TM Broadcast International 49, September 2017

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Pan shot Keep informed about what’s happening

Special Preview IBC 2017 JVC at West Virginia University Test Area

Sony PXW FS7-M2 Improving excellence

Editor in chief Javier de Martín

Editorial staff Daniel Esparza

Key account manager Cristina Feduchi

Administration Laura de Diego

Creative Direction Mercedes González

TM Broadcast International #49 September 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 Everything is ready. When we write these lines, we are barely some days away from one of the most important dates of the year for the European broadcast and audiovisual market. Once more the team of the magazine will travel to Amsterdam to chat with the responsible of the novelties and more interesting launches that will take place on the show Furthermore, we’ll pay special attention to the market trends, especially to the developments involved with IP Technology to which this year IBC TV is added, broadcasting with an IP structure and a remote production work flow. With no doubt, exciting days are waiting ahead. This TM Broadcast International issue brings a huge report about what manufacturers and distributors will showcase at the show: more than 50 pages, which under our opinion, are some of the most interesting products that will be shown and can be touched there. Also in this edition you’ll find a huge test bench of the Sony Camera PXW FS7-MII, a model that considerably improves in many ways to its already magnificent predecessor. We wish to all IBC attendees a fantastic show, full of agreements which make your company to grow and also our industry.

See you in Amsterdam!

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The new Perform facility was completed towards the end of 2016 and has now been operational for 8 months

The Perform Group is one of the leading providers of sports content and connects brands with sports fans by delivering high quality, credible multi-sport content across a global digital network. Following the award of a ten-year deal to manage content for the Women’s Tennis Association (WTA), Perform built a brand new play-out facility in Bangor, Northern Ireland, and worked with Ross Video® and UK Diamond Partners WTS to equip the new building. The new Perform facility was completed towards the end of 2016 and has now been operational for 8 months. It includes a range of products from Ross Video including the Carbonite Black production switcher, Abekas replay server, Ultrix TMBi - 6

routing platform and several customised DashBoard control interfaces. Paul Quinn, Operations Manager at Perform, is delighted with the results. “The deal with the WTA is the largest contract in women’s sport that has ever been signed. The main aim of this facility is to deliver the best quality product for WTA Media; we take in the pictures from almost all of the WTA events globally, quality check them, add commentary and distribute them to the relevant broadcast partners. Our operators need products that are intuitive, easy to use and tailored to their needs so they can concentrate on the images in front of them on screen. We’re very pleased with the products we procured from WTS and

Ross – everything has worked exactly as needed”. Oscar Juste, Ross Video’s Director of Sales for EMEA, points to flexibility as the key to this project’s success. “We talk a great deal about Smart Production and our ability to help content producers work more quickly and efficiently. Both WTS and Ross spent a lot of time understanding Perform’s creative, technical and business needs, and we were able to create various customised DashBoard panels that are very powerful yet simple to use. This has given Perform’s operators a great deal of flexibility and has helped everyone to be more creative as well as more efficient”.



RIEDEL PARTNERS WITH PTSCIENTISTS FOR THE UPCOMING MISSION TO THE MOON Riedel is providing the communications and signal infrastructure for the project As a technology partner for the upcoming Mission to the Moon, led by the Berlinbased PTScientists commercial space company, Riedel Communications will once again demonstrate its ability to deliver missioncritical systems. Riedel is providing the communications and signal infrastructure for the project in which PTScientists will aim to be the first private company to land on the Moon. Mission to the Moon will attempt to place a spacecraft on the lunar surface, dispatch two remotely controlled Audi lunar quattro Moon rovers, and broadcast live video back to Earth in HD. Due to launch next year, the project is the work of PTScientists and their TMBi - 8

key technology partners, Audi and Vodafone. "At Riedel, we're no strangers to performing under pressure, as demonstrated by our work supporting Felix Baumgartner's recordbreaking free-fall jump from the stratosphere. After the massive success of the Stratos project, I wondered what would be next," said Jacqueline VoĂ&#x;, Manager, Corporate Development at Riedel Communications. "Being a technology partner for the Mission to the Moon is not just a huge testament to the reliability of our Artist and MediorNet solutions, but it also speaks volumes about our engineering teams that work behind the scenes. All of us at Riedel are thrilled to

be a part of this project." PTScientists chose the Taurus-Littrow valley for the Mission to the Moon, the notable landing site of Apollo 17 in 1972. This location will provide a opportunity to see how the objects left behind by Apollo 17 have survived over 45 years on the Moon. After using a commercial SpaceX rocket to reach Earth's orbit, the PTScientists' ALINA spacecraft will travel to lunar orbit, before soft-landing on the Moon and releasing the pair of Moon rovers. ALINA will also be used as an LTE base-station, enabling data connectivity between the two rovers and the lander ALINA, and could also act as a communications base-station for future missions.

Mission to the Moon will attempt to place a spacecraft on the lunar surface, dispatch two remotely controlled Audi lunar quattro Moon rovers, and broadcast live video back to Earth in HD.

Riedel's involvement is multifaceted. As a technology partner, Riedel will provide essential communications via its Artist digital matrix intercoms and Bolero wireless intercoms for Mission Control and all aspects of the live telecast. In parallel, Riedel MediorNet systems will be used for all signal distribution and processing on the ground, including the video data collected by the Moon rovers. "Landing on the Moon is very complex, and it is vital that each person on the mission is working with the latest mission data and has the ability to communicate with the rest of the team without delay," said Robert Bรถhme, CEO and Founder of PTScientists. "We're pleased to be working with a company that has a long track record of providing services in high-pressure, live broadcast environments. The Riedel team already understands what we mean when we describe things as 'mission critical.'"


NATIONAL THEATRE LIVE DELIVERS ITS FIRST HDR PRODUCTION THANKS TO SAM SAM’s Kahuna running FormatFusion4 allows seamless multi-format production Snell Advanced Media (SAM) today announced that the UK’s National Theatre has delivered its first HDR/UHD production thanks to SAM’s latest Kahuna production switcher. The two-part live broadcast of the National Theatre Live’s Angels in America was produced by Production Company, Creative Broadcast Solutions together with OB company, Telegenic. SAM’s Kahuna production switcher was running the latest version of the FormatFusion technology, bringing HDR

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capabilities to all inputs and outputs, and was deployed in Telegenic’s OB truck. Angels in America marks National Theatre Live’s 60th production since it launched in 2009 and was broadcast live to over 2,500 cinemas in 60 countries, including more than 700 cinemas in the UK. Featuring an all-star cast, including Andrew Garfield, Nathan Lane, Russell Tovey, Denise Gough and James McArdle, the two parts of the production were broadcast on 20 July and 27 July respectively. “As this was the 60th

production we decided to shoot it in UHD and exploit HDR and everything that comes from that,” said Christopher Bretnall Technical Producer, Creative Broadcast Solutions. “Although Kahuna has been used for NT Live productions in the past, this is the first time we have used it to its full capability.” Creative Broadcast Solutions issued a competitive tender for the project, following which the project was awarded to UK OB company Telegenic. Creative Broadcast

Solutions worked together with Telegenic to ensure that their choice of kit – which included SAM’s Kahuna – was suitable for what needed to be achieved and that the full UHD experience was delivered in a much more robust fashion than ever before. “Kahuna with FormatFusion4 enabled us to deliver both SDR and HDR, and exploit rec.709 and rec.2020 at the same time. The ability to put in nonUHD content was also very appealing, so we could put anything in to the switcher and get what we need out of it,” Bretnall added. “The Angels broadcasts were delivered seamlessly through the SAM UHD switcher. Its capabilities ensured that the mixed-format sources were effortlessly integrated into the UHD capture and live broadcast”. Robert Szabo-Rowe, EVP and General Manager, Live Production & Infrastructure, SAM said, “SAM has always been a firm believer in the benefits of HDR in combination with UHD and we are committed to enabling our customers to seamlessly use any combination of format and resolution that suits their needs. We’re very excited that our technology has been used to mark this important milestone in the National Theatre’s history.”


IMAGE MATTERS DELIVERS HIGH-QUALITY VIDEO CODECS WITH VYUSYNC VYUsync delivers a wide range of H.265, H.264 and MPEG-2 IP cores. The IP cores are configurable adopting the black-box approach to FPGA integration. Combining low

VYUsync will be integrating their range of video codecs into the origami™ Ecosystem

latency and high-quality, VYUsync solutions are suited to work in all aspects of the broadcast workflow, from camera back encoders,

Image Matters announces that Video IP core specialists VYUsync will be integrating their range of high-performance video codecs including H.265/HEVC, H.264 & MPEG-2 Decoders into the origami™ Ecosystem. Jean-François Nivart, Image Matters CEO, explains: “VYUsync’s supreme video quality IP cores are a fantastic example of third party integration into the origami™ Ecosystem. Users benefit directly from years of experience gained by VYUsync through designing and delivering highly optimized video processing engines. Thanks to VYUsync, and Image Matters, OEM’s and SI’s TMBi - 12

access cutting edge HEVC, AVC and MPGEG2 codecs and can deliver their own customized high-speed video processing broadcast solutions.”

through editing and

Sivakiran Nagisetty, CEO, VYUsync, adds: “We are excited to be partnering with Image Matters as member of the origami™ Ecosystem. Image Matters expertise in hardware module development perfectly complements our strength in FPGA-based RTL design. The high performance capability of the B20 module in a very compact form will allow us to deliver highdensity decoder solutions. Being part of the ecosystem will allow our customers to quickly and reliably integrate end-to-end solutions.”

board, OEM’s and SI’s either

playback, all the way to the transmit headend. After installing VYUsync IP cores on the origami™ B20 Xilinx Kintex FPGA module use one of the off-the-shelf connectivity solutions, such as the origami™ B21 carrier board, or build their own interface unit to deliver customized solutions. At this year’s IBC, Image Matters will be demonstrating VYUsync solutions on booth 5.B21 along with other members of the origami™ Ecosystem to showcase multiple demos with different IP-Core integrations and hardware products.


BLUEFISH SUPPORTS SMPTE 2022 STANDARDS WITH INGESTORE SOFTWARE IngeSTore is Bluefish444’s free multi-channel capture software compatible with all Bluefish444 Epoch and KRONOS video cards. It captures multiple simultaneous channels of 3G/HD/SD-SDI, and now SMPTE 2022 Video Over IP, to popular media file formats for archive, edit, encoding or analysis. IngeSTore drives efficiency in the digitisation workflow by enabling multiple simultaneous recordings from VTR’s, cameras and any other SDI source. The addition of SMPTE 2022 Video Over IP capture is enabled within IngeSTore software through the recently announced Bluefish444 “IPConnect” API, and allows the capture of Video Over IP standards through standard off-theshelf 10Gb Network Interfaces (NIC). “Bluefish444 are pleased to announce integration of IPConnect into IngeSTore, enabling capture of Video Over IP to file,” says Tom Lithgow, Product Manager at Bluefish444. “The ability to access Video Over IP sources from standard 10Gb Network Interfaces gives TMBi - 14

To see a demonstration of IngeSTore capturing from SMPTE 2022 Video Over IP sources, users can visit Bluefish444 on stand 7.J07 at IBC Show 2017.

Bluefish444 customers unrivaled flexibility in both IngeSTore and 3rd party software via the new IPConnect API.” The latest updates to IngeSTore software add new functionality including additional codec upgrade options, “Edit-While-Record” functionality, and additional support for shared storage, including Avid shared storage. Bluefish444 has partnered with Drastic Technologies to bring additional codec options to IngeSTore v1.1, including XDCAM, DNxHD, JPEG 2000, AVCi and more. Uncompressed, DV, DVCPro, and DVCPro HD codecs are available free to Bluefish444 customers in the current version of IngeSTore software.

“Edit-While-Record” functionality The much anticipated “Edit-While-Record” functionality allows editors who use popular NLE’s to access captured files while they are still being recorded to disk. This feature is used heavily in live broadcast video workflows and in timecritical environments when media needs to be accessed while live recordings continue uninterrupted. Popular content creation tools such as Avid Media Composer, Adobe Premiere Pro CC, and Assimilate SCRATCH can output SDI and HDMI with Bluefish444 video cards while IngeSTore is recording and the files are growing in size and length.


JBD S.A. WILL DISTRIBUTE CALREC THROUGHOUT POLAND robust functionality." Founded in 1991, JBD S.A. was one of Poland's first providers of professional video and audio equipment. Today, the company offers a broad portfolio of equipment, services, and training to broadcast, live production, and related customers from its offices in Lodz and Warsaw. JBD S.A. has signed up as the exclusive distributor throughout Poland for the full Calrec Audio console family. Brio will be its primary focus. "Calrec Audio is renowned for setting the highest standards for broadcast audio-mixing technology. Brio and the other Calrec

desks are powerful additions to our portfolio," said Konrad Przygucki, managing director, JBD S.A. "We know we'll have great success with Brio because it's exactly the type of solution many of our customers are looking for — a well-priced, compact, and easy-to-use desk that provides full and

"With broadcast industry expertise spanning more than 25 years, JBD is the ideal partner to expand our market presence and build the Calrec brand in Poland," said Mike Reddick, international sales manager for Calrec. "We're looking forward to working with the JBD team to develop new opportunities."



DALET ANNOUNCES A NEW ENTERPRISE ORCHESTRATION SOLUTION Dalet Orchestration is designed to integrate content pools and automate workflows across different verticals

The Dalet Orchestration solution comes with a wide range of out-of-the-box connectors, from industry standards to custom-built partner technology integrations

Dalet has announced Dalet Orchestration, an enterprise media management solution designed to integrate content pools and automate workflows across different verticals – such as programs, promos, news, sport, lifestyle and more. Dalet Orchestration provides tools to automate and optimize workflows from acquisition to production and distribution of content to multiple broadcast platforms TMBi - 16

and publishing systems. Delivered with Dalet Report Center, the solution offers critical analytics specifically tailored for media operations, allowing management teams to measure performance throughout the chain and build data-driven strategies. “The complexity in the production and distribution chain continues to rise as facilities strive to improve

productivity while pursuing new avenues of revenue. More than ever, media organizations require genuine freedom to adapt fast to changing business models and to grasp new opportunities by creating new content experiences,” says Arnaud Elnecave, vice president of marketing, Dalet. “They need to become more agile and build an

enterprise solution that connects internal content sources to the whole of the business, disintermediates the content chain, enables efficient multiplatform distribution, streamlines user workflows, standardizes technical processes and provides visibility throughout the chain in order to optimize performance and build datadriven strategies. This is what the Dalet Orchestration solution has been designed for.”

Showcased in preview at NAB 2017, Dalet Orchestration garnered a NewBay “Best of Show” award for its groundbreaking innovation, feature set and performance in serving the industry.

Dalet Orchestration doesn’t substitute existing MAM systems, but rather integrates them to access the media assets they hold and facilitate coherent enterprise-wide workflows. The Dalet Orchestration solution comes with a wide range of out-of-the-box connectors, from industry standards to custom-built partner technology integrations. These integrations range from simple connectors for filebased exchanges with applications such as file transfer engines, HSM, QC, media transcoders and content analysis; to complex adaptors for asset-based exchanges, enabling bi-directional communication with systems such as PAM/MAM/DAM, CMS, OVP, NRCS, graphic systems, traffic, scheduling and billing. For the more tech-savvy organizations, the Dalet Galaxy WebServices API allows for any ad hoc integration to be developed in-house or by a contractor. Orchestration enables to combine in a single workflow a mix of processes that use dedicated, on-premise resources and processes that consume Software-as-aService (SaaS) solutions. The framework is also ready to connect new types of services such as artificial intelligence (AI) models that need to be driven with context and feedback.



Dejero has announced a partnership with Intelsat. The collaboration provides broadcasters with a new blended cellular and Kuband IP solution for live television coverage from remote locations. Dejero CellSat leverages Dejero’s patented network blending technology to combine cellular connectivity from multiple mobile network carriers with Ku-band IP connectivity provided by Intelsat. This gives CellSat users the TMBi - 18

required bandwidth and greater confidence to go live from virtually anywhere. If the bandwidth available from cellular connections dips due to network congestion or other factors, CellSat automatically blends in Kuband IP satellite connectivity to boost bandwidth to the requested level for the live shot. “We are addressing the dilemma that broadcasters face about which video transport assets to deploy to a news story or live event,”

explained Bogdan Frusina, founder of Dejero. “By taking advantage of cellular and satellite connectivity, CellSat offers high reliability to our customers, with the convenience of procurement, network management, billing, and support from a single vendor. This is a package that is currently unmatched in the marketplace and we are thrilled to be working with Intelsat to make this possible.” The Dejero CellSat


solution communicates with the satellite terminal auto-acquire system to simplify the satellite connection process. There is no need to schedule satellite time, saving crews valuable time and removing the constraint of broadcasting within a certain time window. In addition to managing the fluctuating bandwidth of individual cellular connections, CellSat software dynamically allocates satellite bandwidth for optimal performance. “Today’s broadcasters are challenged with quickly producing

high-quality, reliable television coverage in environments that run the gamut from sparsely populated in extremely remote areas to overcrowded with a congested network,” said Rob Cerbone, Intelsat’s Vice President and General Manager of Media Services. “Coupling Intelsat’s high performing, ubiquitous Ku-band IP connectivity with Dejero’s blended cellular technology will give broadcasters greater assurance when covering live events. Dejero CellSat was designed with simplicity in mind so crews can focus on setting up quickly and

getting the live shot back to the broadcast facility and on the air.” The Dejero CellSat solution includes precertified encoding and receiving equipment, network blending software, connectivity services to the CellSat network, cloud management, and 24/7 technical support. Most satellite vehicles with existing Ka-band or Ku-band satellite equipment can be upgraded for compatibility with Dejero CellSat. Dejero CellSat is available in the United States and Canada, with rollout to other regions planned for 2018.


NEP DOUBLES ITS 4K/UHD PRODUCTION CAPACITIES FOR SWISS FOOTBALL LEAGUE NEP Switzerland has commissioned the 4K/UHD UHD 42 OB Vehicle, constructed by Broadcast Solutions NEP Switzerland has doubled its 4K production resources in readiness for broadcast production work on the 2017/2018 season of the Swiss Raiffeisen Super League (RSL). Contracted to produce all of the Premier Swiss Football League’s games in 4K/UHD, the TV service provider has commissioned the 4K/UHD UHD 42 OB Vehicle – constructed by German system integrator Broadcast Solutions GmbH as part of its Streamline series, with two production areas supporting up to 10 cameras. UHD 42 made its debut at the RSL season opener, a top match between BSC Young Boys Bern and FC Basel that took place at the end of July in the Stade de Suisse in Berne in front of a capacity crowd. Along with the UHD 41 OB – which was commissioned last year and is also being fielded for the Raiffeisen Super League – NEP Switzerland now operates two large-scale 4K/UHD OB Vans, and TMBi - 20

produces more than 140 league games in 4K during the season. Reto Osterwalder, Managing Director of NEP Switzerland, comments on the company’s 4K/UHD operation: "While still an exception for other broadcasters, productions in 4K/UHD are normal for us. With the experience gained as a team during last season’s 4K productions, our state-of-the-art 4K OB vehicles and our cuttingedge infrastructure, we capture the atmosphere of the games in perfect picture quality and reliably deliver it to all the viewers – every match day."

The production involved a total of nine cameras On site in Bern, NEP Switzerland used the UHD 42 to produce the game as well as to manage a pitchside studio for the Teleclub analysts and experts. The production involved a total of nine cameras – seven onfield cameras plus two flash and studio cameras for the

Teleclub studio. The pitchside location was chosen to be as close as possible to the action, rather than somewhere in the stadium's catacombs. A further static camera was planned for the commentary position. While production of the Bern game was UHD 42’s main production responsibility, additional footage from and connections to a second game, taking place in parallel, were also handled in UHD 42 and integrated into the outgoing feeds.

NEP relies on Grass Valley NEP Switzerland has placed its trust in Grass Valley’s LDX 86N native 4K camera models and Canon lenses. UHD 42 also uses a Grass Valley Karrera K-


On site in Bern, NEP Switzerland used the UHD 42 to produce the game as well as to manage a pitch-side studio for the Teleclub analysts and experts

frame 8 M/E video switcher, with a 48-fader Lawo mc256 mixing console and Lawo Nova73 Compact router at the heart of its audio operation. Four EVS XT 4K video servers are available for replays, action highlights and clips. New for the 2017/2018 RSL season is the use of the Vizrt Arena virtual 3D graphics system to overlay match facts, analyses, team strips and details of the tactical lineups. While UHD 42 OB has two production rooms, the games of the Raiffeisen Super League are produced exclusively from the main production room. Where the majority of 4K/UHD television productions presently use

Square Division (where the full image is divided into four quadrants), UHD 42 uses the Two-Sample Interleave (2SI) format (four 3G/HD/SDI). This offers advantages in handling additional HD signals produced during all matches. Intercom signals are transported with the HD feeds, since many of the UHD feed channels are already required for the broadcast’s trilingual commentary production. For the Berne game, UHD 42 sent two UHD feeds and four HD feeds into the network, and received a UHD feed and two HD feeds from the other games. A Nimbra fibre-optic stagebox developed by Swisscom

Broadcast AG was used to connect to the fibre-optic network. For this, the 2SI signals were converted into Square Division format and sent to the stagebox via four conventional BNC cables per UHD feed. After converting the signal into JPEG 2000 format (4x400Mbit), the stageboxes injected the signals into the fibre network. The Swisscom stageboxes are put to the stadium together with NEP’s OB Vans, ensuring consistent cable lengths on the BNC side and offering enormous advantages in infrastructure costs. This setup is used for all matches and in all RSL league stadiums. TMBi - 21


TELESTREAM ANNOUNCES THE LATEST VERSION OF VANTAGE MEDIA PROCESSING PLATFORM Telestream has announced the latest version of its media processing and workflow orchestration platform, Vantage. Key new functionality within Vantage 7.1 centers on Vantage Elastic Domain. This new deployment model for the platform empowers media companies to leverage public and private cloud infrastructure strategies to run Vantage. Vantage Elastic Domain allows users to adapt to increases in media processing by allowing for ‘bursting’ capacity based on the daily use of extra virtual instances of Vantage. With Vantage Elastic Domain, users can

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supplement perpetual licenses with on-demand license rentals, allowing their system capacity to expand in periods of peak demand, while retaining a predictable base cost for standard operational levels. With this new functionality, media companies can exploit innovations in public and private data center technology, paired with Vantage Elastic Domain to optimize flexibility and efficiency within a dynamic enterprise environment. “Our goal with Elastic Domain is to not only embrace the use of IT-based virtualization and SaaS solutions for Vantage, but to add further value by making Vantage as flexible and

scalable as those underlying infrastructure solutions,” comments Max Denton, Product Manager at Telestream. “Dynamic orchestration, centralized configuration, and centralized licensing are the key requirements for any multi-node solution to be sustainably scalable. These have been attributes of the Vantage architecture since day one. Now, with the technical and commercial enhancements of Elastic Domain, Vantage can thrive in dynamic virtual environments.” Vantage Elastic Domain will be available in October 2017 from Telestream and its global network of resellers.



Quantum will highlight the new solution at IBC2017, Sept. 15-19, in Amsterdam (Stand 7.B27), showcasing the three initial on-premise cognitive engines and integrated access to cloud-based engines. The company will add support for additional on-premise engines over the course of the year and beyond.

Quantum Corp. has announced aiWARE™ for Xcellis®, an on-premise and cloud version of the artificial intelligence (AI) platform from Veritone. Bringing Veritone's multi-engine AI capabilities into a Quantum StorNext®-managed environment, aiWARE for Xcellis enables users to leverage the power of Veritone's cognitive services and applications to extract new value from their onpremise video and audio content. Situating powerful AI processing behind corporate firewalls, the integrated solution is suitable for companies with significant investments in on-premise storage and/or

latency, cost or security concerns about cloud storage. Nick Gold, Chief Revenue Officer, Chesapeake Systems, explains: "Our customers are extremely excited about the prospect of using cognitive engines to mine their content repositories. Up until the availability of aiWARE for Xcellis, they haven't seen a way to smoothly integrate AI processing with their onpremise content. Quantum's approach solves the onpremise challenges while maintaining access to cloudbased engines and orchestration of everything for fantastic flexibility and options."

Keith Lissak, Senior Director, Media and Entertainment Solutions Marketing, Quantum, continues: "The integration of AI with on-premise storage enables organizations to apply cognitive analytics to video and audio content and generate much more robust metadata without the cost and hassle of moving their extensive media libraries to the cloud. This will be a game-changing capability for many media companies, as it opens up new realms of possibility for monetizing these libraries." TMBi - 23


EVS INTRODUCES A UNIFIED MULTICAM LIVE PRODUCTION SYSTEM WITHIN X-ONE EVS today announces a brand-new product within its family of live production solutions - X-One. This allin-one toolset delivers EVS technology for live productions requiring six cameras or less. The new system is built with EVS’ software-defined technology foundation and puts all of the capabilities of a control room in the hands of a single production operator – all controlled from the solution’s touchscreen. “Producers of smallerscale live operations are challenged to find the right creative production toolset that meets their needs for professional technology at a lower budget,” explains Laurent Petit, SVP Product at EVS. The all in one solution encapsulates what’s at the core of EVS’ industrystandard technology. It allows for the ingest of six camera feeds – as well as for the media import of any other files – which operators use to create replays, control audio, cut together a live feed with the built-in video switcher and even add graphics to live programming which is output TMBi - 24

The system will be available for purchase by the end of 2017 with further software upgrades available in Q1 2018 that will provide users with a wider range of features.

in broadcast-standard quality.

EVS X-One is designed to adapt to the type of production on which it’s deployed X-One is designed to be operated by one single user that can take advantage of its contextualized user interface that adapts to the type of production on which it’s deployed. Different sports or entertainment productions will have dedicated interfaces which highlight specific features and removes unnecessary ones. This puts users in a production environment with pre-defined functions and

simplified operation. The dedicated UIs will be available on the EVS cloud and can be downloaded and installed ahead of any production. The system natively supports AIMS-compliant uncompressed IP ST 2110 feeds and further assists production operators with functions that can be deployed through a number of apps and plugins which can be built and continually added into the system. XOne’s architecture can be configured to expand in input/outputs, as well as deliver UHD-4K formats for future needs.


GRASS VALLEY EQUIPS CAMCAT-SYSTEMS WITH LDX C86N COMPACT SERIES CAMERAS The new LDX C86N camera features fully native HD/3G/4K with optional HiSpeed, XtremeSpeed and HDR capability

The high-tech Austrian company CAMCAT-Systems GmbH is one of the world’s leading manufacturers and service providers for remote controlled cable car camera systems for live broadcast and film productions. Next to reliable high-speed cable cars, one thing CAMCAT knows for sure is the importance of a versatile high-quality camera. The company worked closely in partnership with ON-AIR Broadcast & Multimedia Solutions GmbH, the Austrian Channel Partner for Grass Valley, a Belden Brand, selecting the LDX C86N Compact Series Camera to meet the growing demand for spectacular live sports video footage. This camera delivers stunning imagery and the business flexibility for all applications where a compact form factor is required. Launched at NAB 2017, the LDX C86N features three native UHD 2/3” imagers and utilizes DPMUltra (an enhancement to Grass Valley’s Dynamic

“Whether you’re competing in a sporting event or filming it, you only get one shot,” said Greg de Bressac, director of channel sales, EMEA, Grass Valley. “The LDX C86N Compact Series offers all the features needed for the fast-paced, widely-watched events that CAMCAT-Systems captures.”

Pixel Management) to manage the acquisition format and capture highquality native HD/3G/4K images from anywhere. With the addition of BT.2020 wide color gamut support and optional HDR support, these cameras provide an outstanding solution for all HD/3G/4K applications.

program, the LDX C86N

When it’s time to combine the footage into a cohesive

certain to make the most of

Compact Series is fully compatible with the LDX 82, LDX 86 and LDX 86N Series cameras to match perfectly in color reproduction and wide-gamut acquisition. With countless upcoming high-profile sporting events, CAMCAT-Systems GmbH is this new camera investment. TMBi - 25


DPA MICROPHONES CAPTURES AMBIENT SOUND FOR FOLEY MIXER GEORDY SINCAVAGE As a foley mixer, Geordy Sincavage has worked on a variety of films and television series throughout his career, including The Revenant, and HBO original series’ The Leftovers and Westworld. Sincavage is the owner of Sinc Sound, a sound effects company that records ambient sound for productions, without using an audio library. Recorded inside a room filled with props like mud pits, car doors, glasses and anything else that can be used to create the native sound of an object, productions rely on Sincavage to capture unaltered, realistic audio. In turn, Sincavage relies on DPA Microphones’ d:dicate™ 4006A Omnidirectional Microphones to capture the audio he needs. “I started using DPA microphones around two years ago when recording for The Revenant,” says Sincavage. “I wanted to do stereo room miking on a separate track in Pro Tools® and to do that I needed two separate microphones. I reached out to Chris Spahr, VP of Sales and Marketing, USA, at DPA because I TMBi - 26

needed the cleanest microphones that would give me the truest sound. So many microphones color sound and DPA mics have the flattest sound with no noise floor. The resulting audio was clear and concise, which is hard to find when you are trying to replicate the sound that you are hearing in real life through a microphone.” For The Revenant, Sincavage used DPA d:dicate 4006A’s to capture an array of sounds, including boots walking over wooden planks, oars splashing in the water and snow crunching under feet. The sounds Sincavage and his team created helped earn the film its 12 ACADEMY AWARDS® nominations, including recognition for outstanding sound editing and sound mixing. Sinc Sound uses DPA mics for both close-miking and distance-miking scenes, with the main purpose of capturing sound organically and accurately. “For Westworld, the d:dicate 4006A’s were used

Geordy Sincavage

nonstop,” says Sincavage. “That show is very different and has a lot of transitions. There are scenes that take place in these old western buildings, such as a bar, and we needed to record creepy wood steps and big sounding floor surfaces. There was a scene when a big safe comes out on a wooden landing and the actor drops it down on the floor. I wanted to make sure I kept a distance from the action, but also got the sound of the safe exploding off the floor. Utilizing the d:dicate 4006A’s was a game-changer, as I was able to mic from a distance and still capture the native sound of the safe.”


FOR-A NOW SHIPPING INSYNC MCC-4K MOTION COMPENSATED CONVERTER FOR-A® announces that it’s now shipping the new InSync MCC-4K motion compensated converter. Developed by UK-based company InSync Technology, FOR-A first debuted the MCC-4K unit earlier this year in its NAB Show booth, and is exclusively distributing the solution worldwide. The MCC-4K provides highquality frame rate and format conversion for HD/3G/4K UHD signals. The first customer of the new solution is UK-based rental supplier Galaxy & Light Power. “We’ve been receiving an increasing number of inquiries for 4K conversion in recent months,” explained Andy Grant, Chief Executive, Galaxy Light & Power. “The MCC-4K offers high-quality performance and a range of features, and was easily our first choice for a 4K frame rate and

standards converter. The MCC-4K will be used for international 4K sports production, including soccer coverage from Europe to North America, as well as hockey coverage from North America to Europe. We also used it for frame rate conversion of tennis to Japan for up-res to 8K.” The MCC-4K is ideal for live frame rate conversion applications where UHD content sourced at a chosen production frame rate needs to be converted to other frame rates for international contribution and distribution, including sports, concerts and breaking news environments. The MCC-4K makes simultaneous transmissions in UHD and HD easy, and is also a perfect solution for integrating HD and 3G content into UHD programming. Offering support for quad

link 2SI or SQD format, as well as single link 6G/12G BNC and SFP optical connectivity, the MCC-4K offers HDR support with dynamic range conversion between PQ, HLG, S-Log 3, Canon Log 2, SDR and other log curves. It also provides color gamut conversion between ITU-R BT.709 and ITU-R BT.2020 standards. The MCC-4K motion compensated converter is the latest offering in FOR-A’s line of frame rate converters, which includes the also recently introduced FRC9000, along with the FRC-30 and UFM-30FRC units. Recent customers of these units include global video solutions service provider The Switch, who has purchased 14 UFM-30FRC frame rate converters, and a global media services company MX1, who bought seven dual FRC-9000 units.

UK-based Galaxy Light & Power is the first customer of the new solution

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HITACHI ELEVATES SPORTS PRODUCTIONS FOR TSONGAS CENTER AT UMASS LOWELL Furthering its commitment to delivering high-quality entertainment experiences, the Tsongas Center at the University of Massachusetts Lowell (“UMass Lowell”) has expanded its complement of Z-HD5000 cameras from Hitachi Kokusai Electric America Ltd. (Hitachi Kokusai) to boost its live production capabilities and take optimal advantage of expanding distribution opportunities. Owned by the university and managed by Spectra Venue Management by Comcast Spectacor, the multi-purpose Tsongas Center facility is home to the NCAA Division I UMass Lowell River Hawks hockey and basketball teams. Seating up to 7,000 visitors, the venue also hosts a variety of non-sporting events including concerts, job fairs, graduations, and major university activities. An agreement between the NCAA’s America East Conference and ESPN to bring live basketball games to multi-screen sports network ESPN3 created the TMBi - 28

Nolan Mercer, Ben Jewart and Sebouh Majarian

need for the Tsongas Center to upgrade its video equipment roster. Previously using two HITACHI ZHD5000s alongside other vendors’ cameras for productions shown on the venue’s in-house video boards, the university and Spectra’s on-site team chose to standardize on HITACHI cameras for their ESPN3 broadcasts, invenue displays, and other distribution outlets.

productions, so when we looked to increase our production flexibility and ensure visual consistency for our new ESPN3 streams, the Z-HD5000s were ideal for our upgrade,” said Ben Jewart, director of audio visual services at Tsongas Center. “We did our due diligence and evaluated all of the other major camera brands too, but everything led us right back to Hitachi Kokusai.”

“We were very pleased with the quality and reliability of the existing HITACHI cameras we’d been using to drive our scoreboard

Four HITACHI Z-HD5000s are now used for the university’s live hockey and basketball streaming broadcasts. Two of the


cameras are stationed in fixed positions capturing high and tight shots, while the other two Z-HD5000s are operated handheld at ice or court level. While the school’s ESPN3 broadcasts typically use freelance crewmembers, other event productions often use current and former students as camera operators, making the Z-HD5000’s short learning curve valuable. “The great usability of the Z-HD5000 makes it an excellent teaching platform,” said Nolan Mercer, AV manager at Tsongas Center. “It is a huge benefit to have cameras that we can quickly show students how to use, and to have the students jump right in and immediately understand their operation. The industrystandard nature of the HITACHI cameras has also been helpful in attracting volunteers, as the students know they are getting practical experience on equipment they may encounter professionally.” Jewart also touts the video quality produced by the HITACHI cameras as a major boost for the center’s broadcasts. “The Z-

HD5000’s low-noise, 2/3” chips and digital signal processing gave us a significant improvement in quality over the other camera models we had used,” he explained. “The colors really ‘pop’, and we get consistently high image quality even under dramatically changing lighting conditions, such as when we darken the arena for effect before games, or when we chase the lights when goals are scored.” Sports from the Tsongas Center are now streamed live on ESPN3, the America East Conference website ( or the university’s own site. Beyond the streaming broadcasts, the shooting flexibility provided by the

Stellar image fidelity, operational ease and flexibility enable high-quality live streaming broadcasts while increasing on-site fan engagement

HITACHI cameras and accompanying Fujinon lenses has elevated the center’s in-venue productions and raised fan involvement. “Whether shooting all the way across the court or further into the crowd, we’re now able to get great-quality video at angles we couldn’t capture before,” said Jewart. “This enables us to incorporate more interactivity with the crowd, which has increased fan engagement and excitement,” added Mercer. “Our mission is to create memorable fan experiences, and the HITACHI cameras play a key role in doing that.” Sebouh Majarian, assistant director of new media at UMass Lowell, echoes the positive impact that the new cameras have had for both the Tsongas Center team and its audiences. “Our experience with HITACHI cameras has been tremendous,” he said. “They have been easy for our operators to use, and helped shape and advance the quality of both our in-venue and broadcast productions. Our job is to put on a good show for our teams’ fans, and the Z-HD5000s have helped us achieve that.” TMBi - 29


BBC SPORT ENGAGES FOOTBALL FANS WITH RCS LAUNCHPAD FOR LIVE BROADCASTS For the Premier League’s 26th season, which kicked off in August, BBC Sport introduced Reality Check Systems’ (RCS) LaunchPad touchscreen graphics and analysis solution into its live studio and remote production workflows for English Premier League and other sports broadcasts. RCS completed the integration as part of a new deal with the BBC, and will continue to provide ongoing system support to the network. LaunchPad primarily resides in BBC Sport’s Salford-based studio, where it has enhanced BBC Sport’s storytelling capabilities for Premier League and other sporting event broadcasts, enabling real-time analytics and telestrations before, during and post-match/game. In addition, BBC Sport plans to use a second LaunchPad system to cover remote events. LaunchPad’s intuitive UI has made it easy for BBC Sport talent to call up and analyze touchscreen graphics that visualize live TMBi - 30

stats on players, teams, matches and more, providing comprehensive coverage for fans. According to Phil Bigwood, Executive Producer, BBC TV Sport, “Mass audiences tune into BBC Sport’s coverage each weekend wanting to see the latest action and updates on their favourite teams and players. This season we wanted to improve and build upon what we already do and give viewers more detailed information in a more visually interesting way. With tactical analysis becoming an increasingly important tool in live sports production, we thought LaunchPad could help us better engage fans with dynamic graphics

and in-depth analysis of their favorite players and teams. LaunchPad is a great storytelling product containing a range of useful tools to help keep viewers entertained and informed by our coverage. We’ve seen great results so far, with positive feedback, and look forward to building on this over the coming months.” LaunchPad is powered by Foundation, RCS’ cloud data service, which automatically culls Opta football match data, sorts and organizes the information and makes it accessible via the touchscreen. Available in any language and easily transportable for remote events.


BRAINSTORM SHOWCASE ENHANCED AUGMENTED REALITY, TEMPLATE-BASED AND GRAPHICS MANAGEMENT SOLUTIONS Brainstorm will be exhibiting at IBC 2017 and showcasing the latest versions of its renowned product line of virtual sets and motion graphics solutions. IBC will see the world premiere of Neuron, Brainstorm’s all-new broadcast graphics management solution, and also, for the first time in Europe, the company will show VisualMedia, a 3D real-time graphics visualization product based on social media feeds.

Virtual and Augmented Reality enhanced solutions At IBC 2017 InfinitySet 3 will make its European debut, and will be deliverable shortly after the show. The game changer in the InfinitySet 3 is that it includes a number of advanced graphics features, as it now incorporates the Aston graphics creation toolset so it can edit, manage and create high-end 2D and 3D motion graphics with total control, speed and ease-of-use. InfinitySet 3, along with advanced rendering features such as PBR and HDR, also

supports the Unreal Engine, which can be combined with the Brainstorm eStudio engine to create state-ofthe-art output with amazing results and endless possibilities. This Combined Render Engine feature simplifies setup as it does not require additional hardware such as studio mixers, and can be easily integrated into any broadcaster’s existing installation.

Neuron: Broadcast graphics management Brainstorm will introduce Neuron, a new integrated, MOS-compatible templatebased system that allows for complex graphics integration not only in the newsroom, but also in most of the common broadcast workflows, enhancing the newsroom with the support of continuity and broadcast traffic as well. This solution builds on the experience gained with BrainNews which is the company’s graphics for news application, and now transcends the newsroom to become a sophisticated, MOS-compatible on-air graphics control system that

enables the integration of Brainstorm’s powerful realtime high-quality 3D graphics engine into the broadcast workflow without the need for continuous input from designers.

VisualMedia: Real-time social media graphics VisualMedia, a joint solution to provide real-time 3D graphics visualization based on social media feeds and second screen data created by Brainstorm and, allows for real-time representation of structured social media information by means of data-driven 3D motion graphics. VisualMedia is one of the results of both companies’ partnership in ‘Project VisualMedia’ developed from the Europe 2020 Horizon platform and will be shown in its final configuration prior to its commercial debut for January 2018.

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Special Preview

IBC 2017 IBC, a privileged witness: 50 years taking the pulse of the market Text by Daniel Esparza

Nowadays, no one disputes that IBC is a meeting point between professionals of the audiovisual sector. The show invites its participants to take part in this event, which shall be held between the 14th and 19th of September, to explore the challenges, technologies and trends that will very much determine the future of the sector. This edition promises to be the perfect setting to travel back in time; or at least in part. Can you imagine Einstein himself giving the keys to the Universe from his rostrum in the IBC conference hall? Come on!

The proportion of European visitors has dropped in the past years, compared to an increase of visitors from other regions. Give it a try! Although the German physicist died more than 60 years ago, his

legacy continues very much alive, and this led David Hanson, founder and CEO of Hanson Robotics, to create a robot to pay him tribute. IBC attendees will have the opportunity of hearing his lectures. But, besides Hanson Robotics’s reference to Einstein, the main focus of attention among the professionals will be, without a doubt, the entire range of developments the show will bring us yet another round. From among the trends that will be buzzing around the most cutting-edge exhibitors, the developments in IP will occupy a predominant role. Leading brands, such as TMBi - 33



TVU Networks, NewTek or Aviwest, will not miss this event to showcase their latest developments in this field. This leads us to highlight the outstanding commitment made by IBC TV, the live content channel for the event, in this edition: a fully IP-based structure and remote production flow will be developed for the very first time, after eight years of broadcast. The solution will be integrated by EVS technology.

IBC 2016.

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However, and besides these milestones, it is not trivial to remember one of the keys David Ross gave this media in a recent interview, referring to the death of SDI and the irruption of IP. According to the CEO of Ross Video, “We will witness the disappearance of SDI perhaps in 25 years’ time”. And he argues his response: “Devoncroft held a meeting in this last NAB, which I attended. They showed a great pie chart with who had adopted 4K resolution, who

The attendance has increased 13% in the past 6 years. was in 3G, who was in HD, who was in SD and finally, who was still working in analogue format. This information has been collected from companies located all over the world [… ]. 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%”. This contrasted analysis together with the updated information released regularly by the heads of communication of the companies led Ross to say: “If we look at the messages released by the marketing departments, anyone would believe that everything will immediately be SMPTE 2110 without compression, but we are not at that stage yet”. Another trend that will dominate this coming IBC will be HDR, a technology that the leading brands of the sector are beginning to

Some manufacturers believe that SDI will still take many more years to disappear, despite the whirlwind of IP developments we will see in the show. include in their products and solutions. SAM, for instance, has revealed that their most highlighted novelties this year shall be Timeline Television’s latest UHD2 IP, 4K & HDR OB truck. The latest developments in 5G technology will also be in the area of interest. According to the founder of Dejero, Bogdan Fruisna, “It is not a standard yet, and unlike LTE, it is not a single

technology: it is a way of managing a network using a combination of technologies.” Rahim Tafazolli, Manager of the 5G Innovation Centre, gives his vision in the preludes of the event: “While we have already achieved record-breaking speeds, 5G is not only about delivering faster mobile internet. It is a transformative set of technologies that will radically change our private and professional lives”.

IBC: a vocation of agglutinating all the sectors of the audiovisual business One thing is clear, and that is IBC's vocation of exploring the trends that will mark the future of the audiovisual market as a whole, because today, we cannot conceive this business by dividing it into smaller, closed compartments. Although this IBC 2016.

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has not always been the case, and the IBC has been a privileged witness of all this evolution. The show began rolling in 1967, exactly 50 years ago, at the Royal Lancaster hotel in London, focusing exclusively on Broadcast. There is no need to clarify that the market context was completely different back then. The show only managed to gather together 32 exhibitors in those days. The needs of spaces led the organisers to move the show to several other venues in the following decades, although always on British ground. Until 1990. That year, the IBC faced a change of course under the leadership of John Wilson, who considered some key matters needed revamping. The show abandoned its hometown and moved to Amsterdam, and it also changed hands. It was no longer administered solely by the IEE (Institution of Electrical Engineers), now called the IET and became an independent body. Since then, it became owned by six “partners”: IABM, IEEE, IET, RTS, SCTE and SMPTE. Since its creation, the IBC has not stopped growing. Only in the past six years, the attendance to the show has increased by 13%. The TMBi - 38

IBC 2016.

last edition recorded 55,797 visitors compared to the 48,521 attendees recorded in 2010. Understandably, the number of exhibitors has experimented an even greater proportional growth. Last year, there were a total of 1,679 companies, 20% more than in 2010 with 1,337 firms. More than three-quarters of the total number of visitors, 75.63%, came from Europe. Nonetheless, this proportion has dropped in the past years in contrast to an increase in the number of participants coming from other regions. If we compare the last edition with the figures of 2010, the descent represents 2.81%. In contrast, 2.31% more American visitors came compared to 6 years ago,

reaching 10.33% over the total number of visitors. The number of Asian visitors, on their part, surpassed 9%, while their increase compared to previous years was not as much (0.64% more attendees than in 2010). However, continents like South America (0.83% attendees over the total) or Africa (1.08%) do not represent much weight at the fair. In short, IBC’s trend in the past years seems to anticipate another attendance record for this 50th edition. However, this is something we have yet to find out. For now, we will delight you with an exclusive selection of products and scoops announced to us by the most cutting-edge exhibitors of the show.


Adder Technology Booth 7.C30


Adder Technology will provide a first-hand look into the latest KVM developments within broadcast at IBC Adder will be demonstrating how its range of IP-based KVM switching, matrix and extension solutions are enabling broadcasters to streamline their workflows, increase ROI and maximise productivity across different facilities. Whether it’s a studio control room or a post-production suite, the team will be showing how KVM technology can deliver value and performance in any broadcast environment, including those in which 4K and HDR10 video extension are required. The products that will be on display for all IBC TMBi - 40

attendees include: • AdderLink Infinity: an IPbased, high-performance KVM extender or matrix that improves workflows and allows for a flexible infrastructure through its ability to scale in response to the user’s needs. Redundant network operation capabilities offer failover assurance while pixel perfect technology ensures better-than-HD resolutions. • Adder CCS-PRO8: a command and control switch that enables users to seamlessly control up to eight different machines across eight displays using just one mouse or keyboard. With support for multiple monitors that combine audio and independently route USB connections, the CCSPRO8 adds ergonomic and efficiency value with some

additional features. • AdderLink XDIP: a high resolution, ultra-low latency digital KVM extender that is geared specifically towards small and medium-sized applications. The XDIP offers flexible application and ease of use for AV professionals in all industry sectors. Jamie Adkin, VP Sales EMEA, Adder Technology, says: “IP and KVM technology are two extremely hot topics within broadcasting at the moment, and so we are anticipating a lot of attention around the latest IP-based KVM developments. By showing attendees close up how each product operates, we can give them a much better idea of the benefits that IPbased KVM technology can deliver to their own applications.”


Anyware Video Booth 8.B36 The company will be exhibiting OneGenie® and DubMaster® products Anyware Video continues to put On-Air 4K playout systems for premium channels, offering live programs as well as native 4K stocks. Its OneGenie® is now deployed in SD, HD and Ultra HD: • IP or BaseBand inputs (including quad-SDI or SDI 12G) • Supports all standard formats of the market until 500mbits • Subtitling (OP47 broadcast format, with the possibility to bridge to quad-SDI) in File Mode (stl). Also in transparency (from a UHD input or file) or Live through the standard protocol NewFor ®. • Real-time 3D Dynamic OnAir Graphics. • Audio Shuffling and audio description. Automated, operated and monitored through a web client, OneGenie® has been designed to guarantee fully distributed architectures, with remote operation and system virtualization. Thus not compromising with performance and security, since it can be set with 1+1 TMBi - 42

or n+1 active redundancy and provides complete range of broadcast quality monitoring (SDI, SNMP…). Through multiple projects, the architectures of Anyware are designed for all sizes. Our ingest is part of it, with The video server DubMaster® 4K, that offers the possibility to capture video content and to broadcast it in multi-format thanks with the 8 SD and/or HD channels. Specially designed for the TV channels, it is integrated with the solutions that are already being used in the master control room and handles a set of tasks in the broadcasting process: capture and playout, TimeDelay, cropping and automatic montage of the programs of AsRuns (automatic generation and transfers to the telecommunication operator or the Catch-Up TV websites). It allows the automatic generation and the streaming of lower-resolution copies (WMV synchronous to the media used for the playout: MPEG, DV, MXF,

XDCAM…). DubMaster® is a thought for the broadcast firms that want to go beyond the constraints. Its main features contain: • Up to 8 channels simultaneous and reversible (capture and playout). • Up to 1 UHD channel. • IP Input/Output. • Automatic downscale/upscale of media or outputs. • Upgradeable to subtitles and logos without additional material. • Loop recording with a transparent resume after the interruption. • TimeDelay with confidence output and Asrun control. Anyware Video will demonstrate more products, such as All-in-One®.


Aviwest Booth 2.B31 New uplink system A highlight at IBC will be the transition to the HEVC video compression standard, and AVIWEST’s live IP video solutions support it. The company will showcase AIR300 and AIR320, the two first products in its AIR series of video uplink systems. Integrating H.265/HEVC hardware encoders, the series enables HD and SD encoding. Featuring up to four cellular connections, an internal Wi-Fi modem, internal battery, and AVIWEST’s SafeStreams® technology, the AIR series allows broadcasters to stream live videos and store and forward recorded content even during unpredictable and unmanaged network conditions.

4K and multi-HD video encoding and distribution AVIWEST’s HE4000 4K Ultra HD (UHD) HEVC live encoder is suitable for realtime delivery of live UHD or HD content over unmanaged IP networks. The compact, half 1-RU encoder combines TMBi - 44

10-bit and 4:2:2 HEVC encoding with the latest generation of SafeStreams® technology for delivery of live video content over IP at low latencies and bit rates. The HE4000 will be demonstrated with the latest version of the StreamHub transceiver and decoder platform, offering integrated 4K UHD HEVC recording and decoding functions.

Cloud-based live video contribution AVIWEST’s live IP contribution system includes the StreamHub transceiver and the Manager management system. The extended capabilities of AVIWEST’s cloud solution will be showcased at IBC. By supporting both point-topoint and point-to-multipoint distribution scenarios, the platform offers broadcasters the flexibility to stream live video content to any CDN and streaming platform, such as Facebook Live or YouTube. The platform includes a SIP-based IFB application, providing

broadcasters with an way to coordinate with their crew during news or live event broadcasts via audio conferences or one-to-one conversation. On the field, eligible AVIWEST devices are connected to the Manager in just seconds, and conferences can be started without having to configure anything.

Mobile Journalism (MOJO) solution AVIWEST has enhanced its Mobile Journalism (MOJO) solution, which includes the Laptop MacBook® application and the APP iOS and Android™ applications. The new version of the APP smartphone application for live streaming, store, and forward of high-quality video features an optimized interface, advanced camera settings (e.g., focus, exposure, white balance), dynamic resolution, and video-quality improvements, with the capability to transmit video over bonded 3G/4G and Wi-Fi connections in just seconds.



Blackmagic Design Booth 7H.20 Blackmagic will showcase its products designed to deliver 4K content

At IBC, Blackmagic Design will be showcasing its latest products designed to deliver Ultra HD 4K content for the broadcast, live production and postproduction markets.

professional scopes available on the Video Assist 4K, including waveform, RGB parade, vectorscope and histogram will also be demonstrated at the show.

Visitors to the Blackmagic Design booth (Hall 7, H.20) will be able to get hands on with the latest updates to its range of high quality digital film cameras, including the URSA Mini Pro, with an open protocol that allows customers to create their own remote control solutions via Bluetooth. The new

For web broadcasting and streaming professionals, Blackmagic Design will also be showing its range of compact livestreaming products comprising the ATEM Television Studio HD and ATEM Television Studio Pro HD, with integrated panel, the HyperDeck Studio Mini and Web Presenter.

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DaVinci Resolve will also be exhibited. New features include up to 10 times performance improvement, a whole new audio post production suite with Fairlight audio built into DaVinci Resolve, and multi user collaboration tools. Fusion 9 will also be on show at IBC. With a VR toolset, planar tracking and brand new keyer technology, as well as collaboration tools, the latest update makes Fusion more accessible than before.



ChyronHego Booth 7D11

ChyronHego Click Effects PRIME GFXEditor

ChyronHego will showcase its latest product innovations enabling end-to-end, allsoftware workflows for both news and sports production. ChyronHego will continue to push the envelope on all-software production workflows running in a standard IT infrastructure, such as the VPX Virtual Production Server introduced at the 2017 NAB Show. ChyronHego will also highlight its latest developments in cooperation with Cisco that showcase end-to-end live production running in virtualized environments. TMBi - 48

News production solutions Graphic asset management: CAMIO 4.3 ChyronHego will showcase CAMIO 4.3, the latest update of ChyronHego's graphic asset management server. With this version, CAMIO brings new editing, file distribution, and virtualization capabilities to the CAMIO Universe. CAMIO 4.3 includes new graphic scheduling capabilities for LUCI5, the company's HTML5-based, modular user interface for newsroom producers. With



LUCI5, producers are now able to browse, create, and order images and video assets from CAMIO and then schedule graphic playback for their automation systems.

Sports production solutions

Virtual production server: VPX

Telestration and analysis: Paint 7.3

For the first time in Europe, ChyronHego will showcase its new VPX Virtual Production Server, a virtual server platform for hosting end-to-end live production workflows. At IBC, ChyronHego will introduce new capabilities for VPX including an optional multichannel SDI bridge for integration with traditional, hybrid, and IT-based infrastructures.

At IBC, ChyronHego will introduce the latest version of its Paint telestration and analysis solution. Paint enables Illustrated Replay — a combination of replay, graphics, and analysis. Using Paint's telestration tools, producers can visually analyze game play for virtually any sport by graphically enhancing and highlighting video clips created from live footage, or files stored elsewhere. Paint 7.3 includes enhanced 3D visualization capabilities and support for 4K.

Graphics creation and playout: LyricX 3.2 ChyronHego will unveil LyricX 3.2, the latest version of its LyricX 64-bit graphics creation and playout platform. With the new release, LyricX features tighter integration with the

CAMIO graphic asset management server and support for the SMPTE ST 2110 IP protocol.

On-Field Virtual Elements: Virtual Placement 7.0 With version 7.0 of Virtual Placement, ChyronHego has added features for more

ChyronHego Paint

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flexible and efficient production workflows, including a new downstream operation mode for adding virtual graphics, such as advertising or live production enhancements, at the downlink point or in the headquarters studio.

PRIME 2.6 The latest version of PRIME includes new features for interactive graphics rendering, such as touch screen capabilities, as well as enhanced functionality for shaders and deepened support for LUA scripting in addition to PRIME's existing scripting tools. PRIME now supports 16-bit color space with 10bit I/O, as well as the SMPTE ST 2110 IP protocol.

Click Effects PRIME ChyronHego will preview a new version of Click Effects PRIME that will offer users advanced keyframing capabilities in LED environments through the PRIME Designer. The new version will also provide up to eight HD-SDI video inputs and outputs or a selectable DVI output mode to support mixed resolutions, as well as support for 4K production and the SMPTE ST 2110 IP protocol.


Clear-Com Booth 10.D29

Clear-Com will exhibit the latest updates to LQ Series of IP interfaces at IBC


Versatile IP interfaces now works with intercom mobile apps, SIP telephony Clear-Com® will present the latest updates to its LQ Series of IP interfaces at IBC 2017. The enhanced LQ Series adds SIP capability for telephony, connects traditional intercom systems with Agent-IC mobile applications, and increases I/O channel density for HelixNet digital partyline. With LQ Interfaces, a complete communication solution of analogue, digital and IP intercom systems is integrated and connected over IP networks. LQ interfaces can link any 2-wire partyline and/or 4wire digital solutions over IP

networks. With the updated LQ devices that now host Clear-Com’s Agent-IC, core intercom users on traditional intercom systems can communicate in full-duplex with Intercom Mobile App users on smart devices. All setups and configurations are managed within the browser-based Core Configuration Manager (CCM). HelixNet digital networked partyline system receives a six-fold increase in I/O ports with the updated LQ interfaces. LQ will provide up to 24 audio ports assigned to any of the 12/24 intercom channels in HelixNet. These additional ports supplement the HelixNet ports for interfacing

with 2-wire and/or 4-wire intercom or audio devices, creating a higher density digital partyline intercom system. Signals from any remote devices are routed over IP to the assigned HelixNet end points(s). HelixNet is also now able to directly connect into the Eclipse HX digital matrix intercom network with the LQ device. LQ Series offers more connectivity with its SIP telephony interfacing capability. Now, users on any Clear-Com or third-party intercom systems can make direct calls over SIP-based phone systems over LQ. TMBi - 51


Dejero Booth 12B42 Dejero will be demonstrating its latest innovations in the field of IP network blending and how it can support newsgathering and remote broadcasting as the industry transitions towards IP. “In order to speed up production workflows and overall operational efficiency, reporters and production crews need to be able to work in the field as if they were back at the broadcast facility,” explains Bogdan Frusina, founder of Dejero. “But for that to happen they need access to reliable and secure broadband connectivity while on location. At IBC 2017,

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Dejero will be showcasing an array of solutions that solve connectivity and bandwidth challenges that field personnel encounter trying to get content back to base.” As a result of its recent new partnership with Intelsat, a provider of integrated satellite communications, Dejero announced the launch of CellSat, a new blended cellular and Ku-band IP solution for live television coverage from remote locations. Dejero CellSat leverages Dejero’s patented network blending technology to combine cellular connectivity from multiple

mobile network carriers with Ku-band IP connectivity provided by Intelsat. This gives CellSat users the required bandwidth and greater confidence to go live from virtually anywhere. If the bandwidth available from cellular connections dips due to network congestion or other factors, CellSat automatically blends in Kuband IP satellite connectivity to boost bandwidth to the requested level for the live shot. Visitors to the Dejero stand can also experience the Dejero Gateway in-vehicle mobile connectivity solution. Dejero Gateway allows crews working on location to

send and receive large files and access their newsroom or media asset managment systems, as well as cloud services used for collaboration. Dejero’s EnGo Vehicle Mount Kit with integrated signal booster will be shown at IBC for the first time. The kit enhances the RF performance of the Dejero EnGo mobile transmitter by providing a mounting option inside a newsgathering or production vehicle that connects to roofmounted high-gain antennas placed. This is of particular interest to news crews broadcasting live while they travel to a location, and where cellular connectivity may be challenging. The kit converts the Dejero EnGo into a rack-mounted encoder found in cellular, satellite, or multitransmission path vehicles. It can then be disconnected and placed in a backpack, or mounted directly on a camera, to give crews maximum mobility when on the scene of breaking news and live events. Dejero is also demonstrating an implementation of HEVC that provides improved picture quality in low bitrate environments, especially when combined with real-time adaptive bitrate control and Dejero’s auto transport technology. Visitors to the Dejero stand can also learn how applying this technology in low delay, live transmission environments requires additional considerations to best leverage the benefits. Finally, visitors can also experience firsthand the recently announced updates to Dejero Core software, that streamlines clip and asset management workflows. The management of clips and media assets by crews on the ground and in-house are more efficient than before with these updates, which include additional clip workflow support and simplification; upcapped file transfer rates; and a new ‘transfer while recording’ operating mode.


DPA dvice with iPhone

DPA Microphones Booth 8.D70

DPA showcases this preamp for the first time in Europe DPA’s new d:vice MMA-A Digital Audio Interface will be on show at IBC, giving European broadcasters their first opportunity to experience audio quality offered by this preamp. Aimed at content makers such as live and mobile journalists, the d:vice MMA Digital Audio Interface works with any iOS device, Mac® or PC computer. Journalists already use smartphones to capture the news and to a large extend this works well because TMBi - 54

today’s phones can take high-quality pictures and videos. However, until now the missing component was high-quality audio – something that is vital for news broadcasts where audio quality must match or exceed the video for the message to be understood. This is exactly the challenge that the d:vice tries to solve. The d:vice MMA-A Digital Audio Interface is a highquality, two-channel microphone preamp and A/D converter offering mono,

dual and stereo capabilities. Whether it be a two-channel interview situation or a session of recording ambience sound in stereo, the d:vice makes it easy for journalists to do their job. The d:vice is the only small form factor two-channel audio device on the market that allows users to set individual gain for two channels in an iOS environment. The d:vice comes with interchangeable lightning and USB cables for


connectivity. Its MicroDot inputs allow the d:vice to be connected to all DPA capsules, including the d:screet™ Miniature, d:fine™ Headset, d:vote™ Instrument and the d:dicate™ Recording microphones, including shotgun microphones, via the optional MMP-G preamp – all of which will also be on show at IBC. “This is the first pocketsized digital audio interface that can deliver sound that rivals studio recordings,” says René Mørch, Product

Manager at DPA Microphones. “The d:vice Digital Audio Interface was designed with broadcasters and mobile journalists in mind, but can also be used by other content makers for recording music, filming on location and during both live and recorded broadcasts. With this interface, users can portably record and stream clear and professional audio from the connected microphones.” The d:vice Digital Audio Interface is controlled through a remote application

on any iOS device. An exclusive DPA app is available for download from the Apple® App store. For security and ease of mind the DPA App allows setting to be locked, which prevents third party Apps from unintentionally taking control of gain. Third party applications can be used to accomplish specific tasks, including but not limited to live broadcast and high quality recordings.



Elements Booth 7.B08

Cloud computing

ELEMENTS adds a cloud feature to its line of media server and storage appliances

ELEMENTS has added a cloud feature to its line of media server and storage appliances that automatically synchronizes all comments and annotations from the cloud TMBi - 56

back to the MAM, making sure that the meta-data is always up-to-date. With ELEMENTS’ Media Library, a web-based media asset management tool, adding notes or comments to

certain clips or even single frames is as simple as rating particular sequences with web-based GUI. Even onscreen drawings are possible, using any standard MAC, PC or mobile device.


The Media Library also comprises a Rough Cut Editor, enabling authorized users to create rough-cuts right, using any standard computer or mobile device through the web-based GUI. By being compatible with virtually every professional editing application available today, including Avid Media Composer and Adobe Premiere, rough-cuts created in the Media Library can be transferred to any other editing application. “We are glad – and somewhat proud – that we could develop a feature that

will be really helpful for our customers while still being super-easy to use,” explains André Kamps, CEO of ELEMENTS. “We hope our customers will also like the fact that we can design the visual front-end of each cloud access individually to let it look like their own cloud storage or even like an onsite storage partition!” The cloud feature on ELEMENTS appliances provides direct access from the media storage to the cloud. By creating a P2P network between the central on premise ELEMENTS

system and the cloud storage, the connection is secure. Uploads to the cloud can be initiated straight from the ELEMENTS user interface, using either the embedded file manager or task manager, or through the Media Library. According to the company, the real interesting feature is that every workstation connected to the central ELEMENTS storage can launch a cloud upload – even without direct internet access.



Fujinon UA24x7.8 ENG Lens

Fujifilm Booth 12B20 Fujifilm launches a new Fujinon lens target to live sports and press coverage Fujifilm Corporation has release the new Fujinon UA24x7.8BERD (UA24x7.8), achieving the world's smallest (total length approx. 220.5mm) and lightest TMBi - 58

(approx. 1.98kg) broadcast lens supporting 4K. The lens is scheduled for release in January 2018. The "UA24x7.8" features a 24x high magnification zoom,

covering a focal length from the angle of 7.8mm to 187mm. This lens is designed for situations such as live sport broadcasting and press coverage.

The addition of this product expands Fujifilm's 4K broadcast lens line-up to 8 models in total. The "UA24x7.8" will be exhibited at IBC, along with the full range of Fujinon Ultra HD 4K broadcast lenses, the range of high-end PL-Mount cinema lenses, and the new MK Series of Cine lenses aimed at independent and emerging film-makers. In addition, by thoroughly reducing chromatic aberrations, which are a common occurrence in telephoto zooms, it is also possible to shoot utilizing "HDR (High Dynamic Range)." It is possible to reproduce rich tones even when shooting scenes with intense contrast, such as stadiums at dusk. In addition, by thoroughly reducing chromatic aberrations, which are a common occurrence in telephoto zooms, it is also possible to shoot utilizing HDR (High Dynamic Range). It is possible to reproduce rich tones even when shooting scenes with intense contrast, such as stadiums at dusk.


GatesAir Booth 8.C30

GatesAir will showcase the opportunities of moving content over IP networks for contribution and distribution purposes

Intraplex IP Link MPXp

GatesAir has spent the last decade evolving the possibilities of Audio over IP transport for the purpose of wireless over-the-air content delivery. These innovations took shape in the company’s Intraplex range, long a standard-bearer for E1/T1 connectivity for moving audio and data content between studios and transmitter sites. The first true IP products took shape in their NetXpress systems –still used today in broadcast and public safety systems– and has now evolved to a portfolio of IP codecs that comprise the IP Link range. These codecs all provide basic essential needs for Audio over IP transport, including GatesAir’s Dynamic Stream Splicing technology to mitigate IP packet loss and eliminate TMBi - 60

off-air time, forward error correction, and a trio of network interfaces for optimal stream reliability. The company will demonstrate the opportunities of moving content over IP networks for contribution and distribution purposes. The new Intraplex IP Link MPXp codec addresses the thirst for more signal transport options from a single box at very low bitrates. While the initial release in April cut the industry-standard bandwidth consumption for uncompressed AES 192 digital composite signal transport in half, the latest release further reduces those bitrates from the already industry-low 1.8Mb/s to a more efficient 1.65Mb/s. The Intraplex IP Link

MPXp is the first FM MPX IP codec to support – separately or together– AES 192 digital and analog composite signals over a digital IP path from a single codec. Its flexible dualdomain capability allows the broadcaster to install a newer audio processor supporting AES 192 and have it interoperate with an exciter supporting only analog composite signal interface today. This not only provides a transitional path for a future digital exciter upgrade, but also enhances signal quality by keeping it in the digital domain across the IP path. GatesAir is also strengthening its IP networking capabilities for local and national DAB Radio networks. Its latest VHF transmitter, the Maxiva VAXTE, was first introduced


for VHF television and has now added DAB Radio modulation in time for IBC. The Maxiva VAXTE offers input connections to accommodate the EDI protocol for IP-based audio contribution and distribution across DAB networks. The transmitter’s integrated Maxiva XTE exciter provides the native IP connectivity required to support multipoint IP networking across many transmitter sites –while also enabling connectivity for legacy ETI contribution and distribution. Also, GatesAir has

introduced a new software application, Intraplex IPConnect, to fortify data transport across IP networks. At IBC, the company will demonstrate how IPConnect provides an added layer of reliability for DAB/DAB+ and DRM IP streams by employing a combination of packet protection schemes with network/time diversity and packet-level forward error correction. IPConnect can bridge local area network (LAN) segments across wide-area networks with seamless

tunneling to enhance reliability of program and signal transport across large geographical regions with multiple receiving and transmitting sites. IPConnect’s software data gateway provides extra protection through packet encapsulation, which encloses the external IP data packets in a GatesAir protocol wrapper as it moves across IP networks. IPConnect provides this protection for studiogenerated data, as well as IP data from external sources.



Ikegami Booth 12A31

Ikegami launches UHK-435 Camera

UHK-435 back side panel

Ikegami has launched the latest addition to its UNICAM XE series the UHK-435. Alongside this Ikegami will exhibit a range of updates to its existing product line at IBC. TMBi - 62

The UHK-435 4K/HD studio camera captures the depth of field required for studio and outdoor production and can be used with B4 bayonet-mount large studio or OB lenses. The

camera supports HLG (Hybrid Log-Gamma) conforming to HDR International Standard (ITUR BT). UNICAM XE series peripherals such as the


CCU-430 camera control unit, VFL 701 D 7-inch full HD LCD viewfinder and 7.4inch OLED viewfinder are compatible with the UHK435. The viewfinder can be positioned close to the extended line of the optical axis. Interfaces are available for a wide range of signal protocols including Quad 3G-SDI, 12G SDI and IP. The latest addition to Ikegami’s Unicam HD camera series the HDK-73, which was launched at NAB 2017, will now boast HDR compatibility. The camera, which features F13 (1080i50) high sensitivity 2/3-inch CMOS sensors with picture quality in either 1080i

or 720p, now features a HLG hybrid log gamma for HDR picture origination. Other additions to Ikegami’s pipeline include a new 12G-SDI interface option for its CCU-430. The new 12G-SDI interface allows greater flexibility for content creators, with the CCU-430 also designed to support 3G-SDI, simultaneous-output and VoIP. Also on display on stand 12.A31, is Ikegami’s 4K monitor HQLM-3120W. The new monitor is equipped with two channels of 12GSDI input as standard for configuration with 4K equipment such as cameras

and switchers. Another first will be two new monitors in Ikegami’s HD 60 series the HLM-1760WR and the HLM960WR. Also, the company will be showing a prototype of its new 4K HDR monitor and 4K POV camera for robotic or unmanned studio operation. With the announcement earlier this month that Ikegami has been appointed as a reseller partner for Snell Advanced Media (SAM), the two companies will demonstrate camera control over IP between Ikegami stand 12.A31 and SAM stand 9.A01.


Lawo Booth 8.B50

Lawo will debuts the new Ruby radio console At IBC

“We’ve already received preorders for 91 surfaces and mixing engines from clients around the world”

Ruby, the new radio console, will be the star of the Radio display in the Lawo stand at IBC. “Engineers kept telling us how much they liked ruby,” says Stephan Türkay, Lawo’s Senior Product TMBi - 64

Manager, Radio OnAir. “And they meant it, because we’ve already received preorders for 91 surfaces and mixing engines from clients around the world.” “In today’s radio studios, talent is glued to their

computer screens,” continues Türkay. “More recently, touchscreen smartphones and tablets have become an essential part of daily life. We at Lawo saw touchscreens as another opportunity to


revolutionize radio.” Ruby is designed to match modern radio operations, enabling talent to mix and route audio using the same touchscreen environment used by other studio tools. Alongside familiar physical faders and switches, a customizable display with context-sensitive multi-touch UI allows stations to add controls for other studio applications, such as playout systems, phone queues and codecs. “With ruby, operators can work the way they like: with touchscreen displays or

physical controls. The choice is completely up to them,” explains Türkay. “We provide a wide range of preconfigured screens, or clients can craft their own custom screens with our sophisticated GUI builder.”

Ruby is suitable for stations which require uninterrupted uptime or want to migrate to AoIP Ruby is an AES67 radio console with RAVENNA AoIP built-in. Dual-network redundancy, with instantaneous recovery from

any network fault, makes it a suitable console for stations which require uninterrupted uptime. AES67 and highdensity MADI interfaces are both standard, and eight expansion slots permit addition of mic, line, AES3 and studio I/O, making also ruby a good console for stations who want to migrate to AoIP without sacrificing legacy infrastructure. Ruby will begin shipping in October, 2017. It is available in configurations from 4 to 60 faders, with a variety of desktop or flush-mount frame styles.


LiveU Booth 3.B62

LiveU will be exhibiting its latest developments at IBC.

New LU600 HEVC solution For the first time at IBC, LiveU will demonstrate its LU600 portable transmission solution with the HEVC Pro card. The LU600 delivers the highest video quality and bitrate in the market, and is set to offer the fastest file transfer, lowest delay and a high-speed bonded Internet connection.

At-home remote production & live studio with Following NAB, LiveU will feature its new at-home remote production solution enabling an exclusive live studio in collaboration with, led by CEO, five-time Emmy Awardwinning Michael Artsis. LiveU’s complete wireless at-home production solution enables broadcasters to reduce costs by producing

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NAB BeTerrific studio LiveU

live shows from a centralised studio control room instead of on-site production and satellite trucks -leveraging their existing technical infrastructure and equipment. LiveU’s IBC studio set will consist of three cameras to capture live interviews with special guests talking about the latest technology disrupting our industry and how this impacts their business. In addition, there will be two roaming cameras where hosts will interview different exhibitors and showcase their products. Each of these five cameras will be connected to LiveU’s LU600 HEVC units. The live

feeds will transmit back to the BeTerrific production studio in New Jersey where they will control the production remotely, switching between feeds, and producing the show in realtime. LiveU will also feature original programming streamed straight to Facebook Live including a daily interactive show where Michael will take questions from the home audience. One segment will be all about how the show is being produced and behind the scenes information.

LiveU Solo LiveU will also showcase its high-quality, plug-andplay live streaming device for the online media market, LiveU Solo. It allows users to live-stream seamlessly directly to Facebook Live, Twitter, YouTube Live and other popular social media and online video providers.


NewTek Booth 7.K11

NewTek will demonstrate a full workflow based on its NDI® video standard For the first time anywhere, NewTek will debut its full end-to-end IP solution at IBC. NewTek will demonstrate the NDI® PTZ camera with video, audio, PTZ control, tally and power over one standard Ethernet cable. NewTek will also show the Connect Spark portable NDI converters, devices designed to bring SDI or HDMI video signals into a computer or onto an IP network, either wired or wirelessly, and include tally and direct recording. The NewTek NDI PTZ Camera

and Connect Spark devices work with all NDI compatible products including LiveStream Studio, SplitmediaLabs XSplit, Streamstar®, OBS Studio, Renewed Vision ProPresenter 6, StudioCoast vMix, Telestream Wirecast, NewTek TriCaster®, and hundreds more. NewTek will also showcase the TriCaster TC1 and IP Series. These systems provide switching, streaming, recording in HD, 3G, and 4K UHD 60p on all inputs. All of these products utilize NDI version 3, the third generation of NewTek’s IP video technology standard. Among dozens of other enhancements, NDI

version 3 supports multicast with forward error correction, a high efficiency mode suitable for wireless or long distance transmission, PTZ camera control and tally, improved encoding performance and more. To complete the full endto-end IP workflow, NewTek will also demo MediaDS, a real-time media encoding and live streaming video delivery platform; TalkShow, the multi-channel video calling production system and its 4K-capable IP Series, a software-driven, modular video production system with virtually limitless access to video sources and video mixing options.

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Norwia Booth 10.C10

Norwia CCR Card combination

Norwia AS releases several new modules and frames to give remote camera control more flexibility.

Customisable solution The new frames, miniHUB1RU-4-0 and miniHUB-1RU3-1 will form the base of a new platform on which customers can build flexible solutions to suit their individual needs. The new base frames will each be able to hold a different amount of miniHUB cards, with the miniHUB-1RU-3-1 providing space for a built-in multiplexer. The new additions to the Norwia range will add more TMBi - 68

signal density while following the compactness of the miniHUB-1RU-2-0. The RCONmini functionality will be available as standard with optional power redundancy for AC or DC operation.

MiniHUB data transport In supplement, Norwia will be showcasing two new compact RS422/232/GPIO cards for transporting data control signals and tally while simultaneously offering optional extras depending on the configuration of SDI or 1Gbit Ethernet circuits. These new cards also provide data conversion between RS422 and RS232

over the optical data link while giving the choice of multiplexing with other signal formats through the miniHUB optical transport system. “We are proud to have Electric Friends on board using Norwia’s solutions for fibre optics with its innovative 7-axis remote camera robotics system”, writes Tore Steen, Chief Executive Officer, Norwia AS. “With our flexible and customisable range, the possibilities are endless for every customer and we are looking forward to servicing the remote camera market for years to come.”


PlayBox Technology Booth 1A10

PlayBox Technology EU (PBT EU) will demonstrate its new products and solutions – the EXEcutor™ Media Integrator, the EXEcutor™ Sync Master and the SubtitleNEXT Central application suite. Realworld user case studies and customer workflows will be available on the booth for visitors.

EXEcutor™ Media Integrator module This IBC, PBT EU’s EXEcutor™ Media Integrator module will be on show for the first time, which serves as an addition to the “Channel-In-A-Box” bundle. The module

expands the “Channel-In-A-Box” concept beyond the traditional channel origination, over to the production and asset control environment, therefore making it more accessible, and only one mouse-click away. Furthermore, significant functionalities have enhanced the EXEcutor™ Virtual Control Panel (EVCP), also on show, as part of the EXEcutor™ broadcast server line that was launched at IBC last year, which has already been adopted by many companies including teleport STN. Also launching for the first time this IBC is PBT EU’s EXEcutor™ Sync Master –the

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specialised hardwareindependent software tool. It is designed to save audio professionals a great deal of time, and to vigilantly protect content owners’ copyrights. The EXEcutor™ Sync Master can also be used as a standalone application or as part of the “LAPIS for Media” solution and can work as a “slave” or connecting video player to link to professional audio systems such as Avid Pro Tools and Sony Vegas.

SubtitleNEXT Central application suite SubtitleNEXT is PBT EU’s captioning subtitling product family of toolsets with a scope of modules, applications and hardware that supports all timed textrelated scenarios from creation to distribution. The product line includes several software licensing options, ranging from entry level SubtitleNEXT Novice to Еxplorer, Spark, Spin and Live Options, Subtitle Export for cinema (digital, 35mm), SubtitleNEXT Air through to SubtitleNEXT Expert, with the latest brand-new SubtitleNEXT Central to be launched this IBC. SubtitleNEXT Central has the tremendous capacity to support universal subtitle format transcoding and real time live content. SubtitleNEXT Central is specifically designed for real TMBi - 70

Executor Broadcasting Servers

time automatic subtitle processing and output in different standards and protocols, manipulating different offline file formats, as well as real time protocols and standards as key sources that are linked to several programme sources at the same time. PBT EU’s GM, Vladimir Stanic, remarks: “We have the expertise and are completely dedicated to delivering sound future-proof technology that’s accommodating to meet customers’ technical, creative and practical needs, that also remains relevant and grows with them. We are customer-obsessed and driven to provide solutions that are designed to simplify a professional’s life and not make it more complicated. Our services can be tailormade to create the best results to suit each individual case. We welcome visitors

to the show to come and see us and we look forward to providing solutions that defeat their challenges.” Alexander Stoyanov, PBT EU’s Sales Director adds: “It’s a dynamic time in the industry and we are passionate about finding the perfect solution for our customers. We welcome them with great excitement to the PBT EU stand, to share our progress and listen to them and the challenges they are up against. From the classic "TV Channel-in-a-Box", a part of our rising star EXEcutor™ Server line, to the latest releases of the EXEcutor™ Sync Master, SubtitleNEXT Central, EVCP and LAPIS, our clients can discover an extensive range of versatile tools that are vital in creating a custombuilt platform that meets individual specific needs.”


Provys Booth 2B49 According to Provys, the main reasons why broadcasters have to spend some of their time with the company on its stand are the followings: • Production process automation • Programme scheduling workflows • Significant experience in sports broadcasting • The most efficient utilisation of content • Unrivalled accumulation of industry experience • Wide range of specialists

available • Software for small to large broadcasters • And all the latest modern features Indeed, the attendants to the Provys stand at IBC will find solutions for those who schedule and deliver programmes, produce content, sell advertising space, publish VOD, manage archives, and generally need to optimise station workflows, improve management efficiency and facilitate information sharing among producers, channel

managers and all their teams. Provys explains: “The new motto at Provys is "Efficiency with a human face". This means for you that in addition to acquiring information on the most powerful and efficient broadcast workflow management solutions, you will also be able to enjoy the human touch and hospitality of friendly and professional staff who enjoy being human and love to see happy customers!”

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Qligent Booth 8E47

Broadcasters and service providers have increasingly centralized operations, and moved specific workflow tasks into the cloud, as Ted Korte, COO at Qligent, claims. According to him, in the past 12 months, signal monitoring in the cloud has caught fire: In addition to a more centralized view of signal flows, operators can more easily leverage data across many layers to analyze overall performance. These are the core tenets of Qligent’s Vision platform, which is currently assisting broadcasters on six continents greatly extend their monitoring footprint in a highly efficient manner, keeping costs manageable and workflows uncomplicated.

Real-time multiperspective error detection With programmatic errors on the rise due to multiplatform expansion and the increased outsourcing of operations to third parties, broadcasters and service providers have been seeking a more tried-and-true way to pinpoint and troubleshoot TMBi - 72


errors associated with program content. Qligent’s new Match application for real-time programmatic error detection is being brought to market for this purpose. Match provides real-time, automated comparison of transport stream video and audio to spot, flag, and alert program-related errors as the signals move across today’s multi-platform distribution platforms. Therefore, the evolution of Vision now encompasses objective errors (QoS), subjective errors (QoE), and now programmatic errors (Match). Overall, Match provides a toolset to identify today’s common media distribution errors, from airing the wrong show to capturing programmatic local ad splicing errors to assigning a foreign language to the wrong audio track.

AV Sync Detection Whereas Match lives inside Vision, a new feature within Match has been innovated to address one of today’s most frustrating viewer problems: Lip-Sync. Simply called AV Sync Detection, this automated, software-based application offers a way to spot lipsync problems that may have occurred anywhere in the distribution domain to the last mile. Vision probes gather key data at various points along the distribution path, including content origination, satellite up/downlinks, head-ends and even out to the last-mile, and the platform-wide trend analysis and cross-correlation engine compares all the findings.

Monitoring as a Service (MaaS) Vision’s architecture provides flexible deployment options such as an on-premise or pure SaaSbased cloud solution. While this is effective for all delivery platforms, consider how useful this is for widely-dispersed, cross-continental OTT systems. This is why Qligent introduced two special OTTcentric offerings, Vision-OTT and Oversight-OTT, earlier this year at NAB. Both will receive their international debut at IBC this month. TMBi - 73


Riedel Booth 10A31


Riedel will showcase its integrated ecosystem for communications in even the most demanding broadcast and AV settings. IBC attendees will gain first-hand experience with products such as the Bolero wireless intercom and its integration with Artist. The concept of decentralized, hybrid routing and signal transport with the MediorNet real time network is a long-running theme and this year is no different. This approach provides a transition between baseband and IP workflows while putting signal I/O where needed and cutting down on system cost and complexity. TMBi - 74

MediorNet MicroN, the newest member of the MediorNet family, is software enabled hardware that can play multiple roles in a facility, from simple links to decentralized routing to multiviewers. IBC will see the launch of another MediorNet solution, MediorNet IP, which is based on SMPTE2110 for the transport of video and audio data and represents a bridge between MediorNet networks and future IP networks. This bridge will include NMOS for device discovery and registration (NMOS IS-04) and connection management (NMOS IS-05)�for easy

control and configuration of the IP streams, allowing MediorNet devices to connect seamlessly into IP networks. Making its IBC debut, Riedel’s Bolero is a new wireless intercom solution. An expandable, full-roaming, DECT-based intercom system in the license-free 1.9GHz frequency range, Bolero is integrated into Riedel’s Artist digital matrix intercom platform. Bolero offers a set of features and connectivity that can be applied three ways: as a wireless beltpack, as a wireless keypanel, and as a walkie-talkie radio.


SAM Booth 9A01

Snell Advanced Media (SAM) will be demonstrating its IP and remote production solutions, UHD sports production workflows with HDR support, cloud-based playout, multi-format news production and automated monitoring and control products. A major highlight of the booth this year will be Timeline Television’s latest UHD2 IP, 4K & HDR OB truck. Supporting SAM’s Live Sports Production area will be live graphics specialists, RT Software, with a demonstration of its AR studio products. SAM will be demonstrating live channel deployment on AWS. With the launch of the latest ICE SDC, customers

LiveTouch 4K

can spin up/down fully featured channels. ICE SDC builds on the functionality of its CiaB sibling. Also, the company will be underlining its IP production solutions at this year’s IBC with a range of turnkey IP routing solutions featuring SMPTE 2110 support. SAM’s native IP products including multiviewers, processing systems, production and master control switchers featuring 25, 50 and 100GbE interfaces will also be on show.

by Go!, SAM’s HTML5 browser based editing system, working alongside the Rio editor.

For remote editing, SAM’s Go! multi-platform editor allows users to view, carry out rough cut edits and finalization from any device in any location for fast breaking news or distributed working during productions.

SAM’s Alchemist complements the UHD/HDR capabilities of the Kahuna production switchers and LiveTouch multi-format replay system. SAM’s products enable multi-format live production and replay with any resolution content across IP, SDI and 12G-SDI domains. SAM will demonstrate live production workflows that can use any combination of format and resolution - from SD and HD to live 360 UHD and UHD/HDR while publishing to any platform, including social media.

SAM Vibe empowers a single production team to create content from any device and for any device; mobile, tablet, laptop and TV, no matter what the aspect ratio, resolution or frame rate. Vibe provides collaborative/shared workflows all enabled

Finally, SAM will demonstrate its media content monitoring and control solutions including its Media Biometrics technology. SAM will also demonstrate intelligent monitoring by exception including its new logo detection technology and schedule aware monitoring. TMBi - 75


Screen Subtitling Systems Booth 1C49

Screen has announced the support of Speechmatics’ automatic speech recognition technology within Screen subtitle transmission and creation workflows.

live TV programs, enhancing search and archive possibilities for live TV content. A prototype system will be demonstrated at IBC by Screen in powered by Speechmatics.

The system represents a step forward in live, ‘speaker independent’ automatic speech recognition, and allows the realisation of an ambition, live automatic subtitling and captioning.

Screen is also planning to incorporate Speechmatics’ technology into non-live applications, to support ‘off line’ subtitle file creation activities.

When using the high quality audio typical of a live broadcast television programme, the Speechmatics’ system returns transcripts that are immediately converted into subtitles and transmitted with the TV service. In addition, the integration will allow the automated production of transcripts for TMBi - 76

Another announcement from Screen for this IBC is a new initiative with its close partner the Institut für Rundfunktechnik GmbH (IRT) to offer a subtitle file validation service through the online toolkit created by the partner development with fellow subtitling technology company OOONA. Building upon the close co-operation of

Screen and IRT within a number of standards organisations, in activities related to subtitle transmission, in broadcast and online, a validation service has been developed and will be demonstrated at IBC. Initially targeted at the IMSC 1 format of subtitle content as used by major content providers, the service performs a number of tests covering both standards compliance and other qualitative metrics. The intention is to expand the online system to cover additional popular subtitle formats, and to establish an authoritative service for validating and certifying subtitle files, for both content creators and distributors alike.


Thinklogical Booth 10.D46 The new Private Cloud Solution from Thinklogical, A Belden Brand, provides zero-latency KVM and UI control, and delivers uncompressed 4K DCI 4:4:4 video sequences, at up to 60 frames-per-second. Thinklogical’s patented technology can transport ten of these signals –with zerolatency UI– over a single fiber. This performance is possible over a distance of up to 80km (50 miles). Its uncompressed signal extension and switching technology delivers pixel-for-

pixel video quality and computer I/O, including peripheral device performance, even when working with full resolution 4K DCI video. This cloud solution is possible through Thinklogical’s TLX and TRANSplex technology. TLX is the first KVM system able to extend and switch uncompressed 4K DCI video at 4:4:4 chromasubsampling, in 30-bits-perpixel color-depth, at 60Hz frame rate. TRANSplex is an optical multiplexer-

demultiplexer that uses CDWM or DWDM technology. TRANSplex transmits multiple data streams over fiber links via separate optical wavelengths. This enables greater data transmission payloads over existing fiber infrastructures. Thinklogical’s protocolagnostic architecture supports all common signal types and interface formats, and works seamlessly with all major VFX, post and Media & Entertainment applications.

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TVU Networks Booth 2B28 TVU Networks will showcase its end-to-end IPbased ecosystem of new and current hardware and software products at IBC. Making their first showing in Europe will be: the currently shipping TVU One mobile transmitter solution with HEVC compression; TVU Router for delivery of over 200 Mbps of high-speed Internet connectivity from remote locations; version 3.0 of TVU RPS (Remote Production System), an alternative for live remote, synchronized, multi-camera At-Home video production with frame accurate sync and genlock; TVU Producer, a web-based application for producing and streaming live content to Facebook Live; API integration with the Associated Press ENPS news production management system and version 6.0 update for TVU portable transmitters. TVU Networks will show its TVU One live mobile IP newsgathering transmitter with integrated H.265/HEVC compression standard. TVU One with HEVC delivers high-quality IP video transmission performance and features the company’s patented Inverse Statmux TMBi - 78

Plus (IS+) transmission algorithm to transmit dependable HD quality video with half-second latency even in a moving vehicle. TVU will also be showing the rack-mount TVU MLink model TE4500 live video transmitter with HEVC and 4K support. TVU MLink provides 3G/4G LTE transmission capabilities to satellite and microwave vehicles. TVU will also demonstrate the latest version of TVU RPS, version 3.0, at IBC. Version 3.0 features the ability to synchronize across multiple unit pairs for additional channels, add a VLAN tunnel to connect any IP device between the field and studio, and includes VoIP support. TVU RPS enables the production of multi-camera news or sports program in a remote location using mainly a broadcaster’s existing control room in their studio and a public Internet connection from the field to deliver frame accurate, genlocked and synchronized multi-camera remote production. The TVU RPS transmitter encodes up to six synchronized SDI sources


and transmits high-quality and low-latency IP video from the remote location to a studio-based receiver, and the receiver outputs six synchronized SDI outputs. The company will also bring to Europe for the first time its TVU Producer software for web-based live production. Running completely on an existing TVU Transceiver, TVU Producer features a simple Web interface and support for Facebook API. TVU will also be demonstrating its current products including TVU Grid, an IP-based switching, routing and distribution video solution. With TVU Grid, broadcasters can switch live IP video content and share live streams between remote locations.


VAV VAV Group introduces its audiovisual & broadcast engineering services company: UVETECH

Uvetech is the engineering company of VAV group. Based in Madrid is able to provide to its clients a range of audiovisual/broadcast engineering services: turnkey solutions, integration projects, equipment sales and rentals, after sales service and maintenance, training, consulting, TV channels and radio stations, continuity, MCRs, etc.

Turnkey TV and Radio projects TV studios, MCRs, Galleries, Radio stations, etc. Uvetech offers from consultancy, design, engineering, installation and integration for broadcast needs.

OB VANs integration From truck design, audio, video and data engineering and installation, up to coach building construction of new TV, DSNG and RF/radio vehicles and even refurbishing of old trucks with change of equipment, cabling and technology.

Audiovisual services LCD, LED, Videowalls and mobile screens services for television programs and events. From “dry hire” of screens up to “turn key” projects involving audio-visual equipment.

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AJA will showcase its FS-HDR converter/frame synchronizer Continuing to support the evolution of Broadcast IP and HDR workflows, AJA is heading to IBC with its new FS-HDR converter/frame synchronizer for real time HDR and WCG processing and conversion, among several other solutions for editing and color correcting, monitoring, playing back and analyzing HDR content. Additionally, AJA will showcase JPEG 2000 and SMPTE 2110 support for KONA IP alongside IPT and IPR JPEG 2000 transmitters and receivers. Visitors to the AJA stand (7.F11) can also expect to see the wealth of conversion products from Mini-Converters to the FS range of 1RU frame syncs and a range of desktop Io products from AJA – several of which now include HLG and HDR10 support. HELO, AJA’s H.264 streaming and recording device, and the Ki Pro Ultra Plus multi-channel HD recorder will be additional highlights on the stand with new enhancements. AJA also plans to spotlight its newly shipping 12GM transport

Mini-Converter, as well as other solutions offering new 12G options. The company will also unveil some surprises the first day of the show.

Axon Marks its 30th anniversary at IBC with IP & HDR showcase IP, 4K & HDR are at the forefront of Axon’s line-up Axon Digital Design, celebrating 30 years in the broadcast industry, will showcase a range of infrastructure products and solutions at IBC, designed to simplify complex workflows and meet the challenges of today’s broadcast environment. Featuring 4K, HDR and IP solutions, Axon’s portfolio serves a variety of applications including live sports production and content distribution –all of which will be highlighted on its stand. Axon will demonstrate the Synapse NIO440, an 8channel bi-directional Ethernet/SDI bridge from 3G/HD-SDI to uncompressed Ethernet video transport and decentralized routing. Launched earlier this year,


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the NIO440 helps customers move to an IP based infrastructure with compatibility of all possible current and future standards. It can be used as a point to point video/audio/data connection (using standard fibre-optic cables or SMPTE camera cables, avoiding CWDM infrastructures and cost) and it provides point to multipoint routing and distribution using IT switches.

Broadcast Solutions will present its portfolio on the largest outdoor stand Broadcast Solutions GmbH will show its portfolio of services and products at this year’s IBC. The system integrator will show its expertise on the largest outdoor stand of the show, focusing on system integration solutions with Streamline OB Vans, studio projects, the company’s own cable manufacturing as well as Virtual Reality solutions. The indoor stand will emphasis on Broadcast Products, the company’s products department. Visitors will find LaON and


Dalet’s products

MANet –examples of products for wireless communication and wireless video transport– as well as Broadcast Ultrasoft, a software solution for MAM and Automation in studio and playout facilities. On the outdoor stand the company will show three Streamline OB Van units of different sizes: The presence will focus around recent OB builds with a large Streamline S16 4K/UHD OB Van delivered to customer Studio Berlin. The second OB Van is a Streamline S8 the company built for NEP Europe. The smallest OB Van on the stand is a Streamline S4, equipped with additional SNG capability.

Dalet showcases latest advancements in news and orchestration workflows at IBC Dalet Unified News Operations is designed to

combine all the essential functions of an efficient modern newsroom, offering a comprehensive suite of collaborative tools that streamline the entire chain of operations. Dalet will introduce new additions to this toolset at the show: • Dalet Social Media Pane: As audiences consume their news more and more on social platforms, efficient production and publishing to these outlets have become paramount. The new Dalet Social Media Pane provides a synthetic view of the published stories and their performance with audiences to inform new editorial directions and planning. • Dalet Content Discovery: This new module sets the framework for a new generation of editorial experience, recommending to the journalists and producers a selection of content readily available

on the platform that matches their assignments or work in progress. • Advanced News Graphics Workflows: Dalet Cube, the comprehensive suite of high-quality broadcast graphics tools, boasts a new set of native integrations with the Dalet Galaxy platform for creating and managing CGs, crawlers, tickers, lower-thirds, logos, fullframe graphics and complex 3D animations.

G&D implements the broadcast feature for Tally Lights Guntermann und Drunck GmbH will be giving the first presentation of the new GPIO function live and in action at IBC. It enables user to transmit relevant Tally Light information to a remote work station and to indicate the active ‘on air’ system. G&D Matrix systems give several users access TMBi - 81


simultaneously on one and the same or on different computers in studios or OB vans. G&D suggests: What about if the computer is ‘live’ on a programme and a producer is making undesired changes on this system? The big advantage - that the computers are externalised by KVM and various systems can be made flexibly accessible has until now had one disadvantage: the on-air signal on the remote computer, typically in the form of a Tally Light, so additional technology and much expense was required to also show this at the workplace. So it was not only the distance that needed bridging, but the tally controller also needed to know on which computer the user was situated. TMBi - 82

Grass Valley Focuses on End-toEnd Solutions for Live Production, News and Content Delivery at IBC 2017 As part of its demonstration at IBC 2017 in Amsterdam, Grass Valley will be showcasing several new and upgraded products including the K-Frame Vseries with GV Korona 3stripe panel, GV STRATUS 6.0 with advanced social media management and XRE transcoder, LDX C86N Compact Series cameras, GV Matrix SDI hybrid router, K2 Dyno S Replay System, and Ignite v10 Automated Production with new innovative playlist and event manager enhancements as well as advanced signal processing for UHD and

HDR. All of Grass Valley’s offerings will be demonstrated at stand 1.D11, showcasing integrated, end-to-end solutions that enable broadcasters to control the way they work with and deliver content, reflecting the changing nature of viewership and consumption today. In addition to the real-world demonstrations taking place on the stand, Grass Valley will be participating in other IBC activities and initiatives. Grass Valley is supplying cameras, IP routers, multiviewing and playout equipment and will be presenting at the IBC IP Showcase throughout the event to demonstrate realworld IP interoperability based on SMPTE ST 2110


and AMWA NMOS specifications. Grass Valley also is working with Net Insight and Calrec to demonstrate plugand-play WAN-based IP remote production capability. The solution, which features Grass Valley’s Direct IP live concept with an LDX 86 Series camera sending IP signals compressed in J2K with SMPTE 2022-6 to a Grass Valley XCU, will be shown daily at Net Insight’s stand 1.B40.

MultiDyne unleashes high-density fiber transport platform for bulk signal transport MultiDyne Fiber Optic Solutions will focus on the growing need for higher signal density, format flexibility and operational versatility in a fiber transport frame with the VF-9000, a

1RU solution available in 18and 36-channel versions to be introduced at IBC. The VF-9000 automatically recognizes the SFP module connections, and transitions to the proper configuration upon coming online. A robust multiplexer feature combines 18 signals over one single-mode fiber for efficient, high-density signal transport. VF-9000 systems can mix in audio, Ethernet, reference and other data signals based on specifications at the time of order, with plans to enable hot-swappable functionality for any card and SFP in future releases. Likewise, the VF-9000 strengthens operational versatility by enabling signal regeneration and wavelength shifting within the same frame. A webbased GUI ensures visibility of signal health and

conversion status across all inputs and outputs, as well as internal parts such as fans and power supplies.

Quantum will showcase StorNext 6 Quantum will showcase StorNext 6, a major new release of the company's workflow storage platform. The company also will highlight its Xcellis solutions, recently enhanced with labvalidated 4K reference architectures for facilities of all sizes and including allflash storage configurations. StorNext 6 highlights include: • Quality of Service: A new quality of service (QoS) feature that empowers facilities to tune and optimize performance across all client workstations, and on a machine-by-machine basis, in turn guaranteeing

MultiDyne VF-9000.

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that more demanding tasks, such as 4K playback or color correction, get the bandwidth they need to maintain uncompromising video quality. • FlexSpace™ Shared Archive: The new FlexSpace feature allows multiple instances of StorNext, located anywhere in the world, to share a common content repository. As a result, any user within a StorNext environment can access, browse and pull files from a shared workspace. • FlexSync™ Multisite Synchronization: FlexSync

is a new capability that provides a way to synchronize content between multiple StorNext systems in a manageable and automated fashion. FlexSync supports one-toone, 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 and can immediately begin reflecting those changes on another system.

RTW will show new features for TM7 and TM9 at IBC RTW will showcase its latest updates at IBC. As part of its new offerings, the company has introduced the first rollout of new firmware for its TouchMonitor TM7 and TM9 series. The current TM7/9 firmware update allows simultaneous monitoring of transmission streams with the ability to see up to four parallel instances of the stereo vectorscope at once. The RTA (Real Time Analyzer) feature set offers a more refined graduated frequency distribution analysis with the addition of a 12th octave filter bank. Extra security measures can be activated with the utilization of the newly offered custom selected password, which will also protect the user against unauthorized adjustment changes. This firmware also supports four-channel operation of a TouchMonitor, even without a multi-channel license, which allows combinations in operation with RTW’s TMR7.

Sennheiser and Neumann at IBC: “We serve any camera” RTW TM7

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At this year’s IBC, Sennheiser and Neumann will be presenting audio


Sennheiser AMBEO 3D VR Mic

solutions for all levels of media production. Sennheiser has chosen the motto “We serve any camera” for its presence at IBC in Hall 8, Stand D50. Differently themed areas of the stand reflect the bandwidth of today’s media production. Alongside the MKE 2 elements, the highlights on show range from interview microphones for mobile journalism, such as the HANDMIC DIGITAL and the wireless AVX, to the fully professional EK 6042 two-channel receiver for broadcast cameras. The MK 4 digital is the microphone of choice for dubbing and podcast applications, while the ClipMic digital and MKE 2 digital clip-on microphones for iPhones und iPads are designed to ensure great sound for self-produced videos. The portfolio of products on display is

rounded off by shotgun microphones from the MKH series for film production, as well as wireless microphones from the Digital 9000, Digital 6000, 2000 and evolution wireless series, which are used for ENG and broadcasting.

TSL Products focus on the IP transition TSL Products has updated a number of its control, audio monitoring and power management solutions to simplify SDI/IP workflows and streamline operations supporting customers during the transition to IP. The latest versions, including compliance with the emerging SMPTE 2110 family of standards, will be unveiled at IBC2017 (Amsterdam, 15 – 19 September, stand 10.B41). TSL Products’ catalogue of audio monitoring solutions

provide practical functionality for various broadcast applications, from critical level-metering, to integrity-monitoring of surround sound for TV channels on transmission. This IBC will see updates to its MPA1 Dante confidence monitoring series to now include support of AES-67 (and thereby further support for Ravenna and Hydra2 networks). AES-67 defines the IP audio transport layer in SMPTE 2110. TSL Products’ PAM-IP audio monitoring devices, which feature twin Ethernet ports, can also now be used either in Dante or AES-67, modes, making them suitable for use across the SDI to IP infrastructure transition, as the installation moves towards a unified SMPTE solution. TMBi - 85



West Virginia University improves Football practice video with


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JVC Professional Video has announced West Virginia University Football in Morgantown, W.Va., is using five new JVC GYHM620 ProHD cameras to record practice footage for coaches. The new cameras were delivered in mid-July in time for use during the team’s first practice of the season on July 30. According to Kyle Butler, video coordinator for WVU Football, up to eight cameras are used during practice. Operated primarily by student volunteers, the cameras are positioned behind the end zone and near the sideline to provide multiple angles of all practice activities.

While a couple of handheld cameras provide field-level coverage, most cameras are kept on tripods and positioned on scissor lifts or permanent towers near the sideline and end zone to capture higher angles. “The higher angles allow coaches to see more of what’s going on at one time than a field-level camera,” Butler explained. Footage is reviewed through DVSport Gameday software, which allows coaches to quickly sort plays and review the action. For example, if coaches want to study every run play to the left, footage from the sideline and end zone cameras can be sorted to view only those plays. Footage from the cameras can also be intercut to provide views from multiple angles. During a normal, twohour practice, Butler’s video team can accumulate more than 1,000 clips, with multiple cameras covering multiple angles of a variety of drills. Halfway through practice, all shooters swap media cards. An assistant collects the used cards and uploads the clips, so the first half of practice is ready for

viewing and analysis when the coaches leave the field. Second half clips are uploaded immediately following practice. After several weeks of practice, Butler said the cameras have performed well in every type of light, and praised the GYHM620’s integrated Fujinon 23x auto focus zoom lens. He said WVU Football chose JVC cameras in part because the firmware includes features specifically developed for sports coaching applications, including the Sports Exchange Standard. Designed for sports, news, and independent production, the GYHM620’s 3-CMOS image sensors deliver F12 (60Hz) sensitivity. It records HD and SD footage in a variety of file formats, and its two SDHC/SDXC media card slots support relay mode for uninterrupted recording or simultaneously recording to both cards for instant backup or client copy. Other features include dual XLR inputs, HD-SDI and HDMI outputs, and built-in stereo microphone for capturing natural sound. TMBi - 87

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Sony PXW-FS7-M2

We try

Sony PXW FS7-M2 Improving excellence

Without intending to replace its predecessor fully, but offering a number of improvements that are well worth digging further into your pocket for, the new model arrives with better performance, promising to make our life easier at the same time. Lab testing performed by Luis PavĂ­a

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 TEST AREA When Sony launched the very first PXW-FS7 a few years ago, it became a true benchmark for several reasons: its Super 35 mm sensor, its recording formats, its gamma curves, its extraordinary ergonomics, its expansion possibilities and its internal and external designs. And of course, its price! Such an affordable piece of equipment with an impressive collection of features and suitability for a multitude of situations,

thanks to its enormous versatility, both in concept and performance. Based on a model that was a true revolution in itself, time and experience put to good use have led to improving what was already an excellent device. Evidence of this is that this new model we have here is not a replacement of the previous model. Instead, both exist together so that each client may choose the one that suits them best

according to their needs and budget. The changes can be seen in multiple aspects: performance, functionality, usability and ergonomics. The new model includes functions and features specifically designed to further advance the concepts of use in documentary and cinematographic styles, without compromising others that also improve its usability in newsgathering or feature productions, increasing its already noteworthy versatility. Considering the original FS7 model is already well known by our readers, we shall start off with the improvements and novelties of this new model. It still comes with the same Super 35 mm sensor with all the advantages we have already spoken about in other laboratories, and with a very similar physical aspect. From among all the new features, the ones we have liked most have been the variable neutral density filter -seen for the very first time in the FS5-, the E-mount without lens rotation -a firstever in concept-, and the Rec2020 colour space -one of the propositions for a 4K

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Sony PXW-FS7-M2

with real HDR directly on camera-. The variable neutral density filter is operated from the classic mechanical four-position wheel. There is a “clear” one, where there is no filter whatsoever and three more, which are set to default values via the menu. If we activate the variable mode with the adjacent button, we can use the dial to adjust its value continuously between ¼ (1 f-stops) and 1/128 (7 f-

stops). This functionality captivated us ever since Sony first launched it with the FS-5. We thought that being able to toggle the exposure without touching the iris (or depth of field), shutter speed (or motion-blur or blur of movement) or sensitivity (or its corresponding associated noise) and do it while recording without having to cut the plane to change physical filters or menu settings, opened up narrative possibilities that

The E-mount without optical rotation is also a valuable feature, especially when working with heavy lenses, or with follow focus and mechanical or remote iris because they force us to release them to change lenses

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 TEST AREA did not exist until now unless we had an expensive and sophisticated postproduction- but even so, we wouldn't achieve such a uniform depth of field. On top of that, it yields the best of each of our lenses keeping them always in their sweet spot. From our perspective, this feature alone is a differentiating factor that positions this camera at a completely different level to any other currently available -except for its little sister, of course, the FS5, which also has this highlighted functionality-. The E-mount without optical rotation is also a valuable feature, especially when working with heavy lenses, or with follow focus and mechanical or remote iris because they force us to release them to change lenses. This feature is a standard among lenses with PL mounts, commonplace in cinematographic environments, where only the locking ring turns. Bearing in mind that, the new lens design has the good criteria of keeping the relative position of the focus and iris rings with respect to the mounting plan, it is a feature that brings even more comfort. It is simply a TMBi - 92

The advantage of the Rec2020 space is that we could go directly from capturing to dissemination with the parameters of space correctly defined without having to go through this intermediate process to impress the retina of our viewers or customers. ring that turns around the camera body, like on the PL mounts, to lock and unlock the lenses with an E-mount -

obviously, with its corresponding safety trigger. This form of anchorage also improves the

Sony PXW-FS7-M2

beyond the known Rec709 space, but it is also larger than the standard DCI-p3 adopted for dissemination in cinematographic projection rooms. At this stage, it is very important to make it clear that although there are monitors and televisions that are advertised as being compatible with this standard, they are simply that: "compatible". That is, they are capable of receiving and interpreting the signals but are not yet able to show them in their whole range. To make the real 4K, we do not only need spatial resolution, but we also need a chromatic reproduction and a dynamic range far superior to what most of our current devices are capable of delivering. Well then, this new FS7-II is indeed capable of registering all this chromatic range.

sturdiness, permitting the use of heavier and much more reliable lenses. The Rec2020 colour space is the standard for this new way of capturing and

disseminating 4K content for HDR (High dynamic range). Not only does it increase the range of chromatic tones and levels of luminance and contrast mappable far

Working in CineEI mode with S-Log2 and S-Log3 gamma curves, we have a dynamic range and an even larger chromatic reproduction than the Rec2020 space, but to make the most of them and show them correctly, a grading process is indeed required. The advantage of the Rec2020 space is that TMBi - 93


 TEST AREA we could go directly from capturing to dissemination with the parameters of space correctly defined without having to go through this intermediate process to impress the retina of our viewers or customers. While these three features are those we found most remarkable, we have a couple more to tell you about, some that make our lives so much easier. Some have their origin in comments and input from many operators of all types, so their benefit is beyond doubt. On the electronic side, we thought it was remarkable to be able to assign different LUTs (look up tables or colour appearance correctors) to each of the outputs: SDI 1, SDI 2, HDMI and monitor, in such a way that we can ensure that our filming with the allocated gamma curve permits obtaining the best dynamic range possible without frightening the directors or producers that are not overly familiarised with this way of recording, so little showy at first glance, but ever so effective once graded. Without it being a novelty and following the same line as most of the brand's TMBi - 94

audiovisual equipment, the accessory shoe is of the MI type (Multi-purpose interface), which lets us connect torches with

synchronised lighting, or wireless microphone receivers that access the audio channels without needing extra cables.

Sony PXW-FS7-M2

The recording buttons remain on the body and they kept the excellent ergonomic grip of the first version with multiple buttons

To conclude the summary of the electronic side, we confirm that they have kept the Wi-Fi and GPS systems built into the body of the camera just as in the original model. Speaking about the more functional part of the device, the recording buttons remain on the body and they kept the excellent ergonomic grip of the first version with multiple buttons, the rotating dial (ideal to assign the variable neutral density filter function) and the joystick to handle the menu without moving your hand remain, but they have improved the arm that holds it, giving it more positions and adjustments, letting us make all the adjustments by hand, with no tools, not even coins. Keeping the LCD screen as it was, they have enhanced the design of the support and mountings to ensure it does not turn unintentionally. The anchorage of the viewfinder has been enhanced, which lets us mount and dismount it so much faster and securer, and this version comes with a folding screen to prevent reflections when using the screen without the viewfinder.

With regard to the location and number of assignable buttons on the body, they have been modified and now have a different texture, which makes them easier to find without having to look for them. Other minor changes include a LED indicator light, so that we don't go crazy if the screen connector has not been set in place correctly and the camera seems switched off when it is not; a redesigned audio cover that now opens downwards, and even when left open, it remains completely flat in line with the body to make it less susceptible to accidents; and the extraction of XQD cards is as easy as ever because when they are released they stand out more and can be handled effortlessly. As with the previous model, you can purchase only the body without the lens or in a kit with a zoom. The previous lens was a 28135, whereas the one that comes with the new model is a 18-110 f4 purpose designed for this camera, which compromises the scope on tele slightly but it expands the range of angular significantly, often more than necessary. TMBi - 95


 TEST AREA It is a completely new lens, designed specifically for a cinematographic and documentary use in mind. We must not forget that thanks to its excellent performance, we can also use it together with other camera bodies, for which it includes a peculiarity, like its own servo to operate the zoom, unnecessary in this case, but very useful if we are to use it with reflex or mirrorless bodies. Unlocked from any of the servos, the operation of the zoom is purely mechanical with a great feel to it. This lens has its own tripod support, detachable and perfectly aligned with the base of the body of the FS7, making it ideal for mounting on rigs or platforms, and to balance the weight of the assembly seamlessly, regardless of the configuration of the accessories installed. The design of the rings is also noteworthy on this new lens. In addition to what we have already mentioned of the servo for the zoom, the focus ring is movable longitudinally, so its behaviour is mechanical with end stops and a wide and clear distance scale, or a continued turn if operating in autofocus mode. And for TMBi - 96

Sony PXW-FS7-M2

It is a completely new lens, designed specifically for a cinematographic and documentary use in mind

the iris ring, we have the possibility of making it turn fluidly and continuously like the cinema-style lenses or marking them with a click and a slight locking on the points of the diaphragm, as in photo type lenses. As regards software, our test unit was brand new, with firmware version 1.0 and we found the interesting function of the autofocus micro-adjustment, among other things in the extensive menu. Most of us have already assumed that a lot of the current autofocus systems are faster and more accurate than our own eyes, above all when we do not have position marks and carefully measured and planned scenes beforehand. However, on occasions, TMBi - 97


 TEST AREA some camera bodies and lenses show a slight imbalance that this microadjustment can compensate. We can configure our recording on several formats, all of them available in the first version: RAW, XAVC-I, XAVC-L, MPEG HD 422, ProRes 422 HQ and ProRes 422. To get an idea of the data volumes this really means, the camera estimates that on a 128Gb XQD card, we can record: 30 minutes on DCI-4K or QHD at 50p in XAVC-I, which increases to 99 minutes if we registered the same QHD at 50p in XAVCL; and a simple HD at 50p on XAVC-L would permit storing up to 270 minutes on the same card capacity (empty, obviously). By the way, for our test, we also had one of the new 128Gb series G XQD cards that offered an impressive 400 Mbps for writing and up to 440 Mbps for reading. The range of accessories continues to be the same as its predecessor. Some, like the Sony XDCA-FS7 extension unit, continue to be a must for the possibilities like 4K RAW recording at 12 bits in external devices or internal TMBi - 98

The camera estimates that on a 128Gb XQD card, we can record: 30 minutes on DCI-4K or QHD at 50p in XAVC-I

ProRes422 or additional time code and genlock connections. This compatibility helps to increase our scope when necessary without having to go out and buy or rent additional components. The basic operation and ergonomics are the same as the predecessor, the FS7, which was already extraordinary, and even so,

Sony PXW-FS7-M2

the brand has managed to improve thanks to the enhancements we have already mentioned. Knowing that it is an extremely personal opinion, we have always said that the boom of compact or reflex cameras with video capabilities has opened the market up to budgets and possibilities that were unthinkable some years ago, but the operation

and handling offered by a camera designed for the efficiency of the operator, with sufficient buttons of a reasonable size in reachable places, and without having to navigate through menus to adjust basic operation parameters, continues to be unbeatable.

narrative possibilities, the

In this respect, the concept that recovered the design of this camera in 2014 evoked the excellent ergonomic performance of classic documentary cameras used some decades ago, which are still an indisputable reference today.

the performance with the

We have left the price for the end, because we consider it important to learn about the differences involved first. Speaking about sales price before taxes, only the body without lenses of the previous model was in the region of €8,500, which for the new model has increased to €10,000 for the same conditions. If anyone says that it is not worth it, it will always be a valid opinion, because for that professional the differences of the new model will probably not be relevant and this is why the brand has kept both models on the market. But if the variable neutral density filter and its

kit format for €13,500 (price

non-turnable lens mount, the Rec2020 colour space and the enhanced ergonomics mean something to you, we think the price difference is more than justified. With respect to the new lens, designed to optimise new body and without neglecting the excellent optical and functional performance with any other body we decide to attach it to, it can be purchased jointly with the camera in a taken, as always, from the suggested retail price list before taxes). Our conclusion is that they have made valuable improvements to a product that was already extraordinary to begin with. Now we only need our clients to appreciate these differences and to enjoy a camera that is sufficiently versatile to deal with multiple situations with a guarantee of success thanks to the balance between performance, functionality and ergonomics. TMBi - 99

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