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Summary

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Editorial

Pan shot Keep informed about what’s happening

The OB Knowledge of Broadcast Solutions Recommended equipment for OB´s Exclusive interview with

David Ross

62

Test Area

Ikegami UHK-430 Everything a 4K camera can be

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

design@tmbroadcast.com

administration@tmbroadcast.com

TM Broadcast International #47 July 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 Many of the things surrounding production and distribution of television content are changing. Having said that, there is an environment where the investment ratios are not decreasing: live sports productions. We still see large investments in this segment; investments intended to cover major events. Although there is a wide array of low-cost equipment out there, mobile units are usually equipped with premium equipment. It is a tough environment where nothing can go wrong. Despite this, the different players in the game are beginning to try new equipment and solutions. Remote productions are beginning to appear on the horizon as something that will end up being something commonplace. Many are the things that are changing, and we need to adapt to the new trends. Technology is important, but content and usability is more so.

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ELEMENTS IMPLEMENTS 25/100GBE CONNECTIVITY IN ITS APPLIANCES 25/100 GbE also wins over 10GbE being possible to deploy with a 40% lower cost bandwidth

ELEMENTS will be announcing a major improvement in the hardware configuration of its media storage appliances at MPS Media Production Show on 13/14 June in Olympia, London. ELEMENTS will be implementing 25/100 GbE connectivity in its media server and storage appliances. Used for highend grading, compositing and editing of workflows in 4K RAW - not currently possible using existing 10GbE technology. 25/100 GbE also wins over 10GbE being possible to deploy with a 40% lower cost bandwidth. TMBi - 6

ELEMENTS comprehensive set of workflow enhancement features, including the Media Library, will be presented and demonstrated at stand 420 at the MPS (Olympia, London, Hammersmith Rd, London W14 8UX).

connectivity enabling customers to work over a single Ethernet port. “We like to be one step ahead, always with the goal to enable our customers to benefit from the latest technologies,” claims André Kamps, CEO of ELEMENTS. “The implementation of 25 / 100GbE allows us to further extend the use of Ethernet

Existing OM3-based/fibre based peripheral equipment, such as SFP+/LC and patch panels can still be utilized, including existing 10GbE and original Fibre Channel based infrastructures, with the new

based networks for high end collaborative workflows. We are also excited to show the new features in our fully intuitive workflow enhancement tool set at MPS.”


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QATAR TV ORDERS LAWO MC²36 AND VSM FOR TWO NEW OB TRUCKS Lawo has announced that Qatar TV, based in Doha, has recently ordered Lawo audio, video and control infrastructure for their two new OB trucks. Each vehicle comprises a 24fader mc²36 audio console plus external and fixed installed DALLIS I/O stageboxes, an A__madi4 Audio-to-IP interface as well as one V__pro8 video processor and router. Overall control of the OB van equipment is performed via a redundantly designed Lawo VSM (Virtual Studio Manager). The OBs are being built under the coordination of system integrator Sony Professional Solutions MEA. The two new vehicles bring the number of Qatar TV’s Lawo-equipped OB vans to up to four after the broadcaster had already fitted previous OB vans in 2012 with Lawo mc²56 consoles and VSM. For years, Qatar TV has been a Lawo customer, using Lawo systems for outside broadcast as well as for their new Broadcast Center in Doha, opened 2012, with Master Control Room (MCR), Central Apparatus Room (CAR), 450m² News TMBi - 8

The two new vehicles bring the number of Qatar TV’s Lawo-equipped OB vans to up to four

Studio, as well as 1,013m² Production Studio and Edit Studios. The solutions provided for the studio complex include three networked mc²56 audio production consoles, redundant Nova73 HD central router as well as VSM for the overall control. VSM Virtual Studio Manager assumes control from the physical production hardware while providing a seamless transition from baseband to IP. Lawo’s mc²36 all-in-one audio mixing desk features uncompromised sound quality and Lawo-grade mic preamps. A DSP micro-core with internal 512x512 port audio matrix, and integrated I/O make this compact console suited for installations with limited

space, particularly in OB vans where space and weight is always a critical factor. Qatar TV uses their V__pro8 mainly for audio embedding and deembedding, but also for format conversion and color correction. The A__madi4 high-quality Audio-to-IP interface for broadcast, live and install applications is designed for the transport of analog and digital audio signals via IP network environments, and for establishing IP-based audio networks. Based on RAVENNA technology, all Lawo A__line devices are also compatible with the AES67 audio-over-IP interoperability standard, and come with VisCon__navigator as standard.


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SUBTITLE VIRUS RISK SHOULD BE PUT INTO PERSPECTIVE Screen Systems analyses subtitle virus risk As the connected world expands, apprehension over malicious software finding its way on to commonplace devices increases too; and justifiably so. Hacking methods vary with the perpetrators forever on the search for clandestine means of infiltrating technology. Recent reports hitting the social media networks over the last days have highlighted that the latest medium of choice for hackers is the seemingly innocuous subtitle file. With the volume of content viewed on connected devices being at the level it is right now, especially on IT with high data sensitivity,

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some headlines of covering news may be bordering on sensationalising this latest exposé. This is what Screen System analyses. They wouldn’t want to be accused of playing down the risk however, as the company says, but they feel that it should at least be put into some perspective. It is evident from the original description of the threat that this particular exploitation focuses on user loaded subtitles and a limited set of non-commercial video players, according to Screen System, which adds: “We are cautious of using the term ‘legitimate’ in fear of being accusatory but it’s

important to note that services such as the likes of Netflix and the BBC iPlayer do not appear to be affected by this threat. The greatest risk lies with users who are viewing video on certain player applications to watch downloaded or streamed video with subsequent fan generated subtitles (Fansubs), possibly unofficial subtitles viewed over unauthorised or possibly even pirated video content.” The analysis is ended with a question: Perhaps this latest hacking activity strengthens the argument against piracy; as being one of the added values of paying for video?


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SONY ANNOUNCES THE DEVELOPMENT OF CINEALTA MOTION PICTURE CAMERA SYSTEM

This latest addition to the CineAlta family is being developed through close collaboration with creative professionals including Directors, Cinematographers, Operators and Digital Imaging Technicians.

Sony Professional Solutions Europe is announcing plans for its CineAlta digital motion picture camera system. This latest addition to the CineAlta family is being developed through close collaboration with creative professionals including Directors, Cinematographers, Operators and Digital Imaging Technicians. TMBi - 12

Technology highlights and key benefits, according to Sony • Full Frame 36x24mm sensor exclusively designed for this Digital Motion Picture Camera. • Aspect ratio-agnostic – including Full Frame, Super35 4K 4-perf 4:3 Anamorphic and 4K spherical 3-perf 17:9. • New image sensor improving picture quality.

• Maintains the workflow established with Sony’s 16bit RAW/X-OCN and XAVC • Compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXSCR1 and AR1 card reader, AXS and SxS memory cards).


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FILMLIGHT BLGS ENABLE TRANSCONTINENTAL COLOUR COLLABORATION FOR NISSAN SPOT

The Embassy in Vancouver and Alter Ego in Toronto banded together by implementing FilmLight workflow

For Nissan’s ‘Return of the Snowman’ spot, VFX specialists The Embassy in Vancouver banded together with post house Alter Ego – 3400km away in Toronto – by harnessing FilmLight’s BLG (Baselight Linked Grade) workflow. The Embassy is known for its photo-realistic, hard surface VFX work, from creating the digital Iron Man suits for all three films to building massive drop ship hangers for The Hunger Games trilogy. It has worked on countless commercials with Alter Ego. As Alter Ego runs Baselight as their flagship grading system, the render-free BLG workflow was suitable for the TMBi - 14

situation, even given the distance between the two sites and the tight timescale of the production. The raw footage from the live action shoot was delivered to both facilities. Then working out of Toronto, Alter Ego colourist Wade Odlum set the initial look with the director Cedric Nicolas-Troyan and the agency. Colourist Wade Odium comments: “To create the look for Nissan ‘Return of the Snowman’, we decided to go with a desaturated winter feel, slightly on the cool side, but we had to maintain the car colours and skin tone throughout.” The individual grade for

each was then handed over to The Embassy over in Vancouver simply by transferring small BLG files containing the colour metadata. VFX supervisor David Casey loaded the raw footage into NUKE and, using the Baselight for NUKE plugin, added the latest version of the grades from Toronto. Casey and Odlum saw exactly the same grade, however many times it was updated, simply by exchanging compact metadata files, with no timeconsuming rendering or video file transfers. “As the project progressed, I would update the BLG, tweaking grades or matte shapes depending on the


VFX,” says Casey. “For example, I would tweak colour suppression that was no longer required, or tweak mattes once the CG characters were placed in the scene. When the VFX were complete, I passed it back to Alter Ego, now with the VFX and the updated BLG files. Wade then could reload the shots into Baselight and do a final pass to add the final polish.” Wade adds: “The best thing was that, every time a work in progress was made for the clients to see, everyone was looking at the spot with the colour correction that we set. Once it came time for the final grade, we were simply passed the ungraded VFX shots and put them back in our timeline. All of our original colour correction applied perfectly, and with the supplied mattes we were able to finish the spot.” The FilmLight BLG workflow allows the complete grading information to be passed from device to device: not just to Baselight workstations but, through the use of the Baselight Editions plugins, to editing and VFX packages such as Avid and NUKE. Artists like David Casey can operate in their familiar operating environment but see the precise grade set by the colourist, and can adjust that grade as they need to during the lifecycle of the project. “When Baselight Editions for NUKE launched I was blown away by the potential. Using BLGs and Baselight for NUKE eliminates the unnecessary delays of rendering and file transfers, so the job gets done in a realistic timescale. And because each artist can focus on their part of the project, the final result is creatively more refined, engaging and exciting. It is a real win-win.”


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The unit replaces an old SD truck and will be used to support a mix of HD and UHD broadcasts, in particular the coverage of international events.

HONG KONG’S TVB ADOPTS SAM EQUIPMENT FOR ITS FIRST UHD OB TRUCK As SAM announces, TVB has purchased Kahuna switcher and IQ Modular infrastructure Snell Advanced Media (SAM) has announced that Hong Kong’s largest broadcaster, Television Broadcasts Ltd. (TVB), has invested in its flagship Kahuna multi-format live production switcher and IQ Modular infrastructure for its first UHD outside broadcast vehicle. The unit replaces an TMBi - 16

old SD truck and will be used to support a mix of HD and UHD broadcasts, in particular the coverage of international events. SAM’s Kahuna switcher can handle any combination of SD, HD, 1080p, 4K, IP and HDR seamlessly thanks to SAM’s FormatFusion3 and recently introduced

FormatFusion4 technology, eliminating the need for external conversion, saving time with setup.

TVB have been planning the addition of an UHD truck to its fleet since 2013 TVB began the planning and design phase for its new


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UHD truck in 2013 to meet the future demand for UHD/4K production. The biggest challenge was the lack of all the necessary UHD equipment available on the market at the time. TVB decided to build the truck first then re-evaluate the available UHD products at a later stage. In 2016, following a call for proposals, TVB selected SAM’s Kahuna 9600 UHD/4K production switcher, SAM’s IQ Modular infrastructure alongside UHD 4K HDR cameras from

Ikegami and lenses from Fujinon. All the systems were delivered by late 2016 with the truck going live in April 2017. Mr.B.L Cheung, Supervising Engineer at TVB explains: “We chose SAM not only for the power and functionality of the products, but for their dedication in working closely with us to deliver solutions that best fit our requirements. The SAM team also demonstrated impressive skills, technical know-how and unbeatable pre- and post -sales support,

which was critical in such a tight turnaround project.” Felix Sheh, General Manager of SAM (Hong Kong) adds: “We are very proud to have delivered our Kahuna and IQ Modular systems for TVB’s first UHD truck. They were very focused on selecting the best solutions on the market for this project, and that is testament to SAM’s dedication to delivering an unbeatable combination of power and functionality, while helping customers to manage their costs.”


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SKY NEWS TURNS TO LIVEU TO PROVIDE LIVE COVERAGE OF UK ELECTIONS Sky News partners with LiveU to deliver UK elections live from 150 locations simultaneously

Sky News has recently expanded its permanent fleet of LiveU units, including the recently launched LU600

Sky News has once again turned to LiveU to provide live coverage of the UK General Election, which will be held on June 8th. LiveU’s UK partner Garland Partners is again overseeing this complex project. TMBi - 18

Richard Pattison, Manager of News Technology at Sky News, explains: “Our live declaration coverage in 2015 won huge plaudits and audience appreciation, a Guinness World Record for Most Concurrent Live Web

Streams for an Event and The TVB Europe Best Live Broadcast Award 2015. The technology allowed us to bring results to the nation as they happened and this editorial advantage was made possible by our


partnership with LiveU. It simply wouldn’t have been achievable using traditional newsgathering methods and now we are expanding our live coverage for 2017 to make the night even more alive for our viewers.” Once again, Sky News will be using an IP set-up in a specially built studio – including a huge video wall for all the incoming feeds – then taking selected live feeds for broadcast via its Network Operations Centre. All live feeds will be available online via YouTube Live. LiveU Central, the company’s unified management platform, will be key to the project. It provides those in the studio with both remote monitoring and control capabilities, providing essential access to units in real-time.

Sky News expands its fleet of LiveU units Sky News has recently expanded its permanent fleet of LiveU units, including the recently launched LU600. Sky News has LiveU units across the UK and in Los Angeles, two in Washington D.C. and one

each in New York, Delhi, Moscow and Jerusalem. Pattison adds: “Using cellular bonding has fundamentally changed the way we can approach news reporting and has considerably increased our live coverage because their technology allows us to broadcast from places we simply couldn’t before. With our foreign coverage, previously we would only have been live from our actual bureau. Now we can be out and about in the field with LiveU units getting us far closer to the story.” Ronen Artman, VP of Marketing with LiveU, says: “We’re genuinely delighted to be working with Sky News again on a project of even greater scale than last time. For live events like this TV has real power, with YouTube providing flexibility for viewers and additional reach. We applaud the ambition of Sky News.”


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GATESAIR AND QUINCY MEDIA INC. SIGN EXCLUSIVE SPECTRUM REPACK DEAL GatesAir announces that longtime customer Quincy Media will exclusively rely on GatesAir for transmitters, and related installation and commissioning services, for spectrum repack needs across its TV station group. The deal will include several new Maxiva™ ULXTE liquid-cooled UHF and VAXTE air-cooled VHF transmitters, while existing GatesAir transmitters at select stations will be modified to meet new channel assignments. Quincy Media expects to be busy with repack installations across the entire 39-month window for channel relocation that begins later this year. Brady Dreasler, corporate director of engineering, notes that the company’s stations fall “within all ten phases” of the repack. GatesAir will supply new UHF and VHF transmitters and installation services

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“I’m mostly concerned with my Phase 1 stations around installation timelines, and we are conducting tower studies at all sites to confirm

what level of reinforcement work will be required,” states Dreasler. “But we feel prepared with our transmitter choices, and the new TPO levels for each of these channels. The direct integration of GatesAir’s XTE exciter in these transmitters also sets us up for ATSC 3.0 transitions coming out of the repack period.” Quincy Media uses GatesAir transmitters today across all of its stations, many of which are tube transmitters approaching two decades of service. According to Dreasler, the repack presents an ideal time to transition to newer solid-state transmitters that, in addition to simplifying channel relocation, will help to reduce the burden of utility costs and maintenance that come with older RF technology.

“Time moves very fast and many of these transmitters are nearing end of life” “GatesAir’s transmitters have always been


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amazing, but time moves very fast and many of these transmitters are nearing end of life,” he says. “The higher efficiency of the Maxiva solid-state platform offers a major advantage over tube models, as replacement tubes have become very expensive and more challenging to find. We anticipate a lot of savings ahead, especially on the UHF side where the liquidcooled technology of the Maxiva ULXTE transmitter will move most of the heat in the building to the outside. That will at once reduce our cooling loads, and remove the need to work with an outside HVAC company to manage an air-cooled system.”

Quincy Media is also working closely with GatesAir to determine which existing transmitters can be channel-changed. With some RF plants able to accommodate only one transmitter due to limited square footage, Dreasler is working with GatesAir on a plan that brings temporary backup transmitters to these sites. “At some sites, we can quickly install the new transmitters and it will be plug and play,” explains Dreasler. “For the plants where we don’t physically have the space to house two transmitters, we’re working on a strategy with GatesAir to place temporary backup transmitters on a trailer that

we can drive between sites, which will ensure seamless cut-overs to the new channel assignments. That will save us the costs and labor of adding more real estate to our RF plants.” “GatesAir is proud to continue its long-standing relationship with Quincy Media throughout the busy spectrum repack period,” says Joseph Mack, vice president of sales, Americas, GatesAir. “Our modular transmitter designs will accelerate delivery to ensure the process moves forward as quickly as possible, while our world-class customer support team will simplify life for Quincy Media Interactive across installation and commissioning.”


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CALREC AUDIO DELIVERS TWO SUMMA CONSOLES TO ROMANIAN CHANNEL ANTENA 1 Antena 1 has gone live with two new Calrec Audio Summa digital mixing consoles. The Antena 1 installation marks Calrec's first Summa sale into the Romanian broadcast market. "Our network is continuing to grow, and we're continually adding new channels and new content, which means the number of audio sources is also growing rapidly," says Sabin Cutas, executive director at Antena 1. "We needed a console that can keep pace with our busy and dynamic production schedule, and the Calrec Summas were the perfect choice.” "The Summa packs powerful capabilities into a

compact footprint, and its ease of use saves our engineers plenty of time and effort. And, of course, the Summa delivers the superior sound quality that Calrec is known for".

Antena 1 is one of the most-watched tv channels in Romania Based in Bucharest, Antena 1 is one of the mostwatched television channels in Romania with a lineup of news, sports, and entertainment programs. In addition to the flagship Antena 1 station, the broadcaster also operates Antena 3, a 24/7 news channel, Antena 4 — Euforia, a lifestyle channel, and Antena International, a 24-hour channel for

It’s the first Calrec’s Summa sale into the Romanian market

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Romanian expatriates living in the United States and Canada. Michael Reddick, Calrec Audio's international sales manager for the region, comments: "We're very excited about our momentum in the Romanian marketplace. As the latest high-profile broadcaster to sign on to Calrec and the country's first Summa user, Antena 1 is committed to delivering a wide range of high-quality programming to its viewers." In addition to Antena 1, Calrec counts Pro TV, RDS/RCS, Digisport, and Romanian National Television among its roster of broadcast customers in Romania.


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A SPANISH PRODUCTION COMPANY DELIVERS 300 HOURS OF LIVE CONTENT WITH AVIWEST provides local customer support and services."

Star Planning adopts AVIWEST solutions

AVIWEST has announced that Star Planning, a Spanish production company, has selected AVIWEST's PRO180-RA video uplink system, QUAD wideband external cellular antenna arrays, and StreamHub transceivers to deliver live broadcast transmissions of "Destino Santiago," a reality TV program streamed live by TV Galicia, a public television broadcaster in Spain. The TV show follows, in real time, the pilgrimage of two artists on the "Camiño de Santiago" route from Roncevaux (Navarre) to Santiago de Compostella (Galicia) over the course of 40 days, with 300 hours of live broadcasting. Aside from

watching the show, viewers also have the opportunity to chat live with both artists through a dedicated website and social media channels. AVIWEST enables the broadcaster to transmit live HD video over 3G/4G cellular wireless networks throughout the entire trek.

One of the capabilities of the PRO180-RA system is its automatic detection of real-time network conditions, thanks to AVIWEST's SafeStream® technology. By leveraging QUAD antennas plugged into PRO transmitters, the remote production team was able to strengthen the signal transmission in any environment, even in secluded locations.

"Star Production is setting a new benchmark for live streaming"

"The main technical challenge was maintaining a high-quality, reliable, realtime video transmission during hundreds of hours of live broadcasting," explains Emilio J. Fernandez, production manager of Star Planning.

"Offering 300 hours of realtime programming, Star Production and TV Galicia are setting a new benchmark for live streaming," claims David Jaouen, sales director at AVIWEST. "This project wouldn't have been successful without our Spanish partner, NRDmultimedia, which

"We deployed AVIWEST's system because of its efficiency and stability. This powerful solution enables us to achieve our objectives by broadcasting video content to traditional TV channels and on social media networks," adds Miguel Cacharrón, director at Star Planning. TMBi - 23


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EURO MEDIA GROUP SELECTS SONY’S PWS-4500 SERVER SOLUTION Euro Media Group (EMG) has installed 2 Sony PWS4500 Replay & Ingest servers as part of its plan to diversify the current offer for slow-motion and recording solutions. After being used as UHD HDR Master Recorders for concerts and events recordings, the Sony PWS-4500 will be used in the UK based EMG Company CTV Outside Broadcast to produce upcoming events in 4K/UHD. Ronald Meyvisch, CTO of EMG comments: “For the last decade, we have been focusing too much on a single solution for live sports replays and digitization of content. Although we have been happy with and will continue to use our existing servers, we know there are now tools with higher performance capabilities, adjustable to the actual workflow required by our customers. We consider it our responsibility to explore and put those new alternatives into use on different types of productions to understand their strengths and explain them to our customers.” TMBi - 24

Sony PWS-4500

Sony announced several improvements to the current features of the PWS-4500 at NAB At NAB 2017, Sony announced several improvements to the current features of the PWS-4500. These included the PWS110CM1 Content Management Station, allowing users to search for content that can be seamlessly transferred for delivery. “The PWS-4500 responds to the needs of companies such as Euro Media Group, who are looking for a robust, flexible and versatile server solution for UHD productions, but who also have the need to keep producing HD contents”,

explains Norbert Paquet, Strategic Marketing Manager at Sony Professional Solutions Europe. “We are happy to collaborate through this extensive partnership to build a future-proof production platform accepted by operators, technicians and productions”. Together with Sony, EMG has set-up an in-house training program on the new equipment to enable field teams and customers to educate themselves on the latest technologies & their operations. Before the end of the year, EMG plans to widen the use of the PWS4500 to other companies within the group.


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OSPREY VIDEO ANNOUNCES TECHNOLOGY INTEGRATION WITH NEWTEK NDI™ Osprey Video has announced a technology collaboration with NewTek whereby all of Osprey's capture cards support Network Device Interface (NDI™). The integration means all Osprey cards will be recognizable as a source by other NDI-enabled applications and devices connected to a standard Ethernet local area network. As a result, broadcasters and production companies using Osprey cards and NDI video-production software on their networks can start producing video over IP immediately. "Buying a facility full of new equipment is not an option for most media

companies, so as IP videotransport takes hold in the industry, people are looking for ways to make the transition to IP using the equipment they already have. That capability is one of NewTek NDI's many strengths," explains Roger Bieri, CEO of Osprey Video. "This collaboration means our capture-card customers that rely on NDI technology will be able to use more devices and applications in their workflows, which translates to nearly unlimited possibilities for video production, especially as they mix SDI and IP on the same network." The technology integration applies to all current Osprey

Video capture cards, including the recently announced 900 Series. "Software-driven IP workflows are quickly becoming ubiquitous in video production," claims Michael Kornet, executive vice president of business development for NewTek. "NDI-enabled devices like Osprey's capture cards exponentially increase the video sources available for live production, creating efficiencies and opportunities for customers that did not previously exist. NDI is the most widely adopted IP technology on the market, epitomized by the millions of customers with access to it today."

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SMPTE17 WILL BRING THE LATEST IN BROADCASTING, MEDIA AND ENTERTAINMENT The Society of Motion Picture and Television Engineers® (SMPTE®) has announced that the SMPTE Australia Section's Conference & Exhibition (SMPTE17) will return to Darling Harbour, bringing a conference program to a premiere exhibition space at the new International Convention Centre (ICC) in Sydney. During the event, which runs from Tuesday, 18 July through Friday, 21 July, attendees will enjoy opportunities for professional development, relationshipbuilding and technical education. With a theme of 'Embracing Connective Media', SMPTE17 will feature a line-up of exhibitors and conference sessions. “We've got a wide array of sessions and presenters who will provide educational, thought-provoking and even controversial perspectives on the trends and technologies driving our industry forward. We consider it the first day of the next 10 years of television,” states Paul Broderick, chair of the SMPTE Australia Section. TMBi - 26

“A truly international conference, SMPTE17 will draw thought leaders from around the globe to provide insight into the future of media creation, delivery, display and consumption. I am particularly delighted to welcome Shadow Minister for Communications Michelle Rowland MP as our keynote speaker.” The sessions slated for SMPTE17 will cover topics such as implementation of cloud and internet protocol (IP) technologies, working with ultra-high-definition (UHD) and high-dynamicrange (HDR) content, and vision and sound considerations for virtual and augmented reality (VR/AR) production. Several case studies will focus on delivering drama for extreme screen sizes, new approaches to remote sports production, and the use of IP technology to bring a ‘live cinema’ project to life. Bookings are now open for the conference. Attendees

can select from a bundle of six sessions or the complete program — with discounts for members of SMPTE and its affiliates. The conference will addressed to Broadcast and IT engineers, solutions architects, specifiers, project managers, technicians, producers, students, trainees, equipment suppliers and manufacturers — plus CTOs and CEOs in related industries. According to the show organiser, Expertise Events Managing Director Gary Fitz-Roy, many of the organisations involved in broadcasting and content creation utilise SMPTE17 as a platform for launching new products and showcasing the latest technology: “Running every second year, the conference and exhibition really facilitate an amazing display of the latest technology that is on offer. It is always great to see such a positive and immediate reaction from event visitors.”


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MULTICAM SYSTEMS OPENS A US OFFICE multiCAM Systems has established a US office in the Detroit region to bring the company closer to its Americas customer base. Paul Stewart joins the company effective immediately as Director of Business Development to lead all sales, service and support efforts in North and Latin America. Paul reports directly to CEO Stan Walbert. Paul joins the company from ENCO Systems. Paul spent three years at ENCO as a Broadcast Automation Specialist, where he led customer support initiatives and was actively involved in standards and interoperability development, including third-party interfaces for metadata and archival platforms. Paul’s first public event with multiCAM Systems is InfoComm 2017 in Orlando (June 14-16, Orange County Convention Center), which will also serve as the company’s Pro AV event debut at the Americas. multiCAM Systems will exhibit at Booth 6089. “Paul brings a wealth of experience with automated workflows and systems

homegrown systems with USB webcams and GPI- or manual-based switching. Along with streamlining production workflows, the placement of banners, vertical ads and other dynamic content can quickly deliver an ROI without diluting the consumer Paul Stewart joins multiCAM Systems as Director of Business Development

experience.” Stewart continues: “For our Pro AV customers, we’ll

integration to multiCAM Systems, which sets him up for success with our broadcast and Pro AV customers,” says Walbert. “Combined with his personal approach to customer relations, Paul is the ideal business development leader at a time when our clientele is rapidly expanding throughout the Americas.” “Visual Radio is more than simply offering another channel for the audience; it’s also a way to monetize streaming platforms using less obtrusive means than working with pre-rolls and mid-rolls,” highlights Stewart. “multiCAM Systems gives broadcasters a viable option to invest in a system that is more reliable and less cumbersome than

communicate how quickly a professor, student, or guest speaker can learn our systems. While our broadcast customers have highly-trained technical staff, many schools, universities, houses of worship and corporate campuses might not. The user should be able to quickly put a microphone on the speaker and provide a 30-second overview before the presenter is off and running, instead of taking the time to conduct advanced training and read manuals. This will be our main focus at InfoComm as we talk to systems integrators and end users serving these verticals.” TMBi - 27


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NEP BECOMES FIRST COMPANY TO PURCHASE TSL'S NEW MPA1 SOLO SDI MONITORING PRODUCTS TSL Products announced

will enable them to view all

Using the MPA1 Solo SDI's

that NEP UK, part of one the

16 embedded channels

built-in web server, NEP's

largest providers of live

simultaneously while

operators will be able to

event solutions in the world,

allowing any channel to be

has become the first

selected for monitoring.

company to purchase the recently-announced MPA1 Solo SDI monitoring product. NEP UK is currently installing 14 MPA1 Solo SDI units in a brand new OB truck destined to cover horseracing events. Currently under

"We have been TSL customers for years and many of our trucks are standardized on the TSL

manage the channel names and system parameters remotely over an Ethernet network. They will be able to view audio levels, signal

PAM2 units for the

status and format via a user-

engineering and monitoring

friendly web GUI (graphics

positions, while our fly packs

user interface).

come with the MPA MADI, Dante and SDI and Dante

“We particularly like the

construction, the new NEP

monitors," said Paul

‘scroll to hear’ feature to

HD truck is a state-of-the-art

Fournier, Head of Audio at

quickly monitor any of the

triple expanding vehicle, with

NEP UK.

visible 16 channels, and the

24 cameras, eight EVS playback servers and 14 positions for VT operators, radio camera control operators and the client's technical manager. The MPA1 Solo SDI units

"When we started

ability to see a video source

designing our newest OB

to quickly identify you are

truck, we were looking for

monitoring the correct

the smallest form audio

source will be a great help.

monitoring unit we could find, that would be flexible and easy to use for our VT

And of course, the internal PSU also makes for a

will provide NEP's operators

operators, and the new

neater build, which is always

with an intuitive yet flexible

MPA1 Solo SDI was just the

important when space is at a

audio monitoring tool that

ticket, " added Fournier.

premium," added Fournier.

Solo SDI

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ROSS VIDEO RECOGNIZED WITH EMMY AWARD STATUE FOR KEY CONTRIBUTIONS TO THE MOS INTERNATIONAL TECHNOLOGY STANDARDS GROUP Ross Video is proud to be recognized as a major contributor to the Media Object Server (MOS) Group being honored by The National Academy of Television Arts & Sciences with a 2017 Technology & Engineering Emmy® Award. The MOS Group was recently awarded an Emmy® Award for the development and standardization of the MOS protocol which has become a foundational technology for modern television news environments. Ross Video was selected as one of only four member companies to receive an Emmy® Award by other members of this international group.

group, and has been a significant contributor to the development and future of the MOS protocol. Specifically, Ross Video is responsible for the HTML5 specifications within MOS. Shawn Snider, Ross Produce Director

This HTML5-based technology was conceived and designed by Shawn

implement a common language that all devices and newsroom systems can understand,” says Jeff Moore, Executive VP at Ross Video. “In fact, it’s hard to imagine a news video production today without MOS.”

Snider, a Ross Product Director. Seen as a leader of the new generation of MOS, Snider received special recognition. His contribution was described in the nomination as “exceeding, in complexity, the total work produced by the MOS Group

MOS was developed to address the need to connect a variety of device types from multiple vendor companies in a television news environment from teleprompters to graphics systems, video servers, newsroom editorial systems and automation.

MOS is an open and collaborative initiative between broadcast technology vendors from around the world. It is a free protocol that allows anyone to contribute to its growth and development while allowing any vendor to implement it. It’s a remarkable feat in an industry known for closed ecosystems.

“It was in the best interests of all vendors to design and

Ross Video is a proud member of this working

entire news production

in its first four or five years and points the way to further innovation and evolution required to maintain the protocol as a living, relevant technology.” Ross CEO, David Ross, “We are proud to be a supporter and key partner of the MOS group and integrate it deeply in our workflow.” TMBi - 29


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The OB Van knowledge of

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Broadcast Solutions

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Broadcast Solutions GmbH is one of Europe’s biggest system integrators. For more than ten years the German based company stands for innovation and engineering „Made in Germany“. With subsidiaries in Europe, Asia and the Middle East Broadcast Solutions plans, implements and realises projects in the areas of Outside Broadcast, Satellite Communication, Studio and MCR Broadcast Facilities, Sport Arena Multimedia Solutions as well as mobile Security and Surveillance Solutions. A further emphasis of the company is to consult our customers when it comes to workflow optimization, trainings and production consultancy. Acting as a distribution company Broadcast Solutions offers sale and rental of exclusive and innovative products in defined areas or as worldwide distributor. With more than 100 employees worldwide and working as a hardware independent system integrator Broadcast Solutions offers its customers tailor-made solutions – from idea to implementation and beyond.

The company organized recently the Broadcast Innovation Day 2017, that took place at June 1 at the Broadcast Solutions headquarter. With more than 300 visitors the event was the most successful in the series of Broadcast Innovation Days. During the event international customers and broadcast experts used the chance to inform themselves about the latest innovations in broadcasting. With a large number of OB Vans under construction, an exhibition area, panel discussions and TMBi - 32

Turkmenistan SNG

networking areas the event proved to be a fixed date in the calendar of the broadcast industry.

And the event was packed with insights in many ways. In the Broadcast Solutions’ production halls visitors


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Probably the production companies don’t see for instance the need to go the full IP-road, since their customers don’t request it. could see first-hand the largest number of OB Vans under construction in Europe. At the exhibition area 30 manufacturers and

vendors showed their new products and solutions. Broadcast Products, a Broadcast Solutions division, showed its full portfolio of

innovative products at one place. With panels and discussions industry experts shared their views on trending topics within the broadcasting business and elaborating on topics such as IP, 4K/UHD as well as HDR/HFR and how they will affect live TV productions in the future. In cooperation with SVG Europe the panel section added valuable benefit to the event and proves the Broadcast Innovation Day to be a


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Broadcast Solutions OB Van.

landmark in the calendar of broadcast professionals around the globe. Trond Hermansen, CTO at NEP Switzerland commences on the event: “The Broadcast Innovation Day in Bingen was a perfect fit. NEP Switzerland’s new UHD 42 OB Van, under construction at the event, was one of the attractions during the show. The event is the perfect place to meet all relevant broadcast vendors, the Broadcast Solutions’ team as well as to get to know new people. Together with the panel discussion this is a perfect mix.” TMBi - 34

Stefan Breder, CEO at Broadcast Solutions, adds: “The Broadcast Innovation Day at our headquarters in Bingen was the highlight of our series of events so far. We are very happy to have welcomed such a large number of international visitors. With the overall design – comprising of many OB Vans under construction, exhibitions, panel discussions and networking possibilities – we think the event is a perfect mix of business topics and an informal get-together. The visitor’s responses are very positive and we will continue our course with upcoming

events – both in Bingen and abroad.” Thomas Riedel, CEO at Riedel Communications, on the event: “The branch meeting in Bingen is a must in my calendar and once again it was worthwhile attending. The quality of the contacts here is very highclass.” And Laurent Schiltz, CTO at German Production Company TV Skyline, adds: ”The Broadcast Innovation Day is always the perfect opportunity to gain information about the latest trends in OB Van development and to meet


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with colleagues in a nice atmosphere. The event is becoming better each time."

INTERVIEW WITH STEFAN BREDER, CEO AT BROADCAST SOLUTIONS GMBH:

HDR is a little bit different. Here manufactures are pushing proprietary solutions. It depends on the customer’s requests what to integrate.

As an integrator, what are the challenges you are facing on the OB Van building and design? We develop and build all different OB Van models for a variety of usages, from small ones to large UHD OB Vans. Some are tailor-made, some are based on our Streamline OB Van family – different models of preengineered and costeffective OB Vans, which we

are able to deliver in a very short time.

Stefan Breder CEO at Broadcast Solutions GmbH

The live production market is very cost sensitive and we serve the market with cost efficient and reliable solutions that enables our customers to realise the full potential of their investments. With our Streamline OB Van family we directly address customers that are looking for reliable, cost effective “work-horses” for daily use.


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Markiza OB Van.

They make working with them easy and fast, since all streamline versions are based on the same overall design. This reduces trainings and setup times – a major benefit.

Why is the OB Van market evolving slower in adoption of technology than other areas? I don’t see it evolving slower. All trending topics TMBi - 36

In my opinion “standard” and hybrid live production solutions will be working side by side for a ongoing transition process. such as IP, 4K, HDR or HDF are discussed in theOB market as well. Probably the production companies don’t see for instance the need to go the full IP-road, since

their customers don’t request it.

Will the IP and the streaming technologies force


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What needs an OB Van to be future proof?

Al-kass OB

OB´s to disappear? This will definitively change the OB business. But in my opinion OB Vans will still be present in the future, in a different form of course, but they will not vanish.

How is Broadcast Solutions facing the 4K/UHD and HDR challenges? 4K/UHD is normal

business to us. We have already built several UHD OB Vans in different sizes and using different technical approaches. Some of our customers order 4K/UHD OB Vans only, so this is not a challenge anymore but reality. HDR is a little bit different. Here manufactures are pushing proprietary solutions. It depends on the customer’s requests what to integrate.

I think it needs the capability to work in multiformat productions and needs high-end interconnectivity tools to work in remote productions and in IP environments. Flexibility is key to fit in any different production environments of the future.

What is your opinion about remote production? The number of remote productions will grow in the future, for sure. When it comes to OB Vans, in my opinion “standard” and hybrid live production solutions will be working side by side for a ongoing transition process.


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Turkmeninistan HD OB Van

IP is here to stay but SDI do the job and its easier right now. When do we see the death of SDI? This will happen when, in the view of the customers, all uncertainties are eliminated and when there is a clear cost advantage in using IP.

Now there is a wide range of equipment from traditional vendors and new ones. Are you taking in consideration all of them as an OB ´s integrator? TMBi - 38

We as a System Integrator are hardware manufacturer independent. Therefore we are in contact with all different manufactures, from established to new ones. It is always our goal to find the best solution to meet our customer’s requests. Therefore it is crucial to us to be I contact with all manufacturers.

Please let us know about some of the best past and future projects made by BS Some of the recent milestones are surely the delivery of two UHD OB Vans to NEP Switzerland

that rely on our Streamline resp. Alphaline models. We recently built a 31 camera OB Van for broadcaster Al Kass from Dubai, one of our biggest OB Vans so far. Beginning of this year we delivered a OB Van to customer Markiza from Slovakia. This is one of the first OB Vans that rely on Riedels MicroN solution for routing both video and working as multiviewer system. In cooperation with Polimeks we have delivered a huge fleet to Turkmenistan TV, consisting of 16 vehicles in two phases of construction, each set


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A future highlight will be the commissioning of a large playout center for NEP Switzerland, enabling them to manage a completely 4K workflow, from production with our OB Vans to delivery with the new playout center.

consisting of an OB Van, set-up van, generator van and a SNG. The last set is conducted completely in UHD. All production resources will be used at the Asian Indoor and Martial Arts Games from 17 to 27 September 2017 at Ashgabat Olympic Complex, Turkmenistan. A future highlight will be the commissioning of a large playout center for NEP Switzerland, enabling them to manage a completely 4K workflow, from production with our OB Vans to delivery with the new playout center.

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A mix between high-end and cost effective solutions made by our own. If you´re planning your next truck, don´t miss these ones. TMBi - 41


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Grass Valley LDX 82 Worldcam Designed for any production, the LDX 82 WorldCam incorporates all the features of the LDX 82 Elite plus 1080p. LDX 82 WorldCam enables 1080p productions that are normally impossible to cover without huge investments in additional lighting or without serious degradation of the image quality. The LDX 82 WorldCam is only available as a 7-day or a perpetual GV-eLicense upgrade from any other LDX 82 Series camera, with single or multiple licenses.

Grass Valley LDX82-Camera

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Features  Camera: Pick-up device: 3x2/3" Xensium-FT CMOS Picture elements: 1920x1080  Smear: no vertical smear

 Lens mount: 2/3" Bayonet type  Optical filter wheels: 2x motorized wheels (1x motorized wheel on LDX Flex)

 Shutter: no mechanical shutter

 Optical filters on first wheel: clear, 1/4 ND, 1/16 ND, 1/64 ND

 Optical system: F1.4 prism

 Optical filters on second wheel (not available on


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LDX Flex): clear, 4P-star, soft focus  Electronic color correction: 3200°K, 5600°K, 7500°K, FL, 2 AWB presets, Var, continuous auto white  Exposure: electronic exposure down to 1/1000 sec  Video modes: Singleformat: 1080i50/59.94 or

720p50/59.94 (selected at time of purchase)  Sensitivity at 2000 lux: F12 (1080i50, 720p50, and 1080p50) F11 (1080i59.94, 720p59.94, and 1080p59.94) F18 (1080PsF23.98/24/25) F16 (1080PsF29.97)  S/N ratio: 60 dB typical  Aspect ratio: 16:9  Modulation depth: 60% (typical) at 800 TV lines

(27 MHz) in 1080i50/59.94 & 720p50/59.94 modes  Gain selection: -6 dB to +18 dB in 3 dB steps (user-definable presets) or continuous master gain

Connectivity  Front microphone input: XLR-3 female, balanced, phantom +48V selectable USB Ethernet RJ-45  Lens connector: Hirose 12-pin  Viewfinder connector: 20pin and HDMI

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IHSE Draco Tera Compact

IHSE KVM Switch: Draco tera compact Draco tera compact matrix switches enable switching between various computers and remote consoles (keyboard, mouse, monitor and other peripheral devices). The Draco tera compact is available with fiber and Cat X ports in all switch sizes (with 8, 16, 32, 48, 64 and 80 ports). The 64 and 80 ports chassis switches are also available as hybrid versions, equipped with 48 Cat X ports and 16 / 32 fiber ports. Integral FlexPort technology provides dynamic configuration of all input and output ports. The matrix serves as a repeater. Data transmission via fiber optic cable allows transfer TMBi - 44

distances of up to 10 kilometers on either side of the matrix, which is ideal for interconnection between buildings. Computers can quickly be accessed from any position. You can access the Draco tera compact for configuration via OSD, Draco tera tool or serial interface. For your individual requirements we offer optional software bundles.  Available models with 8, 16, 32, 48, 64 or 80 Cat X ports for greatest flexibility  Flex-Port technology allows for dynamic configuration with any port used as input or output  Switch systems from 1 CON and 15/31/47 CPUs up to 47/31/15 CONs and 1 CPU

 Super compact size of 19” / 1 RU housing  Redundant power supply  Simple user and access management  Update ability of extenders over the matrix  Operation via  Draco tera tool (Graphical web interface) for configuration, operation and maintenance  OSD (On Screen Display) for configuration and operation (inband)  Keyboard for operation (inband)  Serial interface for operation (API)  Ethernet for operation (API)


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Ikegami UKK-430 (TESTED IN THIS TM BROADCAST ISSUE) First in Ikegami‘s nextgeneration Unicam XE series, the UHK-430 employs three newlydeveloped 4K-native 2/3 inch CMOS sensors which provide full 3840 x 2160 ultra-high definition resolution plus the depth of field required for studio and outdoor production. The camera is equipped with a

B4 bayonet mount compatible with 2/3 inch HD lenses. An optional SE-U430 expander accommodates large studio or OB lenses.  2/3” 3 CMOS native 4K sensor  Conventional B4 mount lenses  No colour aliasing due to 3 chip technology  Flexibility with swappable optical blocks

 Ultra wide-bandwidth fibre transmission  4K/2K simulcast operation and HD cut out of the 4K picture  Various interfaces like Quad 3G-SDI,12G SDI, VoIP, Gigabit ethernet data trunk  Wide colour space and HDR

 Future expandibility

 Compact, lightweight and userfriendly

 16 axis colour corrector and focus assist

Visit our Test Zone for full article!

Ikegami UHK-430

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Lawo V__pro8

Lawo V__pro8 The V__pro8 is the perfect tool to connect different video formats as well as to connect between audio and video. High quality format conversion, color correction as well as audio embedding and de-embedding make the V__pro 8 a compact and powerful video processor, building bridges between different worlds and formats. A high-density MADI audio connection provides efficient video-to-audio bridging within the studio infrastructure. The V__pro8 works as a flexible matrix TMBi - 46

system: using its 8 x 8 video matrix and 384 x 384 audio matrix, it is possible to switch any signal to any other. A modern GUI based on HTML5 provides an ideal interface for easy handling of day-to-day work. Here's how it works: eight high quality 3G SDI deembedders and a corresponding number of embedders are looped into the eight video signals according to your preferences. This enables any number of audio signals to be used from the video material, and new audio signals to be embedded into the video signal - a simple, reliable and efficient

solution.

In & Out  8x SDI Inputs (3G/HD/SD)  8x SDI Outputs (3G/HD/SD)  Quadsplit MV Output (Displayport3G/SDI 3G/1080i)  Optical MADI (2x In / 2x Out)  Video Ref. Input & Loop Thru (BB or TriLevel)  Video Ref. Output (BB or TriLevel)  WorldCLK I/O  2x 1Gbit Ethernet (Control)


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outputs individually configurable as HD-SDI, HD Component, SD-SDI, SD Component, or Y/C (BNC) plus Composite Supplemental HDMI output - Ethernet connection for output of playout channels over a local network to TriCaster

NewTek 3Play 4800 The NewTek 3Play 4800— the multi-camera replay server that redefines priceperformance standards in live sports production. With more real-time capabilities than any other replay server on the market, 3Play 4800 is a turnkey system that integrates with your current infrastructure, connecting mix-and-match formats however you want to configure them. Fast, intuitive video controls invite replay pros and novices alike to use their instincts to perform the most efficient ingame operations possible. And 3Play 4800 operators will have the most powerful visual capabilities of any replay server at their fingertips, making it easy to add remarkable transitions and warping video effects to

replays and highlights. It only takes moments to deliver them to the big screen and to the social media sites where fans gather and share.  Video Input - Up to 8 simultaneous live video sources, or up to 4 with fully redundant capture, in any combination of HDSDI, HD Component, SDSDI, SD Component, Y/C (BNC) or Composite connections and resolutions  Video Output - 2 fully independent playout channels - Primary

 Output Modes - A; B; A+B with transitions between playout channels  Recording - 8 simultaneous recording channels - Standard mode captures 8 live video sources Redundant mode captures 4 live video sources, with 4 channels of simultaneous backup recording  Recording Format Native recording up to 1080p resolution in highquality QuickTime format (XDCAM-HD at 100Mbps)  Recording Capacity Accommodates ~200

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hours 1080i or ~1200 480i via 4 removable 2TB media drives (included) 4 trayless SATA III removable drive bays with hot-swap support for unlimited storage and backup - Simultaneous recording of 2 channels per media drive  Playback - Multi-speed playback via T-Bar or transport buttons - Dual range modes for 0% to 100% playback speed or 200% to 200% playback speed (supports fast reverse)  Media Publishing Integrated application for content upload to YouTube, Facebook, Twitter, FTP, local volumes, or network servers  Effects and Transitions Standard transitions and customizable animation store transitions supported for transitioning between playout channels and playlist clips Animation Store Creator application included for custom transitions and effects - Integrated TransWarp effects engine supports per-pixel alpha blending between sources, real-time 3D warping of video or graphics, and embedded audio TMBi - 48

Norwia

Norwia Mini Hub

MiniHub The miniHUB concept is the next generation for Optical video distribution. Norwia has developed a innovative platform that gives so many features that are currently not on the market today. Industry research and talking to the front line of broadcast intelligence with our own broadcast expertise to bring to market the miniHUB system. The miniHUB system can bring immense cost saving to everyone, this covers all sectors of your business from purchase, to installation, to operational flexibility and maintenance simplicity. This enables your Total Cost of Ownership to be lower than others in the market.  Flexi I/O with Auto SFP configuration  Flexible 1 card solution

 Optical link (Rx & Tx), distribution, add/drop/pass in one card  FREE controller with miniHUB Frame  Lower cost of maintenance (spares inventory)  Superior technology  Click and Go card locking system

Riedel Communications MicroN Is a signal interface that drives an 80G media network in just a single RU. MicroN is an 80G media distribution network device for Riedel’s MediorNet line of media transport and


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management solutions. Working seamlessly with the MediorNet MetroN core fiber router, MicroN is a highdensity signal interface with a complete array of audio, video, and data inputs and outputs, including 12 SD/HD/3G-SDI inputs and 12 SD/HD/3G-SDI outputs, two MADI optical digital audio ports, a Gigabit Ethernet port, two sync reference I/Os, and eight 10G MediorNet Links (4.25 capable). MicroN is available as a fully networked MediorNet device, as well as in a pointto-point edition at a very competitive price point. In just 1RU, MicroN offers a highly versatile signal interface that can be used in productions of every size and complexity. For the largest media networks built

on MediorNet transport devices, MicroN can serve as a breakout box for a MetroN router and extend connectivity beyond the fiber I/Os to any type of video and

audio I/O required. Or, MicroN can simply work with a MetroN router, with other MicroN units, or in a standalone point-to-point configuration to provide an economical solution for small- to medium-sized productions. And, like the other MediorNet devices, MicroN has powerful built-in signal processing features that eliminate the need for many external devices.

Hardware  10G MediorNet Links (4.25 capable)

Riedel MicroN

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Ross Carbonite Black

 12 3G/HD/SD-SDI Input + 12 3G/HD/SD-SDI Output

 local signal inputs and outputs

 2x MADI audio

 Widgets (tallies, undermonitor-displays, audio level meters, and several clocks and counters)

 Gigabit Ethernet  Synchronization (Black Burst, Tri-level, Word Clock)  Redundant, wide-range AC power supplies

Software - MultiViewer App  MediorNet MultiViewer engine  Access to every MediorNet input signal  processes up to 18 signals  flexible placement on four virtual screens TMBi - 50

Ross Carbonite Black Carbonite Black brings expanded I/O and ME count to the Carbonite series, with a new control panel, 3 Full MEs, 36 inputs, and 22 outputs – plus all of the superior features found in other Carbonite models such as MiniMEs, MultiScreen, 3G and UHD (4K) format support.

Physical Features  Direct Access Crosspoint 24 / 32  Number of ME Rows 3  ME Effects Memory Keypad Yes  Custom Control Macro Buttons with Split Row Mnemonics 96 / 256

Features & Interfaces  Number of Keys per ME 5 (4 + 1 Transition Key)  Number of Keys per MiniME 2 per MiniME  Number of Keys on Half ME 2 DSK + Media Wipe  Total Keyers in MiniME Mode 3 ME = 23  Total Keyers in 2.5 ME


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Mode 13  UltraChrome Keyers (Floating) 2

 UHD / 4K 4x Quad Link (MultiScreen Mode)

Frame

 Number of MediaStores™ (Capacity 8GB) 4

 2 Rack Units – standard BNCs

 Supported Media File Types: Stills: .BMP. Stills & Animations: .JPG .JPEG (no Alpha), TGA & PNG (with Alpha) & 48k WAV audio files

 22 outputs

Signal Processing Standards  Standard Definition 480i/59.94, 576i/50  High Definition 720P & 1080i 50/60 1080PsF, 23.98/25 1080P 29.97 3G 1080P 1080P 50/60

 36 inputs  3 full MEs with 4 Keyers  8 DVEs (4 in Frame Sync mode)  4 MiniMEs with 2 MultiScreen Modes  2 MultiViewers  4 MediaStore channels  SD, HD, 3G & UHD (4K) processing  6 Frame Synchronizers & Format converters (0 with 8 DVE)

 ViewControl – touchscreen production control  DashBoard control integration  XPression motion graphics integration  BlackStorm video clip player integration

Snell Advanced Media (SAM) Live Touch Instant replay, collaborative workflows and integrated post production. LiveTouch™ makes highlights and instant replay workflows faster and more TMBi - 51


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intuitive than ever before. The touch screen controller is quick to learn, easy to use and accessible to any operator. LiveTouch is easily configurable to support large events and multiple studio productions. Uniquely, LiveTouch also supports integrated editing eliminating the need for media movement or duplication. Highlights packages get to air faster, and system design is dramatically simplified. Shared storage and interserver streaming allows LiveTouch to scale to HD and UHD productions of any size.

SAM Livetouch-4k

Technical Specification  Size: 3RU  Ports: Up to 12 HD. Up to 4 UHD  SD Video Codecs: IMX 30, IMX 40, IMX 50, DVC Pro 25, DVC Pro 50  HD Video Codecs: DVC Pro HD, AVC-Intra Class 50, AVC-Intra Class 100, XAVCi Class 50, XAVCi Class 100, DNxHD (See Server Specification for full list of formats)  UHD Video: XAVC Class 300 UHD  Browse Formats: MPEG-1 at 1.5 Mb/sec, H.264 at 2.5 Mb/sec 640x360, H.264 at 12 Mb/sec 720p HD Browse TMBi - 52

 Audio: Up to 16 audio tracks per port  SD embedded audio ANSI/SMPTE 272M  HD embedded audio SMPTE 299M


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 16 bit and 24 bit depth  Storage: Internal Storage Up to 8 x 1.8 TB Disks, 8 x 1.6 TB Disks SSD, Option External Storage 24 x 1.8 TB Disks  Storage Capacity: Up to 200 hrs internal, Up to 600 hrs external, Up to 38 hrs UHD  Network: Quad 1GB Network Card or Dual 10GB Network Card

 System Reference:SD: NTSC/PAL Black and Sync, HD: Tri-Level Sync

Thinklogical TLX KVM Extenders TLX extension systems deliver uncompressed, high resolution video, audio and peripheral data on a single stream over single duplex fiber or single CATx cable. Configurable to specifically suit the requirements of any application, TLX extenders can support up to 4K @ 60Hz video (4096x2160) with full duplex stereo audio, serial (RS- 232), USB HID and USB 2.0 (480Mbps). The TLX design offers support for both HDMI 1.4 and DisplayPort 1.2 connector types in a single extender, with full support for HDCP content. Additionally, TLX extension systems support embedded audio, with the ability to de-embed audio at the receiver.  Connector supports both HDMI 1.4 and DisplayPort 1.2 cables  10Gbps bandwidth per port  Multi-mode fiber, single mode fiber and CATx configurations  Extension of up to 80km over fiber, 100m over CAT6a TMBi - 53


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Thinklogical TLX

 Support for a single display up to 4096x2160 @ 30Hz, or two displays up to 1920x1200 @ 60Hz – over a single fiber or CATx cable

 Supports HDCP content

 Support for a single display up to 4096x2160 @ 60Hz, or two displays up to 4096x2160 @ 30Hz – over two fibers or CATx cables

 Support for embedded audio, with ability to deembed at the receiver

 Support for two displays up to 4096x2160 @ 60Hz – over four fibers or CATx cables

 Support for USB HID and configurable to include support for USB 2.0 (480Mbps)

TSL Products PAM1 MK2

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 Local output port(s)  Ethernet port for configuration, management and updates

 Support for unbalanced analog audio and serial RS-232

 Modular, hot-swappable form factor for field configuration  Several chassis types available, for surface mount and rack mount applications Modular Chassis 2 – supports a single KVM extender module Modular Chassis 4 – supports up to two KVM extender modules and offers redundant, hot-swappable power supplies


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TSL Products PAM1 MK2 TSL´s Precision Audio Monitor (PAM) range supports stereo, multichannel, multi-language and surround sound environments via a sophisticated, intuitive control interface.  Fully configurable analogue and digital multichannel outputs  Optional support for Dolby E®, Dolby Digital® and Dolby Digital Plus®  Dual auto-sensing, 1080p

(60, 59, 94 and 50Hz), HD/SDI video inputs  Dual high resolution 2.4″ screens for 16 bargraphs, setup and metadata display.  Downmix of discreet multichannel audio to stereo for compatibility monitoring  Hi Resolution Video confidence monitoring

delay  User Programmable ‘Assign Matrix’  Audio Output Delay  Automatic mode switching – depending on signal type  Pushes PAM data to the monitor wall, with use configurable quadrants and HD-SDI output

 ITU BS1770/71 loudness measurement and Histogram

 Multichannel audio outputs for external stereo or 5.1 loudspeaker system integration

 Ability to monitor in sync using the AV off set to cater for any inherent

 High quality internal full range loudspeaker system

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An interview with

David Ross, CEO of Ross Video Ross Video is a company that has grown at an average of 17% per year for 25 years. Traditionally focused on the States, Ross Video is moving in on other regions like the EMEA and APAC, where it is reaping resounding successes. In the last NAB, we had the pleasure of interviewing its CEO, David Ross.

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Why did Ross Video associate with NewTek and NDI protocol? It took everyone by surprise. Yes, many were surprised that we did this. There were two reasons behind this move. The first was that we wanted to be in all the video standards possible. We are a company that does HD, 3G, 4K over 12G, 4K over Quad-link and also, IP with SMPTE 2110, etc. We are members of AIMS, and we were also at ASPEN with Evertz right from the beginning. Now we find that there is a new video standard gaining visibility and it’s called NDI, which again, is different to everything else. So, we thought it would be a good idea to learn more about this format and form part of it. The second reason was the launch of our integrated Graphite system, perfect for these environments. There is also a growing need within the NewTek and NDI ecosystem, which is that users need to work with graphics, from the simplest of forms to the most complex ones. So, we decided to incorporate NDI into our Xpression system in order to cover these graphic needs. And speaking of TMBi - 58

David Ross, CEO of Ross Video

Graphite -which is another alternative to the NewTek equipment- by incorporating NDI, if a user prefers to work with Ross Video, they can switch from one system to another with no problem whatsoever; it just depends on their requirements. Many people cannot afford to work over IP without compressing with expensive routers and all that infrastructure that comes with it, but NDI works with a compression that permits working at a much more contained cost.

In your opinion, when will we witness the disappearance of SDI? Perhaps in 25 years’ time. The reason I say this is the following: Devoncroft held a meeting in this last NAB,

which I attended. They showed a great pie chart with who had adopted 4K resolution, who was in 3G, who was in HD, who was in SD and finally, who was still working in analogue format. This information had been collected from companies located all over the world, which means it includes countries from continents like Africa, Europe, America... With all this information on the table, a question was posed... What is the percentage of companies that still have SD resolution or continue to work in analogue on a global level? The answer was 40%. I nearly fell off my chair! It is funny because, if we look at the messages released by the marketing departments, anyone would believe that everything will immediately be IP 2110 without compression, but we are not at that stage yet. Far from it. The Broadcast industry still has a long way to go. We are really witnessing the very first movements. Some companies are beginning to use high resolution or an IP infrastructure, others are adopting HD resolution, and many others are still working with SD or even in analogue mode. Many have not even jumped on the digital


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transition train yet. This is why I believe that the death of SDI, considering 12G as SDI as well, will happen in 25 years or more. If you attempt to do a fast transition and you only have a handful of employees, a couple of cameras, and that's about it, do you really need a Cisco router working on 2110? I honestly believe it would be too much of an investment. This is why sometimes it is hard for people to get that type of capacity in their installation, especially nowadays. I think SDI is simple and fail-safe. I would also like to clarify that I believe that IP has come to stay. As an industry, we are spending millions of dollars to develop a technology for SMPTE 2110, we are exhibiting first-class products on the stand, and we bought a company with this purpose also, so I would not want to be misunderstood. I believe in IP technology, but at the same time, I don’t think SDI is going away any time soon.

You have not stopped growing in the past 25 years. What is your secret? Growing non-stop for 25 years is not a matter of doing one thing right. It is more a matter of not doing

loads of things wrong! I mean, if I set goals too high, if I follow bad policies, if I don’t have a committed workforce that on top of that doesn’t work well in a team, if I don’t have good personnel... Then I would fail. If you try to move too fast... That will ruin you. If you decide to run with venture capital companies in your business, because you want more of a fast-paced action, they will sell you, and you will have to start all over again. If you don’t choose the most appropriate technologies, you’ll soon be dead. If you advance too fast when implementing new technologies, committing to IP and nothing more, you’ll be dead in no time. If you move above or under the market level, and you do so too quickly, you’ll be dead, because you’ll lose your client base before you even get a client base. If you change your leadership time and time again, a new CEO

every two years, changes in management... You will also be dead, because nobody will have a clue about whom you are representing. These are some of the things that may kill you and must be avoided.

What are your expectations for this year? One of my expectations for this year is the following: We have been growing on average 17% per year during the past 25 years. We have not experienced a descent so far, and I really do not expect -or hope- the company to grow any faster. If we grew by 50% all of a sudden, I would be asking myself “Why? This wasn’t in the plan”. So, my expectations are to stick with 17% more business than last year and continue with the plan, the decisions we have taken and the research that is necessary to invest in marketing and

By incorporating NDI, if a user prefers to work with Ross Video, they can switch from one system to another with no problem whatsoever; it just depends on their requirements TMBi - 59


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the companies we have purchased. I would like to reach new consumers who do not yet know who we are. There is an amazing number of potential clients out there who do not yet use Ross Video, and it is precisely there where we are going to focus our efforts. There are others who already trust in us, and I want them to be happy with what we have done with them until now. We have not forgotten about them and we care for them too. In fact, we do not usually lose clients. Attracting clients is a slow process, but once we achieve it, they are usually satisfied with what we do. The interesting thing is that, on a global level, a country in which for some reason we do not have a good representation is Korea. And Korea is making a beeline for UHD. They have decided to skip IP and instead, they want to work on Quad-link and 12G in their infrastructure. We have only just sorted out representation that has presented the brand there, and they have come to the realisation that we have many products that can cover their needs. They were under the impression that we were a mixer company and they did not know our entire catalogue. They have been pleasantly TMBi - 60

We have been growing on average 17% per year during the past 25 years. We have not experienced a descent so far, and I really do not expect -or hope- the company to grow any faster. If we grew by 50% all of a sudden, I would be asking myself “Why? This wasn’t in the plan”. surprised at everything Ross Video can offer them, with all our solutions.

In that respect, Ross Video is well known in the States, but what sort of growth do you expect to see in Europe and the rest of the world? Our growth in the States is good. The American market is one of a kind, based on the fact that they have more broadcasters than any other. They clearly have the biggest stadiums, the largest screens and the greatest

productions than any other place. In terms of education, they have first-class equipment in the schools, which is something I have not seen anywhere else. It is a country where large corporations are doing so much high-quality video. Another important sphere is


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churches. Even though it might sound incredible for other regions, churches are making some of the most impressive productions that can be seen in the US. Stadiums are also equipped with top-notch equipment. It is an incredible market that does not cease to grow, and we grow with it.

Having said that, we are convinced that most of our growth will end up coming from outside, from other parts of the world. We are investing a lot of effort in regions such as EMEA and APAC, where we have offices, and we are incorporating resources. We would like Ross Video to be

well known and for people to be aware of the catalogue of solutions we can offer. As I said before, attracting clients is not an easy process, but once you're there, it is not often that a client will stop working with us, as their degree of satisfaction is so high. TMBi - 61

ď‚ą


Ikegami UHK-430 Everything a 4K camera can be

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Ikegami UHK-430

At TM Broadcast, we have had the privilege of thoroughly testing one of the camera models that has caused the most sensation in the last Las Vegas NAB: the Ikegami UHK-430 in the purest Japanese style.

Author: Yeray Alfageme

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 TEST AREA

Testing the camera at the studio

The UHK-430 is the top-ofthe-range as far as Ikegami camera systems go. This model has all the technological advances and technologies -compared to others that only have a handful of them- to ensure uncompromised top-quality image. Thanks to Ikegami Europe, we have had the opportunity to well and truly try this complete Unicam XE system with an UHK-430 TMBi - 64

and all its accessories. What we had in our hands was:

• A CJ20ex7.8B IASE S lens for ENG configuration.

• A complete UHK modular unit.

• Canon DP-V2410 and Ikegami HEM-1770WR displays.

• A CCU-430 as a camera base. • The entire range of viewers and viewfinders: VFL201D, VFE741D and VFL701D. • A SE-U430 system expander with the Canon field lens (UJ90x9B).

Now, let’s analyse the components, shall we?

UHK-430 CAMERA Undoubtedly, the UHK-430 is one of the sturdiest cameras on the market. As soon as you pick it up, you


Ikegami UHK-430

As soon as you pick it up, you can feel the predominance of lightweight metallic materials beyond its plastic covers. This conveys a true sensation of trustworthiness and lightness, very in line with the results it yields.

can feel the predominance of lightweight metallic materials beyond its plastic covers. This conveys a true sensation of trustworthiness and lightness, very in line with the results it yields. It doesn't need large air vents because its new AXII low consumption videoprocessing chip permits operating it without the risk of overheating, even with the fan switched off in

-The controls at the back, easy to handle

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 TEST AREA favourable environments something unthinkable off in 4K cameras not so long ago-. Its core employs three 2/3inch CMOS sensors, which do away with any colour aliasing problems we might suffer in a camera with a single combined sensor for all three colour components. In combination, the three CMOS sensors and the AXII processor permit

We also have a 16-axis colour corrector system that gives us a colour precision beyond white balance, permitting the system to operate in fiction or drama environments, such as series or the like, where the grade is important right from the very moment you take the image, minimising post-production times.

Quadlinkk, 12G, Ethernet, everything needed is at the back of the CCU

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Ikegami UHK-430

transporting an uncompressed RGB 4:4:4 signal via an SMPTE cable up to 4 km with a maximum transfer rate of up to 40 Gbps. It has a focus assist system that is really useful and allows the operator to maintain the desired shot in the same way as you would do in HD environments, where the focus was not so critical. Gone are the days

of SD where peaking was sufficient. Now, a focus assist system is virtually a must and very highly valued by all professional operators. The manufacturers have known how to integrate it very well in this model. We also have a 16-axis colour corrector system that gives us a colour precision beyond white balance, permitting the system to operate in fiction or drama

environments, such as series or the like, where the grade is important right from the very moment you take the image, minimising postproduction times. The system also gives us simultaneous 4K outputs in four quadrants or 2SI, as well as 2K/HD signals both over 3G and 1.5G, which are indeed possible thanks to the multiple CCU system outputs. It also supports

MCP Main page

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 TEST AREA

The OCP used in the test bench

carrying signals over 12GSDI carrying signals over 12G-SDI or VoIP. Ethernet interface for the control panel for a transparent 1 Gbps Trunk line and various HD Signals can be carried from the camera control unit to the camera via a simple SMPTE cable. A novel feature is its cutout system, which allows us to choose a region of the 4K image and offer it to one of the HD outputs with different pre-sets or in a personalised TMBi - 68

manner, which in turn, permits making two simultaneous productions in HD and 4K without having to duplicate cameras and with different shot openings which are usually required by producers in these types of situations. This is something really useful in our opinion. Of course, the new image standards could not be excluded from a top-of-therange camera like this. We get unlimited HDR and

WCG here! It incorporates the HDR HLG gamma curve by default. Broadcasters prefer this to any other thanks to its retro compatibility with the current SDR. It lets us load any HDR gamma curve we want, and when we say any, we mean it, not only PQ or SLog3. Very few systems offer this natively. As far as the colorimetry range is concerned, the system can produce signals under the old BT-709


Ikegami UHK-430

Focus and zoom can be handle from the MCP

A novel feature is its cut-out system, which allows us to choose a region of the 4K image and offer it to one of the HD outputs with different pre-sets or in a personalised manner standard -which we should remember is limited to the old-fashioned phosphors of CRT monitors- as well as

the new ITU-R BT-2020 standard complete, including all its younger brothers like the DCI and similar ones.

Ergonomically speaking, the UHK-430 lets us separate the sensor block from the main block in more than 50 metres, which makes it ideal for robotic cameras and remote operating environments. Both the shoulder base and the VFL201D viewfinder have been specially designed to be operated on your shoulder, and the placement of the buttons of the camera body have been TMBi - 69

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 TEST AREA devised so that the operator can use them intuitively without needing to take his eye of the viewer. It is worth noticing that the SE-U430 system expander for large format studio lenses is one of the most comfortable you will find. To assemble and disassemble the camera head you don't even have to disconnect the viewfinder because this moves sideward releasing

Full setup with Canon Digisuper 90

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the camera from the extender and the lens with ease. Also, gone are the times when you used to spend fidgeting with your fingers trying to find the bayonet closure on the sensor connector with the lens because the extender engages them to perfection and secures them to prevent any type of inconvenience or movement between the two.

CCU-430 CAMERA CONTROL UNIT

Another example of sturdiness is the CCU-430 camera control unit. The only drawback I can see is its size. It occupies three whole rack units compared to other systems that only occupy two or three half units. Apart from that, it offers countless connection possibilities from the camera control unit towards external signals.


Ikegami UHK-430

Signal testing on a monitor

It lets us load any HDR gamma curve we want, and when we say any, we mean it, not only PQ or S-Log3. Very few systems offer this natively. Virtually all the standards available on the market are supported. 4 Output (3G/SDI or 2SI for 4K, 3G outputs

and 1.5 Gbps for HD downconverted directly or with a cut-out, suppressing a chosen part of the 4K signal

on the HD output. It also offers 12 outputs and simultaneous monitoring depending on the options you have chosen. A very interesting feature is the possibility of establishing a transparent Ethernet link of up to 1Gpbs between the CCU and the camera, which lets us extend Ethernet connections up to 4 km through SMPTE fibre. TMBi - 71

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 TEST AREA

The control cards inside the CCU

CONTROLS: OCP300 AND MCP-300

control panel. The brand does not forget about one of its signature features: the possibility of controlling the focus and the zoom from the control panels. This is something impossible to use in production but ideal for testing and in prior adjustments, without the need for a dedicated operator conducting camera tests to each camera during an event.

As regards remote controls, Ikegami has two control panels: the OCP-300 and the MCP-300 master

Both units have quality and easy-to-use touch screens, with menus organised by direct accesses and the

The latest innovation with respect to connectivity is VoIP support. Ikegami plans to implement the TICO lossless compression standard, capable of delivering a 4K signal through one single 10G link, in addition to a full uncompressed version through a 25G link.

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most frequently used functions at the beginning, and the rest of the functions organised by families on the following pages. The designers have certainly hit the spot with the operators when designing the units because they are really easy and intuitive to use. The MCP permits controlling up to 100 cameras. It supports up to 10 cameras on direct access and 10 different pages among which to change the cameras you want to control, with the


Ikegami UHK-430

possibility of reorganising them if need be. The OCP300 can also be used as Master control panel and is able to control up to 50 cameras. As far as connectivity is concerned, both controls can be connected either through a serial or Ethernet port, both of which would require an external power supply, or through PoE (Power over Ethernet) -our choice for the testing-, avoiding connecting an additional failure point in the setup, or even permitting a power supply backup, by having power through a data cable and external power supply simultaneously.

The brand does not forget about one of its signature features: the possibility of controlling the focus and the zoom from the control panels. extend an Ethernet connection up to 4 km, have 4K Quad Link, 2SI and 12G outputs in combination with HD 3G, 1.5G and cut-out outputs certainly give us a very clear statement that we are facing one of the most

complete systems there is, and an option to take very much into account by the large broadcasters out there if they want to produce uncompromising quality and image in all possible settings.

CONCLUSIONS Beyond doubt, Ikegami’s UHK-430 camera system is one of the finest systems in the sector. You can tell Ikegami has thrown everything into their flagship system and has spared no expense in technology and connectivity. This has by no means led it to give up on the reliability and sturdiness we have been accustomed to with this brand, which are features that continue to stand out in this model. Details like being able to

VR Data menu on the OCP

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TM Broadcast International 47, July 2017  

In this issue: A special report about Outside Broadcast with an exclusive interview with Broadcast Solutions; Ikegami UHK-430 in our test z...

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