work with encoding companies.

Of course this transition won’t happen overnight. What we’re seeing is broadcasters and playout providers trying this technology in a limited ways, working through the bugs with vendors and seeing what really works for them. This will take time but the process is accelerating at a rate faster than anyone anticipated. There will still be the requirement to be able to control this technology in the same way that there’s a requirement to control traditional broadcast kit: operators need to have one screen to control it all. As software designers, we have to be able to abstract the operator interface and be able to replace the hardware or software it’s controlling underneath without operators really knowing. We visited a broadcaster recently who was operating a thematic sports channel using a Mac, a Blackmagic card and ultimately Harmonic’s Spectrum™ ChannelPort™ CiaB technology. This included

manual control functionality via Harmonic’s Polaris Live, which is integrated with Rascular’s Helm. The interface the broadcaster was using before Polaris Live was from an IT company: it wasn’t a broadcast interface as it wasn’t a broadcast company. The software was littered with dropdown menus and dialogue boxes. This is no good for an operator whatever way you are playing out. Control has to be immediate. As broadcast manufacturers, we need to stake a claim on this new world, broadening our reach and capabilities while still using our key skills. By embracing IP, our world will now continue to be opened up to companies from other IT-based sectors. At the same time, there may well be other sectors where professional video technologies will be able to play more easily: there’s threat and opportunity all around. Television is dead: long live television.

The technical boss of a TV station is now looking at a combination of technologies, rather than filling up racks with hardware, based on what kind of channels they are playing out TMBi - 85

Everything the same, everything better, everything new We are living in times of constant change, where the renovation rate is increasingly fast-paced, and when we seem to be reaching the limit, another innovation comes up and puts us straight back on the wheel. With us being authentic advocates of permanent improvement and innovation, it is soothing to discover that well-grounded and well-executed concepts remain stable inside the vortex, endorsing the benefits of what is well-thought-out from the beginning.

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Panasonic AG-UX90

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 TEST AREA Author: Luis Pavia

For a couple of years now, the audio-visual market has had an extensive array of options that have not ceased to grow, let alone surprise us, namely: larger sensors, incredible sensitivities, fantastic collections of lenses... Sometimes, consolidated tools, with which lots of professionals all over the world overcome their daily business, remain firmly in their position without needing to attract so much attention. This is so because, in all reality, they continue being the tools used to produce most of the content consumed every day in the majority of the media. We believe this happens with what we are about to discuss in our laboratory today. At the hand of Panasonic, we now have the little sister of its new 4K compact UX professional production range, presented during the last NAB. It is the AG-UX90. While it conserves the concept of handheld, compact and lightweight camcorder with a fixed lens and all the elements traditionally demanded by professionals, it does meet all the technology requirements and current needs; and with a very attractive price. It is an all-new model, totally renovated with very interesting features where “everything is new” TMBi - 88

It has same traditional compact handheld/semishoulder camcorder format weighing in just at over two kilos, including battery and cards, and at a slightly lower cost compared to many HD cameras of a few years ago. technologically speaking, “everything is better” as regards the product and yet, “everything is the same” concerning concept. You obtain maximum performance from day one with utmost ease and comfort. Any camera operator could pick it up and virtually without even looking at it, begin to operate it from the start with no complication whatsoever. Some of its highlights are: • 8.8 x 15 f2.8-4.5 Leica Optical Zoom, equivalent to a 24.5-315 in universal standards with a 5-axis optical stabiliser and three independent control rings. • 1.0-Type MOS sensor (we

shall soon see what this means) that permits recording in Ultra HD at 25p, in Full HD at 50p/25p and even in SD with different types of codecs and files. • Double SD memory card slots for relay or simultaneous recordings. • Touch screen. • Remote control from an Apple iPad using the free AG ROP app and an optional USB wireless receiver. • Among other connections, it has XLR audio inputs, a HDMI output and two USB 3.0 connections.

Panasonic AG-UX90

In short, a UHD/HD tool designed for the professional user that provides all the necessary elements to capture images in the best conditions possible permitted by today's technology. It has same traditional compact handheld/semi-shoulder camcorder format weighing in just at over two kilos, including battery and cards, and at a slightly lower cost compared to many HD cameras of a few years ago. Let's begin our analysis with the sensor. As regards the

size, "1.0-type" refers to a "new measurement" used by several manufacturers, which do not usually give the real physical measurements. The popular conception is that it is the size of an inch (as it is sometimes called) but in all reality, this is not so. This reference refers to the size the sensor of a one-inch pipe would have and that turns out to be somewhat lower. In any case, it is an intermediate size between the traditional 2/3 and the 4/3. In other words: When the sensor is too big (Super 35 and Full Frame, for instance), we gain in sensitivity and dynamic range, but the depth of field is so small that it

makes it difficult or impossible to operate in ENG or documentary-type environments. However, if the sensor is too small, the depth of field can even be excessive and compromise the sensitivity and the dynamic range, leading to the appearance of noise due to the tiny size of each pixel. There seems to be much agreement in that this size offers a good balance between the manageable depth of field and sensitivity with minimum noise. We must also bear in mind that the sensor is handled differently when we record in UHD (3840x2160) to when we record in HD (1920x1080) because they read different surfaces of the sensor, which TMBi - 89


 TEST AREA natively have more than 17 million effective pixels. In fact, Panasonic specifies different equivalent focal lengths when filming in one format or another in their documentation. Thus, the optics, which physically is 8.8-132 mm (f2.8-4.5) on HD, is equivalent to a 24.5-367.5 mm, whereas in UHD it equals a 35.4-531.0 mm. This is surprising, because this means that it would be reading a smaller portion of the sensor for UHD. We

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imagine that it treats each pixel as such without scaling. In HD, however, it uses a larger area, probably combining several native pixels for each pixel of the end image. In any case, the images we obtain are always clear and crisp, thanks to the optical quality of the lens, made by Leica, which combines a x15 optical zoom with different digital zoom options, which can also be combined with

the iZoom or intelligent zoom. This enables multiplying the scope of the lens from x2 in UHD to x250 in HD. As expected, the first option does not cause any sensitive alterations to the quality of the end image, whereas the defects usually associated to these mass enlargements are evident in the latter option. Here, the relevance of the content and the intelligence of the operator will set the limits of what is reasonable, with the help of multiple

Panasonic AG-UX90

intermediate enlargement options. To handle the lens, we have three conventional rings for the focus, zoom and iris. None of them is mechanical. The iris ring enables us to configure the direction in which the diaphragm opens or closes. As regards the focus ring, we also have the possibility of controlling its behaviour configuring it from the menu, being able to vary its response. In addition to

the expected fast and slow modes, we also have a variable that makes the response speed proportional to the speed with which we turn the ring. Thus, fast turns offer great leaps, whereas the slow movement allows more precise adjustments. And if the focus precision is important in HD, in UHD, it is critical, so all the help is welcome. In addition to this assistance for the focus and

The images we obtain are always clear and crisp, thanks to the optical quality of the lens, made by Leica the classic on-screen enlargement and colour highlight of outlines under focus, we have another two that contribute to keeping the image with the highest precision, and which we consider fascinating: the optical stabilisation system and the auto focus with follow-up. The stabiliser is capable of handling and correcting by controlling a hybrid 5-axis system, which we thought was very efficient, even though what caught our attention most was that it only appears to work in HD recording. The auto focus is a user-adjustable system where we can adjust the speed, sensitivity and detection area, which enables us to have a system very fine-tuned to our needs. In addition, we are also able to select the exact point to focus at the touch of the screen at any moment. Now that we are talking about operation, let's see

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 TEST AREA what other elements we find on the outside. We loved having sufficient buttons for an efficient handling and that they are all where they should be. We have exclusive function buttons/selectors, such as the 4-position neutral density filter (0, 0/4, 1/16 y 1/64), others with a determined function but with configurable values, such as the gain (adjustable between -3 and +30 dB), the turning wheel acting on the selected parameter (colour balance, gain, shutter, size or the focus area, menu options...) and other adjustable ones that may have an allocated function by default, to which we can assign any of the 44 functions of the camera. We have no less than 13 of these allocatable buttons, 9 of which are distributed over different parts of the body and 4 on the screen. Of course, even though we have not listed it, we have all the standard functions of a professional camera such as selectors to activate or deactivate the auto/manual modes in the iris, focus, gain, white balance selector with memories, zebra marker, etc. As regards audio, all the expectations of a camcorder of this level are covered, with the only curiosity of assembling the second XLR on the rear right-hand side of the camera instead of the classic double connector next to the external microphone stand. It has an integrated TMBi - 92

microphone, and it comes without a shotgun mic, so we can use whichever one we choose, which comes as a standard in this type of equipment. We feel that it was a good feature that the audio control lid on the lefthand side could be opened in full to minimise its accident rate. One of the elements that have also varied a lot over time as regards function is the screen. Screens used to be a mere passive visualisation element but now, they are a crucial part of the control. Not only does this one have buttons for certain functions both in replay and recording functions, but also, and as we have already mentioned, if we touch the image we can establish and control the focus points, auto focus, iris, etc. It offers a good image quality with a fairly reliable colour, brightness and contrast on replay, on its 3.5 inches. The anchorage system, which protects it very well once slipped into its housing, has the limitation of only being articulated around one axis, preventing some positions, although this isn't a major inconvenience.

To finish with the upper part, we can see that the handle has a second recording startup/stop button and a second servo for the zoom. The loudspeaker to monitor contents recorded without needing headphones is

Panasonic AG-UX90

We loved having sufficient buttons for an efficient handling and that they are all where they should be. We have exclusive function buttons/selectors, such as the 4-position neutral density filter located under the screen housing and the optical viewfinder with a lens and dioptre adjustment is located on the rear. The screen and the viewfinder have colour, brightness and contrast

adjustment functions through the menu. It also offers 4 threads to attach accessories in the upper region, but very well lined up with respect to the camcorder’s centre of gravity.

As far as recording is concerned, we are thrilled to have two SD memory card slots instead of the standard formats, because nowadays this storage medium has sufficient characteristics to TMBi - 93



cope with both the volumes and the high rate of necessary data, provided the SDHC or SDXC types are always used with the appropriate writing speeds, that is. There are two slots that will permit relay recording for unlimited or parallel recording, but in this case, both media need to be of the same type, and they will always record the same selected format on both TMBi - 94

cards. All the formats use LongGOP compression, that is, the interframe type. UHD is always recorded at 25p with a bitrate of 100 Mbps, LPCM audio and in .mov or.mp4 container. Higher quality HD can be 50p, 25p or 50i, at a 50 Mbps bitrate with the same audio and container as above. From here on, and in AVCHD format with AC3 audio, we have different frame sizes

(from 1920x1080 to 720x576) in 50p and 50i variants, and bitrates between 25 and 5 Mbps. Translated into times per capacity, and taking a 32Gb card as a reference, we will be able to record 40 minutes of UHD content at 100 Mbps or 80 minutes of HD at 50 Mbps, in .mov or .mp4 formats. In AVCHD, the more we reduce the size and frequency of the frame, the

Panasonic AG-UX90

parameters that will enable the camera’s response adjust to the most varied of conditions. We especially liked the skin detail control differentiated from the general detail. The 8 gamma modes, including several cinema ones, the colour matrix control with knee and pedestal adjustments, the possibility of saving and loading these profiles in memory cards to equal the response between cameras or keep the pre-established settings for frequent and different situations or work environments, and the shutter with speeds of up to 1/8000. On the other hand, we were surprised to find characteristics that seemed highlights to us and that

more we will get, from 2h 40m to more than 13 hours. The speed of the cards to be used will be in line with the formats in which we intend to record, where U3 (UHS Speed Class 3) is recommended for the 100 Mbps mode, U1 (UHS Speed Class 1) for 50 Mbps and C4 (SD Speed Class 4) will be sufficient for the AVCHD modes. Through the menu, we can access and configure many

recording or the possibility of uploading contents to a USB or external disc via a USB host connector without needing a computer. It is also noteworthy that, although it records at 8 bits in 4:2:0 internally, it offers the same bits but at 4:2:2 on the external output. Other curious details are the super-gains option of +33 and +36dB, the ability to take photos at 8 Megapixel or the fact that the composite video output is always active in SD format, regardless of the selected recording format, unlike the HDMI 2.0, which can be configured. The screen, in addition to it being a touch screen, can display an enormous amount of information, fortunately also

It’s a great HD camera, with good UHD performance where we must not forget that we have all its extraordinary features available for a price that was unthinkable not so long ago nearly go unnoticed, such as the option for a pre-rec to count with an additional 4 seconds (3 on AVCDH) of recorded content BEFORE pushing the record button, the compensation of the number of flashes during

configurable from the menu. Our recommendation is to leave all the necessary information visible to be able to verify that everything is as we wish at a glance, but remove it from the screen while we are recording. TMBi - 95

 TEST AREA Although, as with everything else, our needs and what we are accustomed to, will lead to each situation requiring its own treatment. The audio volumes, the histogram, the zebra marker or the horizon level are good examples information that is critical in some cases, but completely unnecessary in others. The battery included in the box, AGAG-VBR59 of 7.28v and 5900 mAh (43wh) says it needs 3h20 to charge and bears 7h 10m continued recording. The maximum optional capacity states a battery life of up to 14h 10m. We already know that these data are optimal laboratory data and we do not have our own field tests. However, we do know for sure that for normal use, in which we start, stop and sometimes review the material, change the settings, prepare plans, etc., and which we can estimate at around 75% of the optimal autonomy, the times continue to be remarkable. At this point, you will all no doubt have your own experience and references as per the usage, environment, and conditions under which you operate your equipment. The unfavourable aspect we have found is that it appears not to be commutable in 50/60 Hz frequencies, which may entail a slight limitation only if we are lucky enough to work interchangeably with clients from international markets TMBi - 96

that require these different frame frequencies in their formats Now that we have used it, we can say that it feels like a solid, reliable, a good feel and lightweight piece of equipment. It inspires trust and is very intuitive to use, because all the control elements are precisely where we expect to find them. The touch screen has two sides, very comfortable and fast for many functions, but not always as clean as we may have liked. The focus system is very fast, an important advance compared to earlier models. The colour and dynamic response also appeared to be clearly much better compared to earlier models. The possibility of configuring image profiles and colour matrices will rarely require some adjustments to

accommodate the result to the wishes of the most demanding operator. Sensitivity has also improved, and we need to increase the gain significantly before we get some noise. In this aspect, the personal sensitivity of each operator and each client will establish the different limits for each occasion. The digital zoom in its more moderate variants is effective, but the others seem to be exaggerated. In any case, there they are in the event of us needing them, and the content to be recorded is more important than the end quality. At the end of the day, it will be the operator who establishes the priorities. In seeking the limits and without being subject to the subjectivity of the admissible noise threshold or the

Panasonic AG-UX90

acceptable digital enlargement of the image, objectively, we have detected clear rolling shutter effects in fast horizontal sweeps (horizontal deformation of vertical elements when there are horizontal camera movements), this being the only usage limitation we have encountered. In conclusion: we normally tend to leave the price as one of the last pieces of information to mention, when it is the first thing that potential buyers may look at, and we should establish our conclusions from this perspective. While some of its UHD capacities are slightly limited, because, 100 Mbps are equivalent to 25 Mbps in HD, and some functions, such as the optical stabiliser are not available, its HD performance is broad and

impeccable. We, therefore, believe this camera is ideal for several environments: • For those who need autonomy and mobility with a high level of HD equipment without it being overly expensive and that permits providing UHD content to clients that need it. • For those who seek versatility in their main or single camera in news and documentaries, and in productions where the cost per content is crucial. • As one or several B cameras in higher-level UHD productions. • We would only advise against it for sports or extreme activities where extremely fast movements need to be captured due to

the rolling shutter it has in these cases. Of course, if the client recognises this as a failure and is willing to pay to prevent it.... All in all, it is a great HD camera, with good UHD performance where we must not forget that we have all its extraordinary features available for a price that was unthinkable not so long ago, because we would be speaking about around €2,000 before taxes including the power supply, one battery and charger for two batteries in parallel. This enables us to offer the very best of today’s technology at very contained costs. With this camcorder, we can offer high competitiveness without relying on investments that tie us down to repayment term that end up conditioning our possibilities of evolution and future growth. And if, despite all its good things, you still feel that you need to take another step forward, its bigger sister, the AG-UX180 offers a true 4K recording (4096x2160) at 24p, slow motion in HD up to 120 fps, a 20x zoom with an angular equivalent to 24 mm, simultaneous multi-format recording, infra-red recording, 3G-SDI connectivity, time codes, 50/60 Hz commutation and all this, keeping a highly competitive price in the region of €3,000 before taxes. TMBi - 97

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