TM Broadcast International 43, March 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

TM Broadcast International #43 March 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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Broadcast, AV-Pro, Digital Signage: Are they really different verticals? The television industry is a continuous challenge. Almost since its inception, the market surrounding the “idiot box”—or not so “idiot”—has been facing several challenges, like when we moved from B/W to colour, the incorporation of stereo sound systems, 16:9, HD, etc., not to mention the changes in the business model: open TV, pay-per-view, satellite, cable, etc. In general terms, all these changes occurred during perfectly acceptable periods and have never really touched the structure of the television market too much. However, that is no way close to what is happening now. Both the Internet and information technologies are changing everything. We are probably witnessing the second industrial revolution. We are not facing a new technology or an alteration in the business model; what we are witnessing is a complete mutation, in our case, between the audio-visual consumption world and computing, which generates a structural change in the concept of television. But things don’t stop there; we need to add the incredible advancements in consumer technology, with a greater interest in video at a global level. This is why it is increasingly easy to find exhibitors of several verticals in technology shows, and hence the success of Integrated Systems Europe, a crosscutting show that began focusing on AV-Pro, but hasn’t ceased to grow in the number of exhibitors and visitors it receives. A place where different sectors come together to create one: that of video and audio.

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IKEGAMI CHOOSES BUBBLE & SQUEAK AS EMEA COMMUNICATIONS AGENCY Bubble & Squeak has won the contract to provide PR, event and marketing services for Ikegami across EMEA Ikegami is a manufacturer of cameras and image processing equipment for the broadcast and medical industries. Following the appointment of its UK General Manager, Kris Hill, in August last year, the European arm of Ikegami has taken an approach in bolstering its presence throughout EMEA including a new office in Paris. Bubble & Squeak will provide marketing and communications services and support for major tradeshows to assist TMBi - 6

Ikegami’s growth throughout the EMEA region.

brand goals and objectives,” he concludes.

Kris Hill, General Manager UK, Ikegami, said, “This is a really exciting time for Ikegami,” considers Kris Hill, General Manager UK, Ikegami. “We’re taking an assertive approach to the market and rejuvenating a brand renowned for innovation and excellence. Bubble & Squeak’s knowledge and experience of the industry perfectly places them to help us reach our

Sadie Groom, Managing Director, Bubble & Squeak, adds: “Ikegami is already a well-established brand, however, in today’s crowded marketplace they need to establish a firmer voice and message. We’re looking forward to showing the industry that their solutions are not only reliable, but also push the boundaries and sit on the cutting edge of technology.”


GATESAIR DELIVERS POST-AUCTION SPECTRUM REPACK WEBINAR SERIES GatesAir announces the three-day “Mission: POSSIBLE” spectrum repack webinar series, designed to arm broadcasters with valuable information needed for success during and beyond the repack period. The first webinar, “Repack in Review” (Tues, Feb 28, 2017 at 2 PM EST), will discuss important highlights about the FCC incentive auction, its ramifications and expectations for broadcasters, and how to prepare for next-gen TV. The second webinar, “Navigating the Transition” (Wed, Mar 1, 2017 at 2 PM EST), will cover topics such as post-auction preparation,

channel assignments, site surveys, reimbursement, auxiliary transmitters, and more. The final webinar, “Repack Roundtable” (Thurs, Mar 2, 2017 at 2 PM EST), will stream a group session of top experts discussing the hottest topics/concerns about the repack, including its

effects on FM stations, small market station preparations, ATSC 3.0 deployment, and more. Viewers can register for the “Mission: POSSIBLE” series at n-possible-spectrum-repackwebinar-series-reg

JUMP ANNOUNCES GLOBAL PR REPRESENTATION OF INSIGHT TV Insight TV is the world’s first channel dedicated to solely shooting and broadcasting content in native UHD 50 fps “Creating original UHD content – including HDR – takes real commitment and skill and so does pioneering a global channel. We are very pleased to be working with Insight TV to help define their brand and

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push that out globally. A challenge, but one we readily accept,” has said Kate Ford, Jump, Managing Partner.


CRESTRON CELEBRATES AN ARRAY OF WINS THIS YEAR Among Crestron's wins are included the InAVation Awards, CE Pro Top New Technology (TNT) Awards and the Install & Technology Solutions Awards (ITSA) Awards lifestyle technology can work perfectly alongside any interior design. The blend of cutting-edge technology with innovative textiles, furnishings and decorative fittings delivers a truly unique space to showcase Crestron technology in the home.” At ISE 2017 Crestron was reckoned with at the 2017 CE Pro TNT Awards, winning five awards for a number of its solutions: Crestron is celebrating an array of wins this year, including the InAVation Awards, CE Pro Top New Technology (TNT) Awards and the Install & Technology Solutions Awards (ITSA) Awards. Crestron’s showroom at the Design Centre Chelsea Harbour has the won the prestigious ITSA Award for Best Showroom 2016. The judges commented: “Crestron’s showroom is the only showroom that brings together luxury lifestyle technology and exquisite interior design, perfectly presented in a series of stylish settings. The showroom is a fantastic example of how modern TMBi - 10

Commercial: • Digital Signage Solutions: Digital Graphics Engine 200 • Matrix Switchers: 3-Series 4K60 DigitalMedia Presentation Systems • Control Systems: TSW 60 Series • Power Conditioning, Surge Suppression, and Energy Solutions: Crestron PC-300 Residential: • Control and Automation: TSW 60 Series Crestron also scooped the InAVation award for Technology for Smart Buildings with its PinPoint solution, an app which allows users to reserve meeting spaces through the use of

PinPoint Proximity Detection Beacons.

Crestron Integration Awards Also, each year, Crestron announces the winners of the Crestron Integration Awards. This year’s winners are as follows: • Ultimate Crestron Award – Pro AV • Best Lighting Application Morelight for Restaurant at Sea te Dronte • Best Integrated Home – Knektd for Eaton Square Living • Unique Application – McKeon Group for GoQuest Dublin • Best User Experience – Custom Sight & Sound for This House Changed My Life • Most Innovative Solution – A+V sp. Z.o.o for Fire Trucks For Slovakia • Best Corporate Installation – JNV Digitale Architecten for Vanderlande Industries • Best Education Project – Cancom GmbH for Umbau Horsale Universitat Stuttgart



CHYRONHEGO INTRODUCES PRIME 2.0 UPDATE ChyronHego has launched PRIME 2.0, an update of the company's Channel Box PRIME channel branding system. PRIME 2.0 is the 64bit, all-software rendering engine that powers the PRIME Ecosystem. "Today's broadcasters are grappling with an industry in transformation. They're having to evolve their facilities to support mixed resolutions including HD and UHD with SDI and IP operating side by side, and they're also preparing to transition from bespoke video solutions to a standardized and virtualized IT TMBi - 12

infrastructure. These factors demand the most efficient workflows possible, with unprecedented ease of use and maximum flexibility in installation environments," has said SĂśren Kjellin, chief technology officer, ChyronHego. "ChyronHego's PRIME is already delivering unequalled power and a stunning return on investment to facilities worldwide. And now PRIME 2.0 gives our customers supercharged rendering power and unprecedented clips management on a future-proof foundation for the highly engaging broadcast

graphics of today and tomorrow."

Clips PRIME PRIME 2.0 introduces Clips PRIME, a broadcast clip player with the ability to support up to six independent channels of video from a single server. Clips PRIME features a broad range of dynamic and pre-canned transitions, according to ChyronHego. Clips PRIME provides full integration with CAMIO, ChyronHego's MOSbased and NRCS-connected graphics asset management solution.


AJA VIDEO SYSTEMS RELEASES IPR-1G-HDMI IPR-1G-HDMI IP video and audio to HDMI converter is available now

AJA Video Systems releases IPR-1G-HDMI, a new Mini-Converter designed to convert JPEG 2000 IP video and audio streams to HDMI. IPR-1G-HDMI converts VSF TR-01 and other JPEG 2000 over MPEG2-TS formats for output on a full-size HDMI 1.4 interface. The Mini-Converter supports a range of HD and SD formats, and is designed for several point-of-use applications, including source monitoring, digital signage and video walls. TMBi - 14

AJA highlights these IPR1G-HDMI features: • Conversion of VSF TR-01 and other JPEG 2000 over MPEG2-TS formats to HDMI.

• Embedded and analog audio outputs. • Full 10-bit pixel processing pipeline.

• 1x RJ-45 (IEC 60603-7) for 10/100/1000Base-T Ethernet media input.

• Media (LAN) connection for

• 2x RCA analog audio outputs.

• Network (LAN) control and

• Rugged, fanless, portable design. • Full size HDMI 1.4 video output.

essence and control.

status to separate essence from control if needed. • Quick network setup with AJA eMini-Setup software.


ADDER TECHNOLOGY APPOINTS ANDREAS WUTH-RAUSCH AS BUSINESS DEVELOPMENT MANAGER IN GERMANY Adder Technology has announced the appointment of Andreas Wuth-Rausch to the position of Andreas Wuth-Rausch business development manager, broadcast & media. Wuth-Rausch joins the Central & Eastern Europe sales team, based in Germany. Wuth-Rausch brings with him a wealth of business experience in broadcast technology, having overseen many installations at public and private broadcasters in Germany, as the company confirms. He claims: “I am delighted to join the Adder team at such an exciting time in the company’s development. I have always had a great deal of respect for Adder and their products. They offer the ideal functionality and reliability for missioncritical environments like broadcast, whether this be live or post-production.” Patrick Buckley, channel manager, CE Europe at Adder says: “We are very happy to welcome Andreas to the Adder team. The demand for the benefits of highperformance IP-based KVM is higher than ever before, particularly in broadcast and media. In Andreas we have acquired an experienced team member who will help us to fulfil the increasing demand for IP in broadcast.” TMBi - 16

COX MEDIA GROUP ADOPTS GATESAIR LIQUID-COOLED TRANSMITTERS WHPT(FM) in Sarasota, Florida has become the second Cox Media Group FM radio station to transition to transmission technology from GatesAir. The installation follows the industry-first deployment of a GatesAir Flexiva™ FLX liquid-cooled solid-state transmitter at Tampa station WSUN(FM) earlier this year.

A movement to reduce the carbon footprint The WHPT transmitter, which went on the air Thursday, November 3 at 3:14pm, signifies a movement within Cox Media Group to reduce its company-wide carbon footprint. “We see a strong potential for ROI when it comes to liquid-cooled technology in FM radio,” has said Roz Clark, senior director of engineering, radio, Cox Media Group. “The capital investment, operational investment and electrical costs associated with moving heat around are reduced, as liquid can cool transistors far more effectively with air. We will pay a little more up front if there a realistic payback period that also reduces our carbon footprint.” The FLX uses a novel heat-to-liquid transfer process that removes heat from the RF plant, and reduces traditional air conditioning requirements and cooling costs. The technology cuts monthly utility costs and establishes a greener operation, and slims down an already minimal footprint by integrating low-noise pump modules within the cabinet. This provides additional ROI value for broadcasters who share or lease space in RF plants, according to GatesAir.


FRENCH FOOTBALL CLUB LORIENT ADOPTS CHYRONHEGO COACH PAINT FC Lorient uses Coach Paint for both coaching and training operations

Football Club LorientBretagne Sud (FC Lorient) has deployed ChyronHego's Coach Paint telestration tool to enhance its coaching and training operations. FC Lorient competes in Ligue 1, the top level of French football. Its coaching staff uses Coach Paint for advanced postmatch and opposing team analysis, and the club's training academy is applying the tool to teach advanced concepts, reinforce correct technique, and simulate game situations. ChyronHego claims Coach Paint enables FC Lorient to engage, teach, prepare, and recruit players using the same powerful visualization techniques on display in major live sports broadcasts and highlight shows. "We needed an advanced telestration solution that could TMBi - 18

ChyronHego's Coach Paint

engage our players and bring a powerful new dimension to our video analysis. After looking at various systems on the market, we realized that Coach Paint was the best choice," has said Jérémie Colson, video analyst, FC Lorient. "With Coach Paint, we're able to perform very high-quality video analysis that is more accurate and helps the players better understand the messages we're trying to get across. At our academy, the tool is helping players not only improve their technique but their overall understanding of the game," he continues. Jérémie Colson adds: "Not only does the tool work on both Mac and Windows computers, but it offers superior features at a very competitive price point. Coach Paint has improved

the efficiency and effectiveness of our video work, and the software is so user-friendly that our coaches have had no trouble adopting it." Jonathan Roberts, managing director, ChyronHego UK, has explained: "In recent years, FC Lorient has earned its reputation for playing a spectacular brand of football. And now, with the video tracking and analysis capabilities of Coach Paint, the club will be able to take its coaching and training efforts to exciting new levels. We're thrilled that FC Lorient has joined the roster of football clubs throughout Europe that have recognized Coach Paint as the world's most comprehensive and powerful graphics solution for sports tracking and analysis."


HITACHI KOKUSAI LAUNCHES Z-HD5500 1080P STUDIO AND EFP CAMERA New model incorporates HITACHI CMOS imaging technology Hitachi Kokusai Electric America Ltd. has announced the new Z-HD5500 HDTV studio and field production camera. Featuring Hitachi Kokusai’s latest advances in CMOS imaging technology, the Z-HD5500 addresses the challenges of shooting in studios and venues with lowcost or varying-frequency LED lighting, according to the company. Available immediately, the new camera will be showcased in booth TMBi - 20

C4309 at the upcoming 2017 NAB Show, taking place April 24-27 in Las Vegas. The Z-HD5500’s new CMOS imagers adapt to a wide range of LED lighting conditions, as Hitachi confirms, enabling highperformance video capture in TV studios, houses of worship, theaters, arenas and other facilities where such lights or large LED displays are used.

“An increasing number of studios, churches and venues are integrating LED lighting, display and projection systems that operate across a wide array of frequencies,” has said John J. Humphrey, Vice President of Business Development, Hitachi Kokusai Electric America Ltd. “The Z HD5500 is optimized to deliver impeccable results in these environments, while retaining the exceptional price-performance value our

customers expect from HITACHI cameras.�The Z-HD5500 offers High Dynamic Range (HDR) capabilities. It supports both the HLG (Hybrid LogGamma) and HPQ HDR specifications, and it is also the first camera in the HITACHI Z-HD family to offer native 1080p image acquisition. The Z-HD5500 provides an optional support for both SMPTE fiber and triax infrastructures. The camera can be paired with dedicated fiber or triax camera control units (CCUs), or with the dualcable HITACHI CU-HD1300FT. The CUHD1300FT offers both optical fiber connectivity and Hitachi Kokusai’s fourthgeneration digital triax system, which features an ultra-low-latency H.264 codec technology and multilevel digital modulation for long-distance triax transport of 3GB/s 1080p video plus intercom, teleprompter returns and other signals.



NTP TECHNOLOGY SETS FOCUS ON BVE LONDON, LLB OSLO AND NAB LAS VEGAS NTP Technology will be demonstrating the DAD AX32 audio converter and DX32 digital audio bridge NTP Technology representatives head to Broadcast Video Expo in London (February 28 to March 2), the LLB Sound Light & Image exhibition in Oslo (March 1 to 3) and the NAB show in Las Vegas (April 24 to 27). The company will co-exhibit at BVE on stand L45 with UK and Ireland distributor HHB Communications, at LLB with Norwegian distributor ProLyd and at NAB on booth C3851 with US distributor plus24. "It is a busy start to the year but a necessary one as these events allow visitors to engage directly with our latest products," has considered NTP Technology sales director Mikael Vest. "That kind of face-to-face discussion helps our customers and is certainly useful for us. We will be demonstrating the DAD AX32 audio converter and DX32 digital audio bridge. Both now come with version 2.0 firmware which adds a lot of extra features."

NTP Technology’s DAD AX32 audio converter Designed for use in nocompromise recording TMBi - 22


studios and post-production suites, the AX32 provides transparent audio signal processing and highly flexible distribution, according to NTP. Version 2.0 firmware includes an expanded switching matrix with 1,500 x 1,500 non-blocking crosspoints for routing and splitting any input to one or more outputs. Each input and output channel has its own level control and audio metering. All signal sources and destinations can be assigned a label which is then stored. The summing system has a capacity of 32 output buses and 256 inputs which can be used for Pro | Mon monitor control as well as the Cue | Mix zero latency

cue mixing system.

The DAD DX32 A companion product to the AX32, the DAD DX32 is a low-latency routing interface designed for applications such as multi-room recording studios, post-production facilities and audio distribution installations. It allows all digital input and output routing to be managed within a single unit or a combination of units. The DX32 can be used to expand input/output channel count and to interface digital components. It allows high quality bridging between AES/EBU, MADI, Avid Pro Tools HDX and the Dante IP audio network.

CALREC AUDIO JOINS BROADCAST HUNGARY TO DISTRIBUTE ITS PRODUCTS IN HUNGARIAN MARKET Calrec Audio has named Broadcast Hungary as its newest distribution partner, with exclusive rights to represent the entire Calrec product family throughout Hungary. Broadcast Hungary and Calrec will work together to expand the Calrec brand in the Hungarian broadcast community and take advantage of new opportunities opened up by Brio, Calrec's digital broadcast audio console. "Broadcast Hungary is the ideal partner to help us grow our market share in Hungary,� claims Mike Reddick, international sales manager for Calrec. “In fact, they recently did an outstanding job helping us close our first-ever sale there, even before we finalized the distributor agreement. With almost 20 years of combined professional experience in the television production marketplace, the Broadcast Hungary team provides the perfect blend of technical expertise, local market knowledge, and local support." "At Broadcast Hungary, we strive to offer our customers the broadest possible portfolio of top-quality solutions," has said Zoltan Szele, head of audio department, Broadcast Hungary. "Our new partnership with Calrec Audio means we can now provide the state of the art in digital audio mixing desks, which is not only an advantage to our customers but opens the door to new business opportunities for our company."



GLOBECAST PROVIDES ITS SERVICES FOR THE TOTAL AFRICA CUP OF NATIONS 2017 Globecast provided a full HD contribution and distribution service for African, European and Asian broadcasters as well as an IP platform Globecast has provided a full HD contribution and distribution service for the Total Africa Cup of Nations 2017, celebrated from 14th January to 5th February in Gabon. To cover this major event in the international football calendar, in which 16 African national teams participated, TMBi - 24

the Confederation of African Football (CAF) and Lagardère Sports enlisted Globecast for its technical and strategic know-how. More than 15 major broadcasters from Europe, Africa and Asia covered the event taking the Globecast live feeds. During the tournament, many additional African channels also

provided coverage depending on who was playing. Globecast provided uplinks and contribution (primary and backup sources) by deploying two flyaway antennas (C- and Ku-band) in each of the four official tournament stadiums. To do this, Globecast managed the shipping and local logistics

for nine HD satellite broadcast antenna kits representing a total of six tons of equipment. In Gabon, Globecast provided a team of engineers and a global coordinator from Globecast Reportage and its Nairobi subsidiary. In its Parisian facility (ParisArchives/Serte), a dedicated team supervised and coordinated contribution links and international distribution for each match. Globecast also provided two commentator posts (both French) and handled the insertion of sponsors’ graphical elements to enrich the live broadcasts from its Paris MCR. In addition to broadcast distribution, Globecast also operated a video file distribution platform, which provided the rights holders with about thirty minutes of new material per day, divided into a dozen targeted sections, as well as the live streaming of the games for exclusive Lagardère Sports editorials requirements.

“We transmitted 180 hours of live HD programming plus a hundred hours of private signals” Michele Gosetti, EVP Sales France, has said: “It was with great enthusiasm that Globecast ensured the very successful transmission of the 31st edition of the 2017 Total Africa Cup of Nations in Gabon”. And he adds: “We transmitted 180 hours of live HD programming plus a hundred hours of private signals. We not only ensured the contribution and distribution of the main signal through six C and Ku-band satellites, but also provided the IP and content enrichment solutions that are now a common part of the coverage of major events. This important project is another example of how Globecast continues to develop its range of services to support its customers in the face of market changes, from and to any place in the world.”



Kwesé TV launched 50+ channels in Ghana, Rwanda and Zambia on Monday 30th January 2017 with a array of entertainment, news and sports. At present viewers in Ghana, Rwanda and Zambia can access Kwesé TV via Kwesé’s own satellite and decoder; however this is just the beginning – Kwesé TV will be rolled out across Africa in the very near future. Owned by Econet Media and part of the broader Econet Group, Kwesé TV’s multiplatform offering enables viewers to access content across linear, mobile and digital platforms via multiple devices as well as on both paid and free-to-air services across Africa. The partnership with EBS enables Kwesé TV to deliver engaging enriched metadata and images for every TMBi - 26

programme via EBS’ unique EPG and metadata management application, Pawa. Using Pawa in-house, the Kwesé team has the flexibility to enhance data and make any late schedule changes that may be required with the utmost convenience. Additional, enhanced metadata makes content easier to discover. “Our objective is to give our audiences access to premium and accurate programming,” has said Joseph Hundah, CEO Econet Media. “We are therefore pleased to partner with a service provider like EBS who has a similar focus. Following the launch of Kwesé in Ghana, Rwanda and Zambia, as well as the staggered approach that will be rolled out in the rest of the continent, we are looking forward to providing our viewers with a world-class

viewing experience,” he added. Keith Bedford, EBS’ Managing Director adds: “EBS has been working very closely with Kwesé over the past few months to ensure the EPG was not only delivered on time for launch, but that it was accurate, comprehensive and appealing to the viewer. We are happy that Kwesé chose EBS to be their metadata service provider and look forward to a long and successful partnership. Kwesé TV recognises the fragmenting way in which viewers consume content. The necessity to be able to locate content quickly and easily across varied devices and media is paramount and in order to do this it is vitally important that channels deliver accurate metadata, on time.”


TNDV: TELEVISION WINS FIVE MIDSOUTH REGIONAL EMMY AWARDS TNDV: Television has once again been honored with multiple Midsouth Regional Emmy Awards by the Nashville/Midsouth Chapter of The National Academy of Television Arts and Sciences. Twelve projects produced using TNDV facilities were nominated in seven categories, including two of the three nominated pieces in each of the Audio and Lighting categories. TNDV owner Nic Dugger was this year’s recipient of the Emmy for Director/Program for his work on Skyville Live. “We have a long history of earning Emmys for Technical Achievement and Special Event Live, but receiving the award for Directing was a

very pleasant surprise,” has said Dugger. “It’s a tremendous honor, as I was nominated alongside some very good friends who are outstanding directors.” Additional wins this year included Interactivity, Technical Achievement, Entertainment and Audio. The 2017 Emmy event brings Dugger’s personal Emmy count to 12 wins and over 40 nominations thus far in his career. Nashville-based TNDV specializes in remote facilities of all sizes, including their fleet of eight HD and 4K production trucks, and six flypacks for multi-camera acquisition. TNDV was also the facilities

provider for the regional telecast itself. Their flagship double-expanding side truck Exclamation served as the primary production truck for the nine-camera live event, while their Ku uplink truck Constellation provided HD uplink for the show. Dugger has been personally involved with the live telecast for 20 years, starting as an intern with the Chapter in 1996. “I can’t think of a better way to celebrate the industry we love than by producing the telecast that honors our peers,” has said Dugger. “The NATAS organization exists to recognize the many outstanding disciplines in our industry, and of course we feel very strongly about each and every one of them.”


IMAGINE COMMUNICATIONS WILL OUTFIT FIRST-OF-ITS-KIND PRODUCTION VEHICLE FOR TPC over IP networks. SMPTE 2110, which is being finalized, is the current destination of the IP standards roadmap endorsed by the Alliance for IP Media Solutions (AIMS).

Imagine Communications has entered an agreement with Swiss broadcast service provider tpc to provide the distribution core, processing and multiviewer technology for a mobile production vehicle that is expected to be the first in the industry to support uncompressed HD and UHD signals over IP based on the SMPTE ST 2110 standard for the transport of video and audio over IP networks. The truck is being designed and built by SonoVTS. “Recognizing the rapidly evolving nature of the video production landscape and the need to construct a mobile vehicle with the ability to meet both today’s and tomorrow’s demand for cost efficiency and high production quality, we conducted a TMBi - 28

lengthy selection process to find a solution that would deliver next-generation capabilities today and seamlessly adapt new capabilities, such as HDR, as required in the future,” has said tpc CTO Andreas Lattmann. “tpc’s and Imagine Communications’ commitment to SMPTE 2110 enables us to meet these high expectations and deliver a solution that will reside on the cutting edge of mobile production for years to come.” At the heart of the installation is technology from Imagine Communications that will be the first to support the processing of uncompressed UHD signals over IP in conformance with SMPTE ST 2110, the industry-consensus standard for the transmission of video, audio and meta data

The new tpc vehicle will also rely on monitoring and control technology from Imagine Communications. The highly scalable and UHD-ready EPIC™ MV multiviewer helps tpc to effectively monitor the signals of a large number of dedicated screens, with inputs and monitor outputs all in IP. “Imagine Communications enjoys a long and successful track record of fulfilling the technology requirements of tpc and is proud of playing a role in the company’s rich history of bringing the Swiss and global markets some of the most compelling content in the world,” said Brick Eksten, Chief Product Officer, Imagine Communications. “We are extremely excited to be providing the innovation behind this breakthrough achievement and meeting tpc’s challenge to build a mobile production facility that will be relevant today and a decade in the future by delivering the agility and flexibility to withstand the blistering pace of technology advancement.”


QLIGENT APPOINTS RERATE LIMITED AS MANUFACTURER’S REPRESENTATIVE IN THE CARIBBEAN AND LATIN AMERICA Qligent has expanded its global sales presence by appointing Rerate Limited as its representative in the Caribbean and Latin America. Rerate Limited is a Miami-based supplier of equipment, services, and systems for the broadcast, cable TV, mobile, satellite, and telecom industries; with particular expertise in network monitoring and support in the Caribbean and Latin America. The company originally considered only adopting elements of Qligent’s Vision cloud-based monitoring platform to supplement Rerate’s own managed services layer. However, Rerate Managing Director Hector Cambero finally decided signed on as a Qligent channel partner to simplify transitions for their customers. “Vision and Oversight together offers customers complete, end-to-end quality of service and experience monitoring supported by reliable and comprehensive customer service from the Qligent team,” has said Cambero. “This is not only in line with Rerate’s own approach to monitoring and supporting customer

scalability for customers seeking a gradual transition from expensive point-based, legacy monitoring.

Rerate Managing Director Hector Cambero

networks, but in tune with our clients’ values in Latin America. It is a cultural expectation that companies like Rerate provide conscientious, dedicated service to their customers always. Qligent’s Oversight MaaS perfectly complements our own in-house managed services, providing even more value for our customers.” Qligent’s Vision platform keeps costs low by leveraging low-priced COTS (commercial off the shelf) servers, cloud-based management and storage, and physical microprobes/software-based virtual probes to collate and analyze data from the network headend or studio all the way to the end user. This architecture also simplifies

Meanwhile, Qligent’s Oversight MaaS provides options for a 24/7 or event-based monitoring service, giving broadcasters and MVPDs (multichannel video program distributors) a reliable way to outsource some or all monitoring and analysis responsibilities to a managed service layer. This offers an attractive option to customers with limited in-house resources. “Qligent makes cloud monitoring affordable for entry-level clients, while giving large customers the sophistication and reliability they demand,” explains Cambero. “Oversight helps them all identify network issues before they become emergencies. Furthermore, the support that Rerate itself receives from Qligent has been excellent, so as we sell network transport and transmission equipment to customers we can feel confident offering Qligent’s cloud-based monitoring products and services from day one.”

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THE CITY OF CHESAPEAKE AUTOMATES LIVE CAPTIONING OF ITS PEG CHANNELS WITH ENCO The City of Chesapeake now offers live closed captioning on two of its three local Public, Educational and Government (PEG) channels: WCTV and WCPS. The City chose enCaption3R3 from ENCO. “Our mission is to provide timely, accurate and relevant information to the citizens of Chesapeake. For this reason, we implemented closed captioning to ensure that all of our citizens have full access to any critical government meetings, such as the School Board or City Council and to other events we cover,” explains Maynard Scales, TV Operations Coordinator for the City of Chesapeake’s Public

Communications Department. WCTV Chesapeake Television carries these local city government events, such as city council and planning commission meetings, live on Cox Communications channel 48 and Verizon FiOS channel 43. WCPS, Chesapeake Public Schools, carries local school board meetings and other schoolrelated activities and events. Video of these events can also be seen on demand at the city’s website, Both of these channels use enCaption3R3. “We want to make certain we’re being good stewards of our community’s tax dollars in everything we do,” Scales

says. “That’s why, when we decided to offer closed captioning, we conducted extensive research into all of our options and considered the decision very carefully. While enCaption was not the lowest priced solution on the market, it offered the best price performance and value for our operation and for our citizen-viewers.” In terms of workflow, a Blackmagic 40x40 house router moves any audio source into or out of the enCaption device, which in turn sends a live audio feed with the caption data/text via a serial connection to an Evertz HD9084 closed captioning encoder. This encoder marries the video, embedded audio and (CEA608) caption text data, and then sends that output to an automation system for SDTV broadcast. “As a service to our community, we are also in the process of adding closed captioning to our prerecorded studio shows, such as our 15-minute, weekly local newscasts, and monthly local talk shows,” Scales says. “Since we installed enCaption3R3 last fall, I’ve been extremely impressed with its features, operations and reliability,” Maynard Scales concludes.

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Leader LV5490

LEADER JOINS ALLIANCE FOR IP MEDIA SOLUTIONS (AIMS) Leader Electronics Corporation has joined the Alliance for IP Media Solutions (AIMS). Leader is in full accord with the desire expressed by a growing number of broadcasters and media organisations to implement IP-based technology alongside legacy SDI-based systems or even to replace SDI entirely. "The television industry is in fast transition as it embraces higher display resolution standards such as 4K, higher dynamic range, wider colour gamut and the increasing use of IP," comments Leader's European business development manager Kevin Salvidge. "Joining AIMS demonstrates Leader's

continued commitment to providing the industry's technical managers, content producers and postproduction creatives with all the facilities they need to operate successfully in an increasingly multi-standard world. We are allowing broadcasters to migrate from the traditional SDI world to the brave new IP world at their own pace, with test and measurement products that operate in either or both environments." The Alliance for IP Media Solutions (AIMS) is a not-forprofit organisation dedicated to the education, awareness, and promotion of industry standards for the transmission of video, audio,

and ancillary information over an IP infrastructure, as well as products based on those standards. Leader's flagship LV5490 4K/HD/SD test instrument is already compatible with Sony's IP Live Video and Networked Media Interface technologies. The Networked Media Interface packetizes video, audio and metadata, enabling real-time transmission between video production equipment via standard network infrastructures. The LV5490 will be demonstrated on Leader booth C9021 at the 2017 NAB Show, Las Vegas Convention Center, April 2427. TMBi - 31





to suit all budgets

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If something is resonating in our heads, it has to be 4K/UHD. We should clarify that 4K is the equivalent to the DCI formats for cinema purposes with a resolution of 4096 x 2160 pixels, whereas UHD is the television format with a resolution of 3840 x 2160. Even so, when speaking about this resolution, we commonly call it 4K. The use of cameras with 4K capturing technology has increased at a good pace, since the conception of 4K. Having an image that is 4 times a Full-HD provided a very distinct advantage in a production: the possibility of re-framing in post-production without losing quality or image resolution in HD. To this, we must also add that storage systems and

workstations have moderated their costs quite a bit and edition no longer poses any problems. This has been of great help, as we can now choose with ultimate freedom where to do our postproduction. It makes increasing sense to work in this resolution from start to finish. The requirement levels of the platforms encourage having to deliver contents in this format even more. To this, we need to add that 4K does not only mean higher resolution but it also offers more dynamic range—it makes HDR possible—and broader colour spaces, so the quality of the image is much better. It is not just a matter of more pixels but also, better pixels and that they offer higher quality.

Blackmagic Production Camera 4K EF

From our point of view, productions for cinema and television must be filmed in 4K or even higher, even if it is to lower them to 2K or HD after, depending on the screen for which the production is intended. Another kettle of fish altogether is live television, which continues to be a field for expensive equipment and prohibitive workflows, often because there is no margin for error. However, for documentaries, series, crafted features and films, it is the ideal format. Nowadays, there is equipment for all budgets, and this is what this article is all about.



Blackmagic Design Production Camera Our favourite Blackmagic Design camera is the Production Camera, which is being used a lot these days. It works with 4K in RAW with the Adobe CinemaDNG codec. Perhaps this format penalises a bit because it is not one of the most polished codecs, but even so, it is a low-cost system that makes 4K images in RAW quite affordable. One important advantage is the DaVinci software with which you can edit quite well and is perfectly integrated with the camera. Blackmagic has seized the opportunity and gives the DaVinci licence free with your purchase. TMBi - 33



Canon XC15 The lightest and cheapest way of working with Canon is to use the XC15, a compact camera that has the advantage of using XF-AVC, the same codec as the C300 Mark ll. With this camera, we can record 4K video signals on CFast 2.0 cards. XF-AVC permits using the same compression system on several cameras, despite the sensor not being the same. In fact, if our budget was a little higher, we could use the

C300 MII as our main camera and the XC15 as a B camera. Although the latter generates a lighter signal (the signal is lower), it can also be used as a complement to the C300 with no problem at all, and all this without using external recorders. The XF-

AVC codec is supported by the common edition systems.

Panasonic AG-UX90/180 With Panasonic, we find two models, AG-UX90 and AGUX180, both with very reasonable prices. They are versatile cameras with

With Canon XC15, we can record 4K video signals on CFast 2.0 cards. XF-AVC permits using the same compression system on several cameras, despite the sensor not being the same. integrated optics and easy to handle. They have a large sensor and are bright. While the UX90 captures in UHD, the UX180 offers 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 code and 50/60 Hz commutation. At TM Broadcast, we tested the AG-UX90 and thought it was an optimal camera. We encourage you to read the article about it.

Sony FS5

Canon XC15

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The Sony catalogue is very broad, with many variants. And even though there are


Panasonic AG-UX90

other tools, we emphasise the PXW-FS5. It may come across expensive for low budgets, but when you take a further look at its features beyond the price, you will soon realise that the camera offers a lot for your money. In this respect, and even though it would only just be classified as a camera for low budgets, in our opinion, its versatility is by far so much better than others in the brand’s catalogue. The FS5 has a Super-35 sensor, so it provides cinema aesthetics, and its assembly lets us work with any lens on the market, even with Super-16 optics, which can technically no longer be used. This is possible thanks to the

Having an image that is 4 times a Full-HD provided a very distinct advantage in a production: the possibility of re-framing in postproduction without losing quality or image resolution in HD. camera having the option of scanning only the central part of the sensor. A great functionality that we believe is particularly useful is the variable neutral density filter. It is easy to handle and

in auto mode, it adjusts the light that reaches the sensor without having to change the shutter speed or move the iris. This permits conserving the aesthetics with which we are recording in an TMBi - 35




Sony FS5

environment with contrasted light and shadows or when we need to move from inside to outside, etc. We also find it particularly practical for documentaries and above all, for when we are recording in an uncontrolled environment, and the subject has movement. But its features do not stop here. It has a buffer that lets you record the past, which means that the camera always stores the 8 seconds before we press the Rec button. It is built with magnesium; it has a resistant and lightweight body and a good weight distribution. The most coherent codec to work TMBi - 36

in 4K is XAVC Long Gop 4:2:08-bits. If we use the HDMI output to attach an external recorder, we can work in 4:2:2. Another option

is to upgrade the camera RAW. In this case, the signal data will be encoded, and there are three options to record it. First, the Sony R5

A great functionality that we believe is particularly useful is the variable neutral density filter. It is easy to handle and in auto mode, it adjusts the light that reaches the sensor without having to change the shutter speed or move the iris.


recorder, even though we do not recommend it for its price, it is very robust and works very well, but we may go beyond budget. However, both the Atomos and

Convergent Design have good models for this task, which can also serve as a field monitor. Another interesting option is that it incorporates HDR.

AVERAGE BUDGET Canon C300 MII In this segment, the perfect camera is the Canon C300 MII with which we can do very cool productions,

either using the XF-AVC or the RAW output connected to an external recorder. Both Atomos and Convergent Design recorders work to perfection with this camera and we recommend them. With this, we can generate a DnX or ProPres directly. This option is often used in current productions. With this type of budget, we recommend using fixed focal distance Prime optics and a light zoom. If you want to reduce the budget a bit, you have the

EOS C300 Mark II FSL 24-105 f4L

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Panasonic Varicam LT

possibility of working with photography optics, but in this case, using the auto focus of the camera is a must.

Panasonic Varicam LT Also, a 4K camera. It has a great price-performance ratio and offers a very good overall quality, with many of the virtues of the Varicam 35. Compared to its competition, it stands out for its reliable and brilliant colour TMBi - 38

reproduction thanks to its extensive chromatic range and extraordinary latitude. It has a great ISO 5000 brightness with no noise and dual recording. We can use different codecs for 4K recording and another in 2K, for instance, by using two different cards. It has a compact size and good ergonomics. It can be easily assembled in many places and used in all imaginable ways possible, either on your

shoulder, a drone or in a rig. It can come with an EF or PL mounts, which opens the range of possibilities as regards optics and budgets so much more. It is beginning to be used by trusted followers of Arri, in pursuit of new aesthetics in a very complete system focused on documentaries, above all.

RED DMSC1 Yes, we can film in 4K with average budgets with RED,


and this is because we find two large blocks in the brand’s catalogue: DMSC1 & DMSC2. The old EPIC and Dragon were the first to drop their prices considerably due to the new camera models. In this range, they all record in 4K and RAW at least, but they have their limitations as regards the codec and this will affect the subsequent flow, having to transcode to be able to work in ProRes, for

instance. This lets you record with a very good camera that was not previously accessible to average budgets.

Sony FS7MII The Sony PXW-FS7MII is a good camera all round. It has the same type of mount as the FS5, which lets us use any lens with it. This permits adjusting our budget over or under with certain ease. As

regards lenses, one way of achieving a good qualityprice commitment can be to use the Xeen range by Samyang with the FS7II. At TM Broadcast, we have tried these lenses, and they offer a sufficient degree of quality for most jobs, with a PL mount and a very solid construction. An interesting option in this camera is its capacity of becoming a studio camera through an external shoe,


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which also allows for RAW. As regards the codec, it is better than the FS5 in that you can work with 4K in 4:2:2 10 bits XAVC INTRA, which offers a better image quality with the ITU BT-2020 colour space.

HIGH BUDGET Arri Alexa SXT/Alexa Mini This is a very complete system that lets us record up to 4K on ProRes. The Alexa SXT also offers great ease of use when operating


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Arri Alexa SXT

with it. It has a truly great design. Any operator and photography director will enjoy its refined ergonomics. This camera has a very recognised workflow in the sector, and there is not much to say that has not been said before, except that it has become a standard. From the Alexa Mini range, we want to highlight a very versatile camera that can be mounted on any kind of platform like drones, rigs, etc. It is very flexible, in addition to being able to use it as a B camera. It records in 4K, which is

It is beginning to be used by trusted followers of Arri, in pursuit of new aesthetics in a very complete system focused on documentaries, above all. really an inflated 3.2 K, as in the case of the Amira.

Canon C700 In this case, and within the Canon range, we had no

doubt about choosing the C700 and top optics, like the 30-300 and the 14.5 - 60, either on an EF or PL mount, if you want a top of the range manual cinema concept. As TMBi - 41





The best option is to work with the exclusive recorder developed by Codex for the C700 and the camera RAW (RMF) directly, which can then be transferred to a very lowresolution DPX or ProRes regards the flow and recording, the best option is to work with the exclusive recorder developed by Codex for the C700 and the camera RAW (RMF) directly, which can then be transferred to a very low-resolution DPX or TMBi - 42

ProRes. Thanks to this recorder, which connects wirelessly to the camera and has an exclusive design, we can achieve the best performance possible. This would be the best option concerning quality.

RED Weapon In this tranche, we have the two Weapon machines, and even the Raven, which will be mass launched soon. With this camera system, we can record in up to 8K RAW, and in ProRes up to 5K with total security. It is the most appropriate solution if we do not need RAW images. It offers another advantage: this system lets you record at a higher frame rate. In fact, the one made by Weapon is the only one capable of reaching 120 fps in 4K without any problem, and even more. If we decide to record in 2K, the camera can reach up to 200 fps. In this respect, if the production demands


capturing a high frame rate, this is no doubt the perfect camera.

Sony F65 Sony’s leading camera is the F65. A camera that permits capturing up to 8K

with an immense colour space that allows working with RAW data in a pure manner, with all the information from the sensor. A curious fact is that it has a physical shutter, mechanically operated, which

It is probably the camera that can offer highest image quality now, but these information volumes are so hard to handle these days.

removes the Rolling Shutter effect, so typical of CMOS sensors. The shutter’s native output has a 20 Gbps stream of information, so it requires that subsequent flows are able to manage that volume of information. We are speaking about pure information, because no curves can be applied, except for monitoring. It is probably the camera that can offer highest image quality now, but these information volumes are so hard to handle these days.

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Work in 4K like you mean it The most important issues to consider before taking on a 4K project

If you think about it, all media workflows are basically the same – regardless of the resolution. Hence, there is no reason to be more intimidated by a 4K project than any other movie, TV or commercial project. Of course, the higher the resolution, the larger the file sizes will be, resulting in greater demands on the underlying hardware. But as long as the IT infrastructure provides sufficient performance, bandwidth and throughput for all workstations connected, you’re good to go.

WHAT YOU NEED FOR A 4K WORKFLOW …is basically the same as what you need for any media workflow. The bare minimum required is a central media storage that allows for TMBi - 44

simultaneous access to the media assets, a professional file system specialized in media, and an up-to-date 16Gb Fibre Channel infrastructure. Even a 40Gb Ethernet network may provide the required bandwidth and throughput to tackle a 4K (raw) project, depending on the kind and number of clients. Admittedly, Fibre Channel still has some advantages over Ethernet in terms of speed and reliability though, but this (almost philosophical) debate shall be discussed at another time. Bottom line: As long as the hardware is up-to-date, providing multiple sustained 4K streams to every workstation involved in the project, the only crucial thing to worry about is proper project and asset management.





THE START Assuming that, as for the majority of post-production projects, there will be various different applications involved in the process, fast and seamless sharing of media files is essential – and this can make or break any media workflow. From editing, to color correction, to compositing and VFX, to occasionally even 3D CGI: all workstations need simultaneous access to the media assets. Hence, the most important thing for a smooth and efficient 4K media workflow is that all non-linear editing and VFX applications, regardless of the formats, can access the shared storage – via a shared file system.


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In addition, tools that support collaboration across the post-production facility are critical, starting with a straightforward user/rights management and an appropriate workspace setup. These will lay the proper foundations to collaborate effortlessly, providing assurance to stay in control of the file system and the underlying media storage. Another issue that, if done properly at the beginning of every project, will simplify a media workflow significantly is professional media asset TMBi - 46

As long as the hardware is up-todate, providing multiple sustained 4K streams to every workstation involved in the project, the only crucial thing to worry about is proper project and asset management. management (MAM). And in this specific regard it is not so much about the number of features and gimmicks – but

more about tools and functionalities that actually understand the requirements of your daily business and


actively simplify everyday tasks.



INTELLIGENT MEDIA ASSET MANAGEMENT A MAM tool should be more than a just “repository” that is cataloguing media files. Ideally, a MAM is a visualization of the file system - easily and flexibly adding tags and comments when assets are ingested and quickly and efficiently locating media assets via a full-text search. But when all the media files are tagged and commented properly, the information available in the MAM allows for a much more expansive utilization than just locating and accessing media files. Intelligent features can actually support seamless collaboration and even support and simplify communication processes. One manufacturer from Germany has developed an embedded media asset manager with specialized features that go far beyond other standard MAM’s. ELEMENTS’ Media Library does not only allow authorized users anywhere to easily view, share and annotate media files through a fully intuitive, web-based GUI, but elevating the comprehensive and sophisticated MAM tool to a powerful and versatile

Intelligent features can actually support seamless collaboration and even support and simplify communication processes. communication portal – and it’s fully-integrated into ELEMENTS’ highperformance media storage solutions. Hence, no encoding/transcoding, no uploads. Everything takes place right were the assets live – highly secure and perfectly streamlined.



SYSTEMS In addition, ELEMENTS has managed to square the circle – and delivers highperformance media storage and server topology that bridges the gap between all

applications, even including Avid. By providing a truly shared file system in heterogeneous SAN and NAS environments, ELEMENTS is unrivalled in terms of simplicity and intuitive manageability. Developed for video professionals, as opposed to IT professionals, ELEMENTS’ products have unique and field-proven workflow enhancement features and management tools, such as a file and user management and a task manager for easy workflow automation - all embedded into the media server and storage solution.

Elements ONE

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What to see at

BVE 2017 BVE is the UK’s leading Entertainment and Media Tech event, with a 20-year history dedicated to the broadcast, production and postproduction sectors. In recent years, the show has evolved into an all-encompassing event that also covers the Connected Media, AV Systems Integration, Live Production, VR and creative sectors. It attracts more than 15,000 visitors who attend to discover and learn about the latest products, services and trends from more than 300 leading manufacturers and distributors.

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AJA Video Systems Stand K2 At BVE 2017 AJA will exhibit its newest technology supporting Broadcast IP, HDR, UltraHD/4K and live streaming workflows for broadcast professionals. HELO, AJA’s new standalone H.264 streaming and recording device, will be on display alongside RovoCam, AJA’s UltraHD/HD compact block camera with an HDBaseT interface supporting control of UltraHD video, power and more over a Cat 5e/6 cable, and its companion receiver RovoRxSDI with 4x 6G-SDI outputs.

AJA Helo

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Additional AJA solutions to be showcased include: the IPR-1G-HDMI Mini-Converter for JPEG 2000 workflows over IP, U-TAP HDMI and UTAP SDI USB 3.0 capture devices and the ROI-SDI 3GSDI Scan Converter, as well as AJA’s production-proven lines of Mini-Converters, Ki Pro recorders, KUMO routers and other professional I/O solutions.

ATG Danmon Stand G39 "BVE attracts a wide range of visitors, enabling us to engage with people from the corporate and educational fields as well as the

broadcast and postproduction business," says ATG Danmon managing director Russell PeirsonHagger. "We are active across all these sectors with customers in many countries. "The ability now for companies to reach an increasing market across a wide variety of platforms is making video an ever more useful medium. The rapid pace of progress in lighting, cameras, virtual reality, studio graphics, data storage and image display opens up tremendous opportunities. The potential for companyspecific or even productspecific branding is enormous. In the educational


Examples of recent ATG Danmon system integration projects

sector we see video increasing the efficiency and the reach of universities and colleges. "At ATG Danmon we maintain a close watch on all the latest developments so that we can make right technological choices for our customers, ensuring they meet their full operational requirements and gain maximum benefit from their investment. "ATG Danmon has the proven skills to turn ideas into reality on any scale. With nearly a quarter century of experience as system integrators, we design and deliver solutions that enable our customers to achieve high productivity and creativity. We also offer longterm system-support contracts matching the specific needs of each customer."

Recent ATG Danmon projects include: - UHD flyaways for deployment at Universal Music Group studios in Los Angeles and New York. - Green-screen virtual reality production facilities for the London and Hong Kong offices of a global investment bank. - A major upgrade to the voiceover facilities at the London headquarters of sports television production company Input Media. - A complete fibre-optic network for Abbey Road studios in London. - Upgrade of the broadcast playout facilities for the Stockholm headquarters of TV4 Sweden. - A seven-station content transfer system for a major UK broadcasting corporation.

ATG Danmon will also exhibit in its role as a distribution channel partner handling the full range of shared-storage equipment from Studio Network Solutions, as well as the Amberfin range of software from Dalet and the Vidcheck range from Telestream.

Bluebell Stand E01 BCX-760 Series 10G Ethernet Point-toPoint Fibre Link New to BVE this year is Bluebell Opticom's BCX-760 Series 10G Ethernet point-topoint fibre link, a cameraback interface that allows easy connection and signal transport between a camera and an outside broadcast (OB) truck or a base station. In a first for the industry, BCX TMBi - 51




Bluebell WB170

interfaces map all signals presented at the back of any broadcast camera onto a 10G Ethernet point-to-point link, ensuring safe, robust, interference-immune, highquality transport over much longer distances than have been possible before. The BCX-760 Series products are designed to create rugged connections in a range of OB environments such as special-event venues, ENG sites, sports arenas, and golf courses. They can also serve as a TMBi - 52

replacement for heavy SMPTE hybrid connections on cameras in a studio setting, and in certain variations can be deployed to link and control remote robotic cameras. The BCX range will transport both digital 3G-SDI program video and return video, as well as composite feeds for genlock, analogue audio for intercom signals, and Gigabit Ethernet for network access. A single lightweight fibre cable eases rigging, and users can link multiple cameras over the same cable using Bluebell's muxing and wavelengthmanagement systems.

TDM-750 HD-SDI Module With Ethernet Fibre Interface Visitors to Bluebell Opticom's BVE 2017 stand will see the TDM-750, a rackmounted module for singledirection transport of HD-SDI and 100Base-T Ethernet signals. Requiring only two fibres with an option for single-fibre operation, the TDM-750 is perfect for smaller robotic/POV camera systems that require only a single video path and bidirectional data via Ethernet. The unit can be used widely in broadcast and security applications.


ShaxX SMPTE Hybrid Cable Alternative With Power Insertion for Broadcast Cameras At BVE 2017 Bluebell Opticom will demonstrate ShaxX, a rugged system designed to provide full bidirectional signalling and power for broadcast cameras fitted with standard SMPTE 304M hybrid connectors. The ShaxX allows OB and remote production crews to forgo SMPTE hybrid cables and take advantage of preinstalled fibre networks on location in order to cut rigging time and position cameras freely wherever they are needed, regardless of distance or the location of mains power sources.

WavelengthManagement System With Remote Monitoring Also on display at BVE 2017 will be Bluebell Opticom's multiformat interface cards, which take in multiple optical signals and retransmit them at wavelengths that can be inserted into a CWDM mux. On the other end of the link, the signals are returned to their individual state. This functionality, coupled with Bluebell's ShaxX powerinsertion technology, is what makes camera multiplexing possible. In this application, the wavelength-management system is packaged in a flight case with Bluebell's ShaxX SMPTE hybrid cable alternative, creating a solution that makes it possible to operate multiple broadcast HD-SDI camera systems over a single fibre.

Remote monitoring capabilities make it easy and convenient to oversee the system from a distance via a network connection.

WB170 Converter System for Compact 1-RU 3G-SDI, HD-SDI, SD-SDI, and ASI Transport Bluebell Opticom's BVE 2017 stand will also be the stage for the WB170, an ultra-compact 19-inch rackmount media converter for converting up to 32 independent 3G-SDI, HDSDI, SD-SDI, or ASI signals onto fibre. The WB170 can be populated with WB172 transmitter or receiver cards inserted in the front of the frame, and additional frame options are available in a fixed format in popular configurations. The attractively priced variants will include electrical-to-optical conversion and optical multiplexing. TMBi - 53




Calrec Brio

Calrec Stand E14 "As the U.K.'s number one gathering for the broadcast industry, BVE is the perfect forum for us to introduce our new Brio and RP1 solutions to the British market. We always look forward to BVE because it offers an ideal atmosphere for us to showcase our solutions and spend quality time with prospects and partners." Jim Green, International Sales Manager, Calrec Audio

Brio Compact Digital Audio Console The smallest in Calrec's Bluefin2 family, Brio is only TMBi - 54

892 millimetres wide, and the dual-layer, 36-fader surface provides more faders in a given footprint than any other audio broadcast console. Based on Calrec's 20 years of digital development, Brio's uncluttered, compact, and configurable surface gives instant access to a large number of audio paths whilst an intuitive 15.6-inch HD touch-screen UI provides quick access to more indepth control. A bank of illuminating hardware rotary controls gives fast and precise control over parameters displayed in the touch-screen UI. Brio is entirely self-contained, with analogue and digital I/O and GPIO built into the surface.

Additional expansion I/O slots allow for further I/O integration, and fitting an available Hydra2 module makes it possible to connect to and share audio over Calrec's Hydra2 network.

RP1 Remote Production Unit Calrec's RP1 remote production unit is a unique live-broadcast product that directly addresses an increasingly more prevalent requirement for high-quality content from remote locations. Remote production offers the ability to capture a broader range of live events, such as sports, news, or regional music festivals.


Broadcasters cannot always justify the time or expense of sending a dedicated outside broadcast truck and a team of skilled on-site operators for these niche events, but they

must always ensure that the same high broadcast standards are met. Calrec's new RP1 remote production engine is a 2U core that contains integrated, FPGA-

E-Dante64 Card

based DSP, which enables a console surface at another facility to control all mixing functionality. The RP1 core manages all of the processing for IFB routing and remote monitor mixes, and it does so locally with no latency. This level of integration and remote control makes it simple for any remote mix engineer to set up IFB mixes and eradicates any delay for remote listeners or presenters. The RP1 core quickly embeds audio into existing video-transport mechanisms, while its modular I/O backbone accepts any of Calrec's I/O cards. This versatility means the RP1 can connect via analogue, AES, MADI, SDI, and the latest AoIP solutions from AES67, Ravenna, Dante, and SMPTE 2022.

CLEAR-COM Stand Q16 UK DEBUT OF EDANTE INTERCOM CARD Clear-Com® will present the new Dante™ interface card for its Eclipse-HX matrices (E-Dante64-HX) at BVE 2017, marking its UK debut. The card, which is compatible with Eclipse HXOmega, Median, and Delta matrix systems, supports Dante™ and AES67 compatibility, allowing users to transport up to 64 TMBi - 55


channels of high-quality audio to multiple AoIP devices using standard Ethernet network infrastructure. Each E-Dante64-HX card provides Eclipse-HX with 64 channels of low latency, highquality AoIP interconnect. The card supports all standard sample frequencies for professional use, including a 96kHz/32-channel option. Other features include: • Dante and AES67 compatibility • Primary and Secondary network connections (RJ-45 or fiber) • Dynamic update of intercom panel labels from network devices • Up to 64 channels per card with a maximum of 7 cards per matrix frame • Indicators showing channel quantity, health and sample rate The E-Dante64-HX card delivers high audio quality interfacing for Eclipse-HX, routing audio to and from multiple sources over standard network infrastructure. It is typically employed to route IFB feeds to/from a mixing console to provide instruction to on-air talent. When needed, the card can be readily used in the broadcast chain offering a high quality and low latency transport. The E-Dante64-HX cards high channel capacity TMBi - 56

enables a range of workflows in Production environments. For example, a technician on a Clear-Com FreeSpeak II wireless intercom beltpack can simply scroll through the systems IFB’s, monitoring each one in turn. This ability is unique to the Clear-Com Eclipse-HX due to the EDante64-HX cards access any network audio and the FreeSpeak II scroll assignment feature which gives operators the ability to select the channels they need at their fingertips. “As IP protocols and workflows continue to gain momentum, interoperability is key to ensuring all elements can talk to each other,” said Stephen Sandford, Product Manager, Clear-Com. “The Eclipse-HX Dante card is a significant development that enables dependable connection and high audio quality for any broadcast environment or production event.”

Egripment Stand P14 (Camera Corps) Egripment Support Systems is presenting its New Carbon Fiber Telescoping Xtreme T10 Crane. “Egripment has long been known for its outstanding line of remote camera cranes and has built a reputation as a

world-leader in the manufacturing of professional camera support equipment,” says Richard Villhaber, Sales Director for Egripment. “Like all Egripment products, the Xtreme T10 Telescoping Crane is the result of a perfect combination of top quality design and advanced engineering technology. Following our ground breaking Telescoping Xtreme T12 Carbon Fiber Crane first produced in 2010, Egripment has now created a further extension of this line of


cranes with more innovation and creative engineering.

Ready for Virtual or Augmented operation. The Xtreme T10 is not just a scaled down version of the Xtreme T12. Instead, we utilized our Carbon Fiber technology and engineering experience with both conventional and telescoping cranes over the last 35+ years, to produce a new Ground Up engineering model, designed around the

need for precise and smooth operation for Augmented and Virtual Reality.

Telescoping Crane Rather than first building a crane, then deciding how to make it work for this fast growing segment of the Broadcast and Film Industry, we engineered the Xtreme T10 directly toward AR / VR utilization. However, because of the ease of use designed into every Egripment product, the Xtreme T10 is also completely suitable for conventional Telescoping Crane use in the industry.

Carbon Fiber Our use of laid up Carbon Fiber technology, along with Cold-drawn, Rolled Carbon Bearing steel, enabled Egripment to create a Lightweight, fast action, and incredibly smooth crane operation.

New Dolly In addition to the Xtreme T10 Telescoping Crane, we also created an entirely new Dolly and Telescoping column to augment the operation of this crane arm.

Encoded Axis

Elements Cube

All axis of the Crane Arm, Dolly and Telescoping column may be fully encoded to become an integral part of any AR / VR system.

Economical Costs Whether an operator’s needs include the best and latest technology for Augmented and Virtual Reality, or you just need a 100% reliable, smooth and easy to set up and use telescoping crane, the Egripment Xtreme T10 will suit your needs at a very economical cost.

Specifications Very easy to switch from Underslung to Overslung, Max height and length of the arm is 7,50 mtr/24,6 ft to min length of 2,10 mtr/6,2 ft Telescopic range 5,40 mtr/17,7 ft Maximum telescoping arm speed is 2,1 mtr/7 ft per second, The weight of the arm is only 275 kg/605 Lbs.

Elements Stand F.14 ELEMENTS Showcases awardwinning ELEMENTS CUBE at BVE Despite its small dimensions, even allowing it as carry-on luggage on commercial flights, ELEMENTS CUBE is loaded with the same package of field proven software tools found across their entire range of innovative media TMBi - 57



storage solutions. The one-ofa-kind combination of features and tools presents the media & entertainment industry, including the postproduction community, video integrators, and solution providers, with the ability to connect workstations, including Avid MediaComposer, while providing native Avid Project Sharing and Avid Bin-locking support. This breakthrough development enables operators to transfer entire project assets seamlessly from one application to virtually any other VFX and non-linear editing application, including Adobe Premiere, Final Cut Pro and others.

EVS DYVI IT Switcher

“ELEMENTS appliances, including our awarded all-inone solution ELEMENTS ONE and ELEMENTS GATEWAY, go far beyond standard media servers and storage solutions and are unsurpassed in terms of simplicity for unrestricted collaboration in shared media workflows,” says André Kamps, CEO of ELEMENTS. “We are excited to show our new features in our fully intuitive workflow enhancement tool set at BVE together with QsmartStorage.”

intelligent file manager and a task manager for customized workflow automation, all of which are managed through a fully intuitive graphical user interface for exceptional ease-of-operation. ELEMENTS’ sophisticated Media Library, a web-based media asset management and editing tool, caters to every important step of a digital post-production workflow and offers unique features that significantly simplify and streamline everyday tasks and approval processes.

Standard features embedded in all ELEMENTS appliances embrace virtually all tools required on a daily basis, such as a comprehensive user and rights management, an

ELEMENTS CUBE with ELEMENTS’ comprehensive set of workflow enhancement features, including the Media Library will be presented and demonstrated at the stand of Qsmartstorage (stand# F.14).

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EVS Stand E18 The XT4K will be showcased at BVE 2017. The server supports four channels of uncompressed UHD-4K on a single 12G-SDI cable with XAVC-4K recording and 10 bit HDR support. The server also has the ability to support 12 or more HD and Full-HD 1080p channels with the ChannelMAX configuration and features integrated onboard IP technology for I/O. When integrated with existing EVS servers XT4K users can leverage existing infrastructures and benefit from an extended EVS XNet


efficient production and more creative storytelling.

Enhanced live production switching Most recently installed at Parc OL for the game day production of content for French football club Olympique Lyonnais and used by Francis Ford Coppola for the live switching of his Distant Vision project, EVS will also have its DYVI switcher on display at BVE.

network. Built with its signature loop recording, the XT4K lets users react with the speed of EVS technology, making the server the best way to produce 4K resolution instant replays.

More creative content production A number of applications from EVS’ suite of live tools will also be on display at the show, including the operator’s interface LSM Connect, the live replay enhancement suite of Epsio tools and IPWeb, the remote browsing application. In the live environment EVS operators can use LSM Connect to have instant access to and control of all clips, playlists and metadata created with the LSM

Controller and stored on EVS servers. The Epsio range of products can then be used to enhance replays and highlights with graphics overlays (Epsio Live), telestration effects (Epsio Paint) and data graphics (Epsio FX). The EMMY award-winning Epsio zoom allows operators to zoom into 4K camera feeds to deliver HD replays from an additional angle. In a demonstration of its Connected Live environment visitors to the EVS stand will be able to use IPWeb to access, browse, select and clip content stored on servers at the company’s headquarters in Liège, Belgium. This kind of connectivity enables easier access to content for more

Ideal for broadcast studios and stadiums that have multiple productions and broadcast outputs, DYVI’s ITbased architecture enables both creativity and production efficiencies, letting operators go beyond the traditional limits of the classic switcher design.

Faster analysis and better decision making With the ability to play, pause, rewind and even zoom into 16 HD camera feeds at once, Xeebra opens up opportunities for multiple stakeholders. From sports analysts and referees to medical and coaching staff, the system lets operators utilise an intuitive touchscreen or dedicated controller to analyse the camera feeds that remain entirely in-sync no matter how they’re reviewed. TMBi - 59


IMAGEN Stand: G18 IMAGEN 5 to be launched at BVE Imagen 5 has been built with both content owners and their customers in mind, providing the most efficient platform for managing and monetizing video content. With the focus on improved speeds and creating a more agile platform for media managers, Imagen version 5 enables content owners to adapt to the marketplace quicker. New features include optimised ingest tools for rapid content on boarding, new payment models which allow customers to license clips using micro credit payments and high speed fulfilment of high resolution content. New language localisation features also enable content to be licensed by a worldwide customer base or streamed to paying audiences across the globe. Used by a number of key customers such as Premier League, Channel 4, Endemol and IMG to manage, distribute and commercialise legacy and near live content, Imagen’s latest version of its Enterprise Video Platform creates even more opportunities to generate revenue for content owners as well as preserving large libraries of media with best in class workflow and archiving tools. TMBi - 60

Tom Blake, CEO, Imagen, said, “It has always been our mission at Imagen to help content owners efficiently manage the vast amount of media they need to handle on a daily basis – and extract the maximum value from that content. Content libraries are growing exponentially, and storing, cataloguing and distributing video is a constant challenge for media managers. By assisting content owners to keep on top of content they already own, and have incoming, on a daily basis, Imagen 5 implements a unique set of processes and technical expertise to ensure that video is managed in the most efficient and cost effective way possible. As the sheer amount of video data grows throughout the world, Imagen will continually strive to create a platform that can create revenue from legacy and near live video – as well as helping to make the management of any size video library as simple as possible.”

Lawo Stand C30 On show will be Lawo’s mc²36, the all-in-one live

mixing desk. It 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, 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 hybrid audio router and mc² Compact I/O stageboxes, multiple mc²36 can be easily combined to a very smart package for networked applications. Visitors are invited to check out the Lawo’s V__matrix software-defined IP core for broadcast. This softwaredefined IP core routing and processing platform based on established data center principles – flexibility, fabric computing and COTS economics – is leveraged to provide a completely


virtualized real-time broadcast production infrastructure. V__matrix uses multiple cores connected to a high-capacity COTS switch with redundant 10GE and 40GE connections to form a distributed IP routing and processing matrix with frameaccurate, clean switching – just like a legacy baseband matrix. Employing generic highcapacity core processing blades, software-defined Virtual Modules can be loaded to create any required functionality, enabling entire workflows to be remapped in minutes as requirements

change from production to production. Core processing blades are housed in 1, 2 or 3 RU frames, with physical connectivity to legacy SDI equipment provided through optional V__matrix I/O cards using Lawo’s VSM Broadcast Control and Monitoring system as the control layer. Lawo is also presenting the Virtual Studio Manager (VSM) and the WALL. VSM, the worldwide leading broadcast control and monitoring solution, which brings together all the requirements for a safe and flexible broadcast operation. The “everything under one roof”

philosophy unites technical devices and operators in a most adaptable way with user panels and software interfaces that can be configured to meet the requirements of different workflows and applications. theWALL is the ideal solution for operators and EIC to flexibly configure monitor walls in OBs or studios. In the frantic live production environment with its demands for fast changing production and workflow setups, theWALL enables every member in the production team to change their monitor wall layouts in no time and on-the-fly.

Lawo mc236

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LEMO Stand Q34 LEMO launches at BVE a new elbow plug connector called Anglissimo. This patent pending connector offers the system integrator and manufacturer the possibility to orientate the connector in one of the eight possible positions during its assembly. The solution is ideal in designs where many cables need to be positioned in a precise way to prevent cable clutter or a jungle of cables. This new connector model is called Anglissimo from the Italian “issimo” superlative such as “belissimo”. The TMBi - 62

product is available in 3 sizes 0B, 1B and 2B series . It 2 to 32 electrical contacts. LEMO's high quality PushPull connectors are found in a variety of challenging application environments including medical, industrial control, test and measurement, audio-video and telecommunications. LEMO has been designing precision connectors for seven decades. Offering more than 75,000 combinations of product that continue to grow through custom specific designs, LEMO and its affiliated sister companies REDEL, NORTHWIRE and COELVER

currently serve more than 100,000 customers in over 80 countries around the world.

LYNX Technik AG Stand Q01 New Green Game Changer greenMachine is a completely new concept adopting a three prong approach to product definition and function. Rather than being a fixed application specific box, greenMachine is a combination of general purpose hardware, downloadable APPs for customizable functionality


and powerful control software. With greenMachine, the industry has a way to reimagine their approach to purchasing, upgrading and building a foundation of signal processing solutions for any broadcast or professional video application. greenMachine explores the innovation surrounding infrastructure efficiency, as well as truly future-proofing a technology investment. First, a user selects a hardware processing platform (or platforms), which are essentially inactive signal processing appliances with a variety of I/O connections and internal processing channels. Functionality is then added by purchasing and downloading APPs from the LYNX online greenStore™. APPs can be mixed, matched and combined to customize and reconfigure

greenMachine to suit virtually any application. New APPs will be constantly added to the greenStore, which enables the hardware to be easily reconfigured, adapted and upgraded into new applications as required. The final component is greenGUI, a powerful control software application providing intuitive graphic editing and visualization tools to facilitate the navigation, configuration and control off all the connected greenMachines in a system. greenGUI is complimentary to all greenMachine users. An entire system(s) can be visualized in a “greenUniverse,” which shows all greenMachine hardware and installed APPs. It provides a complete system view, from a global perspective all the way down to intricate signal connection details with just a click and spin of a mouse.

LYNX Technik is offering three greenMachine packages in popular configurations. These provide turnkey solutions at very costeffective introductory prices that include hardware and a suite of APPs. Packages include the following functionality: • 3G/HD/SD Dual Channel SDI Frame Synchronizer • 3G/HD/SD Dual Channel SDI Frame Synchronizer + Up/Down/Cross Conversion • HD (1.5Gbit/s) SDI Dual Bidirectional Transport

MILLER FLUID HEADS (EUROPE) LTD Stand J25 The arrowX Series, including the arrowX 3, arrowX 5 and arrowX 7, is Miller’s most recent line of fluid heads and a

Lynx greenMachine

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continuation of its extremely popular Arrow Series. CB PLUS is built into each one, allowing users to experience this new and unique sequential counterbalance design, which takes traditional counterbalancing a step forward, resulting in repeatable, accurate and rapid setup. CB PLUS features eight large counterbalance steps, enabling the user to get to their needed position quickly and efficiently. The CB PLUS switch adds a half step for counterbalance refinement for quick adjustments on the fly. In addition to CB PLUS, the arrowX Series delivers several additional features, such as the ability to remove the clamp stud to easily mount the head on flat base surfaces such as sliders. Where extra rigidity is required, a Mitchel Base adaptor can be fitted. All arrowX models come with 120mm sliding plate travel to help quickly re-balance changing camera payloads. Precision ball bearing supported pan-tilt movements help deliver silky smooth starts and soft stop fluid actions. Precise floating pan-tilt calliper locks ensure bounce free on-off locking. The arrowX 3 is designed for lighter cameras used in ENG, documentaries and EFP applications, and boasts a payload range of 1 - 19kg (2.2 41.8lbs), 16 positions of counterbalance and 5+0 pan-andtilt drag positions. The arrowX 5 is ideal for larger ENG and EFP applications, including documentaries, drama and television commercials, and has a TMBi - 64

NUGEN ScreenShot Halo Upmix


wide payload range from 2 - 21kg (4.4 - 46.2lbs), 16 positions of counterbalance and 7+0 pan-and-tilt drag positions. The arrowX 7 is best suited for heavier rigs, including in-studio and OB applications, and has a payload range from 6 25kg (13.2 - 55.1lbs), 16 positions of counterbalance and 7+0 pan-and-tilt drag positions. The new Combo Live Pedestal Series was built for live studio applications and offers users a sturdy design for maximum stability. With a carry handle for the column and dolly, this compact and portable pedestal range offers an easy setup with column tension control and a safety lock. An air adjustable column system allows for quick payload balancing. The Combo Live Pedestal series features precise-smooth low noise in the shot column with a 450mm (17.7in) stroke, an independent dolly wheel axle brake system, multiple wheel positions for linear or radius dolly tracking, 125mm dual ball bearing wheels for quick swivel-turn action and a central hub locking column with adjustable spider arm supports. The series was built with a steering wheel diameter of 294mm (11.6in) and 400mm (15.7in), a dolly tracking width of 964mm (38in), sturdy

adjustable cable guards and a portable hand pump with pressure gauge. The pedestals are available as a system as it can be paired with several of Miller’s popular fluid heads. The Cineline 2090 System is a complete tripod system that includes a new HD Mitchell Base 1Stage Allow Tripod and HD Allow Ground Spreader to compliment the robust Cineline 70 fluid head. The Cineline 70 fluid head features drag control with ultra-soft starts and smooth stops, 7+0 selectable fluid pan-tilt drag positions and eight selectable counterbalance positions that can handle payloads of 4.5-3.7kg (9.9-82.5lbs) plus 150mm sliding camera plate.

NUGEN Audio Stand K45 NUGEN Audio will demonstrate the latest innovations in its industryleading family of postproduction and broadcast audio tools. On display will be an update of Halo Upmix, NUGEN Audio's award-winning 5.1, 7.1, and 9.1 upmixer. Also, for the first time at BVE, NUGEN Audio will showcase its AMB modular batch processor, a scalable loudness analysis, correction, and upmix solution. TMBi - 65




Halo Upmix Update — Stereo-to-5.1/7.1/9.1 Upmixer NUGEN Audio will demonstrate the latest update to Halo Upmix, the company's solution for upmixing stereo audio to 5.1/7.1/9.1 surround. The first product based on NUGEN Audio's proprietary new upmixing processes, Halo Upmix has received much critical acclaim since its launch. This update includes algorithmic improvements designed to enhance multichannel-to-multichannel mix and upmix adjustments using the Halo Upmix technologies to further enhance existing surround recordings.

AMB Processor AMB is a powerful new solution which radically expands on the concept of NUGEN Audio's industryleading loudness management batch processing technology for high-speed audio loudness measurement and correction. AMB enables post-production facilities to speed workflows significantly and reduce delivery times for a range of different tasks, with separate modules available for upmixing and loudness management. AMB also offers new features including threaded algorithm processing and multiple processing threads that are TMBi - 66

Quantum Xcellis

addressable for simultaneous parallel handling of files and queues. "Our loudness processing is the fastest in its class, offering a highly efficient and cost-effective batch-file solution that meets audio professionals' most demanding requirements," said Jon Schorah, founder and creative director, NUGEN Audio. "AMB significantly increases these capabilities to give customers batch processing options for more of our award-winning, workflow-enhancing technologies."

AMB offers unprecedented scalability, allowing postproduction facilities of all sizes to add the precise processing modules they need and tailor the system to their exact requirements. Examples include extensions to repurpose content for LRA or to process audio within MXF or .mov files. AMB comes standard with two watch folders/processing queues. If users need extra power and speed, the AMB Queue Expansion provides additional watch folders/processing queues. A total of up to 16 AMB Queue Expansions can be added.


integrate existing public cloud storage accounts and thirdparty object storage (private cloud) — starting with Amazon Web Services, Microsoft Azure, Google Cloud, NetApp StorageGRID, IBM Cleversafe and Scality RING.

Quantum Stand G15 The company will highlight StorNext 5.4, released in December 2016, and how it brings greater efficiency and flexibility to media content management. Quantum also will feature Xcellis workflow storage system.

StorNext 5.4: New Release of Quantum's Acclaimed Workflow Storage Platform StorNext 5.4 features an array of enhancements. A new feature in StorNext FlexTier makes it easy to

The platform's new Dynamic Application Environment (DAE) supports embedded applications in self-contained virtual machines, with a hypervisor dynamically allocating resources as needed to guarantee both storage and application performance. As a result, StorNext 5.4 users can leverage the converged storage architecture of Xcellis shared storage to reduce the time, cost and complexity of deploying and maintaining applications. StorNext 5.4 also provides users with new connectivity options for Xcellis workflow storage — quad 16Gb Fibre Channel and dual 40Gb Ethernet— as well as new NAS capabilities such as NFS 4.0.

End-to-End Workflow Support: Xcellis™ Shared Storage Powered by StorNext® Quantum will showcase its award-winning Xcellis workflow storage system and demonstrate how the unique converged capabilities of this solution empower users to boost their efficiency,

productivity and creativity in delivering the products and services that drive their businesses. Xcellis consolidates media management, extends connectivity options for both Fibre Channel and Ethernet clients, and supports hosted applications in a single hardware solution that greatly enhances productivity in collaborative media environments. Working with a growing array of technology partners and application providers, Quantum is continually extending the ways in which Xcellis can optimize end-to-end workflows. Xcellis has the unique ability to support embedded applications, which run on the system to deliver valuable functionality while streamlining operations. Quantum will demonstrate this capability, the execution of applications via virtual machines within the storage system, and how this approach both reduces the need for dedicated application servers and provides a flexible foundation for future technologies and workflows. Quantum and a growing number of partners have introduced embedded applications for Xcellis that address tasks such as media asset management, transcoding and QC, provisioning resources in an exceptionally efficient ondemand model. TMBi - 67



Ross Video Stand M14 Ross Video Highlights Live News Workflow at BVE 2017

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Ross Video (EMEA) is very pleased to announce that the company will be showcasing a live news production workflow at the forthcoming BVE Expo in London. Commenting on the show, EMEA Director of Sales Oscar Juste highlights an

obvious irony in the way broadcast manufacturers demonstrate their products at tradeshows and exhibitions: “Manufacturers in this industry claim their mission is to help customers produce more creative and compelling content, more efficiently and


more cost effectively. The irony is that when customers walk around the various tradeshow booths, nobody is actually making television content and hence offering up practical examples of how this can be done. We think this is a notable oversight and so we are going to use BVE 2017 to demonstrate how the various different elements of the Ross product range can be combined to create a simple and powerful workflow. We’re choosing to demonstrate a news workflow but the principles are the same for any live production scenario”. Given this focus on live workflows, the Ross Video stand at BVE will contain the key products required to run a live production: Ross ACID cameras and robotics along

with the XPression graphics platform, Carbonite Black video switcher, OverDrive Automated Production Control system and Inception social media management software. A journalist on the Ross Video stand will be creating news content throughout BVE which will be broadcast live from a small physical set, on the other side of the stand. “It’s important for customers to see how quickly and easily great content can be created and taken to air”, comments Stuart Russell, Ross Video’s EMEA Marketing Manager. “We talk all the time about the power and scalability of the Ross Video ecosystem, and BVE 17 will give customers a chance to see this in action, live”.

Xpression Prime

RTW Stand K45 RTW will be featuring its latest product updates as part of the HHB booth at BVE 2017. Among the devices on display will be RTW’s TouchMonitor TM7 and TM9 series with new firmware version 6.0 as well as the latest update to its CLC software, version 2.0. “RTW is excited to showcase its brand new firmware version 6.0 for its TouchMonitor TM7/TM9 series at this year’s show,” says Andreas Tweitmann, CEO, RTW. “Our main goal is to consistently update our devices to continually provide our customers with innovative products that help to enhance their projects and workflow. We are thrilled to once again be a part of HHB’s booth and to share the space with industry leaders.” With firmware version 6.0, RTW’s TM7/TM9 TouchMonitors now offer up to four parallel instances of its stereo vectorscope, allowing simultaneous monitoring of transmission streams. A 12th octave filter bank has been added to the RTA (Real Time Analyzer) feature set for an even more refined graduated frequency distribution analysis. A custom selected password feature has also been implemented to meet the demands of users who desire TMBi - 69


increased security against unauthorized adjustment changes. In addition, firmware version 6.0 now supports fourchannel 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. Also on display at BVE will be RTW’s CLC version 2.0, which further improves the

RTW CLC Standalone

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quality of loudness processing with various enhancements of its superior processing algorithm. The feature set of the software is also strengthened with a number of new options, including batch processing of audio files, extended audio format, a new expert mode, Mmax and Smax limiting, report functions, and optimized presets for streaming audio and support for the latest updates of loudness standards.


Next generation MV-8 series of Multiviewers Announced at IBC 2016, and on show at BVE, is SAM’s new line up of next generation Multiviewers, including the MV-805, a fully featured software Multiviewer for IP in and IP out applications. Available in sizes from quad splits to enterprise monitoring solutions and featuring highquality image monitoring with IP and 4K UHD options, the broadest range in the industry includes features that support a full range of industry applications including playout, signal monitoring, live production and OB/mobile environments.

Livetouch 4k

Snell Advanced Media (SAM) Stand L16 At BVE 2017, SAM will demonstrate its latest capabilities in 4K and IP production workflows. On show will be its gamechanging LiveTouch highlights and replay system, next generation HD, 4K and IP Multiviewers and Kula 2/ME production switcher.

LiveTouch – Replay & Highlights With seamless 4K handling, SAM’s LiveTouch sports highlights system offers the more efficient sports

highlights and replay workflow on the market today. Built on the latest SAM server technology, LiveTouch uses SAM’s unique FrameMagic technology to enable powerful workflows in standalone systems or integrated into a wider production environment. LiveTouch is also tightly integrated with SAM editors, enabling instant collaboration between replay and production. Integrated with SAM’s Momentum workflow technology, LiveTouch users can publish highlights and replays straight to social media at the touch of a button delivering the fastest social media publishing in the market.

SAM’s IP Edge Routing System SAM will be demonstrating the IP Edge Routing System at BVE 2017. The system is the first in the industry to support multiple signal types including SMTE 2022-6 and SMTE 2022-7; VSF TR-03 and 04. Other key features include: ● Unique switching capabilities ● Integrated IP & SDI control ● Audio breakaway ● UHD over IP capabilities ● SMPTE 2022-7 signal flow redundancy ● SMPTE 2059 signal timing for broadcasters over IP and seamless integration TMBi - 71


between SDI and IP production systems.

Kula Production Switcher SAM will be showing its Kula 2M/E production switcher at BVE. Kula breaks new ground with its price point and performance combination. It represents a core piece of SAM’s business-transforming solutions across live playout and production, which are empowering the move to 4K for broadcasters and media organizations of all sizes. Capable of handling 4K/1080p/HD and SD in 1M/E and 2M/E versions, Kula can manage multiple formats making it both futureproof and adaptable for today’s production environment. The 2M/E HD/SD version can be switched to 1M/E 4K mode, allowing users to benefit from higher production values. Mark Gardner, Northern Europe Sales Head of Sales at SAM said, “We’re very excited to demonstrate our LiveTouch replay and highlights system at BVE following its hugely successful launch in 4K at IBC in September 2016. BVE provides us with a great opportunity to bring our industry-leading IP and 4K enabled technologies to the widest possible audience in the region.” TMBi - 72

Screen Subtitling Systems Stand N25 The wait is over… Advanced Online Subtitle Creation Tool launches at BVE The online subtitling tool resulting from the triparty partnership revealed at NAB 2016 between OOONA, Screen and Cavena will be formally launched at BVE it has been announced. The collaboration of subtitle technologists who have already contributed to the broader OOONA online toolkit agreed to pool resources back in April last year to develop a browser based, advanced subtitle creation and preparation tool. Online Toolkit’s concept was the brainchild of Wayne Garb, Managing Director of OOONA whose vision was to create an online portal where subtitlers and translators have easy access to a suite of tools with a suitably high level of functionality. The core objective was to create a toolkit to enable professionals to quickly create and prepare subtitle files via internet access and without the need to download software. To ensure an appealing balance of effective tools and consequently avoid weighing down the application with surplus functionality the

project team consulted professional subtitlers and translators at every stage of the development. The result is a system which is simple to learn how to use with no set up time and offers features that users really require. The new create tool, as with the entire toolkit, will be an evolving application but some suggested features have been highlighted. Most notable is the flexibility of the user interface. Most subtitlers and translators have a preferred way of working regarding where the onscreen elements of their subtitle creation software GUI is concerned. This also often changes depending on the task they’re performing. Drag-and-drop is at the heart of the GUI enabling the user to place any element of the working screen where they want.


They can subsequently save the self-defined work screens as defaults for rapid access. Multi-skilled professionals are able to save user interfaces according to the task in hand so for instance a profile for carrying out QA functions and another for timing or translation. Another preference led feature is that of hotkeys. Again, with subtitling software it is a crucial component to speeding up the overall process and making a time crucial job much more efficient.

Telestream Stand N22 Telestream® will use BVE 2017 to provide UK debuts for significant new developments in both hardware and software products for streaming and

workflow automation. Furthermore, it will be the first UK trade show since Telestream acquired filebased quality control specialist, Vidcheck. The company will showcase the integration between Vidchecker and Vantage, highlighting latest updates in Vidchecker, and the operational efficiencies these two platforms bring to their users. Forming the centerpiece of its technology showcase, Telestream’s Vantage® Media Processing Platform is the foundation for a broad range of enterprise-class transcoding and workflow automation software products that allow content owners, producers, and distributors to realize significant savings and efficiencies, elegantly streamlining discrete media processing tasks. At BVE, Telestream will spotlight new ways in which Vantage supports a diversity of trending technologies and standards. New at the show is a no-charge update to Vantage Timed Text Flip, which adds support for DVB subtitle conversion and insertion. In addition, Telestream will demonstrate how Vantage 16 bit video processing pipeline supports the emerging HDR (High Dynamic Range) formats. Telestream has long been a supporter of the Digital Production Partnership (DPP) and at BVE will be

demonstrating continued Vantage support for the new DPP delivery specifications, along with support for the emergent IMF standards at both the simple and complex levels. A particular focus for Telestream at BVE will be live video streaming. Telestream has been developing streaming solutions since 2009 and has over 50,000 active licence holders of its Wirecast live streaming production platform, which last year became one of the first streaming platforms to support Facebook Live. Response to this feature has been significant as Wirecast is allowing users to build bigger audiences with Facebook Live broadcasts that are richer in both style and content. Also at BVE, Telestream will provide a UK debut for its Lightspeed Live Stream enterprise-class live multiscreen encoding, packaging and distribution system. It can be deployed as a standalone solution for live multiscreen streaming services or combined with the Vantage Media Processing Platform via the optional Lightspeed Live Capture product. TMBi - 73



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ISE 2017. Bigger? Biggest! ISE 2017 saw 1,192 of the world’s leading AV equipment vendors and service suppliers showcase the latest technology for the digital signage, unified communications, audio, smart building, residential and education sectors. On the show floor the atmosphere was decidedly upbeat. Exhibitors, including 202 making their ISE debuts, were seen increasingly to present their products and solutions in ‘real world’ scenarios, designed to meet the needs of the increasing numbers of end users visiting the show. Registered visitor attendees to ISE 2017 were at an alltime high at 73,413. This represents an 11.7% increase over the 2016 edition. Attendees came from 150

different countries, reflecting the show’s global reach and influence, while almost 600 registered attendees were from the press and media. Integrated Systems Events Managing Director Mike Blackman commented on the event’s continued success: “We listen to the industry and we listen to our exhibitors. We invest in the show and, importantly, we have the people in place to produce the type of exhibition that they tell us they need. It’s a real collaborative effort and I’d like to thank everyone that’s been involved.” The exhibition began and ended with two inspirational keynote addresses. These came from award winning architect Ole Scheeren and Cirque du Soleil President and CEO Daniel Lamarre. Both

speakers respectively explored how creative thinking and innovative technological development is needed to drive forward architectural design and live event production. Across 14 halls in the RAI Amsterdam, ISE 2017 delivered four recordbreaking days of product launches, press briefings, awards, conferences, seminars and networking opportunities. ISE co-owners CEDIA and InfoComm International produced two packed education programmes for the residential and commercial installation market sectors. These proved to be both their most comprehensive and successful European professional development programmes to date. TMBi - 75


“ISE2017 has been the biggest and best year yet for CEDIA. We expanded our education offering and doubled bookings to more than 800,” said Vin Bruno, CEDIA CEO. “ISE 2017 also gave us a great opportunity to connect with so many of our members from around the globe. Our booth was continuously busy especially during the CEDIA Talks. The show was a huge success and we can’t wait for next year.” Numerous exhibitors used the show to launch hundreds of new products and services and many also took the

ISE 2017

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opportunity to present their exhibition stands in the most innovative and dramatic manner possible. The results were both eye-catching and inspirational.

catalyst for market growth, and this week has shown we’re on the right track.”

“It was a fantastic ISE 2017 for InfoComm, but more importantly, it was an industry-affirming show for the AV industry as a whole,” said David Labuskes, CTS, CAE, RCDD, Executive Director and CEO of InfoComm International. “As ISE and all our InfoComm shows worldwide demonstrate, this is a vibrant, growing, global community. We’re committed to being a


Main announcements for television industry:

ROI-SDI Scan Converter Wrapping intuitive Regionof-Interest (ROI) controls for professional SDI sources into a portable Mini-Converter form factor, it boasts a 3GSDI input and simultaneous 3G-SDI and HDMI outputs, and facilitates incredible quality image scaling, in


addition to region-of-interest and image rotation at a range of resolutions and frame rates. ROI-SDI addresses a growing demand for customizable video signals to meet an array of display and workflow needs. It features 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. ROI-SDI feature highlights include: • 1x 3G-SDI BNC Input • 2x mirrored processed outputs (1x 3G-SDI BNC and 1x HDMI) • 1x clean 3G-SDI BNC loop out • 1x USB port for device configuration via free AJA Mini-Config software running on Mac or Windows • Support for a range of video formats including 1080p, 1080i, 720p, 625i and 525i • 2-channel analog RCA audio outputs; embedded 8channel SDI audio; and 2channel or 8-channel embedded HDMI audio

AJA RovoControl 2.0

RovoControl v2.0 Software RovoControl v2.0 adds multicam setup and control and several workflow enhancements to the RovoCam HDBaseT compact block camera ecosystem. RovoRx-SDI is a companion receiver for RovoCam with four integrated 6G/3G-SDI outputs plus an UltraHDcapable HDMI output. The RovoCam camera offers an HDBaseT interface, offering the most efficient and affordable method of supporting UltraHD or HD uncompressed video, audio, control and power over a single CAT 5e/6 cable at lengths of up to 100 meters. RovoControl v2.0 software update offers upgraded multicamera control for RovoCam, and new presets

and features for more productivity in ProAV, industrial, corporate, security and traditional broadcast environments. RovoRx-SDI is a companion UltraHD/HD HDBaseT receiver for RovoCam extending workflow options for RovoCam customers.

RovoControl v2.0 Compatible with Mac and Windows, RovoControl v2.0 is powerful, free software that allows users to control RovoCam from companion AJA HDBaseT products in the RovoCam ecosystem, including RovoRx-SDI, RovoRx-HDMI and Corvid HB-R. Key features include: • Easier multicamera setup and control for up to eight RovoCams • Preset control for simple recall and the ability to TMBi - 77


share presets between RovoCams including ePTZ settings • Greater color and white balance control for users, improving the ability to match other cameras • Improved auto and manual spot focus options, offering better focus for off center subjects • New low-delay mode improves latency and removes image stabilization while in use • Gamma detail and visibility enhancer settings added to UI • Improved UART/RS-232 support on third-party RS232 adapters

RovoRx-SDI RovoRx-SDI is a companion UltraHD/HD HDBaseT receiver for RovoCam, offering integrated 4x 6G/3G-SDI outputs, HDMI video and audio outputs, and genlock and frame-sync capability. Key features include: • Four 6G/3G-SDI outputs supporting 6G/3G/1.5G with embedded audio • DA Mode for distributing multiple 6G/3G-SDI signals from an HDBaseT source • HDMI output supporting UltraHD and HD resolutions • REF in/out that can be genlocked with other broadcast gear TMBi - 78


• Integrated frame-sync ensuring stable video output • USB port for software configuration of settings • Power over HDBaseT (PoH), allowing RovoCam to be powered remotely from its physical location

ASL Intercom ASL Launches Enchorus, the Dante™-Based Audio Network With Integrated Mixing for Live Stage Deployments ASL Intercom, a Riedel Communications company,

announced the launch of Enchorus, the Dante™-based audio network for AV professionals. Enchorus offers a professional, flexible, and scalable Dante solution for live stage applications, production studios, and other pro-AV installations. With the addition of Enchorus, ASL now offers communications and audio distribution capabilities that will provide customers with “audio anywhere.” “Our all-new Enchorus line meets the highest performance and durability requirements for use in a broad range of live production environments,” said Wil Stam, Managing Director, ASL Intercom. “The network-


based Enchorus I/O modules can be conveniently located close to performers to provide the necessary inputs and outputs for any situation. And, since Dante uses conventional IP networks, configuration is quick and easy — lowering costs and facilitating efficient network design for professionals on tour.” Each of the four modules in the Enchorus series was designed specifically for the stage, delivering superior audio quality and guaranteed synchronization even across multiple switches. With various AES3 and analog audio inputs and outputs, the modules are ideal for feeding analog and digital power amplifiers, connecting effects devices in a side rack, monitoring, press feeds, and many other uses.

dynamic range, a built-in mixing engine, and an internal 4x splitter with individual level, phase, and filter settings. Configuring Enchorus modules is simple and intuitive via an integrated web interface. Units connected to the network can be named and configured easily, all the way down to filter settings, and device configurations can be stored, imported, and exported to reduce setup time for installations of any size.

Crestron DigitalMedia NVX Series DM NVX Series makes it possible to transmit stunning 4K60 4:4:4 HDR video over

standard 1 Gigabit Ethernet, with no latency – an industry first. DM NVX Series provides an infinitely scalable network AV solution, from a simple point-to-point setup, to thousands of endpoints, and requires only DM NVX Encoders/Decoders. Built-in intelligent software makes everything easy to configure, commission, and control from the web. “DM NVX Series takes network AV to the next level, on the platform industry pros know and trust,” said Steve Samson, Executive Director, Business Development at Crestron. “Unlike other network AV products, there’s no need for expensive custom 10 Gigabit infrastructure.”

Each Enchorus module is equipped with two Ethernet ports for building redundant network paths or for daisy chaining, an integrated 16x16 mixer, a four-band equalizer on each input and output, and redundant power. The modules also include rubber bumpers that allow them to be stacked on stage easily and safely or, as an option, multiple units can be conveniently rack mounted. The flagship Enchorus ENC 1201 provides eight highquality mic inputs with a maximum input level of +24 dBu, more than 152dB of

Crestron in ISE 2017

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Infinitely scalable DM NVX Series is an infinitely scalable highperformance software-defined matrix that provides the ability to share 4K60 4:4:4 HDR HDCP 2.2 compliant content anywhere over a dedicated 1Gb network with no latency. Additionally, it offers the flexibility to be combined with existing Crestron HDBaseT® connectivity and network AV products to deliver content to displays, laptops, tablets, and phones anywhere.

DM NVX devices DM NVX Series is comprised of DM NVX Encoder/Decoder Boxes (DM-NVX-350, DM-NVX351), DM NVX Encoder/Decoder Cards (DM-NVX-350C, DM-NVX351C), and the DM NVX Card Chassis (DM-CI8). DM NVX Encoders/Decoders provide auto-switching and support Ethernet natively, as well as fiber, with optional SPF modules.

Easy to configure, deploy, and manage Intelligent software residing in the DM NVX Series Encoder/Decoder boxes and cards makes it simple to configure, deploy, and manage entire systems from the web. Integrators simply choose sources and displays, and set bandwidth and latency to meet the needs of the application and infrastructure. TMBi - 80

“Only DM offers the ability to deliver ‘hybrid’ network AV solutions. Whatever your application and infrastructure needs – point-to-point via HDBaseT or fiber, streaming over an existing data network, or, now, a dedicated standard 1Gb network that delivers the highest image quality and unlimited scalability – DM brings it all together on a single easy-tomanage platform,” adds Samson.

All-in-One Meeting Room Solution Cobham, Surrey; February 7, 2017 – Crestron, the global leader in commercial AV technology, introduces the most complete, flexible, and powerful table-top meeting room system with Crestron Mercury. The sleek, all-in-one console is all you need to transform your meeting rooms into highly effective collaboration spaces. It combines all the must-have conferencing and collaboration features employees need, along with the fast, secure cloud deployment and management required by IT managers. Crestron is demonstrating how Mercury is easy to use, easy to deploy, and easy to manage. “As the leader in meeting room control and automation technology, only Crestron addresses all of the challenges that arise as unified communication and

collaboration moves from the desktop to the collaboration space,” said Ted Colton, VP of UC Strategy at Crestron. “Crestron Mercury provides all of the features collaboration spaces need in a single console, while making it easy, secure, and cost effective for businesses to deploy and manage units wherever needed. On top of that, the sound quality of Mercury is truly exceptional and it’s the easiest all-in-one system to use by far.”

Present Mercury enables users to instantly and securely present content wirelessly on the room display from a laptop, smartphone, or tablet using built-in Crestron AirMedia®.


Call With Mercury, it’s easy to make exceptional sounding phone calls from mobile devices or standard SIP phone systems using the built-in, precision-engineered speaker and microphones.

Collaborate Workers can easily collaborate with colleagues via Crestron Mercury from a laptop or dedicated in-room PC using any soft phone, web conferencing or UC application, such as Skype® for Business, Cisco WebEx®, GotoMeeting®, or Slack®.

Measure and Secure The built-in occupancy sensor on Crestron Mercury allows facility managers to collect usage data to drive

efficient room utilization. IT managers can rest easy knowing Crestron Mercury meets the latest enterprise security standards.

Workplace management Available Mercury collaboration spaces can be located quickly and easily thanks to the built-in PinPoint™ proximity beacon on each console. Seamless integration with Microsoft Exchange® allows users to reserve a room using Mercury’s onscreen calendar.

SONY The CLEDISTM ultimate big-screen display system were showed at ISE for the first time, delivering 8Kx2K visual experiences that SONY CLEDIS

combine a high-contrast image (more than 1,000,000:1) with an impressive 1000 nit brightness, due to uniform brightness intensity. Volkswagen Group will be joining Sony at ISE, presenting the XL1 concept car, to bring to life how CLEDISTM can support the virtual design process. Sony has adopted the softwaredefined video over Ethernet (SDVoE) platform for interoperable AV-over-IP applications, behind the CLEDISTM display. Sony can now construct power wall systems with more flexibility, beyond 4K, with free aspect and free layout contents on any size of display output. Also on the stand were showed BRAVIA Professional Displays, combining 4K and Full HD image quality with excellent reliability, low running costs and versatile professional features. Sony’s BRAVIA solutions offer even more capabilities, with a growing choice of complete solutions including: smart BRAVIA screencast meeting room solution for corporations or Digital Signage software, both of which make it quick and easy to create eyecatching multimedia experiences. TMBi - 81

SAM KULA Author: Ángel Escribano

Versatile, powerful and inexpensive We have had the opportunity to try the KULA system, courtesy of Snell Advanced Media (SAM). It is an all-new production switcher that receives the legacy of the successful KAHUNA range, yet priced on the lower side of the spectrum, offering high power within a really compact design equipment. Technicians responsible for studio and mobile switchers, as well as equipment operators and producers, have come together to participate in this test with the intention of obtaining a global vision of the equipment features. The KULA production switcher comes in four different versions: • 2 M/Es in HD/SD, which can be turned into a 1M/E in UHD • 1 M/E in HD/SD • 1 M/E in UHD • 3 M/E an option that has recently been incorporated into the KULA portfolio

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 TEST AREA This new production switcher comes across as a versatile piece of equipment, perfect for the 4K/UHD transition that content creators need to overcome, yet with the possibility of still being able to make the most of HD or SD equipment or contents. And all this comes at a reasonable price. The KULA system is focused on both studio and exterior productions, suitable for use in mobile units or as a portable system in its most compact panel version. The system, as far as the control panel is concerned, offers five possible settings between one and two M/Es of 16 or 24 crosspoint keys. One of these panels is a 19”, so we can integrate the entire system into a flight-case. Also, KULA is compatible with the KAHUNA MAVERIK range of modular panels, enabling us to configure all the necessary settings required for our production. The system is completed with a touchscreen, from where we can operate the entire system. If we use it to produce 4K/UHD content, then KULA will offer 6 keys, 10 inputs and 3 outputs, dedicating 4 BNC connectors for each 3Gpbs signal on quadlink that make up each 4K/UHD signal, enabling productions in this technology with an adjusted investment.

EQUIPMENT TEST In the test, we were able to work with the 2M/E version of the system comprised of: Main Frame, which is the main electronic unit, the 19” 1M/E TMBi - 84


This new production switcher comes across as a versatile piece of equipment, perfect for the 4K/UHD transition that content creators need to overcome, yet with the possibility of still being able to make the most of HD or SD equipment or contents panel and touchscreen, connected to the panel with HDMI and USB cables. The touchscreen sends out the information it receives. The assembly and engineering configuration in SD/HD were fast and truly intuitive. The Main Frame is connected directly to the control panel through an Ethernet network cable. The panel permits automated searches of the chassis -provided they have the same software version- because the panel searches for hardware devices connected physically to the same network, allowing their detection. Of course, we can always configure the IP addresses of the equipment manually if we want to. Once the communication between the control panel, touchscreen and Main Frame was configured, we turned TMBi - 85


 TEST AREA all the equipment off and restarted them to measure the system’s reboot time. The equipment took just 30 seconds to be fully operational again. The electronics are surprising despite their small size, occupying only 2 units of the 19” rack, with a depth of 604.8 mm and an approximate weight of 14 kg. In spite of the dimensions, it houses 36 BNC input

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connectors, 12 BNC output connectors, 6 BNC bidirectional connectors (configurable as outputs or inputs according to our needs) and 2 BNC connectors dedicated to the LOOP and THROUGH references. It also has three D-type connectors with 25 pins that permit up to 66 GPIO, 3 RJ-45 connectors for Ethernet connections, 2 RJ-45 connectors for RS-422

communication protocols, 2 USB ports, and finally, two IEC 320-C14 sockets for the two redundant sources 100250 VAC 50/60Hz that have no ON/OFF replaceable on demand. The switcher inputs may be configured to receive signals from different video standards. There is the possibility of getting the panel to let us know, once we have


assigned an input to a crosspoint button on the panel, if there is no signal in any of the inputs, as well as whether the standard detected is not correct. In the Main Frame, all the outputs are considered auxiliary outputs, as any of them may be configured according to the needs of our production. In this respect, the system is totally flexible. It lets you configure any output as a

programme or preview to our M/E and activate or deactivate key layers, to have clean feed outputs according to our needs or define the video standard for each output. The 2 M/Es of the KULA production switcher, with capacity for DVE 2D, are presented as powerful tools at the service of creativity by allowing up to four dual keys for each one. This means 8 key layers plus an animated

Once the communication between the control panel, touchscreen and Main Frame was configured, we turned all the equipment off and re-started them to measure the system’s reboot time. The equipment took just 30 seconds to be fully operational again

A/B transition, available on each M/E and MAV-Trans call. In total, the system can reach up to 32 key layers, which may be by luminance, linear or Chroma, all this fully integrated into the system. Additionally, this production switcher offers the Sub-M/E, an additional bus where we TMBi - 87


 TEST AREA can use 2 keys assignable to a DVE 2.5, which permits handling them in XYZ dimensions and giving them perspective, plus the possibility of switching between A/B signals on the composition background. This characteristic of the KULA increases, even more, its creativity capacity without consuming resources of the major M/Es, because the signal generated in the SubM/E may be taken to any M/E as another signal. The KULA system offers four floating DSKs assignable to any output. They work in dual-mode, which means 8 key layers, or be applied to any M/E. Another cool feature of the KULA system was the integrated multiviewer, which permits configuring any output as a HEAD and using up to eight outputs for this purpose. Thus, we have the chance of satisfying our monitoring needs with a total of 28 signals from the internal or external sources available on the switcher. Each output defined as a HEAD of the multiviewer generates a 1080p signal, composed of the selected sources, with different predefined or user edited and saved compositions. In the multiviewer, each source can be conveniently labelled with a red and green tally flag. The KULA system comes across powerful in its Clipstore. This offers content storage capacity for 16GB of TMBi - 88

HD video without compression, which means a total of 2 minutes of video, audio or key signals. This can be captured through any of the inputs and subsequently handled in the simple editor included in the switcher for this purpose. We can also store our own contents, either by transferring them via LAN/WAN cables, USB devices or K-watch software. These contents, after being

stored, will be available on any of the 10 Clipstore channels to be used whenever we wish. As far as operation is concerned, we found Clipstore to be simple and intuitive, which means that you won’t need to spend too much time in preparing the necessary content for a production, like graphics and bumpers, for instance, so is very agile in this respect.


The control panel is connected to the touchscreen, which permits the configuration and operation of all the parameters of the system. It has no physical button, so everything is done with the tactile controls. This leads to us missing some sort of rotating button when first working with Kula.

This means 8 key layers plus an animated A/B transition, available on each M/E and MAV-Trans call. In total, the system can reach up to 32 key layers, which may be by luminance, linear or Chroma, all this fully integrated into the system.

The design of the panel, with RGB buttons and OLED displays, makes it easy to organise the sources and personalise the buttons. The lever to apply transitions is robust. It has a LED bar that informs you of the progress of the transition and its direction. The ergonomics of the 19� panel that we have been able to try seems somewhat compromised for its compact size. But we could not really expect much more. It offers so much power in a compact control surface that is designed to be laid out in a 19". This obliges us to prepare our needs as far as the panel configuration is concerned beforehand, but it allows us to make the most of the power of the Main Frame with a small panel. This can often be useful for applications where a smallsized panel is a necessity, such as productions in mobile units or configurations of the system integrated into the flight-case. The software of the system we operate on the screen is simple and clear. It is lengthy TMBi - 89


 TEST AREA due to a large amount of options, but it was intuitive for navigation and easy to use. It follows the philosophy of the KAHUNA range. It also inherits the filing system, organised in projects that contain all the necessary information as regards general settings of a programme or production, for instance. Within each project, we can have several GMEMs, which are global memories where the complete configuration of the switcher is stored and DMEM, which are status memories of the M/Es. Also, snapshots are stored in each project, which is an immediate way of saving the status of an M/E, as well as the macros created beforehand to automate the actions of the KULA production switcher. Macros are created quickly, they can be edited afterwards, and it is very easy to assign them to any button of the panel, although the switcher has buttons with an OLED display sign for this purpose, being able to carry out the entire process in a matter of seconds. The panel has two external power sources and two USB connectors, one of which is used for the touchscreen, as we have already mentioned, and the other is used to connect a storage device from which we can transfer media. It also has a mini type-C HDMI port for the TMBi - 90

The software of the system we operate on the screen is simple and clear. It is lengthy due to a large amount of options, but it was intuitive for navigation and easy to use. It follows the philosophy of the KAHUNA range.


touchscreen, an RJ-45 Ethernet port to connect the Main Frame and two RJ-45 ports to connect the additional control modules. Another powerful feature of the chassis, despite its compact design, is the conversion between different video standards enabling you to work with SD, HD and UHD signals. The system can handle different video standards at the same time thanks to the FormatFusion3

technology by SAM. This saves having to resort to external converters in the event of making a production where you must work with different video formats because the conversion can be applied to inputs and outputs alike.



ACKNOWLEDGEMENTS In short, the equipment we have had the chance of trying

-from an engineering and operational perspective- has come across as a simple and very compact system, yet powerful, quick and versatile. As the test has unfolded, we consider that it can meet the needs of a wide variety of current and future audiovisual applications and productions in the field of television effortlessly. The power it has shown in the electronics of the system in its 2M/E version makes it the ideal production switcher for medium and large-sized productions in live events, but its offer in panels also makes it interesting for outdoor productions. In this respect, we found it to be a very interesting switcher for its exploitation in OB Vans, where we can have all the capabilities in situations where the small size of the equipment is a must. KULA is a good solution for content creators who are thinking about taking the leap to 4K/UHD production, but also without letting go SD/HD production either. Lastly, we would like to thank and underscore the courtesy of SAM in letting us use this piece of equipment for our tests and we would also like to thank the technical department of Castilla La Mancha Media, who have participated in it, as well as letting us use the facilities where we have been able to perform this Laboratory. TMBi - 91


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