TM Broadcast International 44, April 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

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IP convergence state of the art and beyond


PROVYS Turns Virtual Poland into Reality TM Broadcast International #44 April 2017

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In this edition of TM Broadcast International, we will be speaking about the convergence between the IP and SDI worlds, the complex situation we now find ourselves in. On the one hand, we appreciate that it is the next technological step to be taken, but on the other, we are aware that there are several important things yet to be standardised. The reflection we would like to invite you to do with us in this editorial is regarding the formats war. It is surprising how this seems to repeat itself in a cyclical manner in our industry. There are always technologies with patents that come into conflict when there is a more or less important revolution. And it always ends up with different sides made up of the different manufacturers, helping other actors in an uncompromising struggle to win the day. Now we see exactly the same as what happened years ago with tape formats, then with files, etc. As usual, the group that manages to get closest to the real needs of customers and offers the prices that they are willing to pay will be who wins the battle. From here, we would like to appeal to all the associations, televisions, organisations and users in order to catalyse this situation. The sooner we have a standard, the sooner the investment in equipment and systems will come, and this ultimately means, generating richness for all.

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As part of an integrated commercial off-the-shelf (COTS) IP approach, the Cisco Nexus® 9200 and 9300 kits provide the COTS IP network infrastructure, licenses and support required for all of Grass Valley’s IPenabled products. Cisco’s IP fabric for media solution expands—and in some cases, replaces— traditional baseband video routing in live, news and content distribution applications with an IP-based infrastructure. When combined with Grass Valley’s IP-enabled cameras, servers, production switchers and other endpoint gear, it provides a solution for audio, video and ancillary data flows over an IP network. “The time has never been better to transition to IP. The combination of Grass Valley infrastructure with a COTS TMBi - 6

Cisco network provides a best-in-class solution with the scalability and performance required of a true IP broadcast data center,” has said Marco Lopez, president, Grass Valley. “This media network kit will help make IP even more accessible and is yet another example of how a partnership between two industry leaders provides more integrated solutions and smoother service for customers.”

Grass Valley form strategic alliances to combine their knowledge and solutions, everyone benefits,” has said Andres Sintes, senior director, business development, Global Sales Scaling, Cisco. “We’re proud to offer customers our switches and technical support through Grass Valley as part of a complete IP package that addresses what our customers need today to support their next-step goals.”

The initial stage of this agreement allows Grass Valley to integrate COTS IP network switches into its solutions that are specifically designed for creating zerodrop, non-blocking multicast networks for media.

In addition to the Cisco Switch kits, Grass Valley will be reselling Data Center Network Manager (DCNM) which unifies and automates Cisco Nexus infrastructure for data center management across Cisco Nexus 9000 Series Switches. The DCNM server provides control and monitoring of the IP fabric, while providing an interface to the GV Convergent control system for control of a hybrid SDI/IP network.

“IP is a landscape where you see different companies have varying areas of expertise. When innovative companies like Cisco and

Grass Valley is demonstrating the integrated solution at NAB at booth SL106.



MediAnswers works in developing standards, products and processes to solve many of the biggest challenges on the ‘sell side’ of the broadcast and media business. With the Levy appointment, MediAnswers enables ad agencies and media organizations intersect. “Technology solutions have not advanced to the stage where efficient communications have been established between these two worlds,” has said Chris Lennon, President and CEO of MediAnswers. “It’s essential that this gap be closed, as the fragmentation caused by multiplatform content distribution creates dramatically higher transaction volumes that are increasingly difficult to manage.” “Our goal is to improve TMBi - 8

Ron Levy

efficiency through an open, free-flowing exchange of data across their systems, enabling each side to make the best decisions from their own perspective,” continues Lennon. “Ron’s extensive experience, technical proficiency and deep agency relationships will help guide our technology direction and achieve our vision.” As a senior vice president and partner of Datatech – acquired by MediaBank and then merged to become Mediaocean – Levy played a lead role in the creation of what is known today as Mediaocean OX Network, among the largest dollarvolume media buying systems in the United

States. He also held executive leadership roles at Rentrak (now comScore) and Broadway Systems (now Sintec), and in his own consulting practice he has secured top-tier clients in the agency, system vendor, media audit and data analysis spaces. “The rise of programmatic buying and selling is opening up a lot of possibilities, and it’s time to move beyond exchanging simple transactions to a unified experience where buyers and sellers can efficiently work off the same data in the same place,” has said Ron Levy. “I’m excited to join this talented team in working towards this goal.”



LiGHTCuBE Rack Mount

By using MultiDyne Fiber Optic Solutions’ LiGHTCuBE and SMPTE-HUT fiber optic distribution equipment, Ross Mobile Productions of Fort Lauderdale has reduced setup and tear-down time associated with sports and live event productions. With five 1080p-capable trucks covering North America, Ross Mobile Productions is tasked with the challenge of working across a variety of indoor and outdoor venues, many of which have either an outdated cabling infrastructure—or lack any TMBi - 10

infrastructure whatsoever. The company has looked to fiber to solve these problems, especially in large open-air stadiums on university campuses. “In one venue where we must equip the broadcast booth ourselves, our set-up time has been reduced from six to three hours by transitioning from Triax to fiber cabling,” has said Sean McCluskey, Ross’ National Production Manager. “One big difference is that we can now use two easily transportable TAC-12 fiber optic cables, instead of six bulky Triax cables that are heavy and cumbersome to freely to move around.”

“We needed a way to move broadcast signals and data around using lightweight, compact, and easy-to-use fiber optic equipment and cables,” explains McCluskey. “We chose the LiGHTCuBE because it had everything we needed in terms of connectivity within a small package. The SMPTE-HUT extends that value by allowing us to put cameras wherever needed, without concerns tied to distance or signal reliability. And both take up far less space on our trucks than the older Triax systems we used, while also reducing expenses related to transport weight.”

The fact that many college stadiums are not wired for broadcast means that Ross Mobile Productions is saving money with MultiDyne through fast and consistent setup and tear-down strategies. “This is where fiber optics has made a real difference,” claims McCluskey. “Just two TAC-12 cables to the broadcast booth and back can give announcers everything they need in terms of audio and video, data inputs from the scoreboard, and intercom/IFB, plus connectivity back to the truck”. “The audio inputs are all switchable mic/line, which means we don’t have to worry about mixing up signals in a configuration where one side is traditionally mic and the other is line. MultiDyne’s LiGHTCuBE eliminates that problem,” says McCluskey. “We also have gain control on the box, which allows us to balance levels right at the source and ensure outstanding audio quality.” McCluskey also appreciates the flexibility of the LiGHTCuBE’s video I/O capabilities: “The LiGHTCuBE can handle 4K, but we usually run 1.5Gb/s HD either as a program feed or ISO from the truck’s router to the booth; or a 1080i or 720p camera coming down. The LiGHTCuBE handles all of these formats very well, plus when we occasionally use it for 1080p 3Gb/s when the project calls for that format.” Meanwhile, Ross gets great distance performance out of its MultiDyne SMPTE-HUT camera transceiver: “We were at one venue where we had to pull 1000 feet of TAC-12 cable from the truck to the camera, just because of how the stadium is laid out. We fed two cables to the HUTs, ran one to each camera position, and everything worked perfectly. That saved us hours of set-up time.



Blackmagic Design DaVinci

BLACKMAGIC DESIGN ANNOUNCES NEW FEATURES FOR DAVINCI RESOLVE AND LAUNCHES URSA MINI PRO 4.6K CAMERA Blackmagic Design announces new features at DaVinci Resolve, its professional editing and color correction software. In the other hand, the company announces the program is now available on Red Hat and CentOS Linux. This allows customers with Red Hat or CentoOS 6.8 or 7.2 systems to download and use the free version of DaVinci Resolve or the full DaVinci Resolve Studio. Adding Linux support gives TMBi - 12

customers more choice in hardware, allowing them to build extremely high performance, low cost workstations for editing and color correction, according to the company. Previously, DaVinci Resolve Studio was only available on a special build of Linux for customers using the high end DaVinci Resolve Advanced control panel for professional colorists. Like the existing Mac and Windows version,

the new Linux version of DaVinci Resolve is available as a free download from the Blackmagic Design website. The full DaVinci Resolve Studio is available for $995 from Blackmagic Design resellers worldwide. Existing DaVinci Resolve Studio customers can easily move their dongle between Mac, Windows and Linux systems as they upgrade their hardware. At the same time, Blackmagic Design has


announced two new portable hardware control panels for DaVinci Resolve. These new control panels are designed to allow color correction workflows to be mixed in with editing workflows. The new DaVinci Resolve Micro Panel and the DaVinci Resolve Mini Panel are professional grade hardware control panels that feature, according to the company, three exceptional quality high resolutions trackballs, precision machined control knobs or illuminated buttons. The small USB powered DaVinci Resolve Micro Panel is available now for $995, while the larger DaVinci Resolve Mini Panel with built in LCD screens and dozens in instantly accessible menus is available now for $2,995.

Blackmagic Design announces new URSA Mini Pro 4.6K camera Finally, Blackmagic Design has announced URSA Mini Pro 4.6K, a new professional camera that combines high end digital film quality with the ergonomics and features of a traditional broadcast camera, as the company confirms. According to Blackmagic Design, URSA Mini Pro features a great number of tactile control buttons, switches and dials that make it faster to use, built in optical ND filters, a new interchangeable lens mount, dual CFAST 2.0 and dual SD/UHS-II card recorders. URSA Mini Pro 4.6K is available now for $5,995 from Blackmagic Design resellers worldwide.

“Professional DoP’s and cinematographers love the incredible image quality of URSA Mini and we have been working with them and listening to their feedback,” claims Grant Petty, CEO, Blackmagic Design. “URSA Mini Pro is so exciting because it combines high end digital film quality with broadcast camera and live production features, all into a single camera. URSA Mini Pro is powerful enough to be used on high end feature films and television shows, versatile enough to be used for broadcast news and live multi camera event production, and affordable enough for indie filmmakers and even students! It’s like getting 3 cameras in one!”



RIEDEL APPOINTS JOHN BELL AS NEW GENERAL MANAGER FOR AUSTRALIA DIVISION Bell, who has served as a non-executive director of the Australia division since 2015, will leverage his management experience in global organizations to expand Riedel Australia's market share and brand awareness. "John's career has spanned some of the most exciting changes in the history of media content production and technology. We are delighted that he has taken on this new role," has said Cameron O'Neill, Director of Asia Pacific at Riedel Communications. "John has held senior management roles in Europe, North and South America, Africa, and Asia, and his experience covers more than 30 different industries with a strong focus on engineering and IPbased businesses. His extensive network of highlevel connections in the Australian business landscape, coupled with his expertise in business improvement, will help us strengthen Riedel Australia's market leadership." John Bell has said: "Riedel Communications is setting a worldwide standard for flexible, reliable, and robust communications and signaltransport solutions, particularly for demanding live production TMBi - 14

environments. I see strong potential for further adoption of Riedel products and solutions across existing and new markets in Australia, and I look forward to helping the company capitalize on these exciting opportunities."

Professional Career of John Bell Over his 20-year career, Bell has worked in film, TV, and music production and distribution; consumer electronics and pro-audio manufacturing; medical devices; electrical and telecommunications cable manufacturing; and software development. He is particularly proud of his time as chief financial officer and director at Lake Technology in Sydney, where he played a key role in taking the company from a researchdriven audio DSP firm through product development and then eventual acquisition by Dolby Laboratories. At Lake Technology, Bell worked with the late Bruce Jackson to acquire his parametric EQ concept from Clair Brothers and develop it into the Lake Contour product. Also at Lake Technology, Bell ran the company's in-flight entertainment sales program, with Singapore Airlines as the launch customer for an in-flight 5.1 surround sound system.

John Bell

Prior to relocating to Sydney, Bell worked in Hong Kong at Media Assets, the content acquisition partner for STAR TV. He was closely involved in the acquisition of ATP rights in Asia and developed the concept for Asia's first-ever live satellite concert simulcast. He also played a key role in the acquisition of Don Bluth Studios and the completion of three feature-length animated movies. He was later executive producer of a feature-length animated movie based on Jim Lee's Gen 13 superhero comic book series. Bell is an associate member of the Audio Engineering Society and has postgraduate qualifications in business management. He currently serves as an adjunct lecturer for the master of arts management program at the Australian Institute of Music.


KWVA-FM UPDATES BROADCASTING FACILITIES WITH LAWO The University of Oregon completes the construction of its studio using consoles and routing infrastructure from Lawo The University of Oregon’s KWVA-FM has completed the construction of broadcasting facilities using consoles and routing infrastructure from Lawo. KWVA’s studio rebuilding project brought new equipment to four studios plus the station’s TOC. The studios were rebuilt with two 16-fader and two 8-fader Lawo Crystal control surfaces. Additionally, KWVA’s TOC received a Nova 17 digital router to integrate audio sources from around the plant. According to Chief Engineer Ali Abdul-Sater,

Lawo in KWVA-FM

"The Lawo Crystal and Nova 17 system fit the KWVA workflow because they can be customized to do anything”. And he adds: “In a facility with over 150 volunteers, with a mix of sports, news, and music programming, we really needed that ability. The slim, easy to use Crystal consoles were another key point in our decision." “Being part of an educational system and also providing community access, KWVA needed mixers flexible enough to accommodate, and built to stand up to, a wide variety of

operators,” comments Bill Bennett, Lawo radio Sales Engineer for North America. As Bennett details, “control was another requirement. KWVA staff needed the ability to switch the transmitter feed between the studios on-the-fly”. “We helped them accomplish this by programming a switch control into the consoles’ GUI using Lawo VisTool screen-building software, which provides metering, source selection and other options for the Crystal consoles. With VisTool, the main studio switch can now be activated by touchscreen from any of the studios.” “We are very pleased with our new Lawo Crystal boards,” confirms General Manager Charlotte Nisser. “The Lawo system provides the necessary flexibility and variety of functions for our diverse station environment without unnecessary user complexity. Plus they look clean, and have such a minimal footprint — just power and network cables. Such a change from our old set-up”. TMBi - 15




Broadcast systems integrator BFE has signed another international reseller for its KSC CORE product. The broadcast control and monitoring system, developed by BFE in Germany, will be introduced to the Spanish market by CROSSPOiNT. CROSSPOiNT will be responsible for sales activities as well as pre-configuration, commissioning, installation and integration of KSC CORE. CROSSPOiNT staff will also train operators, engineers, operations and maintenance technicians in the use of KSC CORE solutions. “With CROSSPOiNT, we will have an excellent, skilled partner for the Spanish market,” claims Berend Blokzijl, Senior Sales Manager responsible for KSC CORE. “CROSSPOiNT has done many implementations of control systems over the last couple of years. We are honored to have CROSSPOiNT as our partner for KSC CORE in Spain,” he concludes. Crosspoint Sales Manager Victor Garcia adds: “We are very pleased to represent BFE in Spain. Their brilliant and innovative solution KSC CORE is a reference in the broadcast control systems market. We are confident that our television and radio customers will receive KSC CORE very well and will appreciate how easy and fast their live productions can be prepared and operated.” CROSSPOiNT was founded as a joint project in 1993 by three engineers who combined their broadcast experience to focus in the supply and service of equipment to Production, Post-Production and Playout Facilities. TMBi - 16

ZOOM Communications, India's provider of outside broadcasting (OB) production services and facilities, has chosen Riedel Communications' Artist digital matrix intercom system as its communications solution for the Indian Premier League (IPL) 2017 cricket season. ZOOM Communications is offering Artist intercom frames as part of a full complement of OB production equipment for the Board of Control for Cricket in India (BCCI) that generates the world feed for rights holders all over the world. "With millions of cricket fans around the world tuned into IPL 10 matches, there's no room for failure in any of our broadcast technology solutions," said Karamjeet Singh, Senior Vice President at ZOOM Communications. "Riedel brings proven expertise in the support of high-visibility sports events to the table, and the Artist intercom systems have served us well for several past years of IPL coverage. That's why we can offer Artist with the full confidence that it will provide the secure, userfriendly, and reliable communications our clients need. For this season, we have brought in two additional systems in order to ensure uniformity and seamless operation between the different crews."


TEDIAL DEMONSTRATES EVOLUTION VERSION FACTORY AND EVOLUTION BPM AT CABSAT 2017 Tedial is showcasing its Evolution Version Factory, the media factory workflow. It is also highlighting Evolution BPM, its Business Process Management workflow engine. Evolution Version Factory won the IABM Game Changer Award 2016 in the System Automation & Control category at NAB. This is the second year running that Tedial has won the Game Changer award picking up the prize in 2015 for its Tedial Evolution™ platform. Both solutions will be demonstrated on Stand I230 in Hall 2 throughout the show.

Tedial’s Evolution Version Factory is a single workflow that supports millions of file input to output configurations and can be managed from a single operator screen. Designed to interface to content management/rights management/traffic/work order systems for automated operations, the Evolution Version Factory stacks chosen media engines (transcoders, quality control, DRM, CDN, etc.), employs SMPTE standardised designs for “N-input to Noutput” operations and provides the maximum flexibility and scalability for OTT/VOD platforms,

network operations and media companies focused on managing their brand across all distribution formats, according to Tedial. “At Tedial we believe in business innovation, transformation and efficiency. We also believe our team is delivering the solutions our customers need to be successful and profitable. We are delighted to showcase our awardwinning solutions at CABSAT 2017 and look forward to meeting with existing and potential customers,” says David Abel, European Sales Director, Tedial.

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NEWS 12 UPGRADES ITS GRASS VALLEY IGNITE SOLUTION Providing 24-hour news coverage to cable viewers in New York, New Jersey and Connecticut, News 12 operates seven distinct local channels as well as an interactive network of websites and mobile applications. The group leverages automation solutions to maximize its operation and improve efficiency. Launched more than 30 years ago, News 12 has been using automation solutions from Grass Valley from the beginning. As the News 12 team looked to upgrade the studio automation system, they determined that the Grass Valley Ignite Automated Production System with the Kayenne K-Frame Video Production Center switcher addressed more of their requirements for workflow, hands-on operation and onair effects/transitions. “We were the first station in the country to use the automation system that preceded Ignite, so Grass Valley has been an important part of our success over the years,” has noted Milan Krainchich, VP of operations, News 12 Networks. Ignite allows a single operator to manage control room devices used to produce live newscasts and event programming, making it possible to control on-air TMBi - 18

timing, accommodate last-minute show changes and direct any type of production on the fly. It also makes it easier to repurpose content for digital multicasting and webcasts, increasing overall production value, according to Grass Valley. News 12 uses Ignite to control six cameras in its studio connected through a Kayenne K-Frame switcher. The purpose-built tactile surface of the Katalyst panel enables directors to produce compelling live productions with Ignite. Another new component is the Media Object Portal (MOP) Gateway. The MOP Gateway provides visibility from Ignite into the control system that details what has changed and where that change is in the rundown and alerts the director if there are conflicts that require attention. “The way the whole system comes together, including integration with ENPS and other devices, is one of the biggest benefits for us,” Krainchich has added. “Also, we appreciate having choices over control surfaces while being able to operate the system on air with a standard keyboard or

with the Katalyst dedicated control panel, but not requiring a full switcher control panel and audio mixing console. It’s the right solution for us.” “News delivery has changed a lot over the years, but the value of automation has remained consistent. Ignite has been delivering that value to users around the world for years. News 12 is a perfect example of an operation that embraces technology to strengthen its own business while providing an outstanding experience for its viewers. The latest upgrade positions News 12 to continue its success for years to come,” has said Kyle Luther, vice president of sales for North America, Grass Valley.


BROADCAST PIX ADDS NATIVE FACEBOOK LIVE SUPPORT TO INTEGRATED PRODUCTION SWITCHERS Broadcast Pix™ has announced its integrated production switchers now offer native support for Facebook Live. Available this spring, the upgrade will be included in all new switchers and as a free upgrade for switchers currently under warranty. Before, Broadcast Pix users would have to login to Facebook, then copy and paste a stream key that changed with every session to allow streaming to begin. Now, Flint™, Granite™, Mica™, and Roadie™ integrated production

switchers allow users to login to Facebook Live once and select a page for live video streaming. Subsequent sessions begin with the touch of a button, so there is no interruption in their existing workflow. Broadcast Pix already offers support for all RTMP sites, as well as native support for Ustream and Livestream. “We’re excited to support our customers with an even easier way to share their live video via social media,” has said Kevin Prince, CEO,

Broadcast Pix. “This represents the future of live streaming, and it’s important that we take advantage of every opportunity to provide further integration within our systems. The combination of Facebook Live and Broadcast Pix is powerful. It enables users to simply and cost effectively personalize and broaden their reach in real time.” Systems no longer under warranty can add Facebook Live support and additional new functionality with a $995 upgrade to Version 6.0 software.

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SGL ANNOUNCES FIRST SALE OF INTERPLAY WEB SERVICES PLUG-IN TO WAPA-TV SGL has announced the first sale of its Interplay Web Services Plug-in with Partial File Restore (powered by Glookast) to WAPA-TV, an independent television station based in San Juan, Puerto Rico. The partial file restore functionality enables editors to select and restore elements of a clip directly from the archive in high resolution. Larry Thaler, CEO of project consultant Positive Flux has said: “We were impressed with the way that SGL handled this project and tightly coordinated their efforts with Avid. The installation was well planned and the partial restore feature is a big hit with the customer.”

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SGL’s Interplay Web Service Plug-in provides WAPA-TV with drag-anddrop archiving using Interplay watch folders, without the need for Interplay | Archive. Prior to the launch of Interplay Web Service Plug-in, partial file restore functionality could only be achieved using the full Avid Interplay | Archive system. SGL’s support for Avid Interplay Web Services means that customers can use the archive capabilities that they currently require, but can employ Avid Interplay | Archive at any time in the future without the need to re-archive any content. “We are very pleased to have partnered with SGL to

empower the partial file retrieval capabilities in their Avid Interplay | Production Web Services plug-in,” says Edel Garcia, GLOOKAST’s EVP – Sales & Marketing. “We congratulate SGL on the first sale and look forward to working with them on many more successful installations.” “We’re very happy to announce this sale to WAPA-TV,” adds Douglas Wynn, SGL’s VP Sales Americas. “Our collaborations with major vendors in the media industry provides customers like WAPA-TV with leading archive management solutions utilising the latest technological advances.”


From left to right: David (JAAS), Kaartig (JAAS), Zaidi (MPB), Anthony (Calrec), Kamil (JAAS) and Mazlan (JAAS).

CALREC MIXES 5.1 SURROUND AUDIO FOR 31ST ANUGERAH JUARA LAGU (AJL) SHOW IN MALAYSIA Malaysian broadcaster Media Prima Berhad (MPB) has trusted in Calrec's compact Summa console with the 5.1 surround coverage for its live broadcast of the Anugerah Juara Lagu (AJL) concert. Held at the Putra World Trade Centre in Kuala Lumpur on January 22, the concert is the biggest singing contest in Malaysia. "The Summa is one of the simplest mixers that I have ever used," recognizes Mohd Zaidi Mohamed Taib, head of sound at MPB. "It is a true broadcast mixer that is perfect for a live broadcast and production environment. The audio quality is great, and

integration is straightforward. The Summa even comes with a complete and fully redundant PSU, controller, DSP, and router in a single 4-RU chassis." The 5.1 surround signal was levelled and encoded into Dolby E format by a Junger Audio system before being transmitted to Melaka via satellite link. At the cinema hall, the signal was decoded and processed by another Junger system and played over the hall's surround speaker system. "It was an honour to be part of the AJL crew on this project," claims David Chan, general manager of Calrec distributor JAA Systems Sdn Bhd. "We were delighted to

be able to play a part by supplying the Calrec and Junger Audio solutions that were used in the mainstream system for the AJL 2017 show." Calrec International Sales Manager Anthony Harrison, who was on-site during the AJL event, adds: "It was a real pleasure to be able to introduce the Summa console to MPB in such a dynamic way, especially for a show as prestigious as AJL. The feedback from the engineers and operators highlights the exact design philosophy we had in mind when developing Summa." TMBi - 21



NEP EUROPE’S NEW SWISS UHD-4K OB TRUCKS ADOPTS EVS’ XT4K NEP Europe has selected EVS’ 4K live production technologies for two new UHD-4K supertrucks. OB facilities will be used to cover Switzerland's Raiffeisen Super League football and allow pay TV broadcaster Teleclub to deliver an immersive ultra-high definition viewing experience. NEP’s UHD-41 and UHD-42 will both run four XT4K live production servers to power the creation of Teleclub live 4K replay and highlight content. The servers will provide instant media sharing capabilities between the two trucks, using EVS’ XHub3 high-bandwidth media sharing network with 10 Gigabit connectivity.

EVS’ XFile3 They will also run EVS’ XFile3, a 2U chassis

hardware and software system that has been optimized for UHD-4K workflows to meet all filebased requirements. This acts as an integrated filebased media gateway and back-up solution enabling live UHD-4K growing files. These are recorded on removable drives or network storage, and also allow file-based media to be imported in to the XT4K servers with UHD up-conversion if needed. “These two new 4K supertrucks for Switzerland will meet the growing demand from our customers in the region to acquire premium live content in Ultra HD,” explains Paul Henriksen, president of NEP Europe. “It’s important that the technology integrated within them is not only industry standard, but also fast, flexible and reliable.

This is why we selected EVS. We already have several hundred EVS systems within our worldwide fleet and NEP is committed to providing the best service and latest technology to our customers.” Laurent Petit, VP Product at EVS, adds: “NEP has long been a partner of EVS, and is one of the most well-known and trusted facilities providers in the world. We’re delighted that they’ve recognized the business and operational benefits that our latest XT4K live production solutions offer in addition to NEP’s extensive fleet of XT3 ChannelMAX servers. And with the addition of EPSIO Paint 4K and XFile3, NEP can benefit from EVS’ Connected Live ecosystem, giving production teams better and faster access to their live content.”


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WILLOW CREEK COMMUNITY CHURCH SELECTS HITACHI TO UPGRADE ITS PRODUCTION EQUIPMENT Willow Creek Community Church has selected HDTV cameras from Hitachi Kokusai Electric America Ltd. (Hitachi Kokusai) to upgrade its production equipment to high definition at its main site in South Barrington, Illinois. More than 25,000 people attend worship services at Willow Creek’s main campus or one of seven additional regional locations each weekend. Willow Creek was familiar with Hitachi cameras from the church’s work with TNDV, who had provided equipment and services for Willow Creek projects including the annual Global Leadership Summit and its 40th anniversary celebration event. Eight Hitachi SK-HD1200 portable HD studio and field production cameras plus two Hitachi DK-H100 compact box cameras are now used in Willow Creek’s 7200-seat main auditorium. Two SKHD1200s are stationed on tripods behind front-of-house with Fujinon 55x lenses, with an additional SK-HD1200 on a jib. Five more such cameras are deployed flexibly depending on each weekend or event’s particular needs. “The cameras’ operational versatility is exceptional,”

claims Darren Niesley, video director at Willow Creek. “We can configure them in so many ways, from handheld to full studio kits or tripods on wheels rolling around the front row, and with lenses ranging from standard 22x up to 40x telephoto.” One of the DK-H100 box cameras is used with a Steadicam stabilization system, while the second is deployed in a Ross Video CamBot 500 configuration with both the robotics and camera itself controlled over a TCP/IP network. “The DKH100 cameras provide the same great image quality as the SK-HD1200s, in a compact and lightweight form factor that’s perfect for these uses,” Niesley explains. Switched through a Ross

Video Acuity production system, video captured by the Hitachi cameras supports live image magnification (IMAG) on the auditorium’s two 24-foot by 14-foot Mitsubishi LED screens and similarly-sized, Barco-driven projection screen, as well as distribution to more than two dozen 55” monitors throughout the Worship Center and its lobby. “Because of the size of the auditorium, our attendees are looking to the screens not just for IMAG, but for a broadcaststyle experience that gives them additional context they can’t see from their viewpoint,” says Niesley. “Our goal is to give viewers the ‘whole picture’, whether they’re inside or out of the room.” TMBi - 23



HARMONIC WILL SHOWCASE ITS TECHNOLOGIES FOR CAPITALIZING ON THE ASIA-PACIFIC TRENDS AT CCBN 2017 Harmonic will showcase at CCBN 2017, in the booth 2201/2301, complete video infrastructure approaches and emerging technologies for capitalizing on the AsiaPacific (APAC) trends. Traditional pay-TV revenue in the Asia-Pacific region will increase almost $10 billion between the years of 2015 and 2021, ultimately reaching $36.4 billion, according to Harmonic. Add in the expected growth for OTT video service consumption, and operators in the region have a major opportunity to boost their profits. "Today, service providers in Asia are looking to migrate to an all-IP infrastructure and deploy unified platforms capable of distributing video across multiple networks, including

cable, IPTV, DTTV and OTT, to all screens. UHD and function collapse, in terms of combining playout, content replacement, graphics and compression in one solution, are also trending," has said Tony Berthaud, vice president of sales, APAC, at Harmonic. "At this year's CCBN show, Harmonic will showcase a comprehensive range of software-based solutions that resolve the challenges involved with making these essential changes, offering increased operational efficiencies, a low total cost of ownership and superior video quality on every screen." During the show, Harmonic will demonstrate how video content and service providers can manage video processing and delivery, all

the way from ingest to delivery, over public or private clouds. Cloud media processing and software-asa-service (SaaS) solutions will be on display. Harmonic's approach to allIP integrates channel playout capabilities, such as graphics, branding, DVE, and live switching of baseband and compressed IP sources, to lower capital expenditures, simplify workflows and reduce operational costs. Harmonic will demonstrate how it's improving the OTT video experience through video compression optimization. Harmonic's solution aims to deliver consistent, superior viewing on all devices while reducing OTT bandwidth consumption by up to 50 percent.




At NAB 2017, PAG will launch the new PowerHub for its PAGlink Gold Mount System of batteries. The new distribution accessory will be exhibited by PAG America, a division of the Carr Distribution Group, on booth #C9518. “The inexpensive and versatile PowerHub is user-configurable and so much smarter than just D-Taps in a battery”, claims PAG America’s Sales Director Bob Carr.

Insight TV

INSIGHT TV has announced a major distribution deal with Vodafone Spain. This follows the recent launch of the telecom’s 4K UHD TV service on its Vodafone TV platform. Vodafone TV Spain Director, Ignacio GarcíaLegaz has said: “We’re the first operator in Spain to launch a 4K HDR TV service. We want to provide our subscribers with original UHD content made to the highest technical standard with vivid cinematography, INSIGHT TV captures these qualities perfectly.”

PAG PowerHub

The PAGlink PowerHub provides outputs for 12V camera accessories. The Hub is designed to be used between the two PAGlink Gold Mount batteries. It is compatible with both the PL94 and PL150 PAGlink Gold Mount models. The PowerHub features 5 ports that accept interchangeable D-Tap, Lemo (2-pin), Hirose (4-pin) and USB connectors. Four D-Taps and a USB (5V 1A) are issued as standard.

The Vodafone TV UHD service is currently available to Vodafone One customers via the new TiVo box with a wider roll-out planned in the next few weeks. Rian Bester, CEO, INSIGHT TV adds: “We’re very excited to be chosen by Vodafone Spain as a key part of its new 4K UHD platform. Consumers want the latest technology to enjoy the unparalleled picture quality brought by natively shot and produced UHD. We have a strong track record of providing compelling content that takes the viewer on a journey to explore, be educated and entertained. This announcement reflects our global expansion and this is one of several major releases in the run up to MIPTV in April 2017.” TMBi - 25



LiveU LU220

LiveU has introduced its new hybrid satellite and cellular HD solution, transforming its ultra-small LU200e uplink unit into a rack-mounted product. The LU210 and LU220 solutions allow news teams to combine satellite and cellular networks for newsgathering on-the-move and in fixed locations. According to LiveU, the LU210 offers a single encoder in a cost-effective, rack-mount configuration, and the LU220 provides higher density with two independent encoders in the same rack-mount configuration and support for dual path streaming, TMBi - 26

enabling simultaneous streaming from two video sources.

automatically controlling

Both encoders can be connected to LiveU’s Xtender transmission device and IP-based Ka-Sat. For studio based solutions, they enable content contribution from remote/fixed locations and the uploading of content to LiveU’s MultiPoint internal and cross-organizational video distribution service.

satellite connections; and

The key benefits highlighted by the company are as follows: high video quality using LiveU’s LRT (LiveU Reliable Transport™) protocol; central and remote management via LiveU Central; least cost bonding –

encoders combine reliability,

how much bandwidth is transmitted over cellular or density and cost savings. Avi Cohen, LiveU’s Cofounder & COO, has said: “We’re seeing a growing trend of converting SNG trucks to hybrid trucks, as well as the use of smaller vehicles for mobile news coverage. These new flexibility and mobility in a cost-effective package. Broadcasters can achieve the highest service availability and video quality in any location.”


DIGITA SELECTS NEVION FOR DVB TERRESTRIAL NETWORK DISTRIBUTION RENEWAL Finnish network terrestrial operator Digita has selected Nevion equipment and software to provide a transport of signals from its headend to its transmission sites. Digita also develops and supplies Internet TV and radio services along with services based on company’s network infrastructure. Digita is embarking on a project to renew its DVB distribution, moving from transporting signals over SDH, microwave and IP. The project, designed to achieve cost efficiencies and easy regionalization, required a solution to ensure the transport of signals over IP.

Nevion Virtuoso CP4400 DTT processors Nevion’s solution consists of Nevion Virtuoso CP4400 DTT processors deployed at the headend and at the 40 transmission sites. The processors are all managed by Nevion’s VideoIPath management software – which Digita already uses to orchestrate its contribution network.

At the headend, the Nevion Virtuoso CP4400s take the multiplexed transmission for 22 regions and provide the T2-MI and IP adaptation, as well as multiple protection mechanisms, including FEC (forward error correction) for packet loss recovery, SIPS (streaming intelligent packet switching) for dual path transmission and LDO (launch delay offset) for dual stream on single path. Some Nevion Virtuoso CP4400 processors also provide the seamless switching between the redundant SFN streams. At each transmission site, the Nevion Virtuoso CP4400s processors receive the protected streams and perform an IP to ASI conversion, ready for transmission and enabling re-use of the first generation transmitters. In addition to the dual streams received over the IP network, the processors also receive an RF signal from nearby transmission sites. This provides a further level of protection in case the IP link fails completely: the Nevion Virtuoso CP4400s can

switch automatically to the RF signal for re-transmission on the site.

Nevion’s VideoIPath management software The whole infrastructure is managed and monitored centrally through Nevion’s VideoIPath management software. In particular, VideoIPath enables Digita to roll out software updates remotely to the Nevion Virtuoso CP4400s in a planned and organized way, without ever interrupting the transmission. “Our renewal project needs to bring efficiencies fast, and the Nevion solution meets the criteria,” says Markus Ala-Hautala, Chief Operating Officer at Digita. “For example, thanks to the density and functionality of the Nevion Virtuoso CP4400, we were able to achieve our objectives at the headend less the equipment normally needed. In terms of timing, we are looking for a project completion about faster than is typical for a DTT project, but Nevion has an excellent track record of rapid delivery.” TMBi - 27



IP convergence state of the art and beyond

Dyvi Mixer

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We are currently going through a transition where many things are disjointed. When we changed from the analogue world to the digital world in video, we moved from PAL/NTSC/PAL/SECAM to SDI, a format that included a transport interface. It was a simple change, in part, because we still talk about an environment where everything was very similar and did not entail such a significant change like migrating to an IP world. Now everything is seasoned with 4K and HDR, which leads to a certain lack of definition in the market.

The question is not “IP, yes or no?” because we already know that IP is the next step forward from a technological perspective. Perhaps now it is the ideal moment to call our market a video

environment instead of a broadcast environment, without losing the perspective of the high quality and great service availability that characterise it. These two factors are imperative when assessing IP. We are talking about a technology that will bring great advantages, perhaps the largest will be the

possibility of physically separating different production points despite them being connected at a logical level. We will have the possibility of taking cameras to one place and still carry out the production somewhere else. They will be supported by a CPD, and this topology will contribute towards having redundant systems or sharing resources. A control will be able to work interchangeably for one or another studio straightforwardly; a true revolution. TMBi - 29



IP Series FamilyHQ v3

STANDARD Nowadays, we lack the necessary standards to bring about the convergence. As we were saying, we are also getting accustomed to 4K/UHD, and IP interfaces are not capable of handling this information as is expected of them. 10 Gbps do not fit unless we use some sort of compression but in a production, we need to manage these types of flows natively, which can only be done with a 12 Gbps bandwidth, where the flows we want to work with in TMBi - 30

Therefore, working in 12G is essential, and to this end, IP interfaces must take one more step; something we think will not take too long. future, do fit. Therefore, working in 12G is essential, and to this end, IP interfaces must take one more step; something we think will not take too long. This is the necessary factor for the manufacturers to develop

equipment with stability. At the end of the day, we still depend very much on hardware. This is why it is vital there be a standard and that manufacturers /developers implement it in their systems and solutions.


In this respect, future NAB and IBC should shed a lot of light. In these trade fairs, we will be able to see the level of implementation the manufacturers have in working with each other. This is fundamental. Engineers and technicians are increasingly set on building their own solutions, escaping from having to engage with one single manufacturer or developer. Despite this, we are at a moment in time where each manufacturer is committed to specific solutions, despite them seeking approximation between them. The standard SMPTE 2022-6 has been achieved for encapsulation of SDI over IP, but this is an intermediate point towards

It is essential that SMPTE, EBU or whoever it may be, defines a standard that fits in. Manufacturers will have to reflect on where their line of business is heading and in that scenario the true transition to native IP, where the streams of audio, video or metadata signals will travel separately. In this last aspect, manufacturers are getting ever closer, and the SMPTE already has a working group for its standardisation (SMPTE 2110).

So, we are advancing towards a common language, with the purpose of all of us knowing how to speak it and communicate among us. It is essential that SMPTE, EBU or whoever it may be, defines a standard that fits in. Manufacturers will have to reflect on where their line of business is

Kahuna IP

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IQ Modular

heading and in that scenario, there will be new actors joining and old ones leaving in a very profound and irreversible change. We will probably see a transition, something like the one we are seeing now, regarding delivery with MPEG-2 TS. ASI has been used for many years as an interface, but has been gradually replaced by IP, despite its resistance in some places. Performing maintenance and commutations with ASI is as simple as changing a cable, whereas doing it with IP is a whole new ball game. The TMBi - 32

professional that has traditionally operated these signals and is familiarised with patch panels is not used to working in IP. The manufacturers are designing superior control layers, which, via protocols, allow working with panels similar to the traditional ones and making the changes in the configuration of the network electronics. In this aspect, protocols like OpenFlow or SDNs gain importance.

UHD - ALLIANCES Using IP offers a great advantage for favouring the same infrastructure that

supports the future ultra-high definition and new formats. Even though at the minute, we are facing important challenges in this respect. On the one hand, we must know that native UHD does not fit on 10 Gbps, as we mentioned above and on the other, growth in bits per second is expensive. So, we either use low latency compression systems, or we wait until the 25 Gbps network interfaces drop to reasonable prices. This panorama will not take too long to dissipate. Clearing this up is very important, as much as the upcoming publication of the SMPTE-


2110 standard, a common language between manufacturers should be the next step forward. However, some brands have begun to take the first steps in communication, such as ASPEN, AIMS, NDI, etc. With these platforms, we are at a moment similar to the tapes or files “formats war�. The one that will most likely win will be the one that brings together the highest number of actors of the industry and manages to solve the needs of the artists, operators, engineers and maintenance personnel technically-speaking. If

The one that will most likely win will be the one that brings together the highest number of actors of the industry and manages to solve the needs of the artists, operators, engineers and maintenance personnel technically-speaking. centralised matrices are to be replaced by network equipment, then, audio, video and metadata streams

need to travel separately. ASPEN was a pioneer and started very strongly, but it seems that AIMS is catching TMBi - 33




GV Node

up and gaining more supporters by the day, above all of important actors. NDI is also succeeding in growing its ecosystem. In this scenario, we should bear in mind that, the SMPTE-2110 workgroup was formed in January, which was very much aligned with AIMS, apparently. It is based on the work carried out by Video Services Forum (TR-04 and TR-03). This group is committed to transferring uncompressed video, according to the RFC 4175, which only digitises the active part of the video signal, so it takes up less TMBi - 34

bandwidth. For audio, AES67 is used, the metadata will possibly be based on IETF and we will use AMWA NMOS-IS4 to discover the different devices inside a network automatically.

INVESTMENT Right here, right now, it seems that this temporary lack of definition is causing a brake in investments, or otherwise, a restatement to change their orientation. It is paramount to understand that investing in traditional SDI means investing in something that will inevitably tend to disappear. This is something we already knew

over 10 years ago when this format appeared. We knew it would have its course and at some point would reach an end. Well, we have arrived at the beginning of that end. This is why we believe that investing in SDI as we have been doing, ceases to make much sense and it has become an invalid investment. Something similar already happened when HD appeared. Migration was very expensive, above all, due to the large amount of SD equipment we had. However, we all knew that this technology was coming to an end. Well, what we are going through now is very similar. This is why, if we


had to set up an installation from zero, we would have to consider that we are travelling inexorably towards IP despite most equipment only having SDI connectivity. This also leads us to a setting where we cannot implement a 100% IP installation. We need to embark on a skilful engineering work for such installation to squeeze the goodness of the last years of SDI and yet is perfectly prepared to work with IP when necessary, to ensure a sweet and seamless transition, free from complications. An installation with an IP core and different SDI islands could be a good solution. IP for contribution is different from IP for production, or even IP for live production, where everything must work to perfection and instantly. This is why we must decide

which switch to use and how to commutate, either with an SDN-based software or others that emulate today's commutation systems. The latter is fundamental.



AND BEYOND As we have already said, we are at a complicated transition point. How long will it last? We think it will take one or two years for everything to be solved at a standards level. It will be then when the manufacturers must provide their hardware with IP connectivity on all devices, and although it may sound harsh, that will be the end of SDI. We doubt this process will take any more than 5 years, and current investments, many already very slow, must consider this time frame. What is clear is

Something similar already happened when HD appeared. Migration was very expensive, above all, due to the large amount of SD equipment we had. However, we all knew that this technology was coming to an end.

that trade fairs are bubbling with energy due to this revolution, and both 2017 and 2018 promise to bring very interesting milestones, especially in Las Vegas and Amsterdam. As regards convergence, IT companies will occupy an important place, and audiovisual companies will try and remain in their own, but the billing of both sectors have very different magnitudes. The large companies of the IT sector will end up training and hiring AV specialists, and also absorbing companies to develop their businesses. In any case, we believe in specialisation and coexistence between IT professionals and audiovisual engineers. It is already happening: audiovisual departments are being integrated within the IT department in many corporations. What happens is that IT people are not used to such large data flow with so many quality of service demands generated in the audio-visual world. It is likely that this market ends up being part of the IT world but with its own entity in the long term. TMBi - 35



Tomas Rendl, Provys Project Consultant at Wirtualna Polska

PROVYS Turns Virtual Poland into Reality Wirtualna Polska (Virtual Poland, in English), the leading Polish news and information portal, have recently decided to expand into television and have commissioned Provys to assist them with the management of their broadcast workflows. In 1995, four young IT enthusiasts at the Gdansk University of Technology, met thanks to the internet, and realised that they shared a vision that would TMBi - 36

quickly lead to establishing an information portal with the name: Wirtualna Polska (WP). Initially, it was available on the servers of the Centre of New Technologies, and later, in 1998, it was moved to, which is still its current address. At first, WP operated as a catalogue of web sites but was later modified into a web portal offering a number of complex services such as informative services (news,

sport), access to free email accounts, web hosting, search engine, a large collection of free and legal Polish mp3s, and an instant messaging service. WP quickly grew to be the sixth largest Polish web portal and is famous for being the pioneer of new internet services in Poland. In 2016, WP obtained a broadcasting licence for a digital terrestrial channel “Telewizja WP” and were on the air on 2 December 2016,


ably assisted by the software solutions developed by Provys. Readers of this magazine will appreciate that entry into the new territory of television broadcasting is no easy matter on account of totally different workflows, processes, time management issues, reliability, continuity, new technical skills, training of new staff (some of whom were just hired) and the associated stress that goes with all of these. Principal reasons for choosing Provys included not only the power of the software to control the processes, but the potential for growth in new directions, a factor which was high on the priority list of the directors. This power enabled the directors to feel confident about starting a new channel with only seven users of Provys, but knowing for certain that future growth was already within existing capacities, the application having already been proved in many western broadcast stations. The activities of these users currently include programme planning, content preparation, advertisement scheduling, and last but not least, licence management with reporting usage of rights to the financial system. Each

of the activities defines its own need for Provys interfacing with the whole of the rest of the related systems. These systems include: Vowos - a Polish domestic automation solution which receives detailed programme schedules to control all the playout equipment; Microsoft Dynamics – an enterprise financial software which collects information about all used licences to depreciate the corresponding assets; Cinegy – used as a media asset management tool which obtains a unique ID for each material from Provys and returns “techinfo” to become a part of the content metadata set; and systems of an external media agency which receive available time slots for sale and return break material to be imported and assigned to detailed programme

schedules. There are many other areas asking for proper workflow management that is virtually on hand in Provys. “Being a large internet portal, WP is actually a media house with great potential to start its own television content production. This kind of activity needs good resource management and capacity planning, both being strong assets of the Provys solution”, said Tomas Rendl, Consultant of Provys, who commissioned the system in Warsaw, and Tomas continues: “And today, the future looks bright as the new reality for virtual Poland is that their highly successful Wirtualna Polska continues to rank in popularity, competing against the big names with which, we are all familiar”.

WP’s new premises at the Oxygen Business Centre in Warsaw

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CABSAT 2017 Preview Info

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More than 15.000 attendees, 450 exhibiting companies and 110 countries, that´s going to be this edition of CABSAT, the Middle East and Africa´s definitive event for broadcasting, satellite, entertainment and content industries.

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Appear TV Stand A 420 Appear TV will demonstrate three new modules for the X10/X20 Ultra-High-Speed Video Networking hardware platform. With the introduction of the three new modules, the expanded system positions the company as an expert within the new high-speed, IP centric architectures that broadcasters are quickly shifting towards. Appear TV will also feature its (Adaptive Bitrate) ABR system for OTT at the show. The new modular X10 and X20 platforms help broadcasters adopt the many benefits of IP centric operation, in their own time and with ease. The platforms offer options with TMBi - 40

modules that easily alternate between SDI and IP in either the compressed, uncompressed or lightlycompressed domain. Featuring core IP security as a firewall, video monitoring, video routing and video remultiplexing, the X10 and X20 operates as the key building blocks of an ultraflexible, ultra-low delay, highly secured broadcast network. Being codec agnostic, it bridges both the natively encapsulated and MPEG_TS worlds. The three processing modules currently available allow users to customize a package to meet specific requirements. The new modules include a highspeed IP card that delivers both compressed and uncompressed video, a high-density SDI card and a scrambling card for

operations that require secure content delivery. “Our products that will be featured at CABSAT provide broadcasters with solutions to uphold our position as a market leader within the latest transmission methods, devices and formats, including UltraHD,” says Sami Djebril, International Sales Manager, Appear TV. “With traditional SDI infrastructure being gradually replaced by a generic IP infrastructure capable of handling compressed and uncompressed high quality video, our new product range ensures accelerated growth for operators. The X10/X20 platform connects a local legacy SDI network to a new high capacity IP infrastructure. Combining our new hardware with our


existing platforms results in a complete end-to-end solution from content aggregation to a broad range of consumer devices.”

New Modules for the X10/X20 Platform • The IP Card features dualredundant 10Gbps IP I/O, GUI-configurable bidirectional or unidirectional data ports, seamless input switching and cloned outputs. It supports 10G uncompressed SDI over IP and up to 6Gbps MPEG transport stream processing (de-muxing and re-muxing). • The High-Density SDI Card offers eight 3Gbps serial digital video interfaces per module with each supporting up to one 1080p60 service, on-board

SDI-to-IP and IP-to-SDI conversion according to SMPTE 2022/6 and 2022/7 • The Simulcrypt-compliant Scrambling Card supports scrambling of up to 2,000 services at data rates of up to 6Gbps and supports DVB-CSA and AES encryption with a dedicated Simulcrypt interface towards CA servers.

Argosy Stand 104 – Hall 1 Argosy will demonstrate its new UHD/4K cable solutions at the CABSAT exhibition, as well as offer its visitors a chance to live test 4K signal transport distances over various combinations of cables and components for specific broadcast applications.

Chris Smeeton, Argosy Managing Director EMEA

As the production of UHD/4K content gathers momentum across the region and broadcasters upgrade their facilities accordingly, Argosy is poised to smooth the 4K adoption process as much as possible by helping utilize existing infrastructure for 4K as well as future proofing with new means of 4K signal transportation. TMBi - 41


“We’re here to offer advice on which types of cable installations will best suit the transportation of 4K signals across specific broadcast chains, both from a technical and commercial perspective”, said Chris Smeeton, Managing Director, Argosy. “There are plenty of options that many broadcasters just aren’t aware of when it comes to balancing quality and spend for 4K cabling, whether it’s over SDI, fibre or an IP based infrastructure”. Argosy is the first in the industry to set about providing a definitive guide to 4K signal transport distances over various types of cable installations in order

umbrella CDN

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to address the needs of specific applications. “Nobody has conducted distance testing to the extent that we’re doing right now,” added Smeeton. “Fibre is usually the go-to cable type when upgrading to 4K, but standard coax is adequate to transport 4K signals over shorter cable runs, across rackrooms or studios, for example. On the other end of the spectrum, say for critical 4K signals cable running to and from mobile production vehicles at live sports events, highend fibre cables would be the natural choice.” An Omnitek 4K tool box signal tester will be set up

on Argosy’s CABSAT stand which will enable visitors to live test the distance and quality of 4K signals using different combinations of cables, connectors and patch solutions. Argosy’s new 4K/UHD MUDIGSA connectors and its MUDIGSA video patch solution (panel, U-link and patch cord) will be shown at CABSAT for the first time. With re-engineered MUDIGSA connectors, Argosy’s MUDIGSA video patch panels are now capable of carrying UHD signals, and its range of jackfields can transmit up to 12Ghz in conjunction with (appropriately rated) BNCs and cables.


Broadpeak Stand B4-33 At CABSAT 2017, Broadpeak will demonstrate how content providers, PayTV, and satellite operators can deliver high-quality video on every screen by leveraging its technologies.

Demos OTT Video Delivery Optimization Solutions for Content Providers • umbrellaCDN With CDN Diversity: Broadpeak umbrellaCDN allows content providers to always choose the best content delivery network for delivering video content. A key highlight at CABSAT 2017 will be CDN Diversity, an advanced capability of umbrellaCDN, which enables content providers to dynamically take into account the instantaneous quality of several CDNs as a service to combine their contributions and deliver the content with a quality exceeding what would be achievable with the best CDN alone. • Video Delivery Analytics: Broadpeak will demonstrate its new standalone video analytics


solution for displaying key video parameters at CABSAT 2017. Using this solution, content providers can gain insight into the QoE perceived by endusers, leveraging critical information such as startup time, stall durations, rebufferings, and user interactions.

Latest Video Delivery Innovations for PayTV and Satellite Operators • nanoCDN™: Delivering Live HTTP TV services via satellite is now made possible with Broadpeak® nanoCDN solution. nanoCDN allows satellite operators to costeffectively deliver live and on-demand services across tablets, smartphones, connect

TVs, and other OTT devices by leveraging the end-users' STB. • Cloud PVR: Broadpeak® supports all scenarios for shared copy and private copy cloud PVR. Using Cloud PVR, operators can deliver a broad range of services, including startover, time-shift, and catchup TV, as well as impulsive recording.

EVS Stand G2-30 Making its first appearance in the region, the XT4K is a live production server that’s designed specifically for the creation of 4K replays and highlights. With EVS’ signature loop recording, it lets users react to the fastpaced action of a live production using the speed TMBi - 43


and reliability expected in EVS technology. Supporting four channels of uncompressed UHD-4K, each on a single 12G-SDI wire, the server supports XAVC-4K recording and 10 bit HDR support. Existing server infrastructures can be leveraged by integrating a new XT4K to create an extended XNet network. With the ability to support 12 or more HD and Full-HD 1080p channels with the ChannelMAX configuration, the XT4K also features onboard IP technology for integration into the latest IP workflows.

Connected Live, better content access EVS will be displaying how better connectivity can TMBi - 44

enable more effective storytelling in the live environment. IPWeb – the remote browsing application – will be on display at

CABSAT, showing how users can access, browse, select and clip content stored on workflows from anywhere. In this showcase



directors can afford to be more creative using DYVI.

of EVS’ Connected Live environment, IPWeb shows how more advanced connectivity gives users easier access to content which allows for more efficient production and ultimately more creative storytelling.

Enhanced live production switching EVS will also have its

DYVI switcher on its stand at CABSAT. The switcher, which has most recently been used by Olympique Lyonnais for its live football programming and Francis Ford Coppola for the switching of his Distant Vision project, is ideal for broadcast studios and stadiums that have multiple productions and broadcast outputs. Its IT-based architecture lets users go beyond what’s possible with a classic switcher with preprogrammable outputs that allow better production efficiencies. With its unique way of live switching,

Faster analysis and better decision making On stand G2-30, Xeebra will also be displayed to the region for the first time. The multi-angle replay system can be used by multiple stakeholders including sports officials, coaching and medical staff to play, pause, rewind and even zoom into 16 HD camera feeds at once. The system lets operators utilise an intuitive touchscreen or dedicated controller to analyse and manipulate live camera feeds that remain entirely in-sync. TMBi - 45



Globecast facility

Globecast Stand A8.20 Globecast launches Optim’Net, CDN optimisation technology Even though the CDN price-per-Gb is regularly decreasing, CDN costs for media delivery are growing every year as audiences, and therefore demand for content, expand. A second factor is that viewers are watching online content for longer periods of time than TMBi - 46

ever before. We are also seeing the demand for media quality shifting from very compressed to SD and to on to HD, which of course increases CDN capacity demands. In order to satisfy these shifting consumer content requirements while also minimising costs, Globecast is launching its Optim'Net solution, proving that peer-assisted media delivery is ready for prime time. Peer-assisted content re-distribution technology is now mature, thanks to HTML5/WebRTC. It essentially combines the

best properties of infrastructure CDNs with those that utilise peer-topeer architecture.

Migration and Distribution in HD The transition to HD is something many Globecast customers in the MENA region are currently addressing. With its inhouse technical expertise and years of experience in helping broadcasters expand their offering to new formats and platforms, Globecast will be


highlighting how it can help customers handle the migration and distribution to HD using its global experience.

VOD Logistics Following the launch of Globecast VOD Logistics in 2016, Globecast has continued to increase its platform delivery reach with the volume of content distributed doubling in the past six months. Globecast VOD Logistics makes creation and delivery of VOD packages simple, handling the complex and intricate requirements of each VOD platform. The company assembles and delivers VOD content packages with all the relevant metadata, languages, graphics, subtitles and promos in the technical formats demanded by VOD platforms globally. Globecast manages an extensive and rapidly growing network of VOD platform affiliates, thus ensuring that customers can reach a global audience footprint quickly and efficiently.

Harmonic Stand A2-30 At CABSAT 2017, Harmonic will demonstrate how it addresses the major challenges that cable and satellite operators in the Middle East and North Africa face, including the rising cost of bandwidth, rapid growth of Ultra HD channels, explosion in OTT video consumption, and transition to media processing in the cloud.

Resolving OTT Bandwidth Challenges While Retaining Superior Video Quality In the Middle East and Africa, OTT video revenues will reach $1.795 billion in 2021, up from $277 million in 2015, according to Digital TV Research. With Harmonic's new EyeQ™ video compression optimization solution, operators in the region can deliver a consistent, superior viewing experience on all devices while reducing OTT bandwidth consumption by up to 50 percent.

Making Crystal-Clear UHD HDR Video a Reality Harmonic will also demonstrate how operators can deliver stunning UHD HDR video for both live and on-demand applications via its end-to-end UHD-HDR contribution, playout and delivery solution

Speeding Up the Launch of Broadcast and OTT Services With Cloud-Native Technology Migrating to the cloud is another important trend occurring in the industry today, as it provides increased infrastructure flexibility, elasticity and agility to launch broadcast and OTT services in a matter of hours, not months. Harmonic's award-winning VOS™ Cloud media processing and VOS 360 software-as-a-service (SaaS) solutions enable operators to manage video processing and delivery, all the way from ingest to delivery, over public or private clouds.


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Easing the Transition to All-IP Workflows Through Trusted Media Server and Playout Solutions As operators in the region continue transitioning to allIP workflows, they need a simple and reliable migration path. Harmonic's Spectrum™ X advanced media server and Spectrum XE playout solutions ease the transition to an all-IP infrastructure, supporting SD and HD broadcast and OTT channels for increased monetization.

Interra Systems Stand 308 As operators in the global broadcast, cable, telco,

Interra Systems BatonPlus

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satellite, IPTV, over-the-top (OTT), and post-production markets deliver a growing amount of high-quality video content, including HDR/UHD/4K, to various screens, the need for reliable, efficient, and scalable quality control (QC) and monitoring solutions becomes ever more critical. At CABSAT, Interra Systems will demonstrate comprehensive, integrated, and intuitive QC/monitoring solutions. A key highlight will be new HEVC and 4K support across all the company's products, including ORION™-OTT, a software-based monitoring solution for adaptive bitrate (ABR) content; ORION realtime content monitoring and video analysis systems;

BATON® automated, filebased QC; and VEGA™ media analyzers.

Key Product Introductions and Demos HEVC, HDR, and 4K Support Interra Systems' quality control and monitoring solutions will be on display at CABSAT. During live demonstrations, attendees can learn how to successfully check and assure the integrity of 4K UHD, HEVC, HDR, DPX, and IMF content. With the introduction of increased resolution in 4K, broadcasters must support increased intensity and color, as outlined by the ITUR BT.2020 specification, as


Interra Systems Orion Central Manager.

well as higher bit depths. Interra Systems' solutions optimize this process, enabling better detection of video quality artifacts and other errors in highresolution content.

ORION™-OTT — ABR Monitoring System A key highlight at CABSAT will be the Interra Systems' ORION™-OTT, one of the industry's first softwarebased over-the-top (OTT) solutions for real-time monitoring of adaptive bitrate (ABR) content for multiscreen service delivery. Leveraging industry-proven audio/video quality analysis technologies, ORION-OTT enables OTT service/equipment and CDN providers to seamlessly

monitor online video delivery for quality and compliance. ORION-OTT monitors ABR content via user-defined automated and manual schedules, checking for inconsistencies pertaining to ABR package compliance, manifest/playlist syntax, download errors, content quality, and more. Industry and government regulation conformance is simplified by the system's support for a wide range of standards, including the U.S. CALM Act. The comprehensive solution can also be used for origin server load testing, enabling service providers to monitor and log HTTP requests and responses for HTTP failures, request/response delays, assess server performance, and other issues.

ORION™ Real-Time Monitoring and Video Analysis Interra Systems will showcase its ORION™ realtime content monitoring system at CABSAT. Enhanced with multiprocessor architecture support, the software-based platform enables customers to optimize their hardware infrastructure, both in terms of cost and performance. A powerful and economical monitoring solution that runs on standard industry hardware, ORION gives customers the flexibility to run monitoring tools on the platform of their choice. The latest version of ORION provides comprehensive SCTE-35 verification with timeaccurate thumbnails around TMBi - 49


Junger Audio DAP8 EDITION

splice points, closed-caption and text-service monitoring with logging and display of captions frame-by-frame, encoder boundary point monitoring, and IGMP monitoring for network troubleshooting. It also offers virtualization and comprehensive QoE evaluation.

BATON® Automated, File-Based QC Interra Systems will showcase BATON® 7.0, the latest version of its QC solution for file-based SD, HD, and cloud-based workflows. BATON 7.0 offers audio detection support and language verification of subtitles and closed-caption files for audio tracks in TMBi - 50

English, Spanish, German, French, Dutch, Arabic, Italian, Portuguese, and Swedish, with more to come. Using BATON, operators can automatically match the language in each audio track with associated metadata as well as simultaneously check multiple audio tracks in each media asset. Broadcasters and post-production houses can use BATON 7.0 to accurately measure and correct audio program loudness and true-peak audio levels in accordance with the International Telecommunication Union's Recommendation ITU-R BS.1770-3, a global standard for objective loudness measurement.

Jünger Audio Stand 102 Hall 1 Digital audio specialist Jünger Audio will be promoting its Smart Audio concept at this year's CABSAT exhibition in Dubai by focus attention on effective, high quality and possibly automated audio production, particularly in live broadcast environments. Smart Audio means investing in simple, reliable and predictable equipment that can automatically deliver audio content while maintaining the high quality that consumers rightly expect. The concept has already been adopted by broadcasters, including Input Media in London and the ARD Tagesschau


Jünger Audio will show its full range of loudness control and audio processing solutions for the broadcast and pro audio industries. The company will demonstrate each processor’s capabilities via web server technologies and specific user interfaces on a computer.

Audio’s CEO Peter Poers. “By focusing our CABSAT display on Smart Audio algorithm solutions and easy to navigate user interfaces, we can highlight just how easy it is for broadcasters to deliver high quality sound in a very efficient way, with minimal requirement for manual control or intervention from an operator.”

“Today’s broadcasters can’t afford to establish manual control operation by qualified audio engineers to manage optimum sound quality at every position, therefore what is needed is a chain of intelligent and adaptive real time processing algorithms that work together to deliver a consistent, clear audio experience,” says Jünger

Alongside intelligent and adaptive processing algorithms, the introduction of Smart Audio also allows broadcasters to choose devices that are fully interoperable with others in the broadcast environment and can seamlessly integrate with both playout automation systems and logging and monitoring processes.

television prime time news service in Germany.

“Auto-Level, Auto-Upmix, Auto-EQ, Auto-MIX, AutoLoudness, Codec System Metadata Management – the intelligent combination of all these Jünger Audio adaptive algorithms create solutions that delivers Smart Audio,” Poers says, “and program loudness will also automatically match – as expected.” To highlight this concept, Jünger Audio will be showing its full range of D*AP products that can deliver a Smart Audio experience because every device already incorporates a collection of adaptive processing algorithms. They also employ the industry standard Ember+ remote protocol that allows seamless integration with an increasingly wide range of compatible equipment. TMBi - 51



PlayBox Technology Neo

PlayBox Technology Stand G1-20 PlayBox Technology will demonstrate the latest refinements to its serverbased Neo and SaaS-based CloudAir broadcast playout solutions at CABSAT. "PlayBox Technology has a very strong customer base in the Middle East and throughout Africa," comments PlayBox Technology CEO Pavlin Rahnev. "The focus of our CABSAT demonstrations will be on how easily Neo modules can be combined to TMBi - 52

handle a practically unlimited number of channels, any configuration of languages and any level of third-party product interfacing. Above all we will be promoting the operational simplicity of the PlayBox Technology user interface. We will be demonstrating major enhancements to many elements of the Neo product range and to CloudAir, including the ability to integrate the two solutions into an extremely powerful hybrid. Neo gives station managers the confidence and security of owning and operating a complete on-site playout system. CloudAir

allows a remotely located playout service to be controlled via a secure internet connection. The hybrid approach, which is becoming increasingly popular, offers the best of both technologies including the fast expandability and flexible funding of a SaaSbased remote system." "Broadcasters are looking for the greatest possible flexibility in the way they work, whether for distribution via terrestrial transmitters, satellite or the internet," says PlayBox Technology president Don Ash. "That includes the ability to launch new channels in UHD if or


when they choose to do so. AirBox Neo supports UHD, HD and SD playout from a single server. It is designed for round-the-clock automated operation while retaining the freedom to transmit live content at any time. We will also be promoting the latest version of ProductionAirBox Neo. This is a variant of AirBox Neo designed for broadcast news, sports and live production. New features include enhanced playlist performance, faster-thanever operational response, enhanced audio quality, audio media trimming, XKeys control compatibility, NDI protocol compatibility and support for 4K UHD at 50p, 59.94p and 60p frame rates."

demonstrating its unique converged architecture and highlighting its ability to support embedded applications. Throughout CABSAT the company also will demonstrate the benefits of its massively scalable, low-latency Lattus object storage system.

object storage (private cloud) — starting with Amazon Web Services, Microsoft Azure, Google Cloud, NetApp StorageGRID, IBM Cleversafe and Scality RING — as archive tiers in a StorNext-managed media environment. Content owners thus can protect their prior investments while reducing the cost and complexity of cloud storage administration.

StorNext 5.4: New Release of Quantum's Workflow Storage Platform The new StorNext 5.4 workflow storage platform delivers a range of enhancements for optimizing media workflows. A new feature in StorNext FlexTier makes it easy to integrate existing public-cloud storage accounts and third-party

The platform's new Dynamic Application Environment (DAE) supports embedded applications in self-contained virtual machines (VMs), with a hypervisor dynamically allocating resources as needed to guarantee both storage and application

Quantum Quantum will show how its StorNext platform "powers what's next" across the full media life cycle, including production, content management, and delivery and archive workflows. The company will feature StorNext 5.4, the newest release of this powerful platform, and how it brings greater efficiency and flexibility to media workflows. Quantum also will showcase the awardwinning Xcellis workflow storage system,


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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 Xcellis workflow storage and demonstrate how its converged architecture empowers 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 TMBi - 54

and application providers, Quantum is continually extending the ways in which Xcellis can optimize end-toend workflows. Based on the StorNext 5 platform, Xcellis facilitates flexible configuration of performance and capacity. The solution supports online work-inprocess, ingest and delivery, and archive through Quantum's portfolio of Lattus object storage, LTO tape and cloud access through StorNext FlexTier.


The Remote Communicator will allow you to stream video and audio to a web browser and return audio and video or audio only in real time, full duplex with ultra-low delay. The return feed can be received at the studio using a Quicklink Server or on own hardware for output via SDI or NDI. The cloud advanced firewall punch through with automatic fall back to Quicklink Relay Services will guarantee connectivity on the most challenging and secured networks.

Stand I2-35


Quicklink will demonstrate their new Remote Communicator solution. The solution enables you to create ad hoc ultra-low delay video/audio contributions from any device using a web browser, easily share high quality return video to a remote user and integrate ultra-low delay audio commentary into your workflow.

Stand D2 - 41 SGL is highlighting its new entry-level archive solution FlashNet Lite at CABSAT 2017. Providing media companies with a highly cost-effective archive that can expand as their requirements grow, FlashNet Lite includes SGL’s new elegant user interface FlashNet Infinity. FlashNet


Lite comes in four configurations: FL Disk, FL Tape, FL Hybrid and FL Optical Disk, providing options for content storage that is disk only, tape only, optical disk or a combination of disk and tape. FL Hybrid is upgradeable to 50TB of disk support, two tape drives and 100 slots with one server. This gives nearly 600TB capacity with LTO7 tapes. Running on a single server node, FlashNet Lite can grow as the customer’s archive expands. The system includes important FlashNet tools including: integration with a wide range of partner solutions and storage devices; business storage rules; partial file restore; and SGL’s new

Infinity user interface. FlashNet Infinity, which delivers a sophisticated toolset for archive and restore functionality, system health, monitoring, analysis and more, will also be demonstrated throughout the show. Available as a free upgrade to all SGL FlashNet users covered by a current support contract who are running FlashNet 6.6 or later, FlashNet Infinity takes a novel approach to the management of archived assets. While FlashNet itself is optimised for enterpriselevel archiving, with the capability for automatic failover and for distributed processing of very high levels of activity, Infinity is designed for high-

performance search, monitoring and analysis. Infinity is a web-based framework that runs dashboards containing one or more gadgets. Each gadget offers a tool, which for convenience are grouped into searching, monitoring, analysing and system administration categories by SGL. While some dashboards are preconfigured by SGL as system-defined, others can be created by the organisation or by the individual user by dragging and dropping gadgets. All dashboards can be modified to fit the organisation, depending on the access rights of a specific user.


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Blackmagic MultiView 16 “A monitor with a view"

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Blackmagic MultiView 16

Lab testing performed by Pablo Martínez

In this laboratory, we will analyse one of the products of the well-known brand, Blackmagic Design. We all know their products and more than one of us will probably have one at our workplace. The brand is characterised for offering equipment that is well worth the money. Personally, I believe that one of their biggest advantages is the R&D behind the brand, not to mention the constant innovation. We can say that many of the brand’s products are indeed focused on the professional market and not broadcast, but the dividing line is getting finer every day, and with the technological advances we are seeing, this line becomes very fuzzy. When

we buy a piece of equipment, we need to know exactly what we will be using it for, what it will let us do and what determinants it may have in use or operation.

LET’S GET TO KNOW THE DEVICE A BIT MORE… We have a MultiView 16 for this Laboratory. This 1UR device is made with aeronautic quality aluminium, and it is only 15 cm deep, which means that it will fit in any standard frame seamlessly. It weighs 2.3 Kg and has a consumption of 45W; so, it

is really lightweight. On the front, we find a built-in 1.5" LCD screen displaying the operation status and the several settings menus, as well as a turning knob and a set of lit up buttons that let us adjust all the parameters and display settings permitted by the device. On the rear side, we have 16 inputs with BNC connectors and a loop-out on each one, as well as a reference input, a RJ45 for Ethernet connection, a RJ11 as a RS-422 access port, a USB for updates and five outputs (an HDMI with a type A connector, two BNC for 6G-SDi outputs and two BNC for HD-SDI outputs), all active at the same time. TMBi - 57

 TEST AREA Its main features are: Connections SDI video input 16 x 10-bit SD/HD/ 6G SDI output for derivative signals 16 x 10-bit SD/HD/ 6G SDI multi-view outputs 2 x 10 bit HD, 2x 10 bit 6G HDMI multi-view outputs 1 x HDMI type A connector Recognises the monitor identification data (EDID) Sync signals Black Burst and Tri-level Sync for SD, HD and 4K Transfer speed Automatic detection of SD, HD or 6G signals Multi-view for SD, HD and 4K signals Updates USB 2.0 High-speed connection (480 Mb/s), or

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through an Ethernet network. Control 16 buttons to control the device locally. 5 buttons and a scroll wheel to access the options on the screen menus or an RJ-45 connection for Ethernet networks. Configuration Via the front screen or RJ45 Ethernet/USB 2.0 connections to configure the IP address or update the internal operating system. RS-422 control RJ9 for external control

HD formats 720p50, 720p59.94, 720p60 1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080p50, 1080p59.94, 1080p60 1080PsF23.98, 1080PsF24, 1080PsF25, 1080PsF29.97, 1080PsF30 1080i50, 1080i59.94, 1080i60 2K formats 2K DCI 23.98p, 2K DCI 24p, 2K DCI 25p, 2K DCI 23.98PsF, 2K DCI 24PsF, 2K DCI 25PsF

Re synchronisation Automatic SD/HD/6G adjustment for all SDI outputs

UHD formats 2160p23.98, 2160p24, 2160p25, 2160p29.97, 2160p30

Supported Standards SD formats 525i29.97 NTSC, 625i25 PAL

4K formats DCI 4K 24p Compliance with the SDI standard

Blackmagic MultiView 16

SMPTE 292M, SMPTE 259M, SMPTE 296M, SMPTE 424M-B, SMPTE 425M, ITU-R BT.656, ITU-R BT.601. SDI transmission speed The SDI inputs accept signals in standard definition, high definition and 4K. Options: SD (270 MB/s), HD 1.5 GB/s, 3G and 6G. SDI video sampling

SDI metadata Payload identification, according to the SMPTE 352M standard. The equipment will offer the possibility of supervising up to 16 different video sources with its independent inputs. These sources can be seen on one single screen, thanks to the internal synchronisation and

processing of the different video formats supported. It currently offers four layouts to monitor video sources (1x1, 2x2, 3x3, 4x4). With the settings, which we can adjust over the Ethernet with the Videohub control software, the MultiView 16 permits assigning sources to the display windows, selecting the full screen mode and integrating the

4:2:2 and 4:4:4. SDI audio sampling. Television standard sample rate of 48 kHz and 24 bit. SDI colour precision 10-Bit 4:2:2 and 4:4:4. SDI colour space YUV or RGB for inputs, YUV for outputs. SDI auto switching Automatic selection between SD/HD/6G in each input to process several television formats independently.

We can change the label of each input source, which is seen on the MultiView monitor, as well as enable/disable the dividing edges between screens. The sample of the labels, the audio metres or the SDI tally, as well as the control software, are super easy to use and intuitive

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 TEST AREA audio channels into the output signal. We can change the label of each input source, which is seen on the MultiView monitor, as well as enable/disable the dividing edges between screens. The sample of the labels, the audio metres or the SDI tally, as well as the control software, are super easy to use and intuitive. As an implementation within the Blackmagic devices, we can increase the monitoring

As far as the value for money offered by the MultiView 16, we can say that it has quite a number of options

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bridge of an ATEM device with a MultiView 16. We will just need to connect all the video sources with the same input order we have on the ATEM, and connect the PGM output of the ATEM to entry 16 of the MultiView. This output offers the SDI tally identification for the rest of the screens included in the multi-screen display.

FIELD STUDY We conducted two simple tests to assess the potential of the MultiView 16. The first one consisted in a multiscreen system with central control on a 55" display and we assigned 16 video sources to monitor external contributions and signals from internal videos (a representation of a multiscreen that is currently installed in a MCR). The display, the indicators of each window and the audio metres per channel, posed no problem whatsoever and the resolution is correct.

One of the major problems with multi-screen systems is the delay with respect to the audio generated in the video signal when processing it. With the MultiView 16 and these settings, the audio allocation from the embedded SDI signal that we have as an input source, the delay is 0 frames. The same, measured on an external audio system with an independently processed signal in production studio format, on a timeline with a starting point allocation, gave a 4-frame delay. In this first test, the MultiView 16 system, with its standard functions, behaved to perfection, remaining stable during the 72 hours the system was in operation. In the second test, we configured the MultiView 16 to work jointly with an ATEM switcher in order to amortise the equipment to the max. The input video sources were placed on the MultiView 16 inputs and via the loop output

Blackmagic MultiView 16

of each channel, they were connected to the ATEM switcher input, cabling one of the outputs for the switcher programme to entry 16 on the MultiView 16 for a tally on the video sources. These two pieces of equipment integrate to perfection and do not have the slightest fault. However, we do advise having a controlled cooling rack. Although during the tests we conducted, no problems arose, as the equipment is placed on a rack with a constant temperature, in one of the system verification tests I conducted during the 24 hours with the system at room temperature (23Âş C), 8 hours into the measurement, the average temperature inside the equipment came dangerously close to the maximum specified by the manufacturer. This did not cause any problems, but we need to bear in mind the recommended working temperature range of the manufacturer.

WHAT WE WOULD HAVE LIKED TO SEE... As far as the value for money offered by the MultiView 16, we can say that it has quite a number of options. Even so, I would have liked to see a couple of functions, which would not have entailed an increase in price if included but would have given thee device more cache. With Blackmagic, we are accustomed to having to use an external device to control the GPI/O with its range of commutation matrices and ATEM switches. I also missed being able to use this device to allocate tallies to the MultiView 16 inputs, which would take this device to another level for not having to rely on the integrated tally inside the SDI signal.

make it so much easier to verify the audio associated with an input signal, for instance.

CONCLUSION For the price of the MultiView 16 and its options and possibilities, we found it to be quite competitive and usable for many different purposes in our professions. Blackmagic Design provides us with a constant update of its equipment, as well as an extraordinary technical support. I would like to thank Blackmagic Design for having lent me this fantastic piece of equipment, and my colleagues at IB3TV for letting me use their facilities.

Another option I missed was the possibility of selecting an "audio follow video" on the MultiView output. This would

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Magic TH6 Test Bench Made by: Yeray Alfageme, Broadcast Systems Engineer at OCS (Olympic Channel Services). The Olympic Channel is a new, ground-breaking digital platform where fans can experience the power of sport and the excitement of the Olympic Games all year round, and is available worldwide via mobile apps for Android and iOS devices and at

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AVT Magic TH6

The Magic TH6 unit by AVT is a hybrid telephone system that combines POTS or VoIP interfaces on the telecommunications side, and analogical and digital interfaces on the audio signal side, all in one unit, making it possible to operate with either of these connections interchangeably. Specifically, it has up to 6 analogical POTS lines for conventional telephony or a VoIP interface through its LAN port with the availability of a further 6 lines when configuring it towards our own PBX. If we choose the VoIP option, our PBX permitting, we can benefit from HD-Voice with increased bandwidth of our call up to 7 KHz, allowing us to use the unit as a transfer

system, or even for commentators’ positions if need be. The unit is rugged and does not feel like an “empty box”, like similar units on the market. The case is not weak, and the cabling and internal circuits are correctly fastened inside, making it perfect for uses in OB Vans or more complex environments than in permanent studio installation. The rear side is straightforward and easy to connect. All the connectors of the same type are grouped together, which permits connecting all our communication lines, controls, either LAN or through tallies, and our audio connections easily. But if I were to nit-pick, I’d

say it doesn’t have a redundant power supply, which may not make it suitable for high-availability environments. In addition to the 6 POTS lines, if we have acquired this model, and the LAN control, Tally and series connections for the keypad, we find 4 XLR connectors for the two analogical inputs and outputs, as well as a 15pin connector for the two pairs of AES. We also find another two RJ-11 ports, the same as those of the POTS lines, but here, they offer the possibility of connecting two headsets for smaller operating environments where we don't have the benefits of a complete intercom system. On the front, we see a set of 7 LED indicators for TMBi - 63

 TEST AREA power, alarm and the 6 available communication lines. Its back-lit LCD screen with 4 effective lines is more than sufficient and marks a great difference compared to traditional models made by other manufacturers. A pair of buttons to interact with the screen and a navigation spider with a standard numeric button pad for telephone systems is on the right.

The unit is rugged and does not feel like an “empty box�, like similar units on the market. The case is not weak, and the cabling and internal circuits are correctly fastened inside, making it perfect for uses in OB Vans or more complex environments

The navigation and use of this panel are limited but sufficient for environments such as mobile units where the connections are permanent during the entire production, or in simple environments where, with the help of the headset, we can operate the equipment directly from its front panel without needing any software.

a small phonebook, call log, etc. are accessible from the menu. However, if we want to use these features and at the same time we want something more advanced, it is always advisable to use the control software provided with the equipment.

Functions such as callforwarding, redial, access to


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It is a simple programme. All we need to do to make it operational and connect and use all its features is go

through a small installation procedure and ensure we know what the IP of our unit is and the control port, which by default is defined in the user manual. Given that the device can be controlled from 4 PCs simultaneously, it lets us share its resources between different studios or productions, depending on the logic control port to

AVT Magic TH6

which we connect, and we will see which resources are available: different available lines, configurations, audio inputs and outputs, and additional options like headsets, etc. Lastly, AVT offers us the following hardware options, in addition to being able to choose between PLOTS and VoIP lines mentioned above: • MAGIC TH6 keypad: a small, very useful telephone keypad to be placed next to our audio switcher and not have to resort to the keypad on the front of the equipment to make calls. • MAGIC TH6 Telephone Handset and Headset: the typical telephone headphones or microheadset used by telemarketing phone operators to connect directly to the RJ11 ports of the unit.

• USB handset and headset: they meet the same functionality as the traditional ones, but, as they have a USB interface, we can use them connected to the PC, where the software is installed if this is in a location other than that of the equipment or to use it with multiple users at the same time.

In the event of a momentary disconnection, the system does not automatically recover connection, but if this happens, all we have to do is force the connection from the menu. We don't have to re-start the software to recover the control of the unit from where we left off. One of the most interesting parts of the software when

All we need to do to make it operational and connect and use all its features is go through a small installation procedure and ensure we know what the IP of our unit is and the control port, which by default is defined in the user manual

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 TEST AREA using the Magic TH6 is the possibility of using the three operating modes: • A studio - 2 faders mode: It is a mode that allows us to use just two communication lines on the programme, but in return, it offers us the possibility of using up to three control lines, such as an operator, a studio control and a pre-listening floor manager. • A studio - 6 fader mode: In this mode, the unit lets us use the six communication lines in the programme keeping an operating post, which, combining the control software with a telephone headset connected to one of its dedicated ports, gives us total flexibility and security when operating our communications.


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The system also offers advanced functionalities, such as the Automatic Gain Control, which permits avoiding the dreaded sudden change of levels in the line, keeping a constant level during the entire call; the Digital Echo Canceller, prevents audio feedback during a call mitigating any N+1 errors or similar issues • Two studios: Without a doubt, this is the most novel mode, which lets us use the highest number of available lines while keeping a great number of control and operation

ports. In this mode, we can divide the unit into two, with the settings and use several LAN control ports. We'll get two lines for one studio and two lines for another, with one control

AVT Magic TH6

and one operating port per studio, either by using the software combined with a telephone headset or with the software and an analogue pre-listening system. In addition to everything discussed above, the system also offers advanced functionalities, such as the Automatic Gain Control, which permits avoiding the dreaded sudden change of levels in the line, keeping a constant level during the entire call; the Digital Echo Canceller, prevents audio feedback during a call mitigating any N+1 errors or similar issues; a night mode, which forwards the call to another pre-configured number or extension during established times or a DTMF tone generator and analyser, which gives us the

possibility of establishing communications or making commands on the line automatically. These types of functions are not very common in most of our productions. Let’s say 90% of our productions can be done without them, but when we need them and they are not there... They are very much missed. In summary, the MAGIC TH6 unit is one of the most complete systems for hybrid communications offering great flexibility and communication capabilities, which, combined with its control software with the multi-position option, becomes a powerful communication station, either for mono-studio environments or exterior production systems or even in more complex situations

with more than one available studio. For me personally, functions like the Automatic Gain Control or the Digital Echo Canceller will prevent perceiving the typical incidents of an antenna phone call that begins without being heard or that saturates as soon as the call starts, because the person on other side of the line has a television switched on, something typical and unpleasant in any telephone connection. The negative note falls in the non-existence of the redundant power source and the need of using both the analogue and digital audio to be able to use the six communication lines, which can be cumbersome and confusing in some simple environments or configurations.

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