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Editorial
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Editor Javier de Martín
Editor in chief Jesús Carrillo
editor@tmbroadcast.com
director@tmbroadcast.com
Key account manager Cristina Feduchi international@tmbroadcast.com
Editorial staff Daniel Esparza press@tmbroadcast.com
Creative Direction Mercedes González
Administration Laura de Diego
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TM Broadcast International #46 June 2017
TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 14 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43 Published in Spain
Editorial It is more than evident that sectors with solid technological foundations, as in our case, bring out the value of the basic principle of Darwinism: adapt or die. This process awakens the instinct in some companies -above all the larger ones- of wanting to be the first in reaching the new technologies and offering cutting edge solutions. The dream of many brands is to become the one and only game changer. However, the efforts are not always focused in the right direction. In the past Las Vegas NAB, we saw which of the brands knew how to interpret the reality best, which at the end of the day, is more effective than attempting to convince the masses that there is no other reality than a particular proposal. This show was where we were able to see which brands implemented the most appropriate R&D and business development policy in the recent years and which didn’t. We were surprised to see a noteworthy drop in visitors at the stand of a leading manufacturer compared to other years, quite evident to the naked eye, unfortunately. This led to me making a reflection on the major commitment of IP 4K/UHD and HDR of this brand in particular. In another pavilion, the stand of another direct competitor was bursting at the seams; the excitement seen on the faces of the employees was a clear sign that the show was being an all-around success for them. Their strategy was contrary to the one mentioned above, without forgetting the IP and 4K/UHD, they invested time and money in strengthening their SDI proposal and improving all their products, without becoming obsessed with being the first to innovate within the new formats. We believe that this is an example of a certain disconnection between brands and clients, above all in a sector with so many particularities as is the production and distribution of audio-visual content, where we will no doubt see many changes in the coming years. The Darwin adaptation in the current setting does not involve being the first in developing something new, but for having a sincere dialogue with clients and that R&D, business development and marketing beat at the same rate as reality, beyond fads and gurus.
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FUJIFILM LAUNCHES THE NEXT ADDITION TO ITS “MK” SERIES OF CINEMA LENSES FUJINON MK50-135mm will be showcased at Cine Gear Expo and Realscreen West The Optical Devices Division of FUJIFILM has announced the official launch of the latest in its “MK” Series of cinema lenses - the FUJINON MK50-135mm T2.9 zoom. The MK50-135mm was shown as a companion lens to the MK18-55mm T2.9 zoom, introduced in February. The MK50-135mm will be on display to a
motion picture and television production community at Cine Gear Expo 2017 in Hollywood, June 2nd and 3rd, and to documentary and reality producers at Realscreen West in Santa Monica on June 6-8. The MK50-135mm is the same size and weight as the MK18-55mm, but with a 50135mm focal length (both in
the Super 35mm format). “It has all the performance that makes the MK18-55mm so exciting,” said Tom Fletcher, Director of Sales, Optical Devices Division of FUJIFILM. “It has no breathing, no ramping, and the same par focal capabilities – all wrapped up in a new focal length for the series.”
Fujinon MK50-135mm
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TELEVISA NETWORKS ADOPTS SAM CIAB TECHNOLOGY FOR AUTOMATED PLAYOUT
Mexican broadcaster Televisa Networks, a dedicated Snell Advanced Media customer for over 20 years, has purchased SAM’s ICE Channel-in-a-Box solution along with Morpheus automation, a Sirius 850 router, SAM’s Rollmap infrastructure management system and IQ Modular infrastructure to add 37 channels of programming to its already lineup. Eduardo Jimenez Machorro, director general de Operaciones y Servicios de Producción at Televisa Networks, comments: “Our purchase of SAM’s ICE, Morpheus, Sirius 800, Rollmap and IQ Modular infrastructure for the new playout facility is another TMBi - 8
example of how we continue to rely on SAM’s rich knowledge in broadcast.” “For this project, SAM orchestrated a system that brings an unmatched level of productivity to our workflow,” he continues. “With the system, which went live in late 2016, we can broadcast via multiple platforms and deliver multiple channels from a single system. Our automation will be much more tightly coupled with things like subtitling and integrated graphics, loudness control for all channels, and our live captioning will be simplified. We’ll now also have a more efficient means of storage because ICE simultaneously plays the same file from a single
shared storage unit which enables content to be shared between channels instantly and immediately available when required.” Rafael Castillo, Vice President LATAM at SAM, says: “We’re delighted that Televisa is taking advantage of our ICE solution because it’s really going to simplify playout for them. ICE integrates more features than other CiaB systems on the market and helps to cut some of the hefty costs associated with broadcasting like infrastructure, power, rack space, heating, and cooling. Undoubtedly, ICE will enable Televisa to run their operations more suitably and with less overall costs.”
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IKEGAMI APPOINTS KENZO ISHIZUKA AS PRESIDENT OF EUROPEAN OFFICE Ikegami has announced the appointment of Kenzo Ishizuka to President of its European office. Effective immediately, Ishizuka is responsible for heading up Ikegami’s European operations as well as managing all key customer accounts, system integrators and channel partners across the EMEA region. Ishizuka has worked for
Ikegami for over 30 years. Starting with the company in 1987, Ishizuka has worked in both the Japan and US offices, with his most recent role being General Manager of Domestic Sales in Japan. Ishizuka will be taking over from Ikegami Europe’s previous President, Masanori Kondo, who is moving to Ikegami’s Japan office.
“I am thoroughly looking forward to using the expertise acquired throughout my extensive time with Ikegami to bolster the company’s presence throughout the EMEA region,” comments Ishizuka. “Kondo-San has done an impressive job with the EMEA market and I am excited for the opportunity to carry on his great work.”
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CHYRONHEGO APPOINTS GBS ALLIANCE AS APAC DISTRIBUTOR FOR VISUAL RADIO GBS Alliance will distribute Visual Radio to broadcast and pro-audio customers in Thailand, Singapore, Indonesia and Malaysia ChyronHego has signed GBS Alliance to distribute the ChyronHego Visual Radio product line to customers in Thailand, Singapore, Indonesia and Malaysia. Visual Radio enables radio stations to add a video element to their programming, transforming any radio broadcast into a compelling and entertaining visual show. GBS Alliance provides a full range of project consulting, planning, and implementation solutions to customers in the radio, television, and pro-audio markets. The company is established in the AsiaPacific region, with headquarters in Singapore and eight local offices. "It is rare to find a distributor with such a strong presence in both the radio and TV broadcast spaces. That's what makes GBS Alliance the perfect business partner to represent our Visual Radio solution," says Dae Yung Choe, ChyronHego's vice president of sales at Asia Pacific. "The company's experience, technical expertise, and solid network of industry TMBi - 10
ChyronHego's Visual Radio is a fully automated software solution that switches cameras and plays graphics by analyzing audio signals and XML data from the radio station's automation system
contacts will help accelerate our market penetration and growth in the region."
Visual Radio turns radio listeners into viewers ChyronHego's Visual Radio is a fully automated software solution that switches cameras and plays graphics by analyzing audio signals and XML data from the radio station's automation system. Visual Radio provides an add-on to a radio production that allows the audience to experience radio moments as they happen, turning radio listeners into viewers. "Visual content is becoming more important to
radio audiences, and they're consuming increasing volumes of media on mobile devices. With Visual Radio, radio stations can use visual content to differentiate themselves from their competition and also attract a new generation of consumers," claims Mr. Y. C. Tan, managing director at GBS Alliance. "Visual Radio is a game-changer, and we are confident it will be a success in the Asian region. We are excited to have this brand in our portfolio and believe that it cements our position as a full-service systems integrator for the broadcast industry."
PARADIGM APPOINTS STEPHEN RUDD TO DEVELOP INTERNATIONAL BUSINESS Paradigm has announced the appointment of Stephen Rudd to develop its international business, primarily in the Middle East and Asia. He joins Paradigm from Vislink where he was most recently CEO and previously held the roles of Managing Director of Advent Communications and heading up Vislink Group’s Asia Pacific operation out of Singapore. Rudd will be selling Paradigm’s whole product range and his initial key focus will be the newly-released Swarm45. Ulf Sandberg, Managing Director of Paradigm, said: “I have a huge amount of respect for Stephen and for what he has achieved within the satellite industry. His appointment underlines the significance of these overseas markets to Paradigm and the market potential of the Swarm45.” Stephen Rudd, International Business Development, said: “I am delighted to be joining Paradigm at such an exciting time for the company. The launch of the Swarm45 with its high data rate capabilities has not only been proven as a deliverable on the Ka-Band networks but also it offers the versatility to provide services on other High Throughput Satellites in other bands. Overall this creates some impressive market opportunities in many key sectors.”
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GATESAIR STREAMLINES UHF TV CHANNEL RELOCATION FOR CHICAGO PBS STATION
WTTW-TV, Chicago, has selected GatesAir to fulfill its FCC TV spectrum repack requirements
GatesAir announces that WTTW-TV—the primary PBS member station serving the Chicago market—has selected GatesAir to fulfill its FCC TV spectrum repack requirements. GatesAir will supply its recentlyannounced Maxiva™ ULXTE high-efficiency, liquid-cooled UHF TV transmitter in preparation for WTTW’s relocation from UHF channel 47 to 25. Owned by Window to the World Communications, Inc., WTTW carries the PBS network on its main channel, with WTTW Prime, Create/World and PBS Kids on its secondary channels. With its assignment to “Phase 6” in the Midwest/Chicago region, WTTW is legally mandated TMBi - 12
to complete its relocation to UHF channel 25 by October 18, 2019. According to the FCC’s transition timetable, stations affected by the TV spectrum repack are moving in phases to avoid causing interference with other stations in their market.
“We face a hard deadline” “This relocation is a very challenging and complex process because we must keep our existing channel on the air until our official switchover in October of 2019, and then ‘flip a switch’ to transition our operation to channel 25 flawlessly,” says Michael Tompary, WTTW’s Director of Engineering. “GatesAir sent an engineering team to conduct a comprehensive evaluation
of our transmitter site, and worked out the best possible plan for replacing our transmitter with the new ULXTE model, given our limited space and the hard deadline we’re facing.” The ULXTE will replace a GatesAir Sigma (legacy) transmitter that was installed about 15 years ago. Based on the company’s green, high-efficiency PowerSmart® Plus transmitter architecture with broadband amplification, the compact ULXTE utilizes the latest 50-volt LDMOS amplifiers to reduce size, weight and energy consumption while increasing power density. The ULXTE integrates GatesAir’s new ATSC 3.0ready XTE exciter, which
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increases processing power and incorporates its patented RTAC™ technology.
ATSC 3.0 attributes of XTE Tompary finds the ATSC 3.0 attributes of the XTE particularly compelling, given that the transmitter will be ready to address advanced services made possible by the new standard after the repack period concludes: “Migrating to the advanced ATSC 3.0 DTV broadcast standard is
an essential goal for us, as we want to deliver programming to mobile devices and expand our audience—especially when it comes to attracting the younger demographic. We based our purchase decision on our positive experience with GatesAir and the exceptional service they have provided us over the years.” “We’re delighted that WTTW has again put its faith in our transmission technology, as well as entrusting us with the
installation of their new TV spectrum repack DTV transmission infrastructure,” says Joseph Mack, vice president of sales, Americas, GatesAir. “With the most extensive manufacturing and service operation in the United States, GatesAir is uniquely prepared to accommodate WTTW and other broadcast organizations with the industry’s most comprehensive repack solution, encompassing evaluation, equipment and engineering services.
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Lawo Saphire Console
ABU DHABI MEDIA SELECTS LAWO TO UPGRADE ITS FACILITIES The contract for a new central audio router and control/monitoring system at ADM is won by Lawo The contract for a new
RAVENNA/AES67 router
central audio router and
plus VSM Control and
control/monitoring system at
Monitoring System, the ADM
Abu Dhabi Media (ADM) has
master control room
been won by Lawo.
installation is accompanied
Comprising a Nova73HD
by sapphire compact radio
Hybrid MADI &
broadcast consoles in the
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broadcaster’s studios, replacing equipment that had become outdated. The choice of Lawo’s Nova73 HD routing system was based on its hybrid to integrate with existing
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equipment via MADI and AES, and with the new IP-based Lawo mixing consoles in the studios via RAVENNA. The audio router provides 8,192 inputs/outputs, available via RAVENNA, AES3, MADI and SDH/STM1interfaces, all in a compact 10U package. In terms of configuration, the Nova73 HD features a hot-plug capability and online configuration that even allows the system to be expanded and changed during live broadcasts. In terms of security, Lawo’s STAR² technology provides maximum redundancy and fail-safe operation, according to the company. VSM Virtual Studio Manager provides ADM with overall control and monitoring for both baseband and IP-based installations. VSM
assumes control from the physical production hardware while providing a seamless transition from baseband to IP.
The contract includes three 16-fader Lawo consoles ADM also invested in three 16-fader Lawo sapphire compact radio broadcast consoles for the modern AoIP studio. Sapphire includes features such as Autogain, which optimizes the dynamic range of microphone preamps adaptively with a single button. Another innovative feature is Automix, Lawo’s intelligent DSP algorithm, which enables presenters to create content hands-free and error-free.
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SAM WILL SHOW ITS RANGE OF 12G-SDI PRODUCTS AT BROADCASTASIA 2017 SAM will demonstrate its Kula and Kahuna production switcher range At BroadcastAsia 2017(Stand: #6M2-01), Snell Advanced Media (SAM) will demonstrate 4K and 12GSDI support across a range of products including its Kula and Kahuna production switcher range. Stephen Wong, SVP of Sales at SAM comments: “SAM continues to push the boundaries with 4K, IP, 12GSDI and software defined solutions as is reflected across our product range. We are committed to delivering riskless and future-ready technology that is both flexible and agile, so it can meet our customers’ business and operational needs today, but also adapt to their future requirements. This is what we will be underlining at BroadcastAsia.”
Also, the Vega suite of routers (700, 200, 30 versions) will be shown at BroadcastAsia.
Multi-format production switchers
Playout and asset management solutions
SAM’s range of Kahuna and Kula multi-format production switchers will be on show at BroadcastAsia. Kula (available as 1, 2 and 3 M/E versions) handles multiple formats making it both future-proof and
SAM’s ICE channel-in-abox solution and Momentum workflow and asset management technology will be on show at BroadcastAsia. ICE incorporates all the operational, technical,
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adaptable for today’s production environment, as SAM highlights. A 12G-SDI mainframe is now available for the Kula switcher. Kahuna raises the bar for multi-format operations, supporting any combination of SD, HD, 1080p (level A & B), 12G-SDI and Quad SDI for UHD signals, eliminating the need for external conversion.
regulatory and commercial functionality required for broadcast playout. According to SAM, it delivers all the tools needed to manage playout operations, whether single channel, multi-channel, multi-region or multi-platform environments.
Live sports production and replay workflow SAM will be demonstrating its LiveTouch system, the editing, replay and highlights production workflow. It combines immediate replay of live events with no-copy editing and post production. LiveTouch offers the ability to scale to meet HD and UHD productions of any size. It is also integrated with SAM editors, enabling instant collaboration between replay and production.
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THINKLOGICAL ENTERS INTO A DEFINITIVE AGREEMENT TO BE ACQUIRED BY BELDEN Thinklogical, LLC has announced it has entered into a definitive agreement to be acquired by Belden Inc. Thinklogical is a portfolio company of Riverside Partners, a Boston-based private equity firm. The transaction is expected to close in second quarter of 2017, subject to regulatory approvals and other closing conditions.
“Thinklogical has been an exciting investment for Riverside Partners,” says Steven F. Kaplan, General Partner at Riverside Partners and Chairman of Thinklogical’s Board of Directors. “During Riverside’s investment period, the Company’s profits more than quadrupled and Thinklogical introduced more than 80 new products
to the market. The management team has led an aggressive expansion of sales and marketing worldwide, while expanding its technology leadership position with the introduction of an innovative, industryfirst TLX 10Gbps solution. We are extremely proud of the accomplishments of the Thinklogical team.”
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DALET ANNOUNCES KEY MANAGEMENT APPOINTMENTS FOR ITS SINGAPORE OFFICE The new appointments strengthen Dalet’s presence across the APAC region Dalet Digital Media Systems has announced two new key management appointments for the Dalet Asia Pacific region: Cesar Camacho to General Manager and Rosa Pereiro to Director of Sales. Based at the Dalet Singapore office, the new appointments will serve to strengthen Dalet’s presence and support across the region. The appointments are effective immediately.
Cesar Camacho, general manager, APAC Cesar Camacho will be assuming the position of general manager in the AsiaPacific region, succeeding Raoul Cospen. In his new role, Cesar will be responsible for Dalet business and operations across the region, overseeing a team of 40plus Dalet professionals. Having been with Dalet since 2001 and general
manager of Dalet Spain since 2011, Cesar has been instrumental in the company’s growth and has been a key player in the implementation of Dalet systems in broadcast channels worldwide.
Rosa Pereiro, director of sales, APAC Rosa Pereiro has been promoted to director of sales, APAC, from her role as regional sales manager.
Cesar Camacho, general manager, and Rosa Pereiro, director of sales, the new appointments of Dalet in Singapore
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Rosa will be responsible for driving key customer deals, managing accounts and leading business development efforts across all territories in the Asia-Pacific region. Working closely with Cesar, she will develop strategies for expanding Dalet media and entertainment relationships and strengthening existing ones, helping Dalet to increase sales and penetrate new markets and accounts throughout the region. “Under the leadership of Raoul Cospen, our Asia-Pacific presence has grown significantly over the past few years, and all who have been involved in this mission – past, present and future – have proven their outstanding capabilities in promoting the Dalet brand in this strategic region,” comments Stephane Schlayen, COO of Dalet. “Available in most of the region’s languages, the Dalet Galaxy platform proves to be particularly well adapted to the current demands of APAC broadcasters, seeking to streamline workflows and save on costs of operations while getting maximum flexibility for their business. Customers such as MediaCorp in Singapore, WION/Zee Media Corporation in India and SBS in Australia are implementing Dalet solutions to drive key innovations in broadcast, digital and social media. These new appointments will be instrumental in the continued success of APAC, and I have full confidence that both Cesar and Rosa will continue to successfully drive the company’s expansion across the region.”
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QUICKLINK PRODUCTS INTEGRATE NEWTEK NDI™ IP TECHNOLOGY Quicklink have announced that their complete product range now has integrated support for NewTek’s NDI™ technology, enabling live IP production workflows over ethernet networks. The integrated NDI technology allows Quicklink solutions to support input and output over IP. With NewTek’s NDI
standard, Quicklink products will now allow users to route inputs and outputs to/from any compatible NDI receiving device that is connected to the internet. “Software-driven IP workflows are quickly becoming ubiquitous in video production,” says Michael Kornet, executive
vice president of Business Development for NewTek. NDI support is included on the Quicklink TX Multi and TX Quad, Quicklink Remote Communicator, Quicklink Mobile Encoder, Quicklink Standard and Enterprise Playout Servers and the Desktop to Studio solution.
THE LATAM EDITION OF TM BROADCAST IS HERE! Daró Media, the group editor of TM Broadcast, a leading publication of the sector, is pleased to announce the upcoming launch of TM Broadcast Latin America. This new magazine will be edited in Spanish with the same
vocation of leadership as its sister publications, TM Broadcast and TM Broadcast International. The magazine will be launched in a digital/multi-platform format with exclusive content, like interviews, laboratories, feature articles and news with a special dedication to the IberoAmerican market. The target audience of TM Broadcast LATAM will be professionals in the Spanish-speaking Broadcast industry in the American
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continent, with a particular focus on Central and South America. Mexico, Argentina, Colombia, Peru, Chile, Uruguay and the US will be the primary sources of readers of the publication. In addition, a wide coverage shall be given to the most important shows in this region. The final launch is scheduled for the end of June. More information on the web: www.tmbroadcastlatam.com
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VICE MEDIA INSTALLS A LAWO MC²56 CONSOLE Lawo announced that Vice Media has installed a Lawo mc²56 to handle audio mix workflows for their Brooklyn production facilities. The mc² series consoles are fully configurable to address specific workflow requirements and can be custom-configured based on operator preference and production demands. Vice selected a 32-fader configuration which includes a fully redundant core with 8,196 x 8,196 audio router, full dynamics processing on every channel, and other standard features including AutoMix, Loudness Metering, and large touchscreen TFT displays for more intuitive operation.
The console will primarily be utilized for Vice News programming that regularly airs on HBO, along with simultaneous provision of live-streamed content. “One of the deciding factors for the mc²56 was its proven performance in applications for live content production in an IP environment, specifically in utilizing AES67 for audioover-IP interface to the facility’s overall routing infrastructure,” says Vice’s
Charlie Travis, vice president of engineering. “It was the first thing we were looking for and Lawo was the logical choice because of their extensive experience with live production in the IP domain. The ability to integrate the console with our Mosart automation system via Ember+ was a big plus for us, as was the ability to take advantage of Lawo’s custom configuration programming options to streamline our workflow.”
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AL JAZEERA INSTALLS JUNGER AUDIO D*AP8 DIGITAL AUDIO PROCESSORS
Al Jazeera has chosen Jünger Audio’s loudness management technology to control and regulate audio across four of its main television channels
Based in Doha, Qatar, the broadcaster has installed 10 D*AP8 Slim Line Digital Audio Processors in a new central TX area that it has been constructed as part of the Al Jazeera Workplace Transformation Project (AJWT). The area incorporates five transmission booths – one for each channel (Al Jazeera Arabic, Al Jazeera Mubashir, Al Jazeera English and Al Jazeera Documentary) and one spare. The D*AP8 processors are housed in a Central Apparatus Room and are managed from the TX area by a Jünger Audio X*AP TMBi - 22
RM1 remote panel, which gives operators immediate control of all 10 units. Ali Elhusseini, Head of Network Operations Standards at Al Jazeera, says: “Redundancy is an important factor in the broadcast industry and when it comes to transmission you want to make sure you are well covered. To that end, the Jünger Audio units have been set-up as main and back-up, so each channel has main and back-up units in case of failure. Currently only Al Jazeera Arabic is broadcasting from the new TX area, but once the infrastructure for the other Channels is completed they
will all broadcast from there.” Jünger Audio’s D*AP8 8channel units provide an adaptable approach to digital audio processing and deliver complete flexibility from a choice of multiple I/O formats including AES, SDI, MADI, Dante™ and analogue. The company offers an extensive range of license based processing options so that customers can create fully customized solutions to suit their specific needs. “We chose Jünger Audio units for their audio quality and ease of use, but also for the features each unit delivers,” adds Imad Ninaah, Head of Transmission at Al
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Jazeera. “If you add licences, 1RU unit can deliver a range of features that negate the need for many different units. We have installed LEVEL MAGIC™, Dolby® and Loudness licences – all of which are features that work for us.” “Our audiences are one of our main concerns,” Elhusseini says. “And we always strive to ensure that we deliver the best quality video and audio content. Technology has developed so fast that viewers can now do a great deal with their home devices. We want to ensure that what we broadcast is appealing to all our viewers, and by installing loudness control we can ease the pain of
having to adjust the volume between broadcasters or channel content.” “The D*AP8 processors give us a regulated audio signal, not only within each channel’s content but also between channels as well. With the Up mix and Down mix capability of these units we can make sure that our viewers are happy with the audio they receive, whether it is in surround sound or not.” Al Jazeera’s D*AP 8 processors and X*AP RM1 remote panel are now being fine-tuned to suit the requirements of each channel, but Elhusseini says they are performing well and meeting the broadcaster’s needs. “We’ve also had great technical support from
the Jünger Audio team,” Elhusseini adds. “They have always advised on what is best, which is important to us.” Peter Poers, Managing Director of Jünger Audio adds: “We are delighted that Al Jazeera has chosen Jünger Audio technology to regulate its audio content and control Loudness. Our proprietary LEVEL MAGIC™ II adaptive control algorithm, which is incorporated into all our processors, prevents those surprise changes in audio levels that are so annoying to television viewers. And it does this without having a detrimental effect on overall sound quality, thus ensuring that viewers receive the best possible sound.”
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THE NEXT WEB CHOOSES LIVEU TO EXPAND ITS SOCIAL MEDIA PRESENCE
The 12th edition of the conference will take place once again in Amsterdam, 18-19th May
With 15,000 attendees and winning the Best European Business Conference last year, The Next Web’s (TNW) annual gathering of the great and good of the internet has decided to expand its social media presence, partnering with LiveU. The conference hosts speakers from across the online world – including Google Drive, Airbnb, Microsoft, Snapchat and Wired. It will take place once again in Amsterdam, 18-19th May. This is the 12th time the event has been held. TNW Conference’s social media team is led by Matt Navarra, award-winning social media Director who will co-ordinate 10 social media experts to produce a captivating experience for those following or engaging with the event online. Last TMBi - 24
year, the team generated nearly 450 million social impressions worldwide. LiveU will help to drive that figure upwards by building a small, plug and play studio to create content. LiveU will set up and operate the studio, working with production team Stream My Event. TNW will use the studio to create a wide variety of content, including live video. The TNW Conference video team will also have access to two LiveU Solo, plug and play live streaming bonding solution, designed for the online market. Wytze de Haan, Director of Events, TNW, said: “TNW Conference 2017 is going to be packed full of great speakers, insightful presentations and no doubt
many unexpected memorable moments. Working with LiveU helps us become even more agile in order to capture such moments, and deliver them to our social audience at speed and in the highest quality possible. We expect the combination of LiveU’s camera hardware and TNW Conference’s beautiful event production will be a winning combination.” Ronen Artman, VP of Marketing with LiveU, said: “This conference is a dynamic, powerful event full of forward-thinking people dedicated to the future of the internet. Live video of course plays an increasing role in that future, as we are clearly seeing, and LiveU is central to that. We are very pleased to be an event partner.”
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VITEC WILL SHOWCASE ITS EZ TV PLATFORM AT CSVA CONFERENCE VITEC will showcase its EZ TV IPTV and Digital Signage Sports Venue Platform at the Collegiate Sports Video Association (CSVA) Conference, May 15-18, at the Hyatt Regency in Atlanta. The CSVA Conference is an annual event to network with the top video coordinators in the industry, keep up to speed with the latest trends and technologies, and share ideas. The integrated digital
VITEC exhibits its EZ TV IPTV and Digital Signage Sports Venue Platform
signage features offer signage authoring, administration, and analytics. VITEC's IPTV and signage end-points feature discrete hardware processes for video and graphics, supporting the
most complex digital signs that blend live streams, video files, social networking widgets, and dynamically updated data including sports scores, calendars, and catering menus, according to VITEC.
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NEP Switzerland is building two large 4K/UHD OB trucks, a 4K/UHD studio and playout facility, and a remote studio, all leveraging the live production and content delivery solutions from Grass Valley
NEP SWITZERLAND TAKES ON 4K/UHD PRODUCTION WITH GRASS VALLEY SOLUTIONS This project represents the first time that a full 4K/UHD workflow and playout solution is being installed in OB vans and studio in Switzerland. Included in the installation are native 4K cameras, switchers, routers, multiviewers and playout. The first OB van is already operating in the field and the studios will be coming online very soon. “We were looking for a supplier that could provide a TMBi - 26
true, end-to-end solution that would help us accomplish our goals for 4K/UHD production,” said Trond Hermansen, CTO and project manager, NEP Switzerland. “Grass Valley has a clear vision and an advanced portfolio; this investment is going to put us right where we need to be. Our customers have been asking about 4K, so the timing is ideal.” Each of the two OB vans
features 16 LDX 86N Native HD/3G/4K/High-Speed System Cameras and 9 M/E K-Frame Switchers with Karrera and Korona control surfaces. The studio facility in Zurich is equipped with two large 9 M/E K-Frame Switchers with two Karrera and two Korona control panels, eight LDX 86N 4K camera chains, a 4K/UHD capable NVISION 8576 Router with 369 x 774 I/Os, and a Kaleido-Modular-X
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Multiviewer System with 320 independent inputs. The iTX Integrated Playout Platform handles 20 channels of live and 24/7 playout including two 4K/UHD event channels. A satellite facility in Rossens near Geneva is equipped with four LDX 86N 4K camera chains that are remotely controlled from the Zurich studio. One of the centerpieces of NEP Switzerland’s 4K/UHD capability, the LDX 86N Native HD/3G/4K/HighSpeed System Camera with its XensiumHAWK CMOS imagers and the DPMUltra feature delivers uncompromised 3G/HD performance as well as 4K resolution with native 4K imaging. Just like all the
LDX Series cameras, they support the GV-eLicense software upgrade path for easy upgradability as needed. With the GVeLicense, users can activate native HDR operation with an outstanding range of up to 15 F-stops; and because both standardized HDR OETFs are directly supported, no proprietary inbetween curve with intrinsic negative effects is required. Playout also is a critical ingredient in the deployment of the NEP Switzerland solution. Using the latest version of iTX, the UHD channels feature new Vertigo UHD graphics capability as well as an updated secondary record to capture UHD files for later replay. The iTX system is
also present at the second site, which provides geographic resilience and disaster recovery features for added peace of mind. “The advantage of Grass Valley’s 4K/UHD portfolio is its ability to handle the 4K format from capture through delivery with a full range of native technology,” noted Neerav Shah, senior vice president, Live, Grass Valley. “We are seeing this trend toward more 4K/UHD content today as viewers look for better viewing experiences and content owners see higher revenue potentials. NEP Switzerland’s decision to standardize on our solutions gives them a real competitive edge in the market.”
AXON APPOINTS DOMINIC YIP AS TECHNICAL SUPPORT MANAGER FOR SOUTH EAST ASIA Ahead of Broadcast Asia next week, Axon Digital Design has announced the appointment of Dominic Yip as Technical Support Manager for South East Asia. Working alongside the Axon team based in Singapore, Dominic will provide technical, pre-sales
& field engineering support for customers across the region. He has previously worked with Megahertz Ltd, OASYS, Imagine Communications and Vsolutions. Axon will be exhibiting at on Stand 4L02-5 Broadcast Asia 23-25 June at SunTech
Singapore, showcasing a range of solutions for 4K and IP including the new Synapse NIO-440 EthernetSDI bridge, the Synview 4K IP multiviewer and Cerebrum monitoring and control enhanced with greater third-party integration. TMBi - 27
PAN SHOT
LEADER ADDS A NEW VIDEO NOISE METER OPTION FOR THE LV5490 WAVEFORM MONITOR was a complicated and longwinded operation requiring digital to analogue conversion of signals which could also introduce noise to the signal. Now camera owners can simply connect the SDI output of their camera directly into the LV5490 and measure the noise levels.”
The new Leader addition allows measurement of noise in luminance or RGB component chroma channels
Leader Instruments announces a new addition to the range of options available for the LV5490 4K/HD/SD waveform monitor. The new LV5490SER10 software module allows measurement of noise in luminance or RGB component chroma channels. This can be performed in all formats that can be interfaced to the LV5490: IP/12G/3G/UHD/HD/SD. Data obtained from the input SDI signal is converted directly without intermediate analog processing. TMBi - 28
"This new option makes the LV5490 essential for any serious multi-camera production, whether in a studio, on location or for live outside broadcasting," says Leader's European Regional Development Manager, Kevin Salvidge.
“Prior to this launch, camera noise measurement was a complicated and longwinded operation” Kevin Salvidge adds: "Prior to the launch of the LV5490SER10 option, camera noise measurement
Occupying a half-rackwidth by 4U high housing, the Leader LV5490 offers 4K, UHD, 3G, HD and SD test and measurement features in a compact portable unit. Waveform, vector, five-bar and picture display can all be viewed at the same time on the instrument's 9 inch LCD monitor. The monitor is full 1920 x 1080 HD resolution. A 1920 x 1080 HD DVI and HD-SDI output is also provided to feed a larger monitor. Simultaneous viewing of up to four 3 gigabit/s SDI inputs is possible, including overlays. The size and location of individual channels can be adjusted on the display using a USB pointer so the user is not limited to fixedsize quadrants.
PAN SHOT
GENELEC LAUNCHES ‘THE ONES’ SERIES OF COMPACT COAXIAL ACTIVE MONITORS In this series, the 8351 three-way Smart Active Monitor™ is joined by the new 8341 and 8331 to create a complete compact coaxial range that improves near-field monitoring. Point source overcomes the off-axis coloration associated with traditional loudspeaker designs, giving the user more freedom of movement rather than confining them to a narrow sweet spot. Aesthetically striking is the absence of any visible woofers, which are concealed beneath the Directivity Controlled Waveguide™ (DCW™). Like the 8351, both the 8341 and 8331 can be orientated horizontally or vertically using an adjustable IsoPod™ base for isolation,
with no compromise in performance. But while the 8341 and 8331 both echo the 8351 in form and function, the new models have been entirely reengineered to meet the challenges of their ultracompact dimensions (just 13.78 in. x 9.33 in. x 9.57 in. [350mm x 237mm x 243mm] for the 8341, and 11.77 in. x 7.44 in. x 8.70 in. [299mm x 189mm x 212mm] for the 8331). Innovations include a motor assembly that sees both the midrange and the tweeter share the same compact magnet system, reducing size and weight with no reduction in response. The unique midrange coaxial driver cone is now composed of
Genelec introduces Ultimate Point Source monitoring with ‘The Ones’
concentric sections. Despite the size of the 8341 and 8331, each unit incorporates three stages of dedicated Class D amplification, developed in-house by Genelec and including Intelligent Signal Sensing™ (ISS™) energy-saving technology.
The models are designed for ultra-near-field listening The short-term maximum output capacities for each of the models is 110 dB SPL for the 8341 (at 1m), and 104 dB SPL for the 8331 (at 1m), with accuracy better than ±1.5 dB, and respective frequency responses starting at 45 Hz and 38 Hz (-6 dB) and extending beyond 40 kHz both for the analog and digital inputs. The coaxial design allows for ultra-near-field listening, creating an improvement in the direct sound-toreverberant sound ratio and further reducing the room’s influence while monitoring. The listening distance may be as short as 16 inches, with no loss of precision. At a listening distance of just 20 inches, the maximum SPL capability (headroom) is raised by more than 5 dB. TMBi - 29
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NAB Show is the world's largest convention encompassing The M.E.T. Effect, the convergence of media, entertainment and technology. With 103,000 attendees from 166 countries and 1,700+ exhibitors, NAB Show is the ultimate marketplace for solutions that transcend traditional broadcasting and embrace content delivery to new screens in new ways. From creation to consumption, across multiple platforms and countless nationalities, "Once again, NAB Show is the premier destination for content creators, producers and distributors exploring the evolving world of media, entertainment and technology," said NAB Executive Vice President of Communications Dennis Wharton. "We thank our exhibitors, program partners, speakers and attendees for their support in making NAB Show the mustattend event for bringing content to life."
103,443 TOTAL REGISTERED ATTENDEES 26,714 INTERNATIONAL ATTENDEES 161 COUNTRIES REPRESENTED 1,518 NEWS MEDIA ATTENDEES TMBi - 31
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AJA FS-HDR
AJA Video Systems AJA Previews FS-HDR with Breakthrough HDR Conversion Support at NAB 2017 FS-HDR Frame Synchronizer and Converter Delivers HDR and Wide Color Gamut Processing, Powered by Colorfront Engine™ FS-HDR, a 1RU, rackmount, universal converter/frame synchronizer, is designed specifically to meet the HDR/WCG needs of broadcast, OTT, post and live event AV environments, where real time, low-latency processing, color fidelity and metadata handling are of paramount importance. FSHDR’s HDR/WCG capabilities leverage video and color space processing algorithms within Colorfront Engine™, specially-licensed by AJA from Colorfront, and developed by Colorfront’s CTO Bill Feighter and Lead Engineer Tamas Perlaki, TMBi - 32
both of whom are Academy Award-winners. Powered by Colorfront Engine, FS-HDR’s extensive HDR and WCG processing support enables the real time processing of 4K/UltraHD and 2K/HD, including HDR conversions, and 4K/UltraHD HDR downconversion to HD HDR. FS-HDR also enables the conversion of popular camera formats from multiple vendors into the HDR space, plus conversion to-and-from BT.2020/BT.709 as needed, critical for the widespread acceptance of HDR alongside SDR in broadcast and OTT workflows.
AJA Launches Ki Pro Ultra Plus with 4Channel HD Recording and HDMI 2.0 Support AJA Video Systems announced Ki Pro Ultra Plus, introducing 1, 2, 3 or 4-channel simultaneous HD recording up to 1080 50/60p, and full HDMI 2.0
(up to 12-bit capture and output) for 4K/UltraHD workflows. The new Ki Pro Ultra Plus is ideal for recording multicam shoots in HD multichannel mode, and 4K/UltraHD recording and playback in single-channel mode. Ki Pro Ultra Plus is housed in a compact, easyto-operate, standalone 2RU half-rack and has broad I/O flexibility and connectivity options including 3G-SDI, HDMI 2.0 and optional fiber connections. Ki Pro Ultra Plus captures pristine 4K/UltraHD and HD video to widely accepted production codecs including Apple ProRes and Avid DNxHD MXF. Four channels of HD can be recorded simultaneously as Apple ProRes files, each with different compression profiles as desired, to robust AJA Pak 1000 SSD media. Ki Pro Ultra Plus includes the proven Ki Protect technology, ensuring that in the event of power failure or inadvertent withdrawal of a
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AJA Kona IP
Pak Drive, recently recorded footage is always secure. All four channels can be displayed on Ki Pro Ultra Plus’s LCD screen as a quad-split during capture for confidence monitoring, as well as the ability to output the quad-split over HDMI, SDI and even on the integrated browser-based web UI during capture.
AJA Announces New KUMO CP2 Control Panel Flexible LANbased Controller for All KUMO Routers AJA Video Systems unveiled its new destinationoriented KUMO CP2 Control Panel for plug-and-play TMBi - 34
control of AJA’s complete line of compact KUMO SDI routers. Ideal for broadcast environments, it can be used in standalone or networked configurations for KUMO 6464, 3232, 1616 and 1604. KUMO CP2 features 80 buttons and enables selection of up to 64 sources and 64 destinations on each of up to four KUMO routers in stand-alone mode or through a built-in GUI accessible from any web browser on the network. The affordable control panel is only 1.3 inches deep, easy to install, eliminates the need to use a Shift key on
KUMO 1604, 1616 and 3232, and is backed by a five-year warranty.
New Solutions for IP Workflows Announced KONA IP License Option for JPEG 2000; Previews KONA IP Firmware for SMPTE 2110; Debuts IPT-1G-HDMI and IPT-1G-SDI MiniConverters At NAB 2017, AJA Video Systems announced new firmware for its KONA IP desktop video and audio I/O card, along with two new IP Mini-Converters, significantly expanding flexibility in IP-
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based workflows. A new KONA IP license option for JPEG 2000 (2K), a preview of KONA IP firmware for SMPTE 2110, and new IPT1G-HDMI and IPT-1G-SDI Mini-Converters will facilitate flexible and cost-efficient delivery of work to and from creative suites via 1Gb Ethernet.
KONA IP firmware license for JPEG 2K The new KONA IP firmware license enables compression and decompression of HD video in real time to/from JPEG 2K encoded within an MPEG 2 transport stream. Featuring support for TR-01, the update ensures interoperability with other JPEG 2K systems and devices across the network. It supports three configurations: up to two simultaneous JPEG 2K outputs, up to two simultaneous JPEG 2K inputs, or a simultaneous JPEG 2K input and output to a system running KONA IP. A single KONA IP configuration with the latest Desktop Software v13 installed offers out-of-thebox functionality for a range of creative apps including Adobe Premiere Pro, Apple FCP X, Avid Media Composer and AJA Control Room; dual KONA IP TMBi - 36
IPT-1G-HDMI
configurations are also supported for more demanding JPEG 2K workflows for SDK developers.
KONA IP firmware for SMPTE 2110 KONA IP will introduce new flexibility for live production professionals by enabling networking with separate essence flows. Broadcasters will be able to synchronize production of audio, video and ancillary data elements, eliminating the need for embedding/deembedding to/from SDI while also reducing latency.
IPT-1G-HDMI and IPT1G-SDI MiniConverters for IP Workflows Designed to complement AJA’s line of IP receiver converters, the new IPT products convert HD video to VSF TR-01 (and other JPEG 2K formats). IPT-1GSDI provides one 3G-SDI input with a loop through SDI output, and IPT-1GHDMI has a standard HDMI type A input. The ability to convert baseband video to JPEG 2K MPEG-2 transport streams allows a source to be transmitted anywhere on a network, and enables IP
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compatibility with baseband cameras, digital VTRs, routers and switchers. The IPT-1G-SDI and the IPT-1GHDMI can be used in conjunction with KONA IP, plus the IPR-1G-SDI and IPR-1G-HDMI MiniConverters, to streamline video ingest, exchange and distribution across an IP network, including final reception to displays.
Apantac Launches Cost-Effective UHD Multiviewer at NAB 2017
The DisplayPort output means that users can take advantage of UHD monitors that support the DisplayPort 1.2 interface, which is now widely available and extremely cost-effective. This provides a solution for broadcast and AV professionals to utilize the feature set of a multiviewer on a 4K/UHD display. Each multiviewer window can now be four times the previous resolution. Display Port is a display interface that is an alternative to HDMI. DisplayPort 1.2 is capable of displaying 4K/UHD resolution up to 4096x2160, RGB 10 bits, at 50/60 Hz.
The MX-32-4KDP allows users to monitor up to 32 independent sources, which can include UHD / 3G Level A&B / HD / SD / SD-SDI inputs and provides a UHD DisplayPort output up to 3840x2160 resolution.
As part of the Apantac Multiviewer family, the MX32-4KDP includes a custom on-screen display for complete layout flexibility to show audio meters, custom view labels, overlays, tally indicators & UMD and the
Apantac
Apantac Mi324KDP
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ability to resize and position each window independently.
Avid Strategic Cloud Alliance with Microsoft for the Media and Entertainment Industry AvidÂŽ announced that it has entered into a strategic alliance agreement with Microsoft Corp. to cooperatively develop and market cloud-based solutions and cloud services aimed at the media and entertainment industry. As part of the agreement, Avid has chosen Microsoft Azure as its preferred cloud hosting platform, and will develop and launch a range of Software-as-a-Service (SaaS) and Platform-as-aService (PaaS) offerings
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powered by the Avid MediaCentral® Platform, the industry’s most open, tightly integrated and efficient platform designed for media. With a cloud-based offering built on Avid’s portfolio of the industry’s best and most comprehensive creative tools and media workflow solutions, the strategic cloud alliance will enable media organizations and creative professionals to quickly and easily leverage the efficiencies, flexibility and agility that the cloud enables—made possible by Avid’s flexible approach to
licensing, deployment and commercial options. The cloud will also enable innovation by the companies around new media workflows, new operational capabilities and new business opportunities. While Avid’s hosting and services offering will be based exclusively on Microsoft Azure, the company’s commitment to openness will allow customers to make their own cloud hosting decisions. The foundation of the alliance is a comprehensive, multi-year strategic agreement in which both
Avid MediaComposerCloud UI
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companies will make significant mutual commitments and investments in technology, product development and go-to-market efforts. Under the technology and product development cooperation elements of the agreement, to support Avid’s product development efforts and investments, Microsoft will invest additional resources and funding to help accelerate time-to-market for targeted cloud-based solutions and specific Azurebased cloud services for the media and entertainment industry. As part of the
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commercial cooperation, Avid will offer Microsoft Azure hosting and media services exclusively as an integral part of its own portfolio of cloud-based solutions and cloud services. In addition, the companies will work in close cooperation on the overall go-to-market approach, which will help clients migrate to the cloud easily and more cost-effectively, and allow them to work with both companies seamlessly.
Media Composer | First—A Free Version of the Industrystandard Video Editing System Media Composer | First is a brand new, fully featured video editing solution that provides aspiring creative professionals, students, and those just starting their professional careers with free access to the same creative tools used by the most successful and acclaimed filmmakers and television program creators in the world. And because it’s powered by the Avid MediaCentral® Platform, “First” users can also easily connect and collaborate with other aspiring creative and media professionals through the Avid Artist Community. “It can be really difficult for up-and-coming filmmakers, TMBi - 42
television program creators and digital media producers to get access to the right tools to tell their stories in a compelling way. Consumer applications are fun to play with but will only take you so far,” said Dana Ruzicka, chief product officer, Avid. “With Media Composer | First, we’re giving any aspiring creative pros access to the same tools used by top industry professionals—for free! And with access to the Avid Artist Community, First users can connect with other aspiring creatives and media professionals, collaborate and get their work out there for others to see.” Media Composer | First
provides users with a comprehensive yet simpleto-use editing toolset with many of the same features and functionality that awardwinning Media Composer editors rely on, in a new powerful, streamlined interface. With four video tracks, eight audio tracks, and a host of built-in visual effects, transitions, color correction presets and titling templates, users can quickly cut together layers of video, dialog, music and sound effects to produce captivating, professionalquality video content. Media Composer | First also allows easy sharing, with one-click publishing to popular social media channels including
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Bittree
Bittree 12Gplus-BNC Patch Panel
YouTube, Vimeo and Facebook.
Barix New Codec-Agnostic Redundix Audio over IP Solution Redundix is a new solution for radio broadcasters, that automatically corrects glitches over IP STL connections that affect onair signal quality. The nextgeneration Barix Audio over IP solution provides customers with a complete hardware solution and an optional managed service that optimizes audio quality in non-optimal transport environments. Redundix adds resilience to IP-based transport by either time-delaying two streams on the same network, and/or sending a redundant stream over a
separate path. On the receiving side, Redundix repairs lost packets in the stream caused by transport network imperfections using the time or path redundant streams. The result is better audio quality because lost packets are repaired, and audible imperfections are significantly reduced. Importantly, Redundix allows broadcasters to continue using their existing codecs in most cases, protecting investments and reducing initial capital expensive. The cost-efficient Redundix hardware, which sits between the encoding and decoding device, can be purchased outright or rented along with a secure streaming service for a nominal monthly fee. The Redundix hardware is interoperable with any codec that supports RTP streams, ensuring broadcasters have an abundance of installation options.
High-Performance 12G+ Single-Link Patching Systems for 4K and 8K Applications While industry adoption of 4K workflows continues to accelerate, the most common mechanism for transporting 4K content in production and distribution environments has been quad-link connectivity, comprising four coaxial cables for each 4K feed. The exceptional performance and precision of Bittree’s 12G+ patching systems enables reliable handling of 4K over a single 12Gb/s link, dramatically simplifying cabling for studio, master control and mobile production deployments while quadrupling the number of 4K channels that can be routed through each unit. Compliant with SMPTE 292M, 424M, ST2081-1 and ST2082-1 technical standards, Bittree’s 12G+ patch panels and patchbays offer 75-ohm impedance with low return loss and support data rates up to 48Gb/s. “The higher bit rates and frequencies needed for transporting 4K and greater signals on a single link TMBi - 43
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require customers to very carefully select their cables, connectors and connectivity equipment,” said Bryan Carpenter, senior sales consultant at Bittree. “Our 12G+ products are precision-engineered to exceed SMPTE specifications, with their performance – ringing out at 20GHz on our BNC patch panels and 24GHz on our mini-WECO patchbays – thus providing a tremendous amount of clean headroom not only for 4K, but also 8K, HDR and higher-bit rate applications moving forward. We are setting our clients up for the future.” The 12G+ BNC patch panels feature strong, lightweight, folded-aluminum construction populated with gold-plated BNCs, and are available in a 1RU form factor with 1x16, 1x24 or high-density 1x32 jack configurations, or in 2x16 and 2x24 configurations in 2RU of rack space. Circuit numbers are silk-screened on the front and back of the units, with optional designation strips available as an alternative for the front. The new 12G+ miniWECO patchbays are offered in 1x32, 2x32 and 3x32 configurations in a flexible array of rackmount form factors. Stylized, TMBi - 44
machined aluminum front panels enable easy identification, with distinctive green color-coding on the panels, patch cords and looping plugs conveying their 12Gb/s rating at a glance. Like all Bittree products, the new 12G+ products are designed, built, and tested in the company’s state-of-theart facility in Glendale, California, and backed by expert customer service from dedicated sales engineers.
Blackmagic Design Blackmagic Design Announces DaVinci Resolve 14 DaVinci Resolve 14 features a new high performance playback engine that’s up to 10 times faster than before. In addition to extensive CPU and GPU optimizations, customers also get better threading and GPU pipelining, lower latency, much faster UI refresh rates, support for Apple Metal and much more. This makes DaVinci Resolve 14 faster and more responsive than ever so customers get incredibly fluid performance and more precise editing,
Blackmagic DaVinci Resolve 14
even on long timelines with thousands of clips. Scrubbing and playback are instantaneous and there is powerful new acceleration for processor intensive formats like H.264, making it possible to edit 4K images on a laptop. Legendary Fairlight audio is now fully built into the DaVinci Resolve 14 application itself. Fairlight is famous for being used at the world’s highest end studios for audio post on film and television. Fairlight is known for both its superior sound quality and its speed.
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and delivering to multiple formats at the same time. Every channel on the mixer features real time 6 band parametric EQ, along with expander/gate, compressor and limiter dynamics. Clip time warping lets customers stretch or compress audio without shifting pitch. In addition, every single parameter can be automated, even VST plugins, using a variety of automation modes.
Customers get a massive set of professional audio tools for recording, editing and sweetening, professional bussing, mixing and routing, and multi format mastering to 3D audio formats such as 5.1, 7.1, Dolby and even 22.2. The state of the art, super low latency audio engine is designed to work with 192kHz 96-bit audio and delivers up to 1,000 tracks with real time EQ, dynamics processing and plug-ins on every track when used with the Fairlight Audio Accelerator. Plus the new
Fairlight audio can record up to 96 channels while simultaneously playing back up to 150 audio channels, while mixing it all in real time! There simply is no other software available with this level of dedicated audio power. The new Fairlight audio in DaVinci Resolve 14 features a full multi track timeline for subframe editing of audio, down to the sample level. The mixer is designed to let customers create sophisticated sequences and has several main, sub and aux buses for mastering
In addition to audio editing, sweetening, and mixing, Fairlight audio in DaVinci Resolve 14 also includes multi-channel recording tools that are far superior to those found in most editing systems. Customers can record voice overs or even an entire symphony orchestra, while also monitoring video and multiple channels of dialog and sound effects. The advanced monitoring can handle buses up to 24 channels wide with customizable fold-up and fold-down for crossing between formats. Monitoring can be done on up to 16 different sets of speakers, including massive cinematic installations. DaVinci Resolve 14 works with the Fairlight Audio Accelerator card, which gives customers up to 1,000 zero latency tracks and real TMBi - 45
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time effects processing for EQ, dynamics, and up to 6 VST plug-ins per channel. Even without the accelerator, most modern computers can still process more than 60 tracks in real time. In addition, DaVinci Resolve 14 can also be used to drive the entire line of Fairlight hardware mixing consoles, which makes working on complex multi track projects faster than any other system available.
and sound editors mix and finish audio, all in the same project at the same time.
The advanced busing and mixing architecture also allows multi language and multi format delivery to be handled simultaneously from the same project, dramatically reducing the time required to deliver final masters.
New bin, clip and timeline locking lets users safely work on a specific part of the project without overwriting each other. There’s also a built in secure chat client that lets team members talk to each other from within DaVinci Resolve without the need for an external internet connection. This secure chat is vital because most high end facilities are unable to use services such as Slack or Skype for messaging because they need to remain completely disconnected from the internet to ensure security against hacking.
All this editing, color correction and audio post production power also means multiple people need to work on the same job, at the same time. This is where the revolutionary new collaboration tools are vital to the dream of revolutionizing post production. The new collaboration tools completely redefine post production workflows by supporting simultaneous editing, color correction and audio post. Assistant editors can prepare footage while editors cut the picture, colorists grade the shots,
For colorists, there are over 20 new Resolve FX filters that make it easy to remove dust, fix dead pixels, warp images and more. The amazing new face enhancement tool automatically recognizes and tracks facial features so colorists can quickly smooth skin, adjust skin tone, brighten eyes, and even change lip color, all without having to manually select or rotoscope any part of the image. The face enhancement tool is an indispensable feature that colorists will use every single day. In addition, there
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are new stabilization, match move, and other image processing tools that give colorists more creative options than ever before.
NEW ATEM Television Studio Pro HD ATEM Television Studio Pro HD combines a professional broadcast hardware control panel with
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screen television or broadcast monitor. ATEM Television Studio Pro HD is perfect for everything from professional broadcast studio shows and broadcast sports, to customers working on video blogs, gaming videos, internet talk shows, weddings, concerts, seminars and more. With resynchronization on every input, switching is completely glitch free which means that customers can even use it as a front end controller for AV systems and cleanly switch between sources with the press of a button.
Blackmagic ATEM TelevisionStudio Pro HD
a powerful 8 input switcher. It includes 4 SDI and 4 HDMI inputs, all with resync, so customers can connect a total of up to 8 different sources such as professional SDI broadcast cameras, consumer HDMI cameras, computers and even video game consoles. ATEM Television Studio Pro HD is compatible with all SD and HD formats up to
1080p60 and also features two channels of analog audio in, RS-422, Ethernet and a built in IEC power supply, along with program and auxiliary outputs. Customers also get both SDI and HDMI multiview outputs so they can monitor all sources, preview and program outputs, along with labels, audio meters and more, all on a single big
Featuring a portable design, ATEM Television Studio Pro HD is packed with high end broadcast features that make it possible to create an entire live switched program, complete with effects and transitions. The hardware panel features large illuminated buttons for switching between sources, along with corresponding audio buttons, one touch transition buttons, downstream keyers, fade to black, media player, cut buttons and more. There’s also a built in LCD screen for previewing source and program video, a spin knob and additional buttons for menus and to adjust TMBi - 47
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settings. Customers simply press the button for the source that they want to see next in the program, then hit the cut or auto button to switch sources, add effects, or even key in graphics. When used with Blackmagic Studio and URSA Mini cameras, customers get a complete remote control solution that includes talkback, tally, color correction, camera control and more, without having to add any additional cables or proprietary control boxes. These cameras feature a built in color corrector that can be remote controlled, making it possible to balance camera color and create unique looks, all from the control panel. In addition, customers can adjust focus and iris on compatible lenses, change camera settings, and even remote control PTZ heads. The software control panel features an intuitive interface with different pages for switching, managing media, mixing audio, and remote controlling and color correcting cameras. The Switcher page is modeled after a physical hardware control panel making it fast and easy for customers to switch between sources, adjust transitions, add upstream and downstream keyers, and more. The TMBi - 48
UltraStudio
Media page lets customers drag and drop up to 20 RGBA graphics into the media pool and automatically upload them to the switcher’s flash memory so they can be recalled and used in realtime during a live program. The software control also features a 10 channel audio mixer that can be used to adjust and balance levels from all inputs, including the analog audio inputs. The audio mixer displays meters, has sliders for adjusting levels, and controls for turning channels on or off, using the audio follows video feature and more. ATEM Television Studio Pro HD also features 2 downstream keyers for adding graphics, logos and bugs to video. Customers can use a HyperDeck Studio Mini with ATEM Television Studio Pro HD as a source
for ProRes 4:4:4:4 motion graphics files with alpha channels. That means customers can get fill and key graphics composited over live video, or they can use motion graphics with alpha as transitions between sources, all in real time. ATEM Television Studio Pro HD also includes a built in talkback converter for SDI cameras. The talkback information is sent back to the camera via the SDI program return feed on the rarely used SDI audio channels 15 and 16. When working live with a reporter in the field, there can be a slight delay that causes them to hear themselves as an echo in their headset. ATEM Television Studio Pro HD includes a new mix minus feature that sends back all the program audio except their own voice, so they don’t hear a distracting
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This lets computers output live graphics for keying over live action.
echo of themselves while reporting.
New UltraStudio HD Mini with Thunderbolt 3 UltraStudio HD Mini is a portable Thunderbolt 3 capture and playback solution that’s small enough to take anywhere and powerful enough to work on high end projects. It can capture and playback all formats up to 1080p60 in full 10-bit YUV, or up to 1080p30 and 2K DCI in 12bit RGB. UltraStudio HD Mini features HDMI output for monitoring on a big screen television, dual 3GSDI outputs for fill and key playback, plus analog audio and video inputs for digitizing and archiving materials from older analog decks. This combination of connections greatly assist in workflows commonly used
today. For example when doing archiving, customers need to connect to older broadcast decks such as Digital Betacam, Betacam SP and even 1” C format open reel decks. With analog component, composite and SDI inputs, plus a deck control serial port, UltraStudio HD Mini has all the features needed to connect and capture directly from those decks. When working with modern editing and color correction software, such as DaVinci Resolve, customers can use the Thunderbolt 3 to HDMI or SDI outputs for high quality broadcast monitoring with perfect AV sync. When doing live broadcast graphics, customers can use the dual SDI outputs to output in real time both fill and key signals to downstream gear such as live production switchers.
UltraStudio HD Mini features advanced Thunderbolt 3 technology that is capable of transferring data at up to 40 Gb/s. These data rates make it possible to capture and play back fully uncompressed video, leaving the computer’s CPU free for more processing tasks. UltraStudio HD Mini is also powered via Thunderbolt 3, so it powers from a laptop computer’s battery and customers don’t have to carry an external power supply with them when they’re on the road. Designed for portability, UltraStudio HD Mini fits in ⅓ of a standard rack space so it can be racked alongside other equipment or used stand alone on the desktop. It’s also compatible with the optional Teranex Mini Smart Panel, which adds enhanced front panel controls and LCD monitoring so customers can preview video, see audio meters, timecode and more. Ultra Studio HD Mini is even small enough to fit in a backpack with a laptop and portable drive, making it the ultimate on-the-go capture and playback solution. TMBi - 49
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Bluefish444 Bluefish444 released the new version of its IngeSTore software just prior to NAB Show 2017. IngeSTore is a multi-channel capture application that comes free with all Bluefish444 video cards, and can capture up to four simultaneous channels of 3G/HD/SD-SDI to popular media file formats, for archive, edit, encoding or analysis. IngeSTore version 1.1
adds new functionality, including several new codec options, `edit-while-record´ functionality, and new support for shared storage, in cluding Avid shared storage. The biggest feature in the latest version comes via Bluefish444’s partnership with Drastic Technologies to add additional codec options to IngeSTore v1.1, including XDCAM, DNxHD, JPEG 2000, AVCi and more. Uncompressed, DV, DVCPro and DVCPro HD codecs are freely available
for Bluefish444 customers when the y update their IngeSTore software to this latest version. Bluefish444 have added the much anticipated ‘edit-whilerecord’ functionality, which allows editors using popular NLEs to access the captured files while they are still being recorded to disk. This feature is widely used in live broadcast video workflows and in other timecritical environments, when media needs to be accessed and edited while
IngeSTore version 1.1 adds new functionality, including several new codec options, `edit-while-record´ functionality, and new support for shared storage, in cluding Avid shared storage.
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InfinitySet 3 not only seamlessly integrates Aston projects, but now also includes all the graphics editing and creation features of Aston so it can edit, manage and create 2D/3D motion graphics when required.
the live recording continues uninterrupted. Popular content creation tools such as Avid Media Composer, Adobe Premiere Pro CC, and Assimilate SCRATCH, can output simultaneously via Epoch video card SDI and HDMI connections while IngeSTore records from available SDI inputs. Bluefish444 also announced collaborations with a range of new software partners in the lead-up to NAB Show 2017, with NVerzion’s NFinity Broadcast Video Server, Masterplay’s application
suite, Pronology’s mRes encoder, BTI’s Engage CG, and Avmeda’s Marsis Playout Automation, now all compatible with Bluefish44 4 hardware. Bluefish444 have updated their support for CasparCG, Adobe Creative Cloud CC Pro Tools and Nuke by The Foundry, to support the latest versions of these applications. For more information on Bluefish444 IngeSTore software, or to see all Bluefish444’s software partner integrations, head to their website at bluefish444.com/software.
Brainstorm Multimedia Infinity Set 3 At NAB 2017 Brainstorm enhanced further its InfinitySet virtual set solution with advanced graphics features. InfinitySet 3 not only seamlessly integrates Aston projects, but now also includes all the graphics editing and creation features of Aston so it can edit, manage and create 2D/3D motion graphics when required. As much Augmented Reality content requires advanced graphics TMBi - 51
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features to guarantee the accuracy and realism of the result, InfinitySet 3 now takes advantage of the Aston graphics creation and editing toolset to achieve this. This allows for direct editing of not only Aston projects but the individual elements, animations, StormLogic, data feeds, etc., as if they were in Aston. And even for the creation of new elements within the composition, changing the attributes and much more. This means that in broadcast operation, or while on-air, InfinitySet 3 operators will be able to adjust any object in the scene, even those with added properties such as animations or external data feeds. InfinitySet features a vast Virtual Set toolset including industry-first technologies such as 3D Presenter, TeleTransporter, HandsTracking and FreeWalking, all of them taking advantage of Brainstorm’s unique TrackFree™ technology. With InfinitySet 3, this technology has been pushed further to create new features that improve InfinitySet’s Augmented Reality features, such as VideoGate and VideoCAVE. The new VirtualGate feature allows for the seamless TMBi - 52
integration of the presenter not only in the virtual set but also inside additional content within it, so the talent in the virtual world can be teletransported to any video with full broadcast continuity. At NAB 2017 Brainstorm also demonstrated VideoCAVE, a Mixed Reality application using monitors in a real set performing as a CAVE multiple window, with virtual elements coming in from the virtual windows to the real scene as viewed from a tracked broadcast camera, and the result of Brainstorm’s more than 15 years of experience in successfully developing and installing such systems.
SmartSet Brainstorm introduce at NAB a new range of template-based solutions to complement its existing and highly advanced range of Virtual Set, Augmented Reality and Motion Graphics solutions. Brainstorm template-based products play out to air content created by using pre-defined purpose-built templates, which allow the applications to be as smart as each template allows for. Smaller and local TV station can then provide great looking programs even if they do not have the resources to create their own sets. SmartSet is a response to a demand from creative industry SMEs in the
ChryronHego ClickEffects F-Crossfire
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broadcast media sector to provide an advanced, cost effective virtual studio solution which will increase their competitiveness in the market. SmartSet is template-based virtual studio solution designed for smaller and local TV stations, which provides advanced, highquality and intuitive Virtual Set and Augmented Reality applications without the need of creating the programs. Templates can be as complex as required, or customized for the final application, and can be designed for a specific purpose or acquired online at the Brainstorm Store to be used immediately. The template defines which elements are editable and to what extent, allowing for simple operation, and limited to the customization possibilities of each template. This means that small broadcasters can create excellent quality programs while keeping costs under control. According to David Alexander, Brainstorm’s Commercial Director “All broadcasters, large and small, aim to deliver good quality, great looking content, while maximizing their resources. However, smaller broadcasters are often forced to choose between quality and
ChryronHego ClickEffects F-Blaze
workflow efficiency, and to help with this, Brainstorm has developed a range of template-based solutions, all built on its renowned eStudio render engine, which ensures pristine render quality and real-time performance for any kind of 3D graphics and virtual set templates.”
based A/V presentations. Click Effects PRIME unites the advanced authoring, rendering, and data binding power of ChyronHego’s renowned PRIME graphics ecosystem with the industryleading arena graphics generation and custom digital display control of the Click Effects CrossFire and Blaze solutions.
ChyronHego
“For over two decades, Click Effects solutions have dominated digital graphics workflows and A/V content delivery at high-profile live sports and entertainment events. At the heart of these workflows are CrossFire and Blaze, deployed at many of the world’s most prestigious stadiums and arenas,” said Jesper Gawell, chief
ChyronHego Introduces Click Effects PRIME At the 2017 NAB Show, ChyronHego introduced Click Effects PRIME, a highly integrated, turnkey graphics authoring solution for live arena- and stadium-
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marketing officer, ChyronHego. He added, “Since acquiring Click Effects less than a year ago, we’ve been privileged to leverage the vast industry experience and know-how of the Click Effects team to take the CrossFire and Blaze technologies to the next level and deliver a fully integrated ChyronHego solutin. The result, which we’re proudly showcasing at NAB, is Click Effects PRIME — easily the most versatile and powerful venue graphics platform available today.” Click Effects CrossFire offers graphics authoring tools for video and audio playback and replay, character generation, DVEs, and many other graphics capabilities, and Blaze is a robust system for controlling and managing multiple LED displays of different sizes at the same time or independently. Both solutions deliver costeffective and operatorfriendly capabilities through a consistent and intuitive user interface. Click Effects PRIME creates a seamless integration of CrossFire and Blaze with ChyronHego’s 64-bit, all-software PRIME rendering engine and authoring environment. This
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EVS collaborates with AVID, LaunchinG IPLINK for AVID Mediacentral
exposes users to powerful PRIME features such as real-time rendering of dynamic and data-bound 3D objects with tools such as shaders, lights, materials, and video texturing. Other expanded capabilities include the ability to create an infinite amount of custom, real-time wipe and
displacement transitions for video and graphics, as well as real-time lights and reflections, real-time video mosaics, and four-point loop playback control for clips. Hooks to ChyronHego’s real-time player and balltracking products enable Click Effects PRIME users
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supports 4K video with very low latency on both inputs and outputs, with up to four channels of HD-SDI key/fill playout and up to eight channels of HD-SDI video playout. With up to eight HD-SDI video inputs, the solution supports mixed resolutions for all inputs and outputs. The solution also features real-time integration with ChyronHego’s brandnew Live Assist Panels for user interface creation and scripting, as well as the Live Compositor software-based video switching system.
EVS EVS collaborates with AVID, LaunchinG IPLINK for AVID Mediacentral
to create the same compelling play-by-play video analysis that viewers are accustomed to seeing on sports television broadcasts. Not only can Click Effects PRIME seamlessly share complete templates built with other ChyronHego PRIME deployments, but the
new platform also is fully backwards-compatible with graphics previously built with Blaze and CrossFire. This means users that are familiar with the CrossFire/Blaze user interface will need no additional training to begin using Click Effects PRIME. Click Effects PRIME
In this first-of-its-kind collaboration, EVS has developed a connector for Avid MediaCentral UX users that provides rapid access to media assets through EVS’ IPDirector content management system. The platform supports fastturnaround live production workflows and tightens the integration between Avid and EVS for the companies’ customers. “EVS believes in open and connected platforms, and this new alliance perfectly TMBi - 55
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meets our users’ needs,” said Benoit Quirynen, SVP Market & Product, EVS. “By collaborating with Avid to enable seamless media production workflows, we’re enabling integrated workflows for faster, more efficient storytelling and ultimately higher-quality content.”
designed to grow as needed, journalists and editors can search for EVS media assets managed by IPDirector within their familiar, native Avid environment, preview them and import them into varied Interplay® and Media Composer® projects.
With EVS’ IPLink for Avid MediaCentral | UX, Avid users have full visibility and direct management of EVS assets - complete with rich metadata - from within a single, unified production environment. The solution allows producers and editors to more quickly and reliably search, find and utilize the best shots – for faster, better collaboration between live and post-production functions.
GatesAir
“We’re excited to welcome EVS as the newest member of the Avid Alliance Partner Program,” says Ed Caracappa, senior director of Global Alliances for Avid. “EVS joins a select community of organizations whose solutions are certified by Avid, offering our mutual customers powerful codeveloped solutions and the confidence and lower overall cost of ownership made possible through Avid Platform Certification.” Through a system TMBi - 56
GatesAir Optimizes Next-Generation Transmitter Portfolio for Spectrum Repack at 2017 NAB Show GatesAir is strengthening its leadership and innovation in wireless, over-the-air content delivery with a new high-efficiency UHF transmitter range to help broadcasters leverage the new business opportunities promised through the Spectrum Repack and the ATSC 3.0 DTV standard. The new Maxiva™ ULXTE liquid transmitter joins the recently-announced UAXTE air-cooled transmitter to give broadcasters two design options with market-leading RF performance and the industry’s lowest total cost of ownership. The ULXTE and UAXTE are optimized for channel changes driven by the Spectrum Repack, thanks to next-generation power
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amplifiers that increase peak power capacity for all ATSC and OFDM waveforms. This design strategy, based on GatesAir’s PowerSmart® Plus architecture with broadband amplification, accelerates manufacturing and delivery by simplifying channel tuning; and increases power density for all modulations. Its high-efficiency power amplifiers and market-leading power density also provides equal power levels for ATSC 1.0 and 3.0, and reduces costs, energy consumption and internal parts to streamline maintenance. In fact, the slimmeddown architecture, reducing footprint and weight, makes single-engineer maintenance a reality—and an ongoing OPEX benefit—for networks and broadcasters with limited RF engineering resources. Both transmitters integrate GatesAir’s state-of-the-art XTE exciter to ensure a clear path to ATSC 3.0. Featuring a software-defined modulator, the XTE includes native IP inputs and eliminates the need to retrofit transmitters with additional gear to enable network connectivity, giving broadcasters an out-of-the-box solution to simplify the input and output of multimedia services via a local- or wide-area IP network. The design provides a direct gateway to the enhanced multichannel DTV, mobile broadcast and streaming opportunities of ATSC 3.0, and centralizes advanced IP-based monitoring and control to a single user interface. Both transmitters are
GatesAir Maxiva UAXTE Transmitter
also easily adaptable to singlefrequency network (SFN) architectures that are expected to become common in ATSC 3.0 deployments. Beyond ATSC 3.0, the ULXTE and UAXTE instantly adapt to global DTV standards, with seamless migration to DVB-T, DVB-T2 and ISDB-T thanks to the software-defined modulation of the XTE. The XTE-driven modulation further reduces costs and power consumption by lowering wattage requirements at the amplification stage, without affecting the same signal strength. Its inherent GatesAir RTAC™ (real-time adaptive correction) software also strengthens signal correction at the amplification stage to optimize performance and regulatory compliance. The ULXTE is available in power levels from 1.2kW to 150kW on all modulations, while the UAXTE is available in power levels from 20W to 20kW on all modulations. Both models offer industry-leading system efficiency levels up to 45 percent. Both transmitters and the XTE are made in the USA at GatesAir’s Quincy, Illinois manufacturing center.
GatesAir Enhances IP Data Protection for Radio Broadcasters with Intraplex® IPConnect Available as an option in most Intraplex IP Link codecs, IPConnect solves the problem of reliable data transport across complex networks that traditionally suffer data loss through dropped packets. The software data gateway provides extra protection through packet TMBi - 57
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encapsulation, which encloses the external IP data packets in a GatesAir protocol wrapper as it moves across IP networks. Unlike many similar applications, IPConnect provides this protection for studio-generated data, as well IP data from external sources. While the former might include RDS data or SNMP control signals to trigger a command at the transmitter site, the latter may incorporate program or control data coming from a network operations center, satellite feed or advertising service. Whether generated inhouse or externally, IPConnect expertly manages data transport for IP network architectures of any scale. It is adept at handling complex scenarios such as E2X (exporter-toexciter) connections, which can include data feeds for multiple HD Radio services.
Grass Valley iTX Integrated Playout and iTX OnDemand platforms offer more speed and flexibility The definition of “TV” has expanded greatly over the past several years. While TV TMBi - 58
iTX Integrated Playout and iTX On-Demand platforms offer more speed and flexibility
once exclusively meant content viewed on a television set, it now also refers to content streamed online, on-demand and through mobile devices. In the age of the on-demand consumer, broadcasters must deliver programs quickly and to the right channels so that viewers can watch what they want,
when and where they want. To ease this process, Grass Valley, a Belden Brand, has upgraded the iTX Integrated Playout solution for IP workflow compatibility, and the iTX On-Demand system for faster media processing for video on-demand (VOD) platforms. Broadcast professionals have to deliver hours of
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and place that suits them. The iTX On-Demand system begins automatically packaging content for VOD platforms while it is still airing live. The solution, which can operate onpremises or virtually, now features broadcast mastering at 8x real-time speeds and subtitle mastering support for more than 40 languages to bring content to VOD platforms worldwide in just minutes after the live event has finished. For even higher efficiency and speed, the iTX On-Demand system is integrated into the iTX Integrated Playout system.
New UHD-3901-UC introduces 4K and HDR upconversion into production workflows
different types of content quickly and efficiently. Grass Valley’s iTX Integrated Playout solution is the world’s most advanced, integrated playout platform for broadcast television, delivering over 20 million hours of programming each year. The newly released iTX 2.11 version supports AIMS roadmap IP workflows
and virtualization to help guide broadcast facilities into the future of content playout, helping them stay flexible while they leverage efficiency to profitably deliver a great experience for their viewers. VOD platforms are some of the many channels viewers utilize to watch their favorite programs at a time
The increasing popularity of innovative 4K/UHD has made realistic, vibrant colors the norm—and indeed the expectation—in content ranging from sitcoms to live sports. However, the quality of on-screen images depends not just on higher resolution but on the quality of each individual pixel to create high scene contrasts and adapt to challenging lighting conditions in live broadcast environments. This is where High Dynamic Range (HDR) comes in, and TMBi - 59
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The new LDX 82 Series cameras, all existing LDX 86 Series and LDX 86N Series cameras, the new Densité UHD-3901-UC cards, K2 Summit media servers and many other Grass Valley solutions are designed to handle both native HDR and SDR content for a seamless look.
Grass Valley, a Belden Brand, is dedicated to providing broadcast and editing professionals with innovative equipment that allows them to bring highquality content to their viewers in any format. The new LDX 82 Series cameras, all existing LDX 86 Series and LDX 86N Series cameras, the new Densité UHD-3901-UC cards, K2 Summit media servers and many other Grass Valley solutions are designed to handle both native HDR and SDR content for a seamless look. In order to support a mixture of HDR and SDR content, Grass Valley has integrated HDR up-mapping capabilities into the new Densité UHD-3901-UC cards. The cards can TMBi - 60
accommodate a gradual adoption of HD production elements into UHD broadcasting workflows, while protecting investment in installed equipment with a model for both SDR to HDR and HD to 4K/UHD upconversion. As broadcast studios upgrade to 4K/UHD, this new upconversion module allows existing, installed equipment to be used and integrated into more advanced workflows. This includes the upmapping of SDR content to live within the increasingly popular HDR workflow. No matter what camera, production switcher, replay system, server or network component, Grass Valley offers full support in all of its products for a native HDR workflow that allows customers to produce more
engaging content and capture more revenue.
Grass Valley Introduces the New K-Frame V-series Production Switcher To address space limitations and reduce the complexities of today’s technical directors’ production workloads, Grass Valley, a Belden Brand, developed the K-Frame Vseries as an addition to the K-Frame family of production switchers. At only 3RU, this new frame is an ideal complement to the GV Korona switcher panel and fits in locations with limited space but requires no compromises on enterprise features. V-series, as part of
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serviceability – a true convenience not offered in competitively priced switchers. The modularity also makes for an easy upgrade to an all IP or mixed SDI and IP environment in the future. The 36x18 matrix supports SD, HD and 4K UHD in quad split and 2SI modes and can handle up to three licensed M/Es and two additional video processing engines (VPEs) for added keying and mixing power.
the K-Frame family, can be used with any Grass Valley switcher panel and broadcasters can run multiple panels and shows off the same frame at the same time. On their own, the GV Korona 1 and 2 stripe panels support 15 and 20 assignable buttons, respectively, on each stripe (or M/E row), and have a built-in multi touch menu system, as well an innovative touchscreen in the transition area. When paired together, the K-Frame V-series and GV Korona switcher make a powerful duo. The V-series frame is modular for easy field reconfiguration and
Because it is a full-fledged member of the K-Frame family, V-series can be used with any GV K-Frame switcher panel, including Karrera and Kayenne. Additionally, shows created in any K-Frame switcher can be saved and shared among other switchers, including the new V-series. This convenience can be leveraged by customers who may already own a Kayenne or Karrera switcher and would like to share the “look” they’ve created in a different application.
XCU UXF and UXF cradle provide hybrid SDI/IP support and strengthen IP portfolio Broadcast professionals working in studios, mobile trucks, arenas and all types of facilities are seeking
reliable, flexible solutions that will help them bridge the gap between the technologies of today and tomorrow. Grass Valley, a Belden Brand, is taking the next step towards a full IP live production solution with the XCU Universe UXF camera base station and advanced UXF cradle. Together, these solutions support the AIMS roadmap and all IP video formats, including high-speed operation and high dynamic range (HDR), providing the flexibility broadcasters need for their current workflows, for burgeoning IP workflows, and beyond. Grass Valley’s XCU Universe UXF base stations are designed to support the extended bandwidth requirements of the LDX 86 and LDX 86N Series highspeed cameras with up to 6X speed operation, 4K capability and 15 F-stops of HDR in 1X speed operation. XCU now provides enormous overall flexibility with the ability to output any format video over IP (including TR-03, TR-04 and the new proposed standard ST 2110) or SDI. The new, advanced UXF cradle also features additional 4x MSA compliant SFP+ slots adding fully redundant IP interfacing and 12G SDI through SFP. TMBi - 61
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Harmonic EyeQ Image
Harmonic Advancements Include Reduced Latency and Expanded Bandwidth Optimization Capabilities Harmonic demonstrated several groundbreaking solutions for OTT delivery, enabling broadcasters and service providers to drive growth in over-the-top video consumption with improved quality of experience (QoE) for their customers. Through innovations in OTT bandwidth optimization, latency and packaging technologies, Harmonic is TMBi - 62
leading the industry in helping operators deliver pristine SD, HD and Ultra HD video at low bit rates for a variety of services, including live streaming, VOD and time-shift TV. Lower latency when streaming live events is a key goal for OTT operators. Live television broadcasters generally delay live content for approximately seven seconds; delays for live OTT streaming are more in the range of 30-60 seconds. At the NAB Show, Harmonic will showcase a real-time streaming workflow that matches the latency of live broadcast.
Harmonic’s low-latency streaming workflow is made possible by a unique combination of packaging content in the new Common Media Application Format (CMAF) and HTTP chunked transfer encoding. An emerging media standard for OTT delivery, CMAF reduces the need to package content separately for HLS and MPEG-DASH devices. The use of the new format in Harmonic multiscreen packaging and origin solutions not only improves the OTT viewing experience by reducing latency in live streaming, it also simplifies OTT distribution workflows.
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Hitachi Kokusai New Z-HD5500 1080p Studio and EFP Camera Continuing its tradition of providing outstanding video acquisition quality across a diverse array of production environments, Hitachi Kokusai Electric America Ltd. (Hitachi Kokusai) today announced the new ZHD5500 HDTV studio and field production camera. Featuring Hitachi Kokusai’s latest advances in CMOS imaging technology, the ZHD5500 cost-effectively
addresses the challenges of shooting in studios and venues with low-cost or varying-frequency LED lighting. Available immediately. The Z-HD5500’s new CMOS imagers adapt easily to a wide range of LED lighting conditions, enabling flawless, high-performance video capture in TV studios, houses of worship, theaters, arenas and other facilities where such lights or large LED displays are used. Paired with Hitachi Kokusai’s advanced digital signal processing and exclusive low-noise circuit technology, the new sensors deliver superior visual
quality with exceptional sensitivity, excellent color fidelity and an outstanding 62dB signal-to-noise ratio. The Z-HD5500 joins the extensive line of HITACHI HD and Ultra HD camera systems offering High Dynamic Range (HDR) capabilities, enabling video productions with increased contrast, richer colors and enhanced lighting reproduction. The Z-HD5500 supports both the HLG (Hybrid Log-Gamma) and HPQ HDR specifications. The Z-HD5500 is also the first camera in the HITACHI Z-HD family to offer native 1080p image acquisition, and does so without a
The Z-HD5500’s new CMOS imagers adapt easily to a wide range of LED lighting conditions, enabling flawless, high-performance video capture in TV studios, houses of worship, theaters, arenas and other facilities where such lights or large LED displays are used.
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significant price increase over its 1080i and 720p siblings. The Z-HD5500 provides a flexible choice of connectivity, with optional support for both SMPTE fiber and triax infrastructures. The camera can be paired with dedicated fiber or triax camera control units (CCUs), or with the dualcable HITACHI CUHD1300FT for maximum deployment flexibility. The CU-HD1300FT offers both optical fiber connectivity and Hitachi Kokusai’s fourthgeneration digital triax system, which features an ultra-low-latency H.264 codec technology and multilevel digital modulation for long-distance triax transport of 3GB/s 1080p video plus intercom, teleprompter returns and other signals.
Lawo New mc²96 Grand Audio Production Console for IP video production environments at NAB 2017 The Lawo mc²96 console, available in frame sizes with 24 to 200 faders with the same legendary quality known from Lawo’s mc²90 TMBi - 64
series, is designed as Lawo’s most visual broadcast console ever. The mc2 96 features 21.5“ full HD touch-screens as well as multiple mini color-TFTs in channel strips and touchsensitive color-coded encoders, providing fast overview and user-friendly operation. In a world’s 1st Lawo’s new production console features LiveView™ video thumbnails. In addition to standard channel labeling via channel numbers,
individual text labels and static pictures or icons, the mc²96 can display real-time video thumbnails right at the fader’s mini TFTs for intuitive channel identification. Touching a fader changes the LiveView™ thumbnail to full-screen mode, providing a more detailed view of that channel’s video source, such as a camera or a replay machine. Designed for networking in complex IP production infrastructures, the Lawo mc²96 employs Lawo’s
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consoles when the analog gain of the preamp is being adjusted. Reflecting today’s requirements for 3D/immersive audio productions, the mc²96 provides not only superb tools for surround sound mixing, but also a dedicated elevation controller as standard. Furthermore, the mc²96 offers Lawo-grade integrated Loudness Metering with full loudness control in accordance with ITU 1770 (EBU/R128 or ATSC/A85). ln addition to program buses, Lawo Loudness Metering can also measure individual channels, which allows fast and convenient “visual” mixing of multiplemicrophone setups.
The Lawo mc²96 console, available in frame sizes with 24 to 200 faders with the same legendary quality known from Lawo’s mc²90 series, is designed as Lawo’s most visual broadcast console ever.
unique IP-Share™ Network Gain Compensation when using shared DALLIS I/Os to prevent unexpected changes on up to eight networked consoles when individual users adjust their gain settings. The DALLIS I/O communicates with all networked consoles, and its IP-Share™ algorithm sets the optimum analog gain for multi-client requirements. IPShare™ also ensures that the corresponding gain compensation is applied to the digital gain stages of all
Lawo’s new flagship can also be operated in MultiUser Mode, with 96 rotary encoders in each 16-fader bay giving direct access to all parameters, effectively creating an additional central control panel. Colorcoding of the encoders, coupled with the high-res color TFT displays, guarantees a perfect overview and users can now create, save and recall multiple personalized free control layouts directly in their own bay. Addressing live broadcast TMBi - 65
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and performing arts applications, the mc²96 offers many innovative mixassist systems enabling the sound engineer to concentrate on the overall balance and sound quality of the production. In addition to Lawo’s renowned Audiofollow-Video functionality, the desk’s automated mixing capabilities include an Automix function that automatically adjusts the Ievels of active and inactive microphones, while maintaining a constant, natural-sounding ambient
Ievel. The console also features Lawo’s highlyacclaimed AMBIT Upmix function, which guarantees perfect conversion of stereo signals for amazingly authentic surround sound and supports KICK 2.0, Lawo’s automated close-ball mixing solution for sports such as football, hockey and basketball. For ultimate flexibility in I/O requirements the console offers plug and play interfacing to all Lawo DALLIS modular stageboxes
including AoIP options and the Lawo A__line interfaces and NOVA central routers. In addition, as the mc²96 surface includes local I/Os that feature comprehensive connectivity with 16 Lawograde Mic/Line inputs, 16 Line outputs, 8 AES3 inputs and outputs, 8 GPIOs plus a local MADI port (SFP). A built-in switch provides 4 Ethernet ports with network connectivity via two redundant SMPTE2110 / AES67 / RAVENNA ports with seamless protection switching.
Designed for networking in complex IP production infrastructures, the Lawo mc²96 employs Lawo’s unique IP-Share™ Network Gain Compensation when using shared DALLIS I/Os to prevent unexpected changes on up to eight networked consoles when individual users adjust their gain settings.
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greenMachine titan is a four-channel hardware device that complements the existing greenMachine callisto, a two-channel signal processing hardware appliance.
LYNX Technik greenMachineTM with 4K/12G Processing LYNX Technik AG announces greenMachine titan, a new hardware component of the greenMachine solution. Titan is compatible with all existing greenMachine APPs available on the greenStore™. greenMachine titan is a four-channel hardware device that complements the existing greenMachine callisto, a two-channel signal processing hardware appliance. Titan simultaneously processes four 3G/HD/SD-SDI video streams or a single 4K/UHD video input. It offers up to
12G processing support (3840 x 2160 @60 Hz) and also provides the functionality to convert between single link 4K video (12G) and quad-link 4K video (4x3G). Titan and all greenMachine hardware are compact selfcontained general purpose A/V processing platforms designed to host a wide variety of applications or APPs. And now with the 12G capable processing, greenMachine helps to facilitate and support 4K infrastructure applications. The APPs available that support both the 4x 3G-SDI and 12G processing provide high quality and robust audio and video processing. greenMachine was introduced globally at IBC and is a completely new concept adopting a three
prong approach to product definition and function. Rather than being a fixed application specific box, greenMachine is a combination of general purpose hardware, downloadable APPs for customizable functionality and powerful control software. A wide variety of plug-in fiber options for SDI and Ethernet connectivity for greenMachine are available including simple point to point connections to multiplexed bidirectional CWDM applications with up to 18 wavelengths.
12G Capable yellobriks LYNX Technik’s already extensive line-up of fiber optic transport solutions are now augmented with three TMBi - 67
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new solutions that provide error-free transmitting and receiving of 12G (4096 x 2160 @60 Hz), plus 6G, and 3G signals if required, all with full uncompressed video quality. All modules provide support for a maximum distance of approximately 10 Km (6.2 miles) using LC singlemode fiber. The complete video payload, (including any embedded audio and metadata) is converted and transmitted transparently
over fiber. No settings are needed as the modules auto detect the video standard (12G, 6G or 3G) and adapt accordingly for complete plug and play functionality. As with all yellobriks, they are intuitive and easy to use with all connections clearly indicated on the module. They are fully compatible with the unique yellobrik rack frame and all standard yellobrik accessories. The 12G capable yellobriks help facilitate and
support 4K infrastructure applications that send and receive content with exceptionally high data rates. They are perfect additions to the LYNX Technik 4K yellobrik portfolio, which also includes the self-contained quad link 4K fiber transmission kits that support 4x SDI signals (12G uncompressed).
H.264 Streaming & Recording yellobrik The PEC 1864 H.264 encoder provides a solution
The PEC 1864 H.264 encoder provides a solution for users to simultaneously stream content while recording it, an ideal solution for delivering, streaming and archiving content efficiently and affordably.
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for users to simultaneously stream content while recording it, an ideal solution for delivering, streaming and archiving content efficiently and affordably. The module houses two independent encoders; a stream encoder and a record encoder. Users can stream content with simultaneous recording, stream-only, or record-only. The independent encoders support different quality settings for the streamer and the recorder. For example: a user may wish to simultaneously stream content directly to the web in lower quality due to limited bandwidth, and record at a higher master quality for further editing or archiving. The yellobrik accepts either an SDI or an HDMI input supporting up to 3G (1080p @60 Hz) and compresses it using the H.264 encoding standard. It supports a variety of popular streaming outputs including RTMP for streaming to Content Delivery Networks. Using this streaming format, a user enters their CDN login credentials into the yellobrik’s web-browser based GUI, and streams the content live on their CDN Channel; e.g. Wowza, YouTube, Facebook. The PEC 1864 also supports RTP/RTSP streaming, TS over UDP and
FiberSaver-12G units are also compatible with 3Gb/s and 1.5Gb/s inputs for maximum flexibility.
TS over RTP. These three steaming formats can be configured as unicast or multicast. A forward error correction (FEC) can be activated for the TS over RTP stream. In addition, the PEC 1864 supports the HLS (HTTP Live) streaming protocol. The module records to a micro SD memory card or USB stick as a .mp4 or .ts. Two channels of audio are deembedded from the incoming video signal, which can then be embedded into the streamed and/or recorded video signal. An alternative audio source is provided via the stereo audio input. Each video encoder includes a region of interest (ROI) scaler, enabling the user to crop the image and stream/record only that
portion of the image. Users can even insert a logo into the content stream, ideal for branding & copywriting content and when the Content Delivery Network provider doesn’t provide a logo insertion tool.
MultiDyne New 12Gb/s models of popular cameraback transceivers and optical multiplexers increase bandwidth, simplify infrastructures, and enhance connection flexibility Bolstering its alreadyextensive support for 4K field and studio productions that bring the elegant simplicity of 12Gb/s connectivity to the company’s renowned fiber TMBi - 69
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transport systems. New SilverBack-12G models add 12Gb/s support to the popular SilverBack family of camera-mounted transceivers, while FiberSaver-12G optical remapper/multiplexers enable as many as 36 signals of up to 12Gb/s each to be transported over just two fibers. 4K production equipment has most commonly featured quad-link connectivity, comprising four separate 3Gb/s signals for each 4K feed. Increasing adoption of 12G-SDI interfaces enables 4K video to be transported over a single connection, simplifying infrastructures, reducing cabling requirements and speeding equipment setup and strike. The addition of 12G support to MultiDyne’s fiber solutions delivers these benefits, while giving users denser signal capacity, greater connection flexibility and stronger compatibility with the growing array of 12Genabled cameras and production gear. “12G is reaching a tipping point,” said Frank Jachetta, President, MultiDyne. “Many people have embraced it, but it’s not yet ubiquitous. Our new 12G capabilities augment our existing capabilities, enabling our TMBi - 70
customers to take advantage of the new benefits with 12Gb/s equipment, but ensuring compatibility with any existing quad-link 4K or HD gear they’re using today.” SilverBack-12G brings this flexibility and simplicity to the SilverBack line of camera-mounted fiber solutions. Providing a fullbandwidth fiber optic link between any camera and a production truck or control room, SilverBack-12G puts all of the signals needed for multi-camera production – including 12Gb/s, 3Gb/s or 1.5Gb/s video, audio, intercom, camera control, tally, data and more – onto a single tactical or SMPTE hybrid fiber cable for robust connectivity even across long distances. The new SilverBack-12G series incorporates all of the features of earlier SilverBack models, including operatorfriendly ergonomics and fullsized BNC connectors for easy interfacing. The new 12Gb/s support will also be available as an optional upgrade for existing SilverBack units, protecting and enhancing users’ investments. “By combining SilverBack’s existing capabilities with 12Gb/s support, SilverBack12G provides exceptional
versatility, particularly in dynamic environments where users may work with a wide range of equipment,” said Jachetta. “If you’re using a 12G camera one day and a quad-link camera the next, or even duel 6G, no problem – just plug them in. And we’re thrilled to offer 12G as an upgrade option for our existing SilverBack
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any optical, digital signal regardless of content or format, FiberSaver-12G can put up to 18 signals on each fiber without the need to manage wavelengths, letting mobile truck operators and facility managers easily scale video and audio capacity without the cost and effort of deploying additional fiber cabling.
PHABRIX Hybrid IP, 4K/UHD & HDR test & measurement solutions
rackmount model accepts up to 36 optical signals for transport over two fibers, while five-inch-square portable models offer six or 12 channels.
The new Qx 12G performs signal generation, analysis & monitoring across SMPTE 2022-6 IP and HD, 3G, 6G and 12G-SDI formats. Advanced IP tools enable broadcast engineers to quickly understand network traffic integrity and assess issues such as network congestion. Multiple diagnostic instruments include an Inter Packet Arrival Time Analyser, which provides network health reporting with a histogram presenting the distribution of packet arrival times.
In addition to 12Gb/s signals, FiberSaver-12G units are also compatible with 3Gb/s and 1.5Gb/s inputs for maximum flexibility. Able to transport
A SMPTE 2022-6 encapsulator coupled with the Inter Packet Transmission Profiling tool provides the ability to simulate a wide range of
The new Qx 12G performs signal generation, analysis & monitoring across SMPTE 2022-6 IP and HD, 3G, 6G and 12GSDI formats.
users, as we’re always striving to ensure our customers get maximum long-term value from our products.” MultiDyne demonstrated also the now-shipping FiberSaver-12G series, bringing 12Gb/s support to the FiberSaver product line. First previewed at IBC 2016, the 1RU FiberSaver-12G
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network congestion conditions. Additional network analysis tools present detailed transmission and reception traffic information. Software upgrades for additional IP standards will be available during 2017, including TR03, AES67 and PTP (ST 20592), as defined in the draft SMPTE 2110 specification. For High Dynamic Range (HDR) and Wide Colour Gamut applications, Qx 12G provides new generator patterns plus a CIE 1931 X Y chart with Rec.709 and Rec.2020 overlays for measuring chromaticity. There’s also a programmable HDR Heatmap to highlight luminance zones of a signal, as well as HDR vectorscope and waveform tools. All these HDR instruments support Dolby® PQ standard, and future software releases will support the HLG and SLOG3 standards. Advanced physical layer testing capabilities are also offered by Qx 12G, including ultra-fast 12G-SDI eye analysis with RTE (Real-time Eye) technology, which instantly highlights SMPTE compliance issues, including eye under/overshoot. Additional tools include Jitter waveform, Jitter Insertion, Jitter FFT analysis, and pathological test patterns. TMBi - 72
Sx handheld hybrid IP, 3G-SDI & Analog test and measurement For handheld hybrid IP, 3G-SDI & Analog applications, PHABRIX has launched a new IP option for the Sx TAG. This ultraportable instrument provides signal generation, analysis and monitoring from an intuitive, colour-coded
interface. It features mains and battery power, and provides all the essential tools for infrastructure compliance testing and content monitoring, including a multi-format waveform and vectorscope, video monitoring using a 16:9 screen, and 16 channel audio monitoring. SMPTE 2022-6 IP support is provided using 10GE
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increase in road traffic from four lanes to twelve lanes along the Strip since the 90’s is matched by a parallel increase in broadcasting traffic as the principal media players upgrade from just one or two channels to double figures or more. It is extremely difficult to formulate a precise definition of Traffic and if we talk to different broadcasters, we quickly find that their view of “Traffic” varies from company to company. And yet, the efficient and effective management of their traffic flows is of paramount importance to each and everyone of them. Opinions as to what exactly constitutes Broadcast Traffic include: - all aspects of general playlist preparation - all advertisement-related activities subsequent to signing the contract
Provys Programme planning
SFP+ modules. The IP status is presented within the Sx TAG’s monitoring toolsets, and new Tx/Rx instrument windows are provided for network configuration and monitoring. Other advanced features include Dolby® E, Dolby® Digital and Dolby® Digital Plus bitstream generation and analysis, as well as video status logging,
and remote operation over Ethernet.
- all content handling processes prior to playout
Provys
- all imaginable postproduction workflows without which, the traffic would stop
Traffic jams and how to avoid them! By Martin Junek
- and finally, all planning and organising the lines and routes for contribution and distribution.
Fresh back from NAB 2017 in Las Vegas, it is apparent how the massive
The most usual definition is the first one, above, which obviously includes content TMBi - 73
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Provys Production management
postproduction, EPG (Electronic Programming Guide) workflows and all preparations for non-linear content presentations. So, let us now concentrate on postproduction workflows which are an inevitable part of all broadcast operations and on which PROVYS, the leading designer of Broadcast Traffic Systems and management solutions, concentrated at this NABSHOW. No matter whether the content is sourced internally or externally, it still requires some postproduction activities, for example, dubbing, voice-over, audio mixing, subtitling, audio TMBi - 74
description for visually impaired viewers, trailer production for selfpromotion, PG (Parental Guidance) compliance tasks, QC (Quality Control), transcoding, etc. The PROVYS postproduction workflow management tools include an unparalleled dashboard which provides a comprehensive overview of each stage of postproduction operations, their current status, their next steps, deadlines, missed deadlines, subcontracting orders, etc. Each task is appropriately displayed with individual colour-coding showing the current state of urgency. At
all stages and levels of this workflow management system, the screen displays are both attractive and logical making operation an easy and enjoyable task. As
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Jan Hrdlicka, Managing Director of PROVYS commented: “There is no doubt that the Provys graphic user interfaces are the most attractive and easy on the eye as I walk around NABSHOW 2017”. The same user experience applies to EPG and nonlinear workflows which have been recently re-designed, following considerable feedback from the most experienced worldwide professional users in the business today. Returning now to our comparison with the traffic on the Strip, we can see that the city authorities have constructed Freeway 15, a central city bypass comprising some 16 lanes, which takes the bulk of the traffic away from the congested Strip. In exactly the same way, and in order
to avoid the available but expensive and congested frequency spectrum, the boffins at Stream Circle, who were also exhibiting, have come up with a revolutionary, economical and award-winning digital bypass allowing both existing broadcasters and media newcomers to compose and playout fullfeatured TV programmes online using the endless number of lanes across the internet, thus circumnavigating the squeezed and overcrowded bandwidth. Looking to the future, therefore, we are convinced that the traffic congestion on the Strip has been solved by the addition of the freeway lanes together with stricter pedestrian controls and overpasses, and the Strip will most certainly continue
to thrive. In the parallel universe of broadcasting, the traditional on-air TV channels will also continue to thrive whilst the alternative paths will continue to grow in importance.
Quantum New StorNext 6. 4K Performance and Advanced Data Management StorNext 6 is engineered to overcome the challenges of ever-growing, higherresolution content and capitalize on the opportunities to re-monetize or re-purpose that content. StorNext 6 features include more efficient and costeffective ways to meet project performance demands, share and access
Quantum SST Data anagement diagram for SN datasheet
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Quantum’s StorNext platform provides scalable storage that delivers high performance using less hardware than competing systems.
content across geographically distributed teams, and manage and protect archived content. Quantum delivers all these benefits in an integrated, multi-tier storage solution encompassing flash, spinning disk, object storage, tape and the cloud while maintaining optimized performance, visibility and access at every tier.
Increasing Demand for Storage Performance and Agility The industry’s ongoing shift to higher-resolution TMBi - 76
formats, its use of more cameras to capture footage and its embrace of additional distribution formats and platforms is putting unprecedented pressure on storage infrastructure. For content creators and owners to take full advantage of their content, storage must not only deliver scalable performance and capacity but also ensure that media assets remain readily available to users and workflow applications. StorNext 6 is engineered to address these requirements and more.
Quality of Service: Optimizing Performance to Support 4K Work Leveraging its extensive real-world 4K testing and a series of 4K reference architectures developed from test data, Quantum’s StorNext platform provides scalable storage that delivers high performance using less hardware than competing systems. With StorNext 6, Quantum delivers a new quality of service (QoS) feature that empowers facilities to further tune and optimize performance across all
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client workstations, and on a machine-by-machine basis, in a shared storage environment. Using QoS to specify bandwidth allocation to individual workstations, a facility can guarantee that more demanding tasks, such as 4K playback or color correction, get the bandwidth they need to maintain uncompromising video quality. At the same time, QoS allows the facility to set parameters ensuring that less timely or demanding tasks do not consume an unnecessary
amount of bandwidth. As a result, StorNext 6 users can take on work with higherresolution content and easily optimize their storage resources to accommodate the high-performance demands of such projects.
Collaborative Workflows via Shared Archive With FlexSpace™ To address the challenges of global “always on” production workflows, StorNext 6 includes a new feature called FlexSpace. FlexSpace allows multiple
instances of StorNext — and geographically distributed teams — located anywhere in the world to share a single archive repository, greatly facilitating collaboration with the same content. Users at different sites can store files in the shared archive, as well as browse and pull data from the repository. Because the movement of content can be fully automated according to policies, all users have access to the content they need without having it expressly shipped to them. Shared archive options include both public cloud storage ― Amazon Web Services (AWS), Microsoft Azure or Google Cloud via StorNext’s existing FlexTier™ capability ― and private cloud storage based on Quantum’s Lattus® object storage or, through FlexTier, third-party object storage such as NetApp StorageGRID, IBM Cleversafe and Scality RING. In addition to simplifying collaborative work, FlexSpace also makes it easy for multinational companies to establish protected off-site content storage.
Multi-Site Synchronization With FlexSync™ FlexSync is a powerful new capability in StorNext 6 TMBi - 77
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that provides a fast, flexible and simple way to synchronize content between multiple StorNext systems in a highly manageable and automated fashion. FlexSync supports one-to-one, one-to-many and many-to-one file replication scenarios and can be configured to operate at almost any level: specific files, specific folders or entire file systems. By leveraging enhancements in file system metadata monitoring, FlexSync recognizes changes instantly and can immediately begin reflecting those changes on another system. This approach avoids the need to lock the file systems to identify changes, reducing synchronization time from hours or days to minutes, or even seconds. As a result, users can also set policies that automatically trigger copies of files so that they are available at multiple sites, enabling different teams to access content quickly and easily whenever it’s needed. In addition, by providing automatic replication across sites, FlexSync offers increased data protection.
Copy Expiration and Selectable Retrieve StorNext 6 gives users TMBi - 78
greater control and selectivity in maximizing their use of storage on an ROI basis. When archive policies call for storage across disk, tape and the cloud, StorNext makes a copy for each. A new copy expiration feature enables users to set additional rules determining when individual copies are removed from a particular storage tier. This approach makes it simpler to maintain data on the storage medium most appropriate and economical and, in turn, to free up space on more expensive storage. When one of several copies of a file is removed from storage, a complementary selectable retrieve function in StorNext 6 enables users to dictate which of the remaining copies is the first priority for retrieval. As a result, users can ensure that the file is retrieved from the most appropriate storage tier.
File System Auditing StorNext 6 offers valuable new capabilities for those facilities that subscribe to Motion Picture Association of America (MPAA) rules for content auditing and tracking. The platform can now track changes in files and provide reports on who changed a file, when the changes were made, what
was changed and whether and to where a file was moved. With this knowledge, a facility can see exactly how its team handled specific files and also provide its clients with details about how files were managed during production.
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Online Stripe Group Management As facilities begin to move to 4K production, they need a storage system that can be expanded for both performance and capacity in a non-disruptive manner.
StorNext 6 provides for online stripe group management, allowing systems to have additional storage capacity added to existing stripe groups without having to go offline and disrupt critical workflows.
Riedel Communications Bolero Bolero is an expandable, full-roaming, DECT-based intercom system in the license-free 1.9GHz frequency range. Fully integrated into Riedel’s Artist digital matrix intercom platform, Bolero offers a rich set of features and connectivity that can be applied three ways: as an exceptional wireless beltpack, as a wireless keypanel, and — in an industry first — as a walkietalkie radio.
Bolero is an expandable, full-roaming, DECT-based intercom system in the license-free 1.9GHz frequency range.
Bolero runs over a standards-based AES67 IP network. Decentralized antennas connect to AES67 switches and then to Artist frames equipped with AES67 client cards, providing a fully integrated point-to-point intercom ecosystem with seamless roaming capabilities. To the system, the beltpacks look
just like Riedel panels but are wireless, providing the highest levels of flexibility and programmability. The Bolero high-clarity voice codec provides both higher speech intelligibility and more efficient use of RF spectrum supporting twice the number of beltpacks per antenna for the same audio bandwidth as other DECTbased systems. The codec has exceptional latency characteristics while being very efficient with processing power, providing excellent beltpack battery life, and saving DSP processing power for other functions. Bolero features Riedelexclusive ADR (Advanced DECT Receiver) technology, a diversity receiver technology specifically designed to reduce sensitivity to multipath RF reflections, making the system useable in challenging RF environments where other systems have great difficulty. The beltpacks support Bluetooth 4.1, allowing either a Bluetooth headset or a Smartphone to be connected. When a Smartphone is connected, the beltpack can act like a car’s “hands free” setup so the user can receive calls on their phone and talk and TMBi - 79
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MediorNet MultiViewer is a virtual multiviewer app based on MediorNet MicroN high-density media distribution hardware and designed to work within the MediorNet network.
listen via their beltpack headset. Users can also make calls and then connect that person into the intercom matrix, eliminating the need for a telephone hybrid. Based on Riedel’s TMBi - 80
extensive rental experience, the beltpacks use a combination of premium materials, including highimpact plastics and rubber overmolds, to create a tough device with an ergonomic feel that provides easy use
and handling. The display can be inverted so that it is readable in any orientation. The beltpack itself features six buttons for each of the six intercom channels, plus a separate “Reply” button
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Riedel Adds Desktop SmartPanel to Growing Line of Intelligent User Interfaces DSP-2312 Desktop SmartPanel. The world’s first keypanel designed as a powerful multifunctional user interface, the app-driven SmartPanel is designed to enrich the user experience and change the way users communicate. The all-new desktop edition offers all the power and flexibility of the SmartPanel in a small, elegant, ergonomic, and low-profile device. The new desktop SmartPanel features 12 keys, two TFT touch-screen LCD displays, and an integrated power supply. Onboard AES67, AVB, and AES3 connectivity allows for direct connections to Riedel’s Artist digital matrix intercom systems without the need for expansion modules.
that easily facilitates a reply to the last channel that called. Finally, in an industry first, the beltpack can be used without a headset like a walkie-talkie radio utilizing an integrated mic and speaker.
The DSP-2312 also boasts two exchangeable headset XLR connections, highquality mic pre-amps, three GPIOs, two network connections, a four-wire connection, and support for Riedel SmartPanel Apps — including the Intercom Basic and Plus Apps as well as the MediorNet Control and HandsFree Apps.
The Desktop SmartPanel is the smallest fullfunctioning desktop panel available on the market, making it highly appealing for use in tight production areas where counter space is at a premium. The new SmartPanel also has 1/4-20 threads for use with tripods or Magic Arms for any installation environment.
Riedel MediorNet MultiViewer App Adds Decentralized Multiviewing Capabilities to MediorNet Ecosystem MediorNet MultiViewer is a virtual multiviewer app based on MediorNet MicroN high-density media distribution hardware and designed to work within the MediorNet network. Extending the capabilities of hardware through the use of software apps has been an ongoing theme at Riedel, starting with the company’s app-driven SmartPanel, introduced two years ago. Each single MediorNet MultiViewer engine can access any MediorNet input signal and process up to 18 signals. These signals can be placed flexibly onto four physical screens or routed to any destination within the MediorNet system and output at alternative TMBi - 81
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locations. The MultiViewer device provides local signal inputs and outputs to offer further connectivity options, such as playing out the virtual MultiViewer screens locally on the device. The MediorNet MultiViewer has a rich yet easy-to-use toolbox of powerful processing features, including flexible scaling, positioning, the ability to incorporate graphics (such as logos and background images), and special “widgets” — tallies, undermonitor displays, audio level meters, and several clocks and counters. Clocks can be analog or digital and can reference system time or timecode, with the timecode derived manually or from LTC or NTP. Finally, up to 20
distributed system counters can be established within a single network, and any counter widget can reference any one of the system counters. All of these functions are controllable via the Ember+ control protocol. In addition, tallies and under-monitor displays can be controlled via TSL 5.0. The MediorNet MultiViewer features easy and intuitive configuration in a single view through a convenient drag-and-drop editor. A capability called “Net Configurations” is new to the market and allows users to store configurations in network-wide storage rather than on local devices. This feature also permits the easy transfer of configurations from network-
wide storage to a particular device and is fully supported through the MediorWorks configuration software and Ember+. Predefined layouts and templates support quick designs and can be manipulated both online and offline.
Ross Video Graphite All-In-One Production Solution Graphite brings the capabilities of an industry leading Carbonite production switcher, a feature rich version of XPression 3D motion graphics, two channels of clip server, and the newly developed RAVE audio engine; all within a single 4RU chassis.
Graphite contains the complete features of a Carbonite switcher, including 2 MEs with 5 keyers each, 4 MiniME processors with 2 keyers each, 4 floating DVEs, 2 UltraChrome chroma keyers, 2 advanced pattern generators per ME, and 4 channels of MediaStore.
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At the heart of this system, is a Carbonite engine built onto a PCIe card. Because of this innovative design, Graphite offers unmatched performance and reliability in an all-in-one system. This eliminates traditional performance issues arising from an overtaxed CPU such as stuttered animations, unresponsive operation, and more. Additionally, this selfcontained Carbonite engine is directly powered by the system, making it immune to any possible computer subsystem reboots, crashes, or updates. The only way the Carbonite stops operating during production, is a complete loss of power. Graphite contains the complete features of a Carbonite switcher, including 2 MEs with 5 keyers each, 4 MiniME processors with 2 keyers each, 4 floating DVEs, 2 UltraChrome chroma keyers, 2 advanced pattern generators per ME, and 4 channels of MediaStore. As a single channel variant of XPression software, XPression Graphite features unlimited layering, as well as true 3D objects and animations. Not only does Graphite offer one of the most powerful graphics engines found in an all-inone, but it also includes two
Ross Furio VR600 Dolly
channels of XPression Clips server for recording, managing, and playback of video clips. Graphics created in XPression Graphite can be used in these channels much like an external video source. The self-contained Carbonite engine completely handles the operation of the Carbonite switcher and RAVE audio engine. This is how Graphite is able to offer the high-end XPression
graphics system in an all-inone production system, as the integrated computer CPU is nearly-completely dedicated to the operation of this powerful motion graphics application. Both a first for Ross and an essential development for Graphite, the RAVE Audio Engine is a fully-fledged, uncompromising audio mixing and processing system – the likes of which cannot be found in TMBi - 83
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traditional all-in-one production systems. Rave features a 24-channel audio mixer with input management, level monitoring, volume and gain adjustment, and other desirable audio production features. Users can access audio from embedded SDI in video inputs or any of Graphite’s internal sources including: XPression, XPression Clips, Computer Audio, and MediaStores. For live event productions with more rigorous audio needs, Rave audio can be further augmented with an optional 1RU breakout panel that enables analog and digital audio usage. This panel adds 8 analog inputs and 5 analog outputs, as well as 1 AES digital audio input and output. Primarily used for microphones, the analog inputs also provide microphone pre-amps and toggle-able phantom power for higher quality equipment. Analog outputs can be used intelligently, thanks to customizable AUX channels which are great for mix/minus feeds to multiple hosts and commentators. Like all Ross products, Graphite is part of the Ross production ecosystem which means additional equipment connects easily and can be controlled centrally. A particularly exciting TMBi - 84
combination, is Graphite and Mira Replay. By combining these two systems, users can build a complete broadcast-grade sports production solution at a remarkable price point.
Ross Video Launches Furio SE, the Next Generation Furio Robotic Camera System Representing the Smart Evolution of the marketleading Furio rail-based dolly system, the dolly and lift have been completely redesigned to improve performance, robustness, and reliability, while also making it safer to operate. The new system incorporates more than 40 new features, enhancements, or performance improvements, and includes a number of new technologies. The carbon-fiber lift is more than 20% taller than the original lift, and offers 50% greater extension range, without increasing weight or sacrificing rigidity. The lift is also twice as fast as its predecessor, while maximum dolly speed has been increased by 33%, thanks to the new Safe-TGlide wheel locking system. Electronics have been completely redesigned into two Field Replaceable Units
(FRU) that incorporate a number of features that reduce the total number of external connections, and protect the ones that remain. In case something does go wrong, the FRU can be replaced in under a minute by simply removing 4 screws. The Furio SE includes several safety features that make it the safest railsystem in the industry. Front and rear E-stop buttons
Ross Furio
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instantly cut power to the system in case of an emergency. Remote E-stop modules are also available for placement anywhere in the studio or control room. When an E-stop is triggered, the head becomes freewheeling, permitting it to be repositioned manually, while the lift locks in place at its current position. The dolly comes to a rapid but controlled stop, thanks to a regenerative braking system
that applies a constant braking force. Front and rear motion light bars produce a gently flashing amber light to warn anyone in the vicinity when the system is in motion. Safe-T-Glide wheels lock the dolly to the track, ensuring that it cannot tip over, even when traveling at high speed and with the lift fully extended. When coupled with either a VR100 or VR600 head in a Furio SE Studio system, the optical axis can extend as high as 2.2 m (7’ 3”) above the ground, from which it can descend 87 cm (34”). This provides an even wider range of camera angles and viewing perspectives, while enabling even more dramatic moving shots. The same dolly and lift will also support the FXhead, to form a Furio SE Live system. Both systems are fully compatible with existing rail systems, including the wiredraws, collision avoidance modules, and control system hardware, including the Panbar and joystick controls on the Furio SE Live, and SmartShell 4 for Furio SE Studio. In conjunction with the new Furio SE lift and dolly, is the new Furio SE Blackbird pedestal for use in situations where robotic floor movement is not required.
The BlackBird pedestal provides a simpler alternative, with fully robotic control of pan, tilt, lens and elevation on an ultra-stable, smooth-rolling base. The pedestal features three 12.7 cm (5“) diameter dualcasters that ensure smooth, quiet movement across studio floors. Each of the casters features adjustable cable guards to prevent cable snags, while footactivated brakes that lock both wheel rotation and caster rotation, enable the pedestal to be securely locked in position on the floor. Two unique outrigger feet and removable stabilizing weights prevent tipping, while permitting the base to maintain an 81 cm (32”) width, narrow enough to fit through a standard office door.
Ross Video Expands Abekas Mira Replay Product Line with Economical Mira Express Mira Express is a fully integrated replay system that records video and audio from up to four cameras onto removable SSD media, with slow-motion replay from two PGM channels. With just the right set of principal features required in live replay workflows built in, Mira Express benefits from TMBi - 85
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Ross Ultrix
the same industry-leading replay control surface and intuitive user interface as the premium Abekas Mira Replay system. The key to operational efficiency is ease of use; both novice and experienced replay operators can quickly master Mira Express operations — in most cases, after just a few hours of training. In most live event productions such as sports, a replay system is essential. Unfortunately, choosing a replay system routinely demands a trade-off. top tier replay systems are generally too expensive for many production companies, while “budget” replay systems are often-times unreliable, or operationally complex. TMBi - 86
Ross Video believes in uncompromised productions, which is why Mira Express is built on a solid platform that won’t let you down. Operational speed, high system reliability, and exceptional production performance are delivered at an excellent price — making Mira Express a great choice for introducing replay capabilities into your live productions.
Ross Video Adds to the CamBot Line of Free Roaming Pedestals Leveraging the unique geometry of the robotic XY base developed for the industry-leading CamBot 700XY, the new 600XY series pedestals offer the same accuracy, repeatability, and reliability
that existing CamBot users are accustomed to. Both new models feature the midrange 600PT pan/tilt head, which combines a 57kg (125lb) payload capacity with fast, smooth, and accurate movements. Available in two configurations, users now have a choice of three different models when purchasing a CamBot freeroaming pedestal. The entry-level 600XY-S2 combines a cost-effective 2stage lift with the 600PT head, while the mid-range 600XY-S3 leverages the 3stage lift from the 700XY, which provides a 50% increase in elevation range relative to the S2 version. The payload capacity of the 600XY is ideally suited for most of today’s studio camera rigs, which typically include an ENG/EFP or box camera and lens, prompter and talent monitor, tally light and clock, and other
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accessories. The two new models provide a more costeffective alternative to the heavy duty 700XY, for studios where the payload is a little lighter, and the full power of the 700XY is not required. The price of the 600XY-S2 offers an attractive alternative to customers looking for a studio robotics solution. As the cost of cameras, lenses and prompters has dropped, many budget-conscious studios have opted for five or six pan/tilt heads on tripods, unable to afford the higher cost of a freeroaming pedestal. However, they were forced to sacrifice flexibility and creativity by giving up the floor and elevation movements afforded by fully robotic pedestals, while creating congestion in the studio. With the breakthrough pricing of the CamBot 600XY, the total cost of three camera chains based on 600XY-S2 pedestals will often be less than a comparable setup based on five or six robotic pan/tilt heads on tripods. This means that users can now enjoy the benefits of a freeroaming pedestal, while saving money and reducing complexity. With industry leading accuracy provided by the
unique differential steering technology incorporated in CamBot, the 600XY pedestals are also perfect for Virtual Studios and Augmented reality. Tracking data is included with all three members of the CamBot free-roaming pedestal series, at no extra charge. This makes CamBot one of the central elements of Virtual Solutions packages from Ross Video. As with all Ross Robotics, the CamBot 600XY series integrates tightly with automated production control systems such as Ross Overdrive, as well as other third party systems.
Inception Cloud Service and Inception Discovery Research Tool All the Inception product variants are now offered as a monthly subscription service hosted in the cloud, in addition to the traditional turnkey purchase model. Inception Social, Inception Live, and Inception News are available with the same full feature set found in the traditional software versions, including a new MOS gateway designed specifically for the cloud. Inception Cloud permits customers to focus on content, while Ross Video manages the cloud services,
ensures security, and handles maintenance upgrades to ensure users are always taking advantage of the newest features. Inception Cloud subscriptions include training and Ross Video’s outstanding technical support. Starting today, customers can visit www.inception.cloud to sign up for the subscription service. Pricing is a monthly rate based on the level of service and number of users. Continuing Ross Video’s investment in the future of the industry, academic pricing is also available. Inception Discovery increases speed and efficiency for journalists by consolidating search capabilities and integrating seamlessly with the story creation process. Inception Discovery creates intuitive real-time searches across news agency wires, social media, and the web. Results can be curated and shared across the newsroom, and used to create content for publishing. This technology is available as a plugin in to the story-centric workflows of Inception News, the newsroom computer system from Ross Video. TMBi - 87
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SAM – Snell Advanced Media Masterpiece 12G-SDI UHD
1080P and UHD all within a 2U mainframe and with full power redundancy, eliminating the need to create multiple versions of the same material for different format channels. Furthermore, it removes the need for external conversion equipment, saving valuable space, time and money.
Handling SD/HD/1080p and UHD, Masterpiece 12GSDI allows broadcasters to seamlessly move into UHD workflows without any compromise in quality and capability and provides branding functionality such as keying and DVE for squeeze backs and effects. Masterpiece provides a control interface to SAM’s Morpheus playout automation solution and when used in combination, the two systems deliver robust and resilient content distribution and flexible device management. It receives audio signals via both SDI embedded audio and direct AES inputs and can handle a range of audio mixing tasks from audio lead and log background transitions to voice overs and voice unders.
Built on a network architecture, LiveTouch UHD is easily scalable to support HD and UHD productions of any size. Integrated editing functionality allows the fastest project sharing between replay and edit in the industry, with no need to move content between applications. A brand-new clip tagging interface allows users to categorize highlights for simple file transfer and search/share options, while new collaboration tools, such as clip pushing, means clips can easily be pushed/pulled between users.
Incorporating SAM’s innovative FormatFusion 3 technology, Masterpiece 12G-SDI provides broadcasters with more capacity to feed multiple format material into their channels. The system provides full support for HD,
LiveTouch also offers unique integration with tOG Sports Graphics from RT Software, providing access to live analysis tools directly from the panel touchscreen and allowing users to add analysis tools (lines, arrows and player tracking) on live
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SAM’s LiveTouch delivers new 4K/UHD workflows
Masterpiece provides a control interface to SAM’s Morpheus playout automation solution and when used in combination, the two systems deliver robust and resilient content distribution and flexible device management.
ingest or replays on the LiveTouch server. LiveTouch’s intuitive touch screen panel is quick to learn and easy to use,
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LiveTouch delivers the fastest social media publishing in the market, making it easier than ever; users can publish highlights and replays straight to social media after ingest at the touch of a button. The LiveTouch tablet app allows talent to control server playout via WiFi using a simple control interface.
Orbit - the next generation of control and monitoring Offering a mix of licensed and free client applications, Orbit delivers all the same functionality as the individual applications that have been incorporated into the system, enabling seamlessly transition to next generation control and monitoring. SAM will be migrating all of its remaining control and monitoring solutions – such as Workbench and Live Runner – into Orbit in the months ahead.
making highlights selection sure, simple and robust. An all new user interface now offers a refreshed touchscreen for seamless search and retrieval of highlights and replays.
Robert Szabó-Rowe, EVP and General Manager, Live Production & Infrastructure at SAM, commented, “Orbit is a new approach to control and monitoring that is designed to bring together the functionality of all of our existing control and monitoring solutions that currently work together – but are not necessarily integrated – into one
system. What we are working towards is replacing all of the different elements that we currently have for control, configuration and monitoring and bring them under this single umbrella of SAM Orbit. On show at NAB is the first step in this process.”
SAM responds to market demand with 12G-SDI UHD support across a wide range of products In response to clear demand from the market, SAM now offers a straightforward alternative to UHD migration that overcomes operational fears surrounding IP systems. In a live production environment, where additional complexity may mean additional production staff, and therefore the additional cost and benefits of IP is not necessarily clear for all businesses. In the OB, flyaway and rental sector, SDI is a very well-known and understood technology. 12G-SDI can handle UHD signals on a single coax cable, delivering greater efficiency with known and understood operational practices. Among the products now supporting 12G are SAM’s Kula and Kahuna production TMBi - 89
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switchers, Masterpiece master control switcher and Multiviewer monitoring solutions. Products supporting 12GSDI: • Kahuna production switcher range • Sirius multi-format router range • Masterpiece Master Control Switcher • IQ Modular infrastructure cards • Kula Production Switcher • New Multiviewer offering 48 inputs to 12 outputs • KudosPro UHD 1000 convertors • New SL Media Server
Sony
Metadata-based workflows benefit large-scale live productions, especially for major sporting events that use numerous cameras and servers operated from OB trucks. The PWS-110CM1 and the updated PWS-4500 system, (using software version 2.3), when used together, allow a server operator to enter metadata, indicate the server’s content on a network, categorise and indicate the metadata of the clips, search the clips by metadata, keywords or star ratings and transfer clips between servers, as well as external devices. The new software for the PWS-4500 system will also enhance HDR capabilities by optimising XAVC encoding for HD S-Log3, HD HLG and
Sony is expanding the capabilities of its 4K/HD live production workflows, with the addition of a new Content Management Station and enhanced feature set for its PWS-4500 live production server system. With the launch of the new PWS-110CM1 Content Management Station, Sony has added a metadataenabled workflow that lets users efficiently and easily search for content that can be seamlessly transferred for delivery. TMBi - 90
Sony BPU 4800
4K/HD PQ. Version 2.2 already supports 4K S-Log3 and 4K HLG. Sony’s latest 4K/HD camera systems, the HDC4300, HDC-4800 and HDCP43 support 4K/HD SDR/HDR live production alongside the series of BPU, baseband processor unit and PWS-4500 server system to create a comprehensive, connected tool that is increasingly embraced by live productions worldwide. In addition to image quality, Sony provides workflow efficiency through its Share Play operation where up to 10 servers can be linked together, allowing the operator to easily create playlists and access to any
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clip or record train from the network. This speeds up the editing and the output of slow-motion highlights, by using real time content sharing over a dedicated 10Gbps network that links the BPU-4800 with the PWS-4500 server systems. Sony is expanding the HDR capabilities of many of its professional products, to meet the growing requirements for HDR content across all production genres. The new enhancements deliver HD HDR Live broadcasting and Instant HDR workflow in products ranging from live camera systems, servers, monitors and camcorders, via updates to software or firmware.
Sony Expands HDR Production Capabilities for its Professional Products High Dynamic Range adds increased realism to moving images and creates a significantly more immersive viewing experience. Broadcasters, live event producers and online content creators all have specific HDR production requirements, and the expansion of Sony HDR production capabilities, this offers a wide range of benefits.
HD HDR Live broadcasting Sony already offers a full range of 4K HDR production
systems for movies and TV drama and for live broadcasting where Sony has established its “SR Live for HDR” workflow, a powerful system for the efficient and simultaneous production of 4K HDR and HD SDR. In July 2016, the International Telecommunication Union published the ITU-R HDRTV Recommendation, BT.2100-0. This standard presents two options for producing HDR images Perceptual Quantization (PQ) and Hybrid LogGamma (HLG) - and opens the way towards wider adoption of HDR broadcasting. At the same time, many customer are also looking to produce High Definition (HD) content in HDR, especially where migration from HD to 4K Ultra HD may still need some time. Responding to this need, Sony is now providing a HD HDR capable solution for broadcasters in a number of areas:
Workflow SR Live for HDR can support HD HDR- based simultaneous production of HD HDR and HD SDR in the same method as for 4K HDR. In the SR Live for TMBi - 91
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HDR workflow, the camera’s output signal is converted into [S-Log3, BT.2020, HD HDR] as an intermediate format for production processes. Once the image has been produced, the Sony HDRC4000, HDR production converter unit is required to convert it to an appropriate HDR-capable transmission format, such as standardised HLG or PQ. The HDRC-4000 utilises original algorithms, including built-in AIR Matching (AIR refers to Artistic Intent Rendering), to accurately reproduce the image quality and colour determined during S-Log3 production — regardless of the transmission format used. The “SR Live for HDR” production environment can include a multiplicity of subject types, devices, formats, and vendors. The system is capable of delivering extremely highquality content as images are produced using the SLog3 format and converted into the desired format for distribution or broadcast. Acquisition – the following system cameras will all support S-Log3 and BT.2020 for SR Live for HDR and will add HD HDR capability via a firmware upgrade: The HDC-4800 camera system TMBi - 92
The HDC-4300 camera system The HDC-P43 camera system For the HDC-2500, an HKCU-2040, 4K HDR processor board provides both a 4K and HD HDR capability from its image sensor.
Recording and replay The PWS-4500, 4K live server - supports HD SLog3, HD HLG and 4K/HD PQ with a software update to v2.3.
Monitoring The BVM-E171, HD OLED master monitor will support HDR through a new HDR monitoring license, BVMLHE171. The license gives users an option for implementing HDR according to their production needs and budget. Sony BVM-X300 and PVM-X550 are already HDR-ready for any resolution up to 4K, and the addition of HDR to the BVM-E171 brings HD HDR monitoring capabilities to new users including OB vehicles where space is limited.
Instant HDR Workflow As the expanding need for HDR content continues, internet video platforms and professionals producing
corporate or event content are paying more attention to the added value of HDR. They need to deliver content quickly, without compromising on imaging expression and quality of content. To meet this demand, Sony now offers HDR capability on the entry level handheld XDCAM camcorders, PXW-FS5 and PXW-Z150. Both feature HLG recording for easy filebased workflows, whilst achieving the image quality of HDR. This simple workflow enables the shooting, editing and viewing of HDR content in HLG, without the need for additional color grading.
Camcorders The Sony PXW-FS5 and PXW-Z150 will receive the additional HDR capabilities via a software update. For the FS5, HLG will be supported, in addition to SLog3. The HLG mode can be set-up quickly through the option of the newly added picture profile. HLG mode will also be supported in the PXW-Z150.
Viewing tool Catalyst Browse - Sony’s viewing and logging tool offering streamlined media management will now also support HLG, allowing viewers to view HDR content easily.
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Sony continues to enhance its HDR product and solution offering for all types of production through innovative ideas and technology and with deep industry expertise.
HD HDR Live Broadcasting HDC-4800 camera system firmware upgrade for HD HDR capability will be available in summer, 2017. HDC-4300 camera system firmware upgrade for HD HDR capability will be available in spring 2017. HDC-P43 camera system firmware upgrade for HD HDR capability will be available in spring 2017.
Stream Guys Video Podcasting Screenshot
PWS-4500 software update V2.3 will be available in June, 2017. BVML-HE171, HDR monitoring license for the BVM-E171 and software update 1.1 on BVM-E171 to support HD HDR capability will be available in August, 2017.
Instant HDR Workflow PXW-FS5 software update V4.0 will be available in July, 2017. PXW-Z150 software update V2.0 will be available in July, 2017. Catalyst Browse HLG support is now available.
StreamGuys New SaaS Service for Live Podcasting and Video Stream Repurposing SGrecast’s new live podcasting and video repurposing abilities are ideal for any content creator or provider who produces live video streams, from TV broadcasters, sports leagues and news organizations to online video personalities and houses of worship. In addition to attracting video-centric customers, SGrecast is appealing to radio broadcasters expanding their offerings with video. Co-exhibiting with technology partner ENCO in booth N2024, StreamGuys will showcase the expanded SGrecast as part of its comprehensive software-asa-service (SaaS) streaming platform, and within demonstrations of the seamless integration between StreamGuys’ and ENCO’s solutions across TV and radio. Able to ingest a wide variety of streaming protocols and codecs, SGrecast uses StreamGuys’ high-quality transcoding technology to automatically convert audio to the formats and bit rates appropriate for TMBi - 93
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use in live syndication. Using SGrecast’s new recording mechanism, audio streams are recorded in their native formats. On the video side, SGrecast also provides transcoding technology for live syndication, and is capable of recording live RTMP, RTSP and HLS streams for conversion to mp4 files. A full suite of scheduling tools enable fully-unattended operation, while integrated publishing to RSS feeds, automated delivery and compatibility with popular syndication services streamline distribution. Specific to audio, SGrecast allows users to quickly and effortlessly turn linear programming into ondemand content. For example, SGrecast records live streams into podcasts and makes them available for download, distribution or rebroadcast within minutes. Enhanced rebroadcasting tools – also newly available for audio streams – enable users to specify when and where content will be automatically replayed, while new social media integration enables instant sharing of recorded content on social networks including Facebook, Twitter and more. These on-demand and rebroadcasting tools will be incorporated into the video application in the future. TMBi - 94
Tedial IMF end to end Workflow: Real world IMF applications Applying the SMPTE IMF standards to provide a reliable SaaS and proven cloud solution, Tedial architecture supports UHD and HDR, provides adopters with enhanced multiversioning support, and can address late pending components for previous watermarked versions. Tedial executives were at NAB 2017 discussing IMF strategies; how to apply them to real world distribution problems, how IMF saves money, provides greater efficiency and supports new technologies, and its role in a true “Media Factory,” to automate management of thousands of deliverable formats via a single workflow and a single operators screen.
managing a multi-site, distributed operation, AST can transparently manage the same content in multiple locations, automating task assignment and data transfer across multiple sites as needed. The heterogeneous ecosystem handles any type of multimedia content regardless of its physical location and facilitates media operations, such as editing based on timecode or efficient management of large UHD or low/lossless compression files across multiple sites and around the globe. The platform is built around a vastly resilient and
Tedial Augmented STorage (AST) Tedial Augmented Storage (AST), a new concept in storage virtualization systems brings content owners a safe, reliable and cost-efficient storage system for cloud workflows and hybrid scenarios as it virtualizes file locations. And for those customers
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scalable “Cloud First” design, allowing facilities to grow according to their needs, dynamically adapting to workload peaks. And with AST, the highest security is a priority, with content protected by requiring authentication. Different groups are assigned different access levels, and retention policies can be easily defined to protect the content and limit the access. AST nodes provide local operation for the content stored in that site, allowing cloud-independency and enabling content searching, retrieval and archival if needed, with automatic synchronization.
Treating content as an object that includes an innovative minimum metadata packet allows storage to operate independent of MAM solutions, able to archive and publish content and easily integrate with third party systems maximizing simplicity and efficiency.
Full Operation in The Cloud Tedial has been providing native support for cloud and cloud hybrid operations for over six years with multiple installations around the globe. As a result of the continuous improvements in its solutions, Tedial’s full operation in the Cloud features now multi-resolution MPEG-DASH to enable full Web GUI without media browsing issues, Adobe Premier Pro CC, and After Effects CC integration. Content is cached locally, enabling minimal transfers of local high-res operations such as content repurposing, corrections, etc., making content available transparently for the end-users, regardless of location. Company executives are on-hand to explain how Tedial’s system architecture has been tailored for the Cloud with a flexible
infrastructure and native S3 support.
Real-time Dashboards: Statistics and Reporting Tedial has also demonstrated media and content management solutions designed to maximize business efficiency and profitability. The Company’s real-time monitoring of key performance indicators and reporting tools measure business efficiency and capacity, allowing users to track business processes help customers reach their goals.
Telestream New Vantage TrafficManager Syndication for Template-driven Automated Handling of Episodic and Long-form Programming Telestream® announced a new offering for its Vantage Media Processing Platform. Called TrafficManager Syndication, this new feature for Vantage TrafficManager enables template-driven, automated handling of syndicated content from delivery services such as TMBi - 95
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Pitch Blue and Pathfire, as well as locally produced programming. Syndication is included with Vantage TrafficManager, and was designed primarily for local broadcasters who air syndicated shows that contain national ads and barter spots. Vantage TrafficManager Syndication makes it easy to automate the process of arranging and previewing content and break running order while allowing broadcasters maximum flexibility in creating and using templates for day-to-day handling of media files. Templates built for specific shows can be processed automatically with no user intervention, or manually applied in the Syndication portal for segment “editing” and review and approval. Currently, many stations are processing syndicated media and metadata manually, and if they do have an automated system, it may not be trusted to be error-free, causing every show to be manually reviewed before going to air. The TrafficManager Syndication feature provides an efficient template-driven approach to automated media ingest and manipulation of metadata, TMBi - 96
allowing operators to avoid manual content preparation with respect to where ads are placed.
4G LTE transmission capabilities to satellite and microwave vehicles, vans and trucks.
“Shows may have different ad and spot locations depending on the day of the week and an operator can easily create templates for those situations to assist in automating the process,” said Scott Matics, Director of Product Planning at Telestream. “The new Syndication module extends the advanced ingest and metadata management of TrafficManager. The template manager interface, along with our easy-to-use portal means customers can visually manage the playout running order of the content and the ads from a single interface.”
The TVU One with HEVC cellular mobile solution uses both HEVC video compression and TVU’s patented Inverse Statmux Plus (IS+) transmission algorithm - which transmits HD quality video with halfsecond latency. TVU One with HEVC is available with embedded modems and can transmit simultaneously over multiple connections, including cellular, microwave, satellite, BGAN, WiFi, and Ethernet.
TVU Networks H.265/HEVCSupported Mobile IP Newsgathering Transmitter The introduction of TVU One with HEVC follows the October 2016 introduction of the rackmount MLink TE4500 H.265/HEVC and 4K encoding solution at the NAB Show New York convention. The MLink live video uplink provides cellular
The TVU One with HEVC is already shipping, with orders for the compact, HEVC-compatible IP transmitters from the nationwide Tokyo Broadcasting System (TBS) network. The New York bureau of TBS and RKB Mainichi Broadcasting Corp. (RKB) - a sub key station of the TBS network based in Fukuoka, Japan – have ordered multiple TVU One with HEVC units for their field operations. TBS has been a TVU customer since 2013, when they started using TVU for mobile newsgathering. In January of last year, they began using TVU One mobile transmitters at
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Ventuz Technology Octopus Newsroom System Integration Real-time software developer Ventuz Technology expands its partner list by offering an integration between the Ventuz software suite and the Octopus Newsroom System.
TVU One mobile IP transmitter
network headquarters and international bureaus, including New York City, Washington, DC, London, Beijing, Bangkok, Seoul, and Moscow, for mission-critical news gathering.
transmission resiliency and
Weighing just 2.2 pounds, TVU One with HEVC offers a robust set of functions designed to fit the needs of any size live video broadcaster. It delivers industry-leading video
leverage the versatility of a
high-definition picture quality within an ultra-compact and rugged hardware chassis. With TVU One with HEVC, broadcasters can fully small, lightweight, IP-based high-definition video field transmitter without sacrificing performance, features or picture quality.
By offering a comprehensive workflow with Octopus, Ventuz Technology makes another step towards establishing itself as a go-to solution for on-air news graphics. Via the industry standard MOS protocol, users of Octopus can take full advantage of the highly dynamic and reliable Ventuz graphics system, using state-of-theart design and the extensive I/O functionalities to enhance their stories with striking visuals. “We are honored to count Octopus among the newsroom systems that can operate with our software suite”, said David Paniego, Product Marketing Manager of Ventuz Technology. “We especially appreciate that Octopus has taken the modern ways of communicating news content into account by TMBi - 97
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offering easy distribution to social media and websites. In combination with Ventuz, users of Octopus will be able to take full advantage of our 2D and 3D graphics creation possibilities and give their graphics a special edge.” This integration corresponds with extended efforts by Ventuz Technology to optimize their SDI pipeline and thereby improve Ventuzbased broadcast graphics operations on every level. An entire NRCS workflow using Octopus and Deltacastwill be on display on the booth of Ventuz Technology. Mimicking a journalist seat, visitors will be able to load, preview and playout graphics while creating their story. “Ventuz is an extremely flexible and innovative graphics solution and follows many of the same philosophies as we do”, explained Milan Varga, Technology Partners Manager at Octopus Newsroom. “We are very much looking forward to exploring the possibilities this integration provides. Surely, the joint demo at NAB will give an indication of how journalists and newsroom editors can best exploit the full potential of these two technologies.” TMBi - 98
Videomenthe Integration of new partner company tools, and upcoming launch of a brandnew version for Eolementhe©. So, this show offered the opportunity for the French company to meet up with its clients and discuss the solutions it provides as well. These technology suppliers and partners include: Amazon Web Services for its cloud services - whose programme for innovative companies, AWS Activate, has been integrated by Videomenthe -, Aspera, Capella Systems, Harmonic, Interra Systems, Microsoft Azure, Minnetonka Audio, Signiant. Videomenthe is a French company that distributes media workflows software, and designs Cloud portals. Its flagship solution, Eolementhe©, is a userfriendly Cloud portal which brings several leaders in the field of media-file processing together, in a single interface. In this automated environment, which still provides the option to intervene manually in certain operations, you can find a
Eolementhe©, is a user-friendly Cloud portal which brings several leaders in the field of media-file processing together, in a single interface.
complete workflow, with different methods of delivery: transcoding, quality control, analysis and correction of audio levels, the insertion of subtitles and logos and addition of editorial and technical metadata for RTB files creation. Users construct their workflow to process and deliver their media file by means of an interface that is extremely intuitive, instantly and easily mastered, and accessible
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Eolementhe© mobile app, available soon on GooglePlay (Android™) and in the AppStore (iPhone®, iPad®). App users can access the Eolementhe© portal functions and monitor all of the data processed, in real time, using their login. So, simply by using their smartphone, remote users or users on the spot can begin processing their video according to their workflow models or those made available to them, and then send the broadcast-ready file to TV channels, postproduction or VOD platforms.
via a web browser. For even smoother use, Eolementhe© can be managed via API, and automatic mode is used to streamline and speed up operations. Videomenthe goes still further by offering a hybrid SaaS service – in addition to its SaaS mode – the principle of which is to exploit both the client’s onprem resources and those offered by Videomenthe through its resource-pooling Cloud. One of the great new innovations being presented by the company is the
Videomenthe includes also a “send to YouTube” option as one of its methods of delivery. After the account login details have been verified and YouTube mode has been selected, Eolementhe© publishes the processed video to the channel selected. The retrieval of files stored on Object Storage platforms such as OpenStack, Amazon S3 and Microsoft Azure can be automated, for the purpose of internalising operations within Eolementhe©. The files are thus listed in Eolementhe©‘s dropzone to make it easier to manage them within a single interface. So, the adding features of
Eolementhe©, introduced at NAB show, permits to process files from various sources to deliver them to multiple destinations, while offering an increasingly varied range of solutions. Off-site work productivity is also optimised by using the mobile app. Videomenthe CEO Muriel Le Bellac concludes: “Eolementhe© is the aggregation of file processing solutions in a single interface, optimally linked together by means of features that we are developing. Our partners are chosen on the basis of technological and commercial criteria, but also because these solutions enable our clients to guarantee the seamlessness and continuity of workflows, without causing any intrinsic disruption of their infrastructures.” The next step for the French company is to reveal the brand-new version of Eolementhe©. Indeed, Eolementhe© has been redesigned for a greater fluidity of operations, the collaborative and team work made easy by new modules and the integration of new partner solutions is even more transparent. TMBi - 99
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OTT, metadata and upcoming challenges
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We are at a point in time in which the way audiovisual content has traditionally been consumed and distributed on television is changing dramatically. It would be fair to call it a market revolution. Until not long ago, being in front of the TV meant accessing a limited offering with a small number of competitors. It was no simple task to set up a TV channel or platform. But now, thanks to the emergence of Internet and broadband, this is no longer the case. The offer tends to infinity, and the spectator decides what they want to see in each moment. We also have new advertising trends, which pay more attention to see their offer reaching specific segments of the population instead of mass dissemination.
It really is a profound change. Right now, we can see how new content is being developed; content that has a lot of drive in certain sections of the population. A good example of this is eSports, very successful among the audience and unthinkable a few years ago. There are indeed many alternatives to linear TV. This forces the trend to behave and compete as if it were one more platform among many others because VOD lets
everything be more flexible. However, to gain audience, we must ensure having the best possible content. This concept has changed though. The technology behind the content has lost importance but permits doing more things in less time with a multiple option range. Not all contents are processed in the same way for the same platforms. The challenge right now is to optimise the technology for
production and distribution in the best way possible for the user. As there are so many options, we work differently, and this is coupled to that technology advances very fast. We really need to know how to adapt to the everchanging situation to maintain high-quality standards. The demands are increasingly high and users are increasingly demanding themselves. We must always be on the ball to meet the expectations created as an industry. TMBi - 101
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In the circumstances, bandwidth will be gaining more strength and will become the largest television broadcaster around. Satellite will be used instead of fibre optics in areas that do not have the appropriate signal. Yes, television can abandon terrestrial and satellite broadcasting, thereby permitting the use of the radioelectric spectrum in other facets. If this comes true, traditional TV stations will do away with much of their infrastructure and distribution costs, which shall be carried out by other means. This will permit focusing efforts in creating the best possible content. This will be a major part of the change. Television stations will become
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Not all contents are processed in the same way for the same platforms. The challenge right now is to optimise the technology for production and distribution in the best way possible creators of contents that will be distributed in several ways, including other types of platforms, like social networks, for instance. Besides the importance of content, we must work a lot on ensuring that the spectator actually finds what they want to watch. This will also be very important and it is not being achieved nowadays.
METADATA Metadata is the key for everything to work properly and all the content or assets forming a film (video, audio, subtitles, etc.) must be linked to data. We are living in complex times because not everyone integrates data in the same way, and the truth is: it is no easy task. The thing is, the more metadata included, the greater the risk of failure, but
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content will be enjoyed and presented in the best way possible to the user at all levels. In addition, search engines will work better. This matter is gaining increasing importance, and therefore, an increasingly better technological and processing base or connection will appear. However, we still need them to be standardised. Although there is certain consensus on which metadata to use, their distribution when serving them to a platform, not so much. Another big theme is Big Data. A lot is said about it, but it is not used that much nowadays. Having said that, it is very likely that Big Data will determine how we create content in the not too
distant future. This will be articulated according to the trends and users’ opinions on social networks about a detailed analysis of this data. We lack formulas on how to extract the truth behind all this. We have hardly scratched the surface into the benefits that Big Data can provide. We lack qualified professionals capable of analysing the data and fine-tune the search algorithms. This would generate better influence tools to mark how this data affects consumption. Big Data, as happens with other technologies like immersive 360-degree video, will have a direct impact on the new type of contents that will be consumed.
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NEW PLAYERS How will consumption evolve? There is a natural evolution of content that is adapting itself to the user. We need to let new options mature and give the user time to adapt and assume new consumer options. We also need to adapt this content so that the user can enjoy it to the max. The trend is that linear TV will not disappear, but this does not mean that it will be the same. We can see what people's trends will be in the new consumption habits and how they adapt to the new ways of enjoying the content. In the US, for instance, people consume by typology. It is commonplace to see
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American football, series, films or the NBA each on different platforms. A low profile user in the US consumes content on four or five different platforms, whereas a heavy user can use up to eleven different platforms on average. This is probably a pattern that will become standard with time at a global level, although the figures vary noticeably. It is important we know what we are asking from a platform. Some offer subtitled films whereas others have a description of the films, for instance. The user needs to compare them TMBi - 104
We are living in complex times because not everyone integrates data in the same way, and the truth is: it is no easy task and will, inevitably, need time. This is why we still need to give people space to try the different platforms and for the market to stabilise a bit. Until recently, Facebook was simply an online e-book used by university colleagues to become
friends and keep in touch, and now, it has become a content distribution platform of sorts. They could be a serious threat for OTT platforms because they provide very different rules of the game; the clearest example of all is that users create video content too.
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Another example is Amazon, which gives us the large online store that it is. In all reality, everyone consumes online content, where there are so many options and lots of things happen. It is a very fast-paced environment, so much so that sometimes the users themselves are not aware of the offering. They are simply not capable of assimilating everything that is happening around them. In recent years, it has been mandatory for platforms to develop content offerings, either of their own making or through an agreement with
third parties, but we also have to perform an evangelisation job for the general public to be aware of the offering, how they can contract it, what contents it offers, which devices can they be seen on, etc. This is something that is not really being done at the required speed, and we need to insist on this. We need to explain to people how a platform works. It is all about understanding what can be contracted, where to find things, how much it costs and the use that can be given to it.
This takes us to a dilemma: Will linear television disappear? It is not an easy question, and there is probably more than one answer. There will always be people that just want to consume without asking for anything in exchange. They will be in the linear TV environment, navigating between the channels offered to them. We need to bear in mind that Broadcast television is capable of ensuring a very robust quality and reliability for major live events. And although things have improved a lot and the truth TMBi - 105
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is that we can see plenty of contents on VOD, many of them still do not have sufficient quality because the streaming technologies are not yet perfect. And here is where traditional television has its strength. This becomes very evident if we focus, for example, on sports like football, a major event that many people want to see at the same time with no failures or delays. Here is where they have no rival nowadays. And this is so because television has been created from the beginning as a means of communication intended for mass audience. Sport will be strategic in the coming years and this is why it is likely that some will move on to Social Media environments, a type of company that has sufficient funds to take over. It would not be surprising if we ended up consuming an event or a league via a platform managed by Facebook/Amazon/Twitter (to name the most popular ones). It is something that we will see for sure and it will be a major change.
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CONVERGENCE The workflows we are used to have changed completely, the number of TMBi - 106
media to consider has multiplied by 40. We must also bear very much in mind the marketing and promotion
actions. This includes adopting technologies like augmented reality, which is a path to take to continue
The user needs to compare them and will, inevitably, need time. This is why we still need to give people space to try the different platforms and for the market to stabilise a bit.
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selling advertising. This is why the processes are substantially more complex now. More and more things
are added, and we need to be increasingly innovative. The technology is seen as a source to create
experiences, but the business is not clear in several of its facets nowadays. Adapting workflows to such a rapidlychanging environment is an ongoing challenge, which is why increasingly open systems are needed. This is where IP networks begin to be well received. We have been speaking about convergence for some time now. Departments can reduce costs quite a bit by implementing Broadcast system processes over IP. It is much cheaper to develop although not perfect, but the context is difficult right now. We witnessed an all-round revolution in our market. In fact, we lack hybrid professionals, people from the audio-visual world with IT knowledge that know what a router and a switch are. Creating a software network will be basic knowledge for a Head of Media. It is about virtualising and providing 100% flexibility. Creating a channel in two minutes and a half was unthinkable two years ago. Now, it is not only feasible, but it is also commonplace. We need to cover the needs of the markets as fast as possible. Without a doubt, the current times are exciting! TMBi - 107
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Panasonic AG-UX180
Panasonic AG-UX180 Everything the same, everything better, everything new... And a bit more. TMBi - 109
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 TEST AREA On this occasion, we are going to ignore a large part of the content because of our recent analysis of the AG-UX90 model, an almost twin sister to the one we have in our hands today and with which it shares all its features, and we will focus on the additional features offered by this superior model.
Author: Luis PavĂa
We would like to begin by clarifying that this will not be a laboratory dedicated to use, because we very recently did so with the UX90 model, an almost twin to the camera with which it shares all of its excellent features. We reiterate all the good things and praises we did in the earlier laboratory, and as all its features are present in the UX180 model, we will focus exclusively on the additional ones. We invite you to read the laboratory published in February number of our TM Broadcast header and recall all those aspects that may seem to have been omitted in this analysis. We do it deliberately, as this is intended to be an annex to the previous publication so TMBi - 110
Panasonic AG-UX180
We invite you to read the laboratory published in February number of our TM Broadcast header and recall all those aspects that may seem to have been omitted in this analysis as not to bore you with repeated information. The briefness of this laboratory does not mean that the
equipment deserves less praise, but quite the contrary, it adds the new features.
The coexistence of these two models does not necessarily mean that one is “better” than the other, it simply confirms that they have been conceived for different uses, and one of them has additional features that not everyone may need. These additional features do result in a higher price, but at the same time, it is highly contained. So we must decide whether it is in our
Unlike the AG-UX90, which has different versions for the 50 and 60 Hz markets, in this model, the AGUX180, we can configure the time bases interchangeably.
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 TEST AREA interest to acquire them or not, which will also depend on whether our clients value and demand them. But before any of that, let’s see what they actually are. We shall begin with the optics, which, in this case, is a Leica x20 zoom with
With a sensor of the same size as the one-inch equivalent and the same optical stabilisation system, all the comments and observations contained in the earlier laboratory still stand.
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We shall begin with the optics, which, in this case, is a Leica x20 zoom with angular end equivalent to a 24 mm in conventional photography. However, in this model, it extends its telephoto limit up to 480 mm while filming in 4K.
Panasonic AG-UX180
angular end equivalent to a 24 mm in conventional photography. However, in this model, it extends its telephoto limit up to 480 mm while filming in 4K. If recording in UHD/FHD, the equivalent would be 25.4508 mm. The digital i.Zoom
extender reaches x30 magnification. With a sensor of the same size as the oneinch equivalent and the same optical stabilisation system, all the comments and observations contained in the earlier laboratory still stand.
We have already advanced one of its main features along with its optics, perhaps the most striking, and that is to be able to shoot in genuine 4K (4096x2160). Although the difference is not significant in resolution, it is in the format: 17:9. And there will no doubt be occasions where clients may request this. However, we must consider that, at this resolution, the filming will always be at 24p with a rate of 100Mbps. When filming in UHD and HD, the options in progressive (p) are 23.98/25/29.97/50/59.94 and interlaced (and logically now only for HD) 50/59.94. Another feature, albeit less striking, affects recording formats. Unlike the AGUX90, which has different versions for the 50 and 60 Hz markets, in this model, the AG-UX180, we can configure the time bases interchangeably. This is important, not so much because we can serve customers from all over the globe, but because it permits using all the standard frequencies of 23.98/25/29.97/50/59.94 frames per second, as well as their multiples of 100 and 120 for slow motion. TMBi - 113
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 TEST AREA It permits recording in MP4 or MOV container formats. In any case, the bit-rate in Long-GOP with LPCM audio is 100/150 Mbps in UHD and 50/100 Mbps in HD. As particularities, there is also a 200 Mbps HD mode with intra-frame compression; and underneath (filming in AVCHD with audio in Dolby Digital), we can reduce this resolution from HD to SD, obtaining a moderate 25 to 8 Mbps. Still addressing formats and supports, another pair of
We can film in 100 or 120 images per second, according to the base of the times we have selected (50 or 60). This means a real 2x slow motion with unlimited recording time. differential features consists in the possibility of filming simultaneously in two different formats/qualities, with the only requirement of
recording on different cards. On the one side, having a 4K/UHD recording and an exact replica in HD, as editable material in stations
Panasonic AG-UX180
with no extraordinary performance, provides great advantages in efficiency. And on the other, the socalled "background recording" consists of that one memory card obeys the starts/stops, whereas recording is continuous on the other. The latter one seems particularly interesting in concert recordings and other live entertainment events, where having a continuous filming facilitates synchronising material
coming from other cameras if we have not had the possibility of synchronising the time codes beforehand. This has proven to be a frequent situation if the secondary cameras are DSLRs, for example. If we use dual or background recording, we can obviously not use the relay recording, which is also available, because both cards in both slots are being used. In the former cases, we must only take care to ensure that the capacity of
It permits recording in MP4 or MOV container formats. In any case, the bit-rate in Long-GOP with LPCM audio is 100/150 Mbps in UHD and 50/100 Mbps in HD.
the cards is sufficient for our need for margin in the amount of time to be filmed. With regards to the possibility of recording in slow motion, which this model does offer, we can film in 100 or 120 images per second, according to the base of the times we have selected (50 or 60). This means a real 2x slow motion with unlimited recording time. As quite an extraordinary feature, which we are not used to seeing -not even in the top-of-the- range cameras and at very much higher prices- is being able to use the sensitivity to infrared light and film in "dark" conditions. Having said this, we must be cautious with ideas associated with this possibility. Infrared radiation refers to a part of the electromagnetic radiation spectrum that is outside the range visible to the human eye, which is why we do not call it light. It also reaches levels where sources of heat are perceived. The sensor does not reach that end of the spectrum; in other words, we cannot use it as a “thermographic” camera. What we can accomplish is “illuminate TMBi - 115
 TEST AREA without it being seen� using infrared torches, but we must take very much into account the effects of light attenuation with distance. Much care must be taken with this effect, which even in the visible spectrum causes headaches to a good number of operators, because our eyes can only see the result on the viewer and not in reality. In infrared recordings, we have the possibility of leaving the material recorded in the usual green tones of this mode or correct it to a range of white tones. One of the features that can be crucial when deciding which model to choose is connectivity. Now, in addition to the HDMI output, we have a couple of BNC connectors that offer time code and a 3G-SDI output. The HDMI output permits limiting the frame frequency regardless of the frequency in which we are recording. This is very convenient if our screen is HDMI 1.4a or 2.0. The time code connection is bi-directional, which means that the camera may behave as a master supplying time code (or synchronising for a free-run) or as a slave if the time code comes from TMBi - 116
another piece of equipment. We will end our review on the features that, as with some of those we have already mentioned, can be enabled from the corresponding options on the menu: We have tone and saturation adjustments on 16 different parameters, which is useful to create material on the camera already adjusted to our wishes and facilitate -or even avoid- further processing. In addition to the always interesting independent adjustment of the sharpness for skin tones.
We found it very interesting to have the possibility of memorising focus distances among the focus assistance options, so we can return to them during the recording, and thus make clean, uniform and safe transitions. We also have another help function that momentarily enables the automatic focus to fine tune the focus immediately after manual focus. Some help functions that we can see on screen during the recording are a
Mobile Viewpoint Agile LiveLink
Lastly, the possibility of taking pictures as you film is something that most probably makes things easier in certain settings, particularly, when a single operator must offer both
vectorscope and a waveform monitor. We found it odd -yet interesting- to have the possibility of adjusting the sensitivity of the viewer to the proximity of the eye. It would not be the first time someone gets all worked up because the screen does not work and it is simply because the camera is close to their body.
We have a couple of BNC connectors that offer time code and a 3G-SDI output. services and this way they do not need to capture frames on a timeline. There are hardly any differences concerning weight and size. The weight grows from 2.3 to 2.4 Kg depending on the use, and
from 38 to 39 cm in length, which are not notable differences no matter how you look at them. At this point, we need only to confirm that this model, the UX180, with all the major features of the UX90 model, suffers from the same weakness: the rolling shutter. For this reason, our recommendation for use in virtually any work environment of production remains, except for sports or actions where the fast horizontal movements may entail an inconvenience for our customers. After taking a closer look at the features, the key question is “How much do all these advantages cost?� Well, as with the model used for the previous analysis, we feel the price is more than reasonable: in the region of 3000 Euros before taxes. We insist on the fact that all the features mentioned here are additional to those of its little sister and we are still in front of a piece of equipment that is more than capable of solving all tasks economically, efficiently and safely without forcing us to make investments that may condition our competitiveness and results. TMBi - 117
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