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Summary

Editorial

Pan shot Keep informed about what’s happening

The best of IBC 2017 4K, HDR, LASER, LED The latest developments in projection systems

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AJA RovoCam Camera System Delivers Critical Image Perspectives for Macquarie University’s Surgical Skills Lab

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RZIM & Diversified Utilise Bluefish444 IngeSTore Appliance for Multicam Acquisition

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Test Area

Chrosziel MagNum MN-200 Test Area

Colorchecker Video by X-Rige

Editor in chief Javier de Martín editor@tmbroadcast.com

Editorial staff Daniel Esparza press@tmbroadcast.com

Key account manager Cristina Feduchi

Administration Laura de Diego

international@tmbroadcast.com

administration@tmbroadcast.com

Creative Direction Mercedes González

TM Broadcast International #50 October 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

design@tmbroadcast.com Published in Spain


Editorial We write this editorial after the return from IBC. On the table novelties, trends and technological developments. We talk about all of it on an article by which the reader will have an excellent summary of the highlights. We’ve dedicated lots of pages to projection systems for installations, by a broad travel through 4K, HDR, Laser and Led. We also published two interesting product’s review: Chrosziel MagNum MN-200 in which you can check the advantages of this accesory, and also the Video Checkcolor from X-Rite, seen by the eyes of a renowned director of photography. The Pan Shot section complements these articles with a selection of the most important news to the market. Once the Amsterdam´s show whirlwind has passed, we keep on working to bring you the best editorial contents. To do so, we’de like to let you know in advance about two powerful stories that we’ll bring you to end the year, as well as a big amount of reviews in which our especialistas test different equipments that will be published on the upcoming months. Stay tuned, the next issue is full of surprises!

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MEDIACORP DEPLOYS LAWO RƎLAY VIRTUAL RADIO MIXERS AT NEW SINGAPORE CENTER Mediacorp has installed 50 newsroom production workstations equipped with Lawo RƎLAY mixing software at its newly-built “Mediopolis” in Singapore. “Broadcasters today are all buzzing about ‘Virtual Radio.’ Lawo has been pioneering virtualization for nearly a decade, so it’s no surprise that Mediacorp chose our virtual radio mixer solution for their new facility,” says Boon Siong Tan, Lawo’s South East Asia Sales Director. Mediacorp’s new media center hosts facilities for 12 radio and eight TV stations, as well as originating a number of online streaming channels. The centerpiece of this new facility is a 30,000-square-foot central newsroom, designed around an open workspace concept that allows reporters, producers and talent to create content at dozens of production workstations. To power these workstations, Lawo’s partner, Broadcast Communications International, supplied and installed 50 copies of RƎLAY VRX4 Virtual Radio Mixer TMBi - 6

software, part of a family of virtual radio mixer products which run on standard PCs. Each computer is connected to the facility’s AoIP network, giving each workstation’s RƎLAY mixer instant access to audio from networkattached devices such as playout computers, codecs and VoIP servers, as well as audio from local sources. RƎLAY radio software enables broadcasters to build “virtual broadcast studios” using today’s powerful off-the-shelf PCs. The RƎLAY line includes

VRX8 8-fader and VRX4 4fader Virtual Radio Mixer, VPB Virtual Patch Bay, and VSC Virtual Sound Card software. All are AES67 / RAVENNA compliant, and multi-touch capable for easy, intuitive use on touchscreen PCs and laptops. RƎLAY can mix all types of native PC audio using included ASIO, WDM, WASAPI and MME drivers, as well as AES67 / RAVENNA streams. Nearly 500 broadcasters have downloaded RƎLAY software since the RƎLAY webshop debuted in 2016.


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DB BROADCAST COMPLETES A KEY PART OF A CONNECTIVITY TRANSITION PROJECT FOR THE BBC The overall project involved upgrading to an IP infrastructure dB Broadcast has just completed a key part of a connectivity transition project that transforms the way the BBC provides and manages its core technology. The overall project involved upgrading to an IP infrastructure on a network that has more than 4000 circuits interconnecting over 90 sites. The new network links all UK sites, including 21 broadcasting centres and

The project included significant upgrades to the BBC infrastructure at all key London sites, with larger SAM and Lawo routers at Broadcasting House.

local radio stations, as well as connecting to the main overseas bureaux and partners for playout of BBC TV channels. It carries all video, audio and data traffic.

Tom Swan, Sales & Marketing Director of dB Broadcast.

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dB Broadcast worked with BT to survey the major sites throughout the UK, install new bays and over 150km of new cross-site cabling, in readiness for installation and migration of new equipment, including routers and conversion equipment. The

project included significant upgrades to the BBC infrastructure at all key London sites, with larger SAM and Lawo routers at Broadcasting House. dB was responsible for providing H&S management under Construction Design and Management (CDM) protocols across all sites, managing client works as well as BT and 11 separate subcontractors. This required working with up to 800 on-site personnel, and processing over 20,000 documents relating to the management of CDM under the current 2015 legislation. Following a methodology often employed by dB Broadcast, the majority of the cable assemblies and associated equipment were prefabricated and tested at dB’s premises before being shipped to site. Tom Swan, Sales & Marketing Director of dB Broadcast, said: “As the UK’s largest SI, we were able to deploy the resource required to deliver the work on time and to a high standard.”


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LYNX TECHNIK SIGNS AN AGREEMENT WITH BROADCAST SOLUTIONS FINLAND LYNX Technik AG® has announced that it has entered into a distribution agreement with Broadcast Solutions Finland Oy, a subsidiary of Broadcast Solutions GmbH. The agreement calls for Broadcast Solutions Finland to act as LYNX Technik’s distributor and systems integrator in the Finnish market. Broadcast Solutions will promote and sell the LYNX Technik’s products including: greenMachine®, yellobrik®, Testor | lite and Series 5000® within the broadcast, ProAV and other vertical markets including critical real-time monitoring in industrial applications, where LYNX Technik is

experiencing growth.

Manager says: “LYNX

“We have been working with Broadcast Solutions for a number of years and their distribution and systems integration team deliver great value in their knowledge of emerging technology trends as well as providing customers with a solutions approach,” comments Sebastian Schaffrath, CTIO of LYNX Technik. “We consider them a trusted partner and look forward to working closely with them as the industry continues to transition to IP and software-based solutions.”

Technik’s reputation for

Commenting on behalf of Broadcast Solutions Finland, Reijo Viholainen, Country

several new innovative

LYNX Technik greenmachine

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being high quality and robust building blocks in demanding applications speaks for itself and its solutions already have a good foothold in the Finnish market. We welcome our new partnership with LYNX Technik and the new opportunities this will bring both companies.” The distribution agreement between LYNX Technik and Broadcast Solutions Finland is effective immediately, with projects already on the horizon.


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ANYWARE VIDEO: 2017 WAS A KEY YEAR 2017 was a key year for Anyware Video; the French company shared its latest success and technological advancements at IBC. Thanks to R&D, its flagship product line supports all the newest broadcast standards, for the deployment of 4K/fullIP/Ultra-HD channels. It offers broadcasters the capability to harness the power of IP based workflows while working with top of the line UHD media and codecs. Moreover the first semester saw Asian activities develop. From partnerships in several countries of the APAC region to the installation of leading projects in Japan, the continued collaboration with its partners is fruitful and represent a great prospect for the future. With its offices located in Japan, UAE and France, Anyware Video expanded his business and installed major projects in several technological domains and strategic sectors. Pursuing its last years’ successes, Anyware Video continues to put On-Air 4K playout systems for premium channels, offering live programs as well as native 4K stocks. TMBi - 12

OneGenie® 4K HDR OneGenie®, one of Anyware Video’s flagship product has been deployed in SD, HD and Ultra HD. Automated, operated and monitored through a web client, OneGenie® has been designed to guarantee fully distributed architectures, with remote operation and system virtualization. It can be set with 1+1 or n+1 active redundancy and provides complete range of broadcast quality monitoring (SDI, SNMP…) Anyware Video is going beyond more announcements. This year saw the completion of major projects focused on IP. From complex IPTV architecture running through several continents to WebTVs broadcasted through platforms like YouTube or DailyMotion, Anyware Video’s expertise of IP Playout has been used for many projects. The team has recently also deployed

full architectures on the Cloud through OneGenie® IP, a field proven IP multichannel.

Ingest, Playout and OTT workflows Through multiple projects, the architectures are designed for all sizes. Ingest is part of it, notably with the video server DubMaster® 4K, that offers the possibility to capture video content and to broadcast it in multiformat thanks with the 8 SD and/or HD channels. Specially designed for the TV channels, it is well 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 your AsRuns (automatic generation and transfers to the telecommunication operator or the Catch-Up TV websites).


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MATROX WILL HIGHLIGHT WORSHIP STREAMING SOLUTIONS AT WFX 2017 Matrox® Video has announced their increased participation at this year’s Worship Facilities Conference and Expo (WFX 2017 - Dallas, TX, October 11-12, 2017) both exhibiting (Booth 1035) the latest in Matrox Monarch webcasting products, and speaking, leading a session entitled “Streaming Made Simple: Separate the Myths from Reality”. Monarch devices are ideal for a wide range of house of worship applications;

WFX Monarch LCS

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facilitating live service offerings, incorporating video into social media, broadening accessibility, and spreading high-quality video content to congregants who are present in-house or are joining the service remotely. “At a basic level, houses of worship everywhere are looking for little change, from connection between their congregants, their pastor, and their deity. However, in terms of how they expect to do that, there has been a monumental shift,” says Francesco Scartozzi,

director of sales - Americas, Matrox. “When it comes to AV technology, the main requirement for a house of worship is for technology to be simple and easy to use. Matrox Monarch devices can be set up and then operated very easily—as simple as the push of a single button.” For those making the decision on how cut through an ocean of information on streaming technology, Michael Upshaw, president of LifeStream TV and Matrox’s Francesco Scartozzi will also be presenting a session to help separating fact from fiction when it comes to webcasting video (October 11, 11:00-11:45, Rm: 302/303). Based around common streaming myths and misconceptions, this session will culminate with an empowering example of how a small church in Texas broadened their reach across continents in a few simple steps.


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C-MOUNT INDUSTRIES RIDES ON AJA KI PRO ULTRAS FOR CARPOOL KARAOKE C-Mount Industries coowner Jason D Liquori runs a production equipment rental outfit and is an experienced producer, video engineer and DOP to boot. While renting equipment to CBS’ ‘The Late Late Show with James Corden’, he was brought on as a video engineer and car DOP for the ‘Carpool Karaoke’ segment. Recently licensed by Apple® for its new music streaming service, the series pairs celebrities like John Legend and Alicia Keys for a mobile sing-along adventure. Considering Liquori’s history with the series, fullwell 73, the production company behind the show, called on his expertise to evolve ‘Carpool Karaoke’ from an HD to a 4K series. ‘Carpool Karaoke’ was originally shot in HD using GoPro cameras, and ran 510 minutes. Liquori’s first task was to replicate that workflow for 4K delivery, and extend the format to a half hour. This required featured talent, Liquori and the production team to spend up to five hours sardined in vehicles with a swath of gear. Transitioning to 4K required large sensor 4K TMBi - 16

Liquori’s production setup is extensive, with a combination of 12 cameras spread between the windshields and custom headrest mounts in the backseat of the main car.

cameras and rugged recorders. The gear had to be able to run for an extended timeframe, withstand bumpy terrain and high temperatures, and capture ProRes XQ to SSD media for quick delivery to the post team. After researching a number of 4K recorders, Jason selected AJA’s Ki Pro Ultra Plus (KPUP) 4K/UltraHD/2K/HD recorder and player. “Ki Pro Ultra Plus checked all my boxes: an AC/DC power supply, dual-slot recording, automatic rollover, robust media that could handle repeated road

hazards, and the ability to take the heat – literally, with the temperature topping 100 degrees in the back of the car. I tested a lot of other large capacity 4K ProRes recorders, but they couldn’t keep up with recording 26TB a day,” he shared. “Having a monitor output to display the recording is crucial when working with A-list talent, and you need to ensure things are going well without making frequent pit stops; we found that feature unique to Ki Pro Ultra Plus.” Liquori’s production setup is extensive, with a combination of 12 cameras


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spread between the windshields and custom headrest mounts in the backseat of the main car. Each camera outputs a 4K 6G signal to twelve 4K SDI multiplexers which split each signal into four for input to 12 Ki Pro Ultra Plus units housed in a custom 18-inch rack in the back of the main car. Signals are then recorded at ProRes XQ at 4K 29.97 to AJA Pak SSD media. Every KPUP is networked via CAT5 for gang recording and has its own master for simultaneous start/stop recording. The KPUPs also down-convert the signals to 1080p for playout to 17-inch

HD-SDI monitors mounted with wireless receivers in two additional cars. The monitors provide a preview of the picture on screen, timecode and VTR status line. Once each shoot wraps, the AJA Pak drives are handed off to the show’s post supervisor with AJA Pak Dock media readers which can be connected via USB3 or Thunderbolt to host computers. For the latest season, Liquori captured more than 48 hours of footage totaling more than 220 TB, and the KPUP’s rollover recording and consistent power supply helped keep production on track. “Every minute in the

car with the talent counts, and being able to continuously shoot and record to 12 Ki Pro Ultra Plus units without having to make frequent stops was vital to not disrupt the comedic flow. Ki Pro Ultra Plus’ compact, XLR DCpower supply also allowed us to carry out the production without requiring additional converters or jeopardizing the car’s power supply,” he shared. “With less time spent troubleshooting technology bottlenecks and more time careening through the city, we were able to focus on making the segments look great.”

Carpool Karaoke was originally shot in HD using GoPro cameras, and ran 5-10 minutes.

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CRESTRON TAKES TO THE ROAD IN NORWAY Crestron announces a series of roadshows to take place in four key cities across Norway

After the recent opening of its premier office and Technical Institute in Norway, Crestron has announced a series of roadshows to take place in four key cities across the country. Taking in the Scandinavian backdrops of Oslo, Bergen, Trondheim and Stavanger, the Crestron roadshow will welcome Crestron dealers and end users from the region to experience its technology including the new Crestron Mercury™ allin-one tabletop conference system, Fusion™ and DigitalMedia™ solutions, video streaming capabilities, plus its wide range of touch TMBi - 18

screens, audio products and more. Attendees will have access to Crestron technology demonstrations, unique insights and top tips plus they will have the valuable opportunity to ask any questions at the live Q&A sessions with Crestron experts. The roadshow will be at four key locations on the following dates: - 3-12 Oct: FORNEBU, OSLO, Crestron Nordics - 17-19 Oct: BERGEN, Scandic Hotel Flesland - 25-26 Oct: TRONDHEIM, Clarion Congress Hotel

- 31 Oct-2 Nov: STAVANGER, Scandic Hotel Forus Patrick Edwards, Regional Sales Manager at Norway, comments: “Following the opening of our new Norwegian office, the roadshow is an exciting opportunity for Crestron to meet its valued Norwegian dealers. We hope it will also encourage dealers to use our new dedicated training facility which offers a whole host of our renowned training courses, ensuring we continue to deliver the best service to old and new customers in this region.”


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ROSS VIDEO POWERS THE VIDEO PRODUCTION AND GRAPHICS AT THE MBS Ross Video® has announced that several of the company’s products power the video production and graphics at the new Mercedes-Benz Stadium (MBS) in Atlanta, which opened last month after three years of construction. At over a billion dollars of investment, MBS – home of the Atlanta Falcons and FC United – is the sports venue project that features the “Halo Board” display which measures 1,100’ wide by 58’ high, with a 21512 by 1152 pixel resolution. Ross’ XPression Tessera powers synchronized playback from multiple 3D render engines to drive the Halo Board – the largest display in North America: “At the outset of this ambitious stadium build, there was no

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display control system available that could drive such an enormous display pixel accurately as one canvas, so we devised a plan to build one that would,” explains Kevin Cottam, Director at Sports & Live Events (North America) at Ross Video. “The result is XPression Tessera which delivers pixel and frame accurately with synchronized playback from multiple realtime engines.” “When we started this endeavor to build the world’s largest video board we knew it was going to be a complex environment. Ross Video was not a vendor in this process, they were a partner and together we created a very cool presentation for the fans of the Atlanta Falcons and United,” states

Pete Soto, Senior Director Game Presentation, Live Events & Stadium Production, AMB Sports + Entertainment. “In a control room of this complexity, it was great to have Ross Video to help power our imagination in creating a unique fan experience for our fans. And we’ve only just begun.” In addition to Tessera, Ross provided two Acuity switchers for the MBS control room, two Carbonite Solo switchers to drive an additional display, the Mega Column, with a 1416 by 2016 resolution, and openGear to integrate with other production equipment, along with supporting training and creative services.


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ECUADOR, COASTING TO SUCCESS Following in the footsteps of Charles Darwin, and utilising all of the latest media technologies, RTVEcuador have now taken their next evolutionary leap and contracted with Hitachi Kokusai to install Provys as their programme planning system. Ecuador sits on the Equator in the north-west corner of the South American Continent with the Pacific Ocean to the west, where the Galapagos Islands, the place of birth of Darwin's Theory of Evolution, are located. Running down the centre of the country are the magnificent Andes, watershed of the westflowing rivers and the Amazon tributaries to the east. This Amazon, with its unique river basin is not to be confused with the other Amazon in Silicon Valley, which is currently lacking water. Returning to Television and Radio Ecuador, the story starts with an agreement in 2016 with the Japanese company Hitachi Kokusai Electric to expedite the process of migration of TMBi - 22

Transmission Content Management Schematic

public broadcasting from analogue to digital television. The vice president of the Republic, Jorge Glas, explained that for the development of digital television in the country, "the Japanese standard ISDB-T with Brazilian modification was chosen", and stressed that, among other reasons, that "enables interactivity with the viewer". This standard is almost universal in the whole of South America. Included within this completely new TV and Radio distribution system is an advanced, state-of-theart playout automation developed, supplied and installed by AVECO. Such advanced technology requires only the finest broadcast management system with the most modern programme scheduling, and it was therefore, inevitable (in

modesty) that the Provys suite of software solutions was chosen to meet the quality demands of RTVEcuador. In order to remain economical, RTVE chose to implement a basic broadcast management and scheduling solution, some details of which follow. The cornerstone of the whole system is a robust relational database which needs to be initiated, reliably and securely connected and properly configured. Ongoing tasks include workflow analysis, basic setup, training sessions onsite, and initial data entry which includes content, licences, weekly plans and EPG preparation, microscheduling and promo campaigns. As seen in the self-explanatory picture, worthy of your study, another critical task is tight integration with the playout system which is an


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invaluable defence mechanism against subsequent errors and timeconsuming corrections, as well as providing management with timely asrun feedback. In addition, no one could imagine a modern television programme without secondary events/graphics, and of course, these are also included. In the package, RTVE will also enjoy 8x5 support – technical and emergency support during working hours (9-17 local time). In this particular situation, 24x7 support

(standard for Provys) is not required as in this size of project, 8x5 is still sufficient. As ever, there are some requirements for the client to fulfill, both technical and logistical, and in line with industry practice, RTVE have chosen to supply their own IT infrastructure according to recommended specifications. These requirements include: dedicated office for the project team; training facilities; database backup and hardware maintenance; organisational change according to new workflows;

test commissioned systems and report as appropriate; and finally, cooperate in all stages of the implementation in line with agreed milestones. Although this is only a small project, it is nevertheless, a critical step in the digitisation of Ecuadorian broadcasting, bringing benefits to viewers and reducing stress levels for RTVE employees, paving the way for further developments in Ecuador, and showing the way forward to the whole of Latin America.

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NEP AUSTRALIA SELECTS TEKTRONIX TO MONITOR HYBRID IP/SDI INFRASTRUCTURE

Tektronix, Inc. has announced that NEP Australia has selected Tektronix as a key technology provider for the broadcaster’s move to an IP-enabled production infrastructure based on the SMPTE ST-2110 standard for video over IP. NEP has purchased a range of Tektronix equipment for its IP build out including both standalone and rackmount PRISM hybrid IP/SDI media analysis instruments as well as SPG8000A hybrid sync generator and PTP grandmaster clock units, ECO8000 automatic changeover devices and WFM5200 waveform monitors. NEP Australia is transitioning from an SDI infrastructure to an all-IP infrastructure for outside broadcast and live production. The catalyst is the construction of two IP TMBi - 24

enabled centralized production hubs and four new all-IP OB trucks. During the transition NEP will run a mix of all-IP OB trucks and legacy SDI trucks with an IP layer allowing connectivity to either hub. The need for a gradual transition to IP created a significant challenge for NEP to efficiently monitor and troubleshoot this complex hybrid environment – a challenge solved by PRISM. Tektronix PRISM is the first

monitoring solution of its kind to combine ST-2110 analysis with full SDI support, making it suited to NEP’s requirement. It gives NEP’s broadcast and network engineers real time monitoring and analysis of IP streams and the associated content, enabling early identification and diagnosis of network or content issues including intermittent loss of video, audio, or data content. PRISM’s IP capabilities including analysis of PTP synchronization timing, support for SMPTE ST 2022-7 redundancy and SMPTE ST-2110, IGMP V3 and API support for system integration into network management systems, and IP stream capture for deep dive analysis. “We have relied on Tektronix instruments for monitoring and QC for many years and see them as an important trusted partner,” said Marc Segar, director of


technology, NEP Australia. “With local support from their Australian channel partner, TekInsite Video Technologies, Tektronix has played an important role in our decision to move to an ST-2110 infrastructure, going so far as to send a principal engineer to Australia to conduct real operational testing with PRISM on site in our Sydney facilities. Currently, PRISM is the only monitoring solution fully capable of meeting our requirements.” Alongside PRISM in NEP’s build out will be the SPG8000A hybrid master sync generator and PTP grandmaster clock that provides PTP (SMPTE ST-2059) timing for its ST-2110 compliant IP video network.

“The transition to IP will take several years before it’s fully implemented” “Even for broadcasters such as NEP that are committed to a modern all-IP infrastructure, the transition to IP will take several years before it’s fully implemented,” said Charlie Dunn, general manager, Video Product Line at Tektronix. “With support for both IP and SDI in the same platform, PRISM is uniquely positioned to help broadcasters make a smooth transition to IP while preserving their legacy investments. And, as a software-enabled platform, it can support their needs well into the future as standards and technologies continue to evolve.”


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RAMOGI FM JOINS THE VISUAL RADIO REVOLUTION WITH LAWO – VIDEO FROM RADIO FOR INTERNET AUDIENCE With 14 radio stations alongside TV stations and Digital TV services in its portfolio, Royal Media Services Limited is the largest electronic media operator in Kenya and enjoys the country’s widest geographical reach. Its latest venture is centered on Ramogi FM – a first move into Visual Radio. Key to this operation is the use of Lawo IP mixing consoles, and the building blocks for network, audio and video control that they support. Riding the wave of Visual Radio that is traveling the world, Royal Media is the latest major broadcaster to decide that IP is no buzzword but represents the immediate future of broadcast production. The launch of Ramogi FM also settles an unofficial competition between operators over the first station in Kenya to launch a Visual Radio service. In response to the challenge presented by Visual Radio, Royal Media Services has established a Radio-TV model on the internet, adding visual content to the audio broadcast. HDV (High TMBi - 26

The console chosen for the critical tasks of audio mixing and camera control is a 12-fader Lawo crystal IP desk, which is paired with a crystal Compact Engine matrix offering up to 288 I/Os.

Definition Video) Visual Radio automates the process of creating video support for a radio program. One of the features of this solution is that configuration and management do not require an operator – layout plots and overlay graphics are generated automatically to a predetermined schedule or in response to a specific event. The visualization of Ramogi FM provides a live broadcast with the “effect of presence”, where a listener/viewer can see a close-up of the on-air talent, and a general plan of the

room or any part of the setup. This is achieved with three PTZ (Pan, Tilt, Zoom) controllable cameras installed in the live studio, each activated by opening a fader on the audio mixing console. The Visual Radio server manages the video sources in accordance with the given scenario, using transition effects, overlay graphics and titles, and then generates a single stream that is sent to the Internet. The console chosen for the critical tasks of audio mixing and camera control


is a 12-fader Lawo crystal IP desk, which is paired with a crystal Compact Engine matrix offering up to 288 I/Os. The use of the desk for Ramogi FM also serves as a ‘test run” for further stations to adopt it. The choice of Lawo was supported by a large customer base, presentations made to the company and trust on the customer’s side. Along with the selection of the crystal mixing system, Ramogi FM’s workflow also makes comprehensive use of Lawo’s VisTool to control the cameras – much as in a TV station. A touchscreen-optimized PC software package, VisTool supports the creation of custom status displays, tablet- and touchscreenbased button panels and mixing console controllers. It also can be used to capture and manage snapshots for Lawo crystal and sapphire radio consoles, and offers sophisticated rights management. The adoption of Visual Radio allows not only the broadcast of live studio streams, but also supports promotional videos, advertising and image inserts that make up a predetermined schedule. To the online viewer, this complex system looks like a simple video player on the station's website and is accessible from any device that supports video viewing and has internet access. During periods when the radio does not create its own live stream, the player can relay previous programs.


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AUSTRALIAN BROADCASTER SBS DEEPENS PARTNERSHIP WITH DALET

Noel Leslie (Chief Technology Officer at SBS), Stephane Schlayen (COO Dalet), Raoul Cospen (General Manager for Asia Pacific region Dalet) and Darren Farnham (manager at SBS).

Dalet announces that Australia’s Special Broadcasting Service (SBS) is significantly expanding the portion of its media operations powered by the Dalet Galaxy Media Asset Management (MAM) and Orchestration platform. The new implementation will facilitate production and distribution of news, sports, radio programs in multiple languages and music content across the broadcaster’s TV, radio and digital platforms. The new deployment will bolster SBS’s production capability prior to the 2018 FIFA World Cup. The expanded installation TMBi - 28

will now encompass news and sports production as well as the full radio automation for SBS music channels. This will deliver production content to three TV channels, eight radio channels (music and talk show), the SBS website and online apps. SBS’s radio programming is produced in more than 70 languages, making it the most linguistically diverse broadcaster globally. In addition to the 2018 FIFA Football World Cup, the production of other sporting events that will be facilitated by the new integration include tier-one events such as the Tour de France and English Premiere League.

“We embarked on phase two in full confidence of our partnership with Dalet” SBS’s Chief Technology Officer, Noel Leslie, explains: “Following the first phase of our strategic move to streamline our programming content under the management of a single MAM platform, we embarked on phase two in full confidence of our partnership with Dalet. SBS and Dalet teams have worked collaboratively on the software commissioning and the system integration for this project. Change management is also extremely important to us at


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SBS, and we have made it core to our strategy to involve key stakeholders across the chain and across our geographically spread operation right from the start of the process.� The system will be deployed across four sites including SBS headquarters in Sydney, connected production operation in Melbourne, a third system in Canberra, and a Business Continuity (BC) / Disaster Recovery (DR) site also in Sydney.

Specifically, Dalet will unify content preparation, production and ingest at two TV studios and eight radio studios in Sydney and an additional eight radio studios in Melbourne, bringing together up to 300 simultaneous users working with the system. Video ingest for 50 channels spread across the country, alongside multiple channels of audio ingest, will be centrally managed under the control of Dalet. The Dalet AmberFin media processing

platform will assist with transcoding as required. Dalet On-the-Go will also be available to connect journalists in the field directly to the central Dalet Galaxy platform. Dalet OneCut is provided for desktop editing and remote editing at the Canberra studios. Industry-standard, BPMN 2.0-compliant Dalet Workflow Engine automates multi-platform publishing, including social media workflows, as well as archiving operations.

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IBC 2017

IBC 2017 attracted yet another record-breaking attendance

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IBC 2017

Text by Daniel Esparza

Since its creation, IBC has not stopped growing. And this year its attendance figures didn’t disappoint either. The show has reached a new alltime high of visitors with a total of 57,669 people. The increase has been of 3.25% compared to last year. If we compare these figures with those of 2010, when 48,521 people attended the event, the increase is 15.86%. The number of exhibitors has also grown in recent years. Last year there was a total of 1,679 companies, 20% more than the 1,337 exhibitors in 2010. The show evidenced that more than 1,700 companies participated this year.

IBC, the global news epicentre for five days The IBC was the epicentre of global analysis of the audiovisual market for five days for another year running. The world's leading manufacturers have not missed the opportunity to present their latest innovations to the eyes of the world. This year's event has also helped us hear all about the most

representative trends of the sector from the horse’s mouth. Some brands have exhibited their latest products for the first time worldwide. This is the case of Fujifilm. The Japanese manufacturer announced the launch of the Fujinon UA24x7.8BERD lens, said to be the smallest and lightest 4K Broadcast zoom 4K on the market. Its approximate length is 220.5 mm and weighs 1.98 kg. It offers a zoom magnification ratio of 24x, covering a focal length ranging from 7.8 mm angle to 187 mm tele. It is designed to be used for sporting events, studio work or even in confined spaces, although it is especially suitable for shooting with 4K camcorders. The lens will be available in January 2018. For its part, Chrosziel demonstrated a new lens motor for Fujinon MK zooms. The Chrosziel Lens Motorization system is especially designed for the Fujinon MK 18-55mm T2.9 and the Fujinon MK 50-130mm T2.9 lenses. Shipments will begin at the end of October. Another firm that came in strong this IBC was Sony. The manufacturer unveiled its first exclusive 8K camera system, which includes three 1.25-inch 8K sensors. The head of Sony TMBi - 31


IBC 2017

Fujinon UA24x7.8 ENG Lens

flexibility they need to record productions in 4K today.” The 8K signal is transmitted via SDI, but the UHC-8300 system is also compatible with IP connectivity, one of the pillars of this show, as we'll see later on. Sony will accept orders from October this year.

Media Solutions Europe, Richard Scott, explained the keys to this release: “The introduction of 8K sensor technology offers the TMBi - 32

capability to record productions in 4K and is a step forward in imaging technology that will give audiovisual companies the

Attendance at the fair has increased by more than 15% since 2010


IBC 2017

Another relevant announcement came from Blackmagic Design. The firm introduced us to its new Ultimatte 12, a digital composer designed to superimpose professionalquality images, add Augmented Reality elements to any shot and create virtual scenarios. Using SDI 12G technology makes it

easy for users to work with high-definition images and at the same time, be prepared to process UHD content. It works with both fixed cameras and static backgrounds and automated virtual scenarios, so it can be used to present weather reports, sports programmes, newsletters or entertainment industry updates.

It is also suitable for television or film productions because it offers actors and directors the option of seeing the virtual stages that will replace the green background in front of which they are filming right in the recording studio. Imagine Communications brought the Versio platform,

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IBC 2017

AJA Io 4K Plus

a multimedia workflow system that enables media companies to optimise playout related operations to meet their operational and business objectives. Among the novelties presented by AJA Video Systems, we highlight its new Io 4K Plus with support for Thunderbolt 3. Io 4K Plus offers 12G-SDI and HDMI 2.0 I/O connectivity, advanced audio tools and support for 4K/UHD up to 50p/60p frame rates. The solution integrates with standard creative tools such as Adobe Premiere Pro, Apple FCP X and Avid Media Composer.

The company's managers have also assured that more people have visited their stand this year. The products that generated the most interest were the Avantos-UHD encoders/decoders and the Gredos HEVC encoders.

SAPEC gave us several firsts in this latest IBC. The company announced, on the one hand, its new head of business development for Europe, Javier Verduch Golfe.

Canon XF400.

SAPEC Avantos

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The company has added the new VUD5200 model, a professional UHD (4K) HEVC signal decoder to the Avantos range, designed to support the ITU H-265 standard. The Gredos range is complemented by the GHM5200 model, which


IBC 2017

supports HEVC compression. It also supports interlaced HD/SD signals, 422/420 profiles, 10bit processing, and multiple audio encoding formats (DD and DD+ optional). Canon also launched its audiovisual artillery this IBC. It took advantage of the event to present two professional camcorders, the XF405 and the XF400. With a new 15x optical zoom lens (35mm to 25.5mm382.5mm film equivalent), a CMOS type 1.0 sensor and a Dual DIGIC DV 6 image processor, the new models

Boxilla.

allow recording high-quality 4K/50p images over the entire focal range of the zoom. They allow continuous recording at 100 fps in Full HD to record slow-motion video.

Black Box introduced Boxilla, a centralised KVM and AV management platform with its first integration, InvisaPC. It enables users to manage access rights, configure

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IBC 2017

VSN Explorer.

endpoints, allocate bandwidth to devices and monitor network activity over a secure LAN or the Internet centrally. The Spanish VSN consolidated its commitment to the cloud by presenting an end-to-end solution on the cloud at this IBC. It is a complete cycle in which their solutions work through this new type of technology. The company boasts to be the first to offer this possibility to its customers. The workflow of this solution offers tasks ranging from scheduling planning, media retrieval and delivery to video servers to its subsequent broadcast on different screens. TMBi - 36

Another company that committed strongly with cloud technology in this IBC was Thinklogical. Its new Private Cloud Solution provides zero-latency KVM and UI control, and delivers uncompressed 4K DCI 4:4:4 video sequences, at up to 60 frames-per-second. The Spanish company Brainstorm released its

InfinitySet3 in Europe. Acclaimed by many users for its TrackFree technology, this Enhanced Reality solution incorporates a new set of tools and features that enhance its graphical capabilities. Sennheiser officially announced its “AMBEO for VR” Partnership Programme, which has been

Norwia’s Hybrid frame options.


created to ensure seamless production workflows for VR and AR productions. The programme encompasses collaborations with manufacturers of field recorders, VR live cameras and live streaming software, mixing plug-ins and VR platforms. Norwia added flexibility for remote camera control with a customisable platform at IBC. Its new frames, miniHUB-1RU-4-0 and miniHUB-1RU-31 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. Videomenthe unveiled Eolementhe v4.0, the latest version of its workflowcreation platform, and Screen announced the support of Speechmatics’ automatic speech recognition technology within Screen subtitle transmission and creation workflows.

Eolementhe.

For its part, PBT EU launched its EXEcutor Media Integrator, Sync Master and SubtitleNEXT Central application suite solutions. SubtitleNEXT Central forms the core of an end-to-end subtitle workflow offering multichannel, multilingual captioning and subtitling


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IBC 2017

PBT EU Booth at IBC 2017.

modules that support universal subtitle format transcoding and real time live content.

IP environments Riedel has clearly seen where to aim the shots at this IBC. That's why the company used the event to announce the MicroN IP App for the first time, an interface that should serve to create a seamless bridge between the MediorNet system and TMBi - 38

MicroN.

IP networks. Riedel Product Manager Lars HĂśhmann did not hesitate to present the

new product: "MicroN's IPP application is the inevitable next step for the MediorNet


IBC 2017

ecosystem, while we are even closer to a future IP." And watch out, because this application supports SMPTE ST 2110 video and audio, a standard that has caught the attention of many visitors. It also supports SDI and MADI. In combination with all integrated glue functions, this application has been created to function as a tool that covers all IP interface needs. MicroN IP includes up to four high-speed MediorNet links, four SMPTE 2110-20 inputs and outputs, four 3GSDI baseband signals and eight 3G-SDI outputs. Four of these outputs are dedicated to monitoring SMPTE ST 2110-20 flows. GatesAir, for its part, presented the new enhancements of its two

Intraplex.

Intraplex network solutions, with the focus placed on IP transport. The company's goal is primarily for radio stations to improve their IPbased signal transport capabilities. The two products, the IPConnect software and the IP Link MPXp codec, premièred internationally during the show. Intraplex IPConnect is a new software application designed to strengthen data transport over IP networks. The Intraplex IP Link MPXp

takes advantage of the strengths of previous IP Link codecs while giving broadcasters more signal transport options from a single box with historically low bit rates. ENCO is another of the companies that surfed the IP wave this last IBC. Aware of the transition undertaken by many television and radio technicians towards IP workflows, the American company introduced new

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IBC 2017

TVU MLink.

software tools to its automation systems to expand the value of production and reduce operational loads. In the television section, in particular, ENCO presented several upgrades to its MOM (Media Operations Manager) system aimed at extending MOM beyond standard automation tasks, delving further into the infrastructure of a TV production. The system supports NDI connectivity support. ENCO President Ken Frommert ventured the following: “The transition to IP-based operations is expanding rapidly, and the ease of use of MOM and its feature set will simplify and accelerate the transition to IP-based production flows for broadcasters at any budgetary level.” TVU Networks took advantage of the meeting to present its end-to-end IP ecosystem of new hardware and software products. Among the novelties unveiled for the very first time to the European TMBi - 40

market, we highlight the TVU One mobile transmission solution, TVU Router, version 3.0 of TVU RPS (Remote Production System) or TVU Producer, a web application for producing and transmitting live content to Facebook Live. Adder announced 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. Another company that showed its advances in the IP field was BFE. The German system integrator presented KSC SILKNET, an SDN controller for IP-based networks in production, contribution and distribution. Its software architecture is based on a series of pillars: Discovery service, Topology manager, Network service manager, Pathfinder algorithm and Bandwidth manager.

HDR, present-day technology? HDR has been another topic of forced conversation. Grass Valley is one of the companies that took advantage of this IBC to consolidate its commitment to this technology. It has added three new compact models to its portfolio of LDX C86N cameras and upgraded the Dyno K2 repeat system, maintaining its support for native HDR capture and processing. “With our extensive live production portfolio, Grass Valley cameras, switches and replay and network solutions are ready for anything, supporting HDR, a wide range of colour and 4K content in IP or SDI workflows," says vice president of Live Production Mark Hilton. Another company that has focused its exhibition on showcasing its advances in


IBC 2017

HDR is Atomos. The firm has unveiled its plan to facilitate the creation and viewing of HDR content on YouTube. Now the user will be able to record images in his HDR 4K Atoms, and upload them directly to YouTube in HDR as well. This functionality will be part of a free AtomOS firmware update scheduled for the end of the year.

Some brands claim that HDR content is close to becoming mainstream

So, has HDR’s time come? Jeromy Young, CEO of Atoms, has no doubt: "The time for HDR is clearly now.

In light of the iPhone X and Apple TV 4K ads, added to the new 4K HDR devices announced every day, HDR

content is becoming mainstream. Panasonic is another company that jumped on the bandwagon. They unveiled at the show that they will update their studio range from October onwards to provide HDR compatibility in both HD and 4K. The update will affect the AK-UC3000 (4K), AK-HC5000 (Full HD) and the compact AK-UB300 (4K) cameras. Besides showing the latest addition to its UNICAM XE series, the UHK-435,

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IBC 2017

Ikegami confirmed that its HDK-73 camera (Unicam HD series) will be compatible with HDR. Another example is Snell Advanced Media (SAM). The company announced that Belgian OB and facilities company, DB Video, has invested in its flagship Kahuna 6400 multiformat production switcher to provide HDR support for live SD, HD and 4K/UHD productions. The Kahuna, along with its modular switcher interface panel, is housed in OB-11, DB Video’s new mid-sized OB vehicle.

New agreements Many companies have made the most of this IBC to announce to the market agreements and synergies with other companies. Panasonic, for a start, presented a collaborative initiative with Vislink and Videosys to develop the first compatible wireless modules for their range of studio cameras. These modules are designed to allow more remote control of the cameras and transmit video through the HF band by using an external system with simple and direct anchorages on the battery contacts of the camera. TMBi - 42

Many companies have made the most of this IBC to announce to the market agreements and synergies with other companies. The news of the agreement reached between Chyron-Hego and Microsoft also reached us during the show. Under the agreement, ChyronHego's TRACAB system will be used as an anchoring technology in Microsoft's Sports Performance Platform system. This cloud-based sports analysis platform provides professional sports teams, leagues and organisations with a solution to help players and teams make better decisions. TRACAB, on the other hand, uses advanced image processing and optical

tracking technologies to determine the position of all moving objects on the playing field, including players, referees and the ball. Videlio, meanwhile, announced the launch of its 4K and IP Academy in collaboration with Cisco and EVS. It will consist of a series of training programmes designed for engineers, broadcasters and media professionals. The goal is to direct organisations from SDI networks towards the next generation IP. Managing Director Vicent Loré is


optimistic about the effort involved in making these changes: “Broadcast engineers are familiar with SDI. But switching to IP requires that we learn new concepts and new methods. This is not rocket science; it is just a new set of skills that we must all acquire. That's why we created the 4K and IP Academy.” Lawo is another example: they decided to rely on New Audio Technology to launch LIME, a solution for mixing and monitoring immersive 3D productions on their mc² consoles. Dejero presented CellSat, its new IP solution for the coverage of live television events from remote locations, within the framework of its collaboration with Intelsat. At this IBC, we also learned that Cinevideo, one of Italy's leading Broadcast service providers, has installed two Calrec Artemis Light consoles in Dolphin 7.0, its new 4K OB vehicle. Clear-Com confirmed that it had been chosen to upgrade the NDR communication system, a public broadcaster in northern Germany, at its Hamburg site. The system consists of eight fibre-linked Eclipse Omega Matrices; each of the independent studios, as well as the

Master Control room, have their own system. Bluefish444 is, on the other hand, one of the companies that have decided to join the NDI queue. At this IBC, we also found out that a collaboration agreement with NewTek that will allow the input and output of SDI video signals up to 4K 60p as part of a NDI-based IP workflow was in place.

SMPTE ST 2110 takes one step forward Another of the event's interesting focuses revolved around the new standards. SMPTE announced the approval of the first standards within SMPTE ST 2110, used for IP transport. Its president, Matthew Goldman, provided some clues: “SMPTE ST 2110 standards go beyond replacing SDI with IP to support the creation of a whole new set of applications that leverage IT protocols and infrastructure. Not surprisingly, companies like Ross Video have decided to add this new standard to their IP ecosystems.”


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4K, HDR, LASER, LED THE LATEST DEVELOPMENTS IN

PROJECTION SYSTEMS

Text: Javier Guerra

There is no need to go to great lengths to see that we have definitely reached a turning point, both regarding the technology for the reproduction of images and the content itself that we are going to broadcast through any modern visualisation system. Within this qualitative leap forward, there is a segment of our market that has not been updated at the same speed and seems to have been anchored in the moments immediately before the beginning of the economic crisis that has been with us for a decade now. I am

talking about Imaging Devices for professional use, which experienced their splendour in the years of economic prosperity. At that time, every month a Museum or Nature Interpretation Centre was opened, a Congress was inaugurated or an Exhibition or Trade Fair was created, the projection market reached its glory, making the greatest exponent of the technology of the time available to end users. Many of those projectors are still working today, but it is obvious that immersed as we are in the

world of Ultra High Definition- it is time to review the current state of projection technologies and their implementation in current devices.

PROJECTION TECHNOLOGIES AND LIGHTING SYSTEMS The professional video projection sector is so broad, ranging from tiny devices for training in small classrooms to monstrous RGB laser film projectors that achieve brightness values of up to 60,000 lumens. However, their essence comes from the same three types of TMBi - 45

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HLD-LED lighting system operating scheme.

technology that has been around for years. That is, transmissive LCD panels, reflective LCD-based LCoS systems (mainly SXRD and D-ILA) and DLP technology projectors - both in single panel variants, as well as in TriDMD models. It is true that, little by little, traditional LCD technology has gradually reduced its formerly substantial market share in favour of DLP technology. Today, Texas Instruments panelTMBi - 46

based projectors have massively taken over the most economical segment of the market, but it is no less true that thanks to LED lighting or laser diodes, any of the three technologies currently on the market are now capable of displaying images of the highest quality, even on large format screens. Lighting systems used in imaging have traditionally been based on the use of UHP mercury vapour

lamps or Xenon lamps. The advantage of the increased colour accuracy and colour stability of Xenon lamps was that they competed against the best electrical performance and longer life of mercury vapour lamps. Precisely for this reason, the markets for both lighting systems were well differentiated, with Xenon-based systems prevailing in applications with higher requirements for faithful colour


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The professional video projection sector is so broad, ranging from tiny devices for training in small classrooms to monstrous RGB laser film projectors that achieve brightness values of up to 60,000 lumens.

reproduction and UHP in installations where low maintenance costs were paramount. Since the middle of the last decade, the first projectors with lighting systems based on RGB LED light emitting diodes began to appear. Several projector manufacturers incorporated different variants of these LED systems, which were mainly characterised by very low brightness,

making them unsuitable for professional applications where ambient light cannot be fully controlled. A couple of years ago, one of the most important companies in the lighting segment the Dutch company Philips- presented a variant of this lighting system called HLD LED, which, thanks to a drastic improvement in the density of its diodes, solved this problem,

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Laser Lighting system with phosphor wheel.

achieving brightness values in the region of 3000-4000 lumens. This enabled these devices to be classified as appropriate light sources for educational applications and professional environments. At ISE 2017, the company added the Home Cinema projector variant to its portfolio, which, with values between 1000 and 2000 lumens, already curried favour with at least two of the largest manufacturers of DLP projectors on the market, such as Taiwanese Benq and Optoma. There are TMBi - 48

also two main advantages over traditional lamps. The first and foremost is that its service life reaches 20,000 hours of use, which, in terms of savings in maintenance costs for projectors operating 24/7, can result in a very considerable figure. On the other hand, the light emitted by these devices allows manufacturers of DLP chip-based projectors to achieve a colour reproduction that is much more faithful to the original. In fact, we can go from only just covering the Rec.709 colour space of HDTV broadcasts when we use traditional lamps,

The inherent advantages of using solid-state lighting sources over traditional lamps are concentrated in any of these technologies based on the use of laser diodes. to reproducing up to 100% of the DCI-P3 colour space that is the norm in Digital Cinema and UHD content, which translates


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into a 26% improvement in its ability to show colours that the human eye can see. With decades of experience in the use of laser light diodes for the most diverse applications, it was only a matter of time before these lighting systems entered the imaging segment. It is obvious that the theoretical ideal for a projector with this type of lighting, should have at least one laser emitter for each of the primary colours -Red, Green and Blue- that compose the image and even better,

two for each colour -one for each eye- in 3D projection systems. Regrettably, the price to pay for these devices is stratospheric and only the most modern and luxurious cinemas in the world have systems like these. For all other laser projection devices, we have to use systems with a single emitter bank, or hybrid systems. The most common and the one we can find in some single panel devices dedicated to Home Cinema involves generating a blue beam of light by means of a bank of laser diodes of this

colour, which is led through a focus lens towards a phosphorous wheel in which it decomposes at different wavelengths, thus obtaining the yellow and green colours. The sum of BGY is passed through a second wheel, -this time a colour wheel that can vary between 4 and 6 segments depending on whether you are looking for more brightness or greater chromatic fidelityand this way, we can obtain the 3 primary colours that will make up our image. If we want to obtain a significant

SDR vs HDR in capture and playback.

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8 Bit vs 10 Bit gradation.

increase in the brightness of the projector or its contrast ratio, the toll to be paid unfortunately involves a loss of performance in the red colour. This is the reason for the recent appearance of the most advanced hybrid systems, which can include a second red light emitter in the form of a LED diode or even a second bank of red laser diodes that dramatically increases the accuracy of colour obtained. The inherent advantages of using solid-state lighting sources over traditional lamps are concentrated in TMBi - 50

Hybrid systems, can include a second red light emitter in the form of a LED diode or even a second bank of red laser diodes that dramatically increases the accuracy of colour obtained

lumens, the reproduction of colour spaces as wide as those required in cinematographic applications and the duration of more than 20,000 hours of use with negligible losses in its luminous efficacy.

any of these technologies based on the use of laser diodes. Brightness in the order of several thousand

If there is one aspect of projection systems where things have changed in recent years, it must be

4K, 10 BITS, HDR (HIGH DYNAMIC RANGE) AND WCG (WIDE COLOUR GAMUT)


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the new scenario that has been created with the arrival of 4K images. First of all, it is important to clarify the differences between the terms 4K and UHD (Ultra High Definition), which are often incorrectly used as synonyms. In the Digital Cinema standard, DCI-4K resolution is the result of obtaining an image on a screen with a native density of 4096 x 2160 pixels in 1.90:1 format. This resolution is renamed 4K-UHD when the native size adapts to the 16:9 wide-screen format

(1.78:1) used in TVHD broadcasts and is converted into a panel of 3860 x 2160 pixels. Once this clarification has been made, the most important thing is to highlight the enormous qualitative leap that comes with the new content in DCI-4K and 4KUHD formats. The change brought about by the arrival of High Definition formats, and in particular, the socalled Full HD (1920 x 1080 resolution points as opposed to the 720 x 576 Standard Definition in PAL format) represented a

It is important to clarify the differences between the terms 4K and UHD (Ultra High Definition), which are often incorrectly used as synonyms major advance in the definition of images that multiplied by five the resolution of their predecessors. But beyond that increase in resolution

EOTF curves. Gamma 2.4 vs HLG vs PQ.

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and the leap from interlaced scanning to progressive scan, there were no major differences

in terms of colour reproduction (CIE Rec.601 for SD and Rec.709 for HD were very

Color’s spaces. Rec. 2020 vs DCI-P3 vs. Rec. 709.

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similar) or increase in brightness range. However, everyone embraced Full HD as the


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most important improvement since TV broadcasts began 50 years earlier. The arrival of 4K and UHD formats completely renew how we broadcast contents on any display. The definition of each frame is multiplied fourfold -from just 2 million to more than 8 megapixels- but additionally, the quantification of the colour in the images is increased from 8 to 10 bits, and the range of brightness and the colour space achieved in the reproduction of these contents is significantly improved. The combination of these four factors results in a much higher overall quality image and drastically improves the fidelity to the original.

The arrival of 4K and UHD formats completely renew how we broadcast contents on any display.

Before delving further into the terms that give the title to this section, it is worth remembering some basic concepts.

the surface area contained in the triangle formed by the three RGB points, the greater the saturation of the perceived colour and, therefore, the greater the chromatic fidelity to the original that our brain can capture in nature. Until now, the biggest constraint we found to reach a larger space was associated with the physical limitations of CRT and LCD CCFL technologies, among others. But with the advent of LED and OLED lighting for flat panel displays and the use of laser and LED diodes for projection, the Colour Gamut we can achieve far exceeds the values of the Rec.709 space for Digital HD.

Colour Space: The colour interpretation systems are captured on a coordinate axis where each of the Primary Colours -RGB- are located at one point in the diagram employing x and y coordinates. The larger

Transference Function: Given the non-linear way in which the human brain interprets differences in luminance, the brightness of any content was represented based on a logarithmic curve of light transference from the

camera that captured that image to the screen and from it to our brain. The correction needed for the perfect interpretation of the different tri-stimulus values is known as Gamma Curve, and the one that reached an approximate value of 2.4 was the ideal curve that we used to compensate our particular vision system, which discriminates light differences in dark images much better than in the brightest parts. Limit Values of Brightness: Precisely inherited from the limitation of CRT technology to display appropriate colour accuracy with high levels of brightness, the monitors available up to now could not achieve maximum brightness values of more than 100-120 nits and despite the fact that technologies such as LCD or Plasma panels could reach figures of up to 300 nits, the gradation of TMBi - 53

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images in the editing room was limited to lower figures. All this, even though on a sunny day, any surface found in nature can reach values of more than 10,000 nits. HDR, The Image Revolution. Unlike HDR in photography -which uses multiple exposures to compress the light range of real images into a more limited range so that they can be played back-, HDR in Video expands the Dynamic Range of the Display, so that it can faithfully reproduce real images. This is achieved by increasing the peak of light that can be displayed on the screen and at the same time, by modifying the bit depth of the image from 8 to 10 bits and thus having 1024 different gradations for each primary colour instead of the 256 that we had until now. For an image to be genuinely considered as HDR, the following conditions must be met: 1.The Display panel in question must be capable of reproducing native 10-bit signals and, therefore, TMBi - 54

displaying between 876 and 1024 different light levels in any brightness and contrast mode. 2.The transfer function, previously known as the gamma curve, becomes a linear function with two variants. The first is the one devised by Dolby laboratories, called Curva PQ (Perceptual Quantisation) and standardised in the

SMPTE ST.2084 standard, with the trade name Dolby Vision and it goes from values between 0.01 and 100 nits to 0.0001 and 10,000 nits. Included in this variant is a second version devised by the HDR 10 consortium that differs from Dolby's release in a smaller amount of information contained in the metadata needed for error-free transfer. On


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the other hand, there is a second variant of HDR, advocated by television studios and specifically by the BBC called HLG (Hybrid Log Gamma), which, as its name indicates, is a hybrid curve in which the darker part of the image offers retrocompatibility with the old gammas, with a black ground of 0.01 nits and a white peak of up to 5,000 nits.

3.With the arrival of Ultra HD (both in 4K and in the future 8K) a new maximum colour space called Rec.2020 was established, which is based on the use of pure primary ones in wavelength, without taking into account the current technology limitations. (There is currently no display system capable of covering 100% of the Rec.2020). To get an

idea of its level of extension, I can say that it occupies up to 37% more visible surface area than the DCI-P3 space, which, as mentioned, is the norm for Digital Cinema broadcasts and 72% more than the Rec space. 709, which is the norm for current broadcasts in HD and Blu-Ray. However, because the colour signals are contained in DCI-P3 in the current UHD HDR discs, the Ultra HD Premium consortium gives this distinction to any display capable of achieving at least 90% of this DCI-P3 space with this distinctive feature. We are coming to an end of this article and the only thing that is left for me to say is that you pay attention to the next issues, where we will try to explain these concepts in more detail and above all, where we will have the opportunity to check out the first 4K video projectors that will give full meaning to this article. TMBi - 55

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AJA RovoCam

Camera System Delivers Critical Image Perspectives for Macquarie University’s Surgical Skills Lab

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Based in Sydney, Australia, Macquarie University’s Surgical Skills Lab is a virtual test bed for exploring human anatomy. It’s also home to one of the most advanced AVover-IP systems in the medical community, thanks to a recent technical overhaul. The system was designed and built in six weeks with a $75k-budget by Iain Brew, Faculty of Medicine and Health Sciences Clinical AV & IT Coordinator and the lab team. It has since opened up new teaching opportunities for trainees and practicing surgeons looking to hone their skills in a realistic environment. RovoCam, AJA’s compact block camera featuring an HDBaseT interface, and an accompanying AJA RovoRx-HDMI receiver were included as part of the upgrade to improve the delivery of video detailing surgical procedures and demonstrations. Since installation, Brew has seen a marked difference in the quality of imaging, especially when recording HD video for later review or reference. “Feedback

on RovoCam’s image quality has been consistently positive. It’s given us the ability to acquire detailed, color accurate HD images at a competitive price point, especially as we can set white balance at the touch of a button on our control system remotely,” he explains. Coupled with RovoCam, RovoRx-HDMI has also been a huge boon to the lab’s system. “RovoRxHDMI has simplified connectivity and made it easier to hide connections. RovoCam’s built-in UltraHD sensor also gives us the option to easily transition to 4K when ready, without having to spend additional money,” Brew adds. “The RovoCam system has saved us thousands of dollars compared to similar solutions, all without compromising on usability or quality. It’s literally plug and play with a single cable, which makes it easier for our lab team and assistants to rapidly deploy the camera on demand.” The lab includes ten operating stations, each with a surgical light, HD TMBi - 57


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display and connectivity for an HD video source. RovoCam resides in an operating station reserved for teaching. Mounted with a Manfrotto Magic Arm, RovoCam either sits above the surgical field, or is clamped to the edge of a surgical table when a different perspective is required. A single CAT cable connected to the camera and a CAT socket in the room routes to RovoRx-HDMI. From TMBi - 58

there, the HDMI output is routed to a Gefen Video over IP HDMI receiver for inclusion as a source for the lab’s VoIP matrix system. Users control the RovoCam via RS232 through the RovoRx-HDMI using a Global Caché IP2SL-P device, which allows for camera commands to be issued over a dedicated IP control network using an iPad Pro running iRidium Mobile control software.

To successfully integrate RovoCam and RovoRxHDMI into the system, Brew thoroughly planned out and tested the implementation before moving forward. Brew knew they’d need the right combination of equipment to facilitate everything from matrix video routing to high quality audio capture, processing and routing, HD recording and acquisition, and more. He first completed an audit,


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identifying how the lab could improve, and then evaluated budgetconscious technology that could enhance operations. Drawing on previous gear experiences and research, Brew and the team zeroed in on RovoCam for its plug-and-play design, single cable use, small size, mounting options, optical zoom and ability to function in a dynamic range of light. “We looked at a number of products, but many only had digital zoom or a limited optical range

compared to RovoCam’s optical zoom. Its simple connectivity also stood out among other products with multiple connections at the camera head, not to mention its unobtrusive size and ergonomics with a sealed design,” he shares. “Neither RovoCam’s 4K sensor nor scaling and ePTZ functions were requirements, but have turned out to be a huge bonus.” From an integration and training standpoint, the RovoCam system has

proven solid for the team at the lab. “RovoCam set up is effortless; it only requires a single CAT connection to carry power, control and vision, and it’s so easy to use and learn that the lab team haven’t needed to contact me for support,” he shares. “Its compact size is also an advantage, allowing us to mount RovoCam in several positions, without interfering with the surgical field. We simply mount it high out of the way, and access optical zoom for close ups.”

RovoCam is AJA’s first compact block camera for industrial, corporate, security, ProAV and broadcast applications. RovoCam’s HDBaseT interface supports control of 4K/UltraHD video, power, stereo audio and RS-232 over a single Cat 5e/6 cable.

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RZIM & Diversified Utilise Bluefish444 IngeSTore Appliance for Multicam Acquisition Ravi Zacharias International Ministries (RZIM) is a Christian apologetics ministry with offices around the world; comprising a global team TMBi - 60

of over 70 speakers. RZIM’s mission is to reach the thinker and the sceptic, to answer their questions, and practice evangelism through

apologetics; to help the thinker believe, and the believer to think. RZIM utilise radio, TV programming, and live events to reach their


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audience with evangelism, apologetics, training, spiritual disciplines and humanitarian needs, primarily focussing their messages in the realms of academia, business, politics, and the arts. To cater for such a wide range of communication mediums, RZIM employs the services of Diversified; to ensure that their systems are up to the

task. Diversified has been catering for the technical needs of the Broadcast, Audio/Visual, IT and RF market segments since 1993. With a requirement for four simultaneous channels of HD-SDI ingest from a multicam environment for live recording, RZIM requested a system from Diversified that could

integrate with their existing Quantum MDC and storage server. After weighing up their options, Diversified recommended RZIM adopt the Bluefish444 IngeSTore Server 3G appliance, powered by the Epoch | 4K Supernova S+, and running Bluefish444’s IngeSTore application. The system was installed and commissioned just prior to NAB Show 2017, TMBi - 61

ď‚ą


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and has been in constant and reliable operation since. A win for all stakeholders. Bluefish444’s IngeSTore 3G appliance captures up to four channels of SDI to a variety of industry standard video formats and file types. This meant that RZIM could capture their 1080i camera feeds in their native resolution, and encode the four simultaneous channels into their preferred DNxHD format, in real time.

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RZIM have configured the IngeSTore Server 3G appliance to capture from a Ross Carbonite Extreme production switcher via HD-SDI, which is then transferred over a 10Gb interface connection to networked shared storage. The four channels of DNxHD media are immediately available to RZIM editing suites for post-production. All Bluefish444 SDI video cards offer 12-bit processing, which when

combined with IngeSTore, ensures that each feed is captured at the highest quality for RZIM’s promotional videos, lectures, and multi-day live events in auditorium venues. “The IngeSTore Server 3G appliance has served us very well so far, and we’ve been able to capture the feeds from our four cameras at high quality; directly into our preferred DNxHD format,” comments Jeff Feighner,


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and budget for this project,” says Daniel Hall, Account Executive at Diversified. With their first system commissioned and providing consistent results, RZIM are planning to roll out installations to other venues. “We are looking at growth through shows that will allow for off-site events, and with our success so far with Diversified and Bluefish444, we would approach them again for a solution,” says Feighner. “We will be looking at a viable option for ingest in remote areas, so we are hoping that the IngeSTore Server 3G could be implemented for this.” Chief Engineer at RZIM. “We’ve found the training and engineering support top notch, with very quick and efficient responses when we were installing and setting up the system.” Diversified understood RZIM’s requirements, and with their wealth of experience within the

industry, felt that the IngeSTore Server 3G appliance was a good fit to integrate with their existing architecture. “We’ve always had positive experiences with Bluefish444 in the past, and their IngeSTore appliance became the best choice for RZIM’s technical requirements

With their success using the DNxHD formats to date, RZIM plan to multicam record uncompressed AVI and QuickTime formats with the IngeSTore Server 3G appliance, giving them the highest quality raw footage and more flexibility during the editing process. TMBi - 63


Chrosziel MagNum MN-200 Affordable technology

Lab testing performed by Ă lvaro Bernal

This time around, we have tested the Chrosziel MagNum MN-200 wireless lens, a wireless lens remote control system with two motor channels and a sliding remote for the iris. We tested it in combination with TMBi - 64

the Canon CN 17x120 lens, which we do not need external motors for, given that the MagNum controls the servos of these lenses digitally. The truth is that we can use this control for a great many purposes, from

cranes, travellings or the popular gimbals. It is a fact that since the large sensor cameras have moved in on all types of productions, controlling our lens’ zoom, focus and iris remotely has become a necessity in the


Chrosziel MagNum MN-200

professional arena. As it is quite clear that operating these lenses in any other way would be simply unrealistic. This is of great assistance even from the tripod given the precision of its controls. It has a manual wheel with two variables “hard stops”, a very free-flowing use and an adjustable friction. This is important because each focus puller has their own way of working, and knows the exact lengths they want for each type of lens. This tool also has a mechanical locking device, and we can adapt it to multiple lenses with different sized discs or rings. Another fascinating aspect is its spectrum analyser, which shows the best channel to operate on. The overall feel of the set is excellent, solid and free flowing, and for those of us who seem to pick a fight with all types of lenses, it is a true luxury to work with this device. When there is sufficient budget “in front of the camera”, we have come to believe that these tools are paramount. Having to repeat shots due to focus operation errors, for instance, can sometimes pose a real problem, not to mention limit our possibilities

in crane or steady planes to a compromised focus and iris position. This tool opens the margin to a whole new world of creativity. The entire system is managed by configurable menus, and it also has a start and stop recording function, among many other functionalities. Chrosziel has recently

launched the MagNum Mini version of the receiver of a lower weight and size, with a more lightweight casing to adapt better to the gimbals, drones or steadicams. This has become so commonplace these days, so much so, that we would not be able to achieve the desired effect in our images without these accessories.

Álvaro Bernal testing the Chrosziel MagNum MN-200.

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COLORCHECKER VIDEO by X-Rite Lab testing performed by Andres Torres AEC Film Photography Director

The ColorChecker Video Chart is a convenient, smallsized tool that facilitates the work of photographers and professionals of the audiovisual world, whose final compositions will end up being subjected to digital post-production and whose equipment requires data in line with the standard rules. One thing that must be considered with this type of tools is printing perfection. With its true grey and colour range, we can calibrate our equipment to ensure our work is impeccable, as can be seen in the signal obtained from this chart (Image 1). In a professional Waveform monitor it is very linear, which tells us that it meets the standards. TMBi - 66

Let's go back in time... This kind of tools or aids is by all means not new. When we filmed in 35 mm, these black and white lilies were used to help the person in charge of colour grading in the laboratory to reproduce the grey range contained in this chart. Logically, the image obtained in the positive was a true reflection of the illumination. This also applied to the actors' faces, which the Director of Photography would have done on the set. In other words, it helped with the colorimetry of the subsequent grading process. Look at Image 2. Here is a jewel that has been with me for over 40 years and I don't

think there are many more around these days. These charts also existed in colour, but the black and white ones made laboratory work extremely rigorous in an attempt to not contaminate those pure greys. Returning to our ColorChecker Video Chart, I would like to say that it complies with the current colorimetry standards for digital media that we use to expose the image of an audiovisual work. The chart has a pure white that will allow us to make the white balance with our equipment, which means that the first step has already been done.


ColorChecker Video

Chromatic colours ones, we can adjust our equipment for a better recording of the different types of skin or makeup tones demanded in the filming, in such a way that the reproduction in the set displays an image as close as possible to what it will be when we finish the post-production work with our colourist (Head of Colour Grading in photochemistry).

Image 1.

It is ideal for professionals, such as photography directors, DITs, camera assistants... It allows us to calibrate the equipment, and it also has a very welldesigned size, because it fits super snug in our work case.

Image 2.

Now is when our art with the light and its laws begins. The only difference is that in this case, we can't ignore them, because they will turn against our work in the postproduction phase. The white, grey and black stripes of the chart give us a good reference when setting our exposure, necessarily using the Waveform, an instrument

that has displaced the Photometer. This tool lets us see -in a very visual manner- where the signal levels are located and we can start recording with the certainty that we are exposing correctly. With the side patches, both the Skinetone and Saturated/desaturated

We must take professional care of this type of calibrated charts, because when those colours get dirty or become degraded, they will change the entire colorimetry of our work later. This is so because the reference will be no good and if our colourist must finish the work and we cannot be at their side while they are doing it, they might do a good job, but the result will not be as expected when we see it. TMBi - 67

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TM Broadcast International 50, October 2017  
TM Broadcast International 50, October 2017  

In this issue: The latest developments in proyection systems, The best of IBC, Chrosziel MagNum MN-200 and CheckColor Video by X-Rite in our...