TM Broadcast International 52, December 2017

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Editorial Pan shot Keep informed about what’s happening


How to reach the global podium in sports productions

Mediapro: LaLiga’s technological provider has left its mark of innovation in the successful history of the competition, but it strives to achieve more. A look behind the curtain of next generation OB vans

Norwegians Not Only Would, They Did!

BITAM SHOW 2017 Meeting point for innovation

Test Area

Newtek Tricaster TC1 Test Area

Canon C200

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 #52 December 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 2017 will be over soon and it does with a very positive assessment. Not only in what refers to this communication group where all our titles has increased on sales and audience, but also concerning the audiovisual market in general terms. In this last issue of the year we've wanted to bring you an editorial content of special relevance. In the following pages you'll find an interesting interview with the Audiovisual Director of LaLiga, the most important football league in the world. To complete this path we also bring you another interview of similar magnitude with the CTO and Operations Manager of Mediapro, one of the most important productions companies in the world which had the kindness to dedicate us an extensive part of time from its tight agenda. The “Test area” done by our experts focus this month on two interesting reviews: Newtek Tricaster TC1, a world leader on production systems “all in one”; and the Canon C200 a camera that feeds the market niche of those who looks shooting on 4K with appearance of Super 35 and a contained cost. Faithful to our motto of keeping our audience informed of the most relevant events of the audiovisual market, we bring you a large report about the BITAM Show. A trade show that after being held 5 times has consolidated in Spain as one of the most relevant for the audio and video from the south of Europe. In few days we’ll be celebrating Christmas and New Year. On behalf of the TM Broadcast International team, we wish you a next year full of happiness, success and good business.

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AWS ANNOUNCES FAMILY OF FIVE AWS MEDIA SERVICES FOR COMPLETE VIDEO WORKFLOWS Amazon Web Services (AWS) announced five AWS Elemental Media Services, an integrated suite of services that make it easy for video providers of all kinds to create video offerings in the cloud. Based on AWS Elemental video solutions, these five new cloud services let customers build end-to-end workflows for both live and on-demand video to deliver video experiences to viewers across a multitude of devices. “For the better part of six decades, professional-grade video workflows were limited to a few major industry players who could afford to build and maintain customized infrastructure that would be updated only once or twice each decade,” said Alex Dunlap, General Manager at AWS Elemental. “These companies spent a great deal of time, money, and focus operating infrastructure with resources that could have been better spent creating great content and viewer experiences. We built AWS Elemental Media Services to let customers focus on delivering topTMBi - 6

quality video reliably to any device, everywhere, without the undifferentiated heavy lifting of managing infrastructure. This not only helps traditional video providers innovate faster, but it also opens up new opportunities for startups, government agencies, schools, and multinational enterprises that, before today, had limited access to premium-quality video technology.” AWS Elemental Media Services include the following individual services: • AWS Elemental MediaConvert: Format and compress video-ondemand content for delivery to virtually any playback device, with highquality video transcoding and broadcast-level features. • AWS Elemental MediaLive:

Encode broadcast-grade live video for televisions or connected devices. Quickly stand up broadcast channels or live events and deliver them reliably to your viewers. • AWS Elemental MediaPackage: Prepare and protect live video streams for delivery to Internet devices with rich playback experience features such as start-over TV. • AWS Elemental MediaStore: Deliver video from high-performance storage optimized for media. • AWS Elemental MediaTailor: Insert targeted advertising into your video without sacrificing quality to increase viewer engagement and boost revenues.


GLOBECAST SELECTS MEDIAPROXY BROADCAST COMPLIANCE AND MONITORING SOFTWARE Mediaproxy has announced that Globecast has chosen its LogServer software solution for its London and Singapore facilities. Globecast’s facilities can ingest broadcast feeds from satellite, digital terrestrial television, and IP networks for aggregating, processing, and delivering live and filebased content around the world. LogServer, Mediaproxy’s softwarebased broadcast and IP monitoring solution, provides real-time compliance monitoring, reporting, and incidence management.

Using Mediaproxy’s LogServer software suite, Globecast is able to ensure full compliance with local broadcast regulations including loudness, subtitling, and closed captioning. The LogServer solution was installed at Globecast’s London facilities by Mediaproxy’s UK based partner, Polar Graphics. “With Mediaproxy we can ensure the highest level of regulatory compliance and quality control possible for our customer,” said Sylvain Merle, CTO of Globecast. “As content delivery and consumption becomes

increasingly multi-screen and multi-format, the agility provided by the LogServer software suite will allow us to stay one step ahead of evolving viewer trends.” “We are very pleased that Globecast has chosen our software based solution as we know how seriously they take broadcast compliance and quality assurance,” said Mark Horchler, VP of Global Marketing at Mediaproxy. “We are looking forward to working with the UK team and continue to deliver the most reliable and advanced solution.” TMB . 7


AJA AND AVID TEAM UP ON AVID ARTIST | DNXIP HARDWARE INTERFACE AJA Video Systems has announced that it has collaborated with Avid® to develop Avid Artist™ | DNxIP™, a new hardware interface option for Avid Media Composer® users that supports high frame rate, deep color and high dynamic range IP workflows. Avid Artist | DNxIP is a Thunderbolt™ 3 equipped I/O device that enables the transfer of SMPTE standard HD video over 10 GigE IP networks, with high-quality local monitoring over 3G-SDI and HDMI 2.0. Based on the new Io IP, Avid Artist | DNxIP is custom engineered to Avid’s specifications, and includes an XLR audio input on the front of the device for microphone or line level sources. Avid Artist | DNxIP leverages the power of Thunderbolt 3 to facilitate HD/SD video and audio TMBi - 8

ingest/output from/to IP networks. It features dual Thunderbolt 3 ports for daisy chaining, and two SFP+ cages for video and audio routing over 10 GigE IP networks. The portable, aluminum encased device also supports SMPTE 2022-6 uncompressed video, audio and VANC data over IP, as well as SMPTE 2022-7 for redundancy protection. Avid Artist | DNxIP feature highlights include: • Laptop or desktop HD/SD capture and playback over IP across Thunderbolt 3 • Audio input for analog microphone to record single-channel 16-bit D/A analog audio, 48 kHz sample rate, balanced, using industry standard XLR • Backwards compatibility with existing Thunderbolt hosts

• SMPTE 2022-6 and 2022-7 I/O • Dual 10 GigE connectivity via two SFP+ cages compatible with 10 GigE SFP transceiver modules from leading third-party providers • Two Thunderbolt 3 ports for daisy chaining of up to six Thunderbolt devices • 3G-SDI and HDMI 2.0 video monitoring • Audio I/O: 16-channel embedded SDI; 8-channel embedded HDMI; 4-channel analog audio In and 4channel audio Out via XLR break-out • Small, rugged design suited for an array of production environments • Downstream keyer • Standard 12v 4-pin XLR for AC or battery power

ROSS VIDEO APPOINTS ATG DANMON AS UK DIAMOND ELITE BUSINESS PARTNER ATG Danmon announces its appointment by Ontario-based Ross Video as a Diamond Elite Business Partner. This agreement will see the ATG Danmon and Ross Video teams developing their established partnership to present solutions to broadcasters, OB companies, educational institutes and major corporates. "ATG Danmon has a long history of success as a system integrator providing design, construction, installation and commissioning services to the broadcast media market at its widest," comments Ross Video's Director of Sales for EMEA, Oscar Juste. "The ATG Danmon team has worked closely with us on several major projects in recent months and continues to be a progressive partner with an excellent understanding of the technical and commercial factors guiding the media business." "We have already delivered several Ross Video solutions to customers across the various market sectors," adds ATG Danmon Managing Director, Russell Peirson-Hagger. "These have included Ross robotic cameras, graphics, SPGs, routers and production switchers. In all cases our customers have been extremely pleased with both the systems and equipment delivered. In addition to full solutions we are also able to offer standalone products for customers who recognise the high standard of pre-sale and post-sale support we can provide.



Italy’s ARET has created the first OB van in the world to feature the new 8331 point source monitors from ‘The Ones’ series by Genelec. Recently previewed at the IBC 2017 exhibition in Amsterdam, the trailer is a showcase of high-end outside broadcast technologies and integration. At the heart of its audio mixing area is a 5.1 surround sound system including the 8331s – described by ARET’s Vice President of Sales, Alessandro Asti, as “the perfect choice” for the vehicle. ARET has built the trailer as a template for future vehicles serving top tier broadcast requirements, from sport to classical music. Featuring double expanding wings for a spacious working environment and innovative TMBi - 10

design features such as a partial glass interior to promote cross-truck collaboration, the vehicle is based upon a nocompromise specification. “The idea behind the trailer is to demonstrate what is possible when we focus only on the highest-level technology and design, working in UHD with incredible sound to match,” explains Asti. “This OB van reflects the ARET philosophy of combining the best equipment with expert, turnkey integration. It offers a comfortable working environment for video and audio professionals, and it will deliver the best possible performance regardless of the climate, from the harshest cold weather to the most humid location.” Two audio mix areas are located inside the trailer, the larger of which boasts a

SAM 5.1 surround sound system comprising the three 8331A three-way coaxial monitors, plus two 8330A rears and a single 7360A subwoofer. The most compact of The Ones family, the 8331A offers the same precise imaging and wide sweet spot as its larger siblings, as well as allowing engineers to monitor at very close range and to work for longer without suffering listening fatigue. The smaller of the two mix areas offers a stereo set-up comprising two 8320A SAM two-way nearfield monitors. Unlike many OB vans, the ARET trailer uses glass throughout much of its interior, improving collaboration between operators, but also creating a challenging acoustic environment. “The use of glass inside the van adds a lot of benefits, including insulating each compartment and allowing operators to communicate with one another visually,” reflects ARET Sales Engineer Alessandro Bechstein, “but of course it also creates acoustic challenges.” “It is very difficult to create the perfect acoustic environment inside an OB


van. Special acoustic treatment techniques, with particular attention to detail, have been used to insulate the audio room,” adds Asti. “Mixing has to take place in a space that’s very often affected by coachwork, by space being required for other equipment, and a whole range of external factors that do not allow you to create a space as you would in a fixed studio environment. As a result, Genelec’s GLM calibration software was very important.” The use of GLM, and

particularly AutoCal, has been crucial in ensuring that both mix areas are optimised to represent the best possible listening conditions. “The GLM software and AutoCal are very simple to use,” says Bechstein. “It’s a straightforward and quick solution with amazing results. In a relatively short amount of time you can calibrate the whole system and fully optimise it for your listening environment. Our knowledge of GLM and SAM, and our confidence in AutoCal made us

comfortable with the use of glass and other design choices.” He concludes, “The sound of The Ones is remarkable and even the appearance of the speakers is captivating, matching the high-class design of the trailer’s interior; everyone who has toured our OB van has been immediately struck by the outstanding quality of the sound system and the remarkable acoustics of the audio room. In the end, the real measure of a product is the final result of the project, and the final result is amazing.”


STV CHANNEL IN BELARUS TURNS TO GRASS VALLEY FOR LIVE PRODUCTION SOLUTION Grass Valley, a Belden Brand, worked with local systems integrator Offtech to identify the best programming solutions for Stolichnoe Televidenie (STV) Channel Minsk, Belarus, to increase the quality and efficiency of its live and studio news productions. After reviewing a variety of options, STV selected eight LDX 80 cameras, a GV STRATUS Newsroom Bundle, a K2 Dyno Replay System, two GV Korona K-Frame Vseries production switchers and a 3RU Densité 3 Frame to serve as the monitoring and master control system for ingest, live and file-based content. STV also opted for an NVISION 8140 Hybrid TMBi - 12

Series router. STV is one of three national TV channels that broadcast in Belarus. The company’s main production is news but it also produces talk shows, documentaries, informative and entertainment programs. The purchase is part of a bigger plan for STV’s growing success, as the upgrade from standard definition (SD), converting the production and playout to a high definition (HD) format, will offer its customers improved professional broadcastquality results, increasing the numbers of viewers. The upgrade comes at a crucial time as STV is moving forward with a production

asset management system for news. Kanstantsin Auramenka, deputy general director of ZAO STV Channel Minsk, comments: “We chose Grass Valley because they proved themselves as a market leader in technology, while also showing the ability to seamlessly integrate their complete solution. Due to our longstanding relationship with Grass Valley, we know we can rely on their knowledge of quality. We look forward to our continued relationship, receiving excellent pre-sale support from the local office in Moscow and exceptional customer support for our existing equipment.”


Grass Valley equipment STV chose a GV STRATUS system as it combines a full set of production tools in one application. GV STRATUS allows STV to manage its entertainment, on-air operations and news production better, so media workflows stay competitive. Grass Valley switchers come into play as broadcasters and directors work to efficiently build the production. With the GV Korona K-Frame V-series,

STV has the flexibility needed for its news studio. The K-Frame V-series 36x18 matrix supports SD, HD and 4K UHD in quad split and 2SI modes and can handle up to three licensed M/Es plus two additional video processing engines (VPEs) for added keying and mixing power. At only 3RU, V-series fits in locations with limited space but requires no compromises on enterprise features and can be used with any Grass Valley switcher panel. Paired together, the GV Korona panel and K-Frame V-series

STV is using give the operator access to all of the V-series capabilities at their fingertips. STV’s live production workflow will also be improved with K2 Dyno as it is user-friendly with the AnySpeed technology which provides the playback at any speed from zero to 200 percent. The DynoZoom tool allows for pan/zoom functions to be applied to high frame-rate camera systems including 3X 1080p, 6X and 4K UHD.




RIEDEL'S ARTIST PROVIDES COMMUNICATIONS INFRASTRUCTURE FOR ZURICH STREET PARADE Riedel Communications' Artist digital matrix intercom system provided radio communications infrastructure for the 26th annual Zurich Street Parade, a 2.4-kilometer celebration of peace, love, and techno music that drew more than 900,000 revelers to the city's streets on Aug. 12. Riedel worked with Security & Safety AG Zurich to deploy a radio communications network and closed-circuit television (CCTV) system. "Riedel has an impressive track record of providing failsafe communications for some of the world's biggest and most high-profile events, with complex logistics spanning broad geographical areas. We faced exactly those kinds of logistical challenges with the Street Parade," said Marcel Hirschi, security engineer, Security & Safety AG Zurich. "We knew we could trust Riedel to help us execute a comprehensive communications strategy that would guarantee an outstanding and safe experience for close to a million people." Just as it did with the Alpine Ski World TMBi - 14

Championships in St. Moritz earlier this year, Riedel Communications Switzerland AG deployed the "event cockpit" in the Street Parade command center that enabled event monitoring and facilitated communications between first responders and other groups. The event cockpit gave the Street Parade team access to situation and evacuation plans and also provided images from CCTV cameras placed throughout the parade route. The comms team was also able to access real-time weather information supplied by a Riedel weather station, and could view a dashboard for social media tweets and posts. Riedel and Security & Safety AG worked in close cooperation with the Zurich City Police, providing them access to both live and recorded CCTV feeds.

Using Riedel's RiFace radio interface, the team interfaced the Artist matrix intercom with 350 Motorola mobile radios located throughout the Street Parade course, providing 11 digital DMR channels and five analog channels. "For 26 years, the Zurich Street Parade has been a fun and exciting fixture in Europe's electronic music scene," said Roger Hess, general manager, Riedel Communications Switzerland AG. "The Street Parade has communications requirements on a huge scale, but it's just the type of challenge we relish at Riedel. Once again, we were able to show how our integrated communications technologies and expertise can help any event, even one of this magnitude, run smoothly and safely."

CHROSZIEL STARTS WORLDWIDE ROLL OUT OF FUJINON MK ZOOM MOTOR Chrosziel finalized the shipment of the first batch of the CDM-MK-Z the Fujinon MK Zoom motor. It is specially designed for the Fujinon MK 18-55mm T2.9, Fujinon MK 50-135mm T2.9 and other compatible lenses. The compact housing contains a digital servo motor, the gear and a PCB with CPU. With the new product Chrosziel addresses all users of broadcast, documentary and related sectors who need a lightweight, reasonably priced and easy to mount zoom motor unit.

The Sony FS5, FS7, F5 or F55 operator may choose from three different zoom modes: EB / Documentary Mode, Live / Hardcut Mode and Silent Mode. The fine tuning of the zoom curves took place during a workshop with Uli Mors in Dortmund, Germany. Here, Chrosziel cooperated with experienced camera operators to achieve best results for image control. The main goal was to find ways using the full capacity of the LANC protocol and the Sony handgrip to cover a huge range of applications. Additional control commands are immediately looped through to the camera (e.g. menu / user buttons). Thus, makes the CDM-MK-Z the perfect accessory for Sony cameras and Fujinon MK lenses.



BLACKMAGIC DESIGN ANNOUNCES DECKLINK 8K PRO WITH QUAD LINK 12G SDI Blackmagic Design announces DeckLink 8K Pro, a new high performance capture and playback card featuring quad link 12G SDI to allow real time high resolution 8K workflows. This new DeckLink 8K Pro supports all film and video formats from SD all the way up to 8K DCI, 12 bit RGB 4:4:4, plus it also handles advanced color spaces such as Rec. 2020 for deeper color and higher dynamic range. DeckLink 8K also handles a massive 64 channels of audio, stereoscopic 3D, high frame rates and more. DeckLink 8K Pro is the ultimate digital cinema capture and playback card. Featuring four quad link multi rate 12G SDI TMBi - 16

connections, DeckLink 8K Pro can work in all SD, HD, Ultra HD, 4K, 8K and 8K DCI formats and is compatible with all existing professional SDI equipment. The 12G SDI connections are also bi-directional so they can be used to either capture or playback quad link 8K, or for the simultaneous capture and playback of single or dual link SDI sources. DeckLink 8K Pro supports capture and playback of 8 or 10-bit YUV 4:2:2 video and 10 or 12 bit RGB 4:4:4. Video can be captured as uncompressed or to industry standard broadcast quality ProRes and DNx files. DeckLink 8K Pro lets customers work at up to 60 frames per second in 8K

and supports stereoscopic 3D for all modes up to 4K DCI at 60 frames per second in 12 bit RGB. DeckLink 8K Pro is designed to work seamlessly with the upcoming DaVinci Resolve 14.2 Studio for a seamless editing, color and audio post production workflow that lets you master full resolution high dynamic range projects in full 8K resolution. In addition, DeckLink 8K Pro also works with other professional applications such as Final Cut Pro X, Media Composer, Premiere Pro, After Effects, ProTools, Nuke and more. There’s a free software development kit so customers and OEMs can build their own custom solutions.


ATEME PARTNERS WITH INTERRA SYSTEMS TO DELIVER ENHANCED VIDEO EXPERIENCES ATEME has announced a technological partnership with Interra Systems, a global provider of quality control (QC), monitoring and analysis solutions to the digital media industry. The partnership will provide mutual customers around the world, such as broadcasters, telcos, cable operators, and OTT providers, with a solution for delivering video experiences on multiple devices.

“We have been using Interra Systems’ BATON® QC and ORION™ monitoring platforms in our R&D test environment for a long time to monitor filebased workflow transcoding as well as check real-time content integrity. Overall, Interra Systems provides a comprehensive QC, monitoring, and reporting tool that is a perfect match for our compression solutions,” said François Le

Crom, R&D manager for methods tools & tests at ATEME. “Keeping in mind the challenges our customers face in delivering a growing amount of highquality video content, we are very happy to partner with Interra Systems to ensure error-free content delivery.” “We are excited to partner with ATEME” said Penny Westlake, director of sales Europe at Interra Systems.



INTERPLAY-SPORTS SELECT MAGEWELL CAPTURE DEVICES TO ENABLE REAL-TIME VIDEO ANALYSIS Sports software developer Interplay-sports has selected the USB Capture series of external video ingest devices from Magewell to bring highquality video feeds into Interplay's software for live, in-game analysis. Users can analyze offensive and defensive activities, individual players or specific plays for both their own team and their opponents. The system delivers analysis to coaches immediately during games, enabling them to make important decisions and modify strategies or tactics. To capture the live video for this analysis, multiple cameras and other video sources must be connected to an analysis computer running the Interplay-sports software. Originally using IEEE-1394 (FireWire) connectivity, Interplay-sports began looking for an alternative as 1394compatible devices became increasingly rare. Searching for interface devices to capture SDI or HDMI source signals through laptop computers' USB 3.0 ports, the first TMBi - 18

Magewell Unit with Interplay-sports.

products Interplay-sports tested exhibited some significant issues. "The other vendor's devices required proprietary software drivers to be installed on the system," said Jan Tunli, CEO of Interplay-sports. Interplay-sports turned to Magewell's USB Capture series, and found them ideal for their needs. "From our very first test, the Magewell devices were very successful for us," said Tunli. "The fact that they do not require any software installation makes them truly plug-and-play, and their ability to be powered directly from the computer over the USB 3.0 connection is perfect, avoiding the need for an external power source."

Up to four live video sources can be connected to the main Interplay-sports analysis computer through Magewell USB Capture devices for live processing. For analysis using even more camera angles, live 'slave' computers can be synchronized with the main system, each supporting four more cameras with Magewell capture devices. By connecting other sources such as television set-top boxes and computers to the Interplay-sports system using Magewell devices, teams can also analyze televised or streamed games being played by their upcoming opponents, helping them prepare for future games.


PLAYBOX TECHNOLOGY EU CONFIRMS MEMBERSHIP OF IABM PlayBox Technology EU (PBTEU) announces its membership of IABM, the trade association that represents the global broadcast and media technology industry. PBTEU will also reap the many benefits from IABM’s portfolio of business services and support, some of which include business intelligence, technology briefings, networking, industry leadership, bulletins, training courses and best practices, as well as member lounges and discounts for key exhibitions. Vladimir Stanic, General Manager of PBTEU states, “PBTEU is proud to be associated with IABM - a well-respected organisation

that is highly regarded for providing its partners with a credible platform from which to thrive and expand. Our values embrace collaboration, and we appreciate the strength gained from working together and gaining new insights in an environment that promotes and celebrates excellence. As we continue to grow, our reputation as an active member along with the many other professional and successful members, will help contribute to our consolidation as serious players in systems integration services. In turn, we hope that this alliance will bring advantages to our customers and valued partners.” “With its dynamic and collaborative approach to

doing business, PBTEU has found a natural home at IABM and will, I am sure, draw on the full array of IABM member benefits to help take its business to the next level. I welcome PBTEU to the IABM family and look forward to a mutually beneficial relationship between PBTEU, IABM and all of our 500+ member companies over the coming years,” said Darren Whitehead, IABM Director of Business Development. Products, solutions and services provided by PBTEU include its own-manufactured EXEcutor broadcast servers and software applications, advanced captioning and subtitling software platform SubtitleNEXT.


CNNMONEY CHOOSES DALET FOR SET UP ITS NEW CHANNEL Dalet announces that CNNMoney Switzerland has selected the Dalet Unified News Operations solution to drive end-to-end content production and distribution at its forthcoming business news channel. The entire content production and distribution of the new Zurich-based facility will use the full feature set of Dalet news solutions, powered by Dalet Galaxy Media Asset Management (MAM) and Orchestration platform at the core. “CEOs and CMOs of the leading Swiss multinational companies and the 50 world-leading NGOs and sports organizations are looking for a way to engage in an English-speaking national platform. CNNMoney Switzerland will be their partner at home and abroad,” explains Christophe Rasch, CEO of CNNMoney Switzerland. “In looking to deliver this channel with CNN, we sought and found a company in Dalet with experience in designing and deploying news workflows for premium broadcast clients. It was important that we launch with the most sophisticated production and TMBi - 20

website and social network footprints featuring the latest Swiss and international content.

distribution tools available and on a platform that offers a secure, mature and fluid method of working,” says Jean-Yves Carabot, CTO of CNN Money Switzerland. CNNMoney Switzerland, to be launched in the fall of 2017, will be the first nationwide TV channel dedicated to business news for and about Switzerland. The English language channel will cover Swiss business news and companies, featuring original content produced from CNNMoney Switzerland’s new studios and news operations. Domestic content will be supplemented by international business news relevant to Switzerland supplied by CNNMoney’s multiplatform editorial teams. The channel will be distributed across a range of Switzerland’s cable, TVoIP and free-to-air operators, accompanied by a CNNMoney Switzerland

“The Switzerland team has been working closely with CNN in London, Atlanta, and New York, exchanging visits and sharing best practices in show production, presenting, writing, shooting, graphic; all aimed at delivering a truly unique experience to Switzerland,” says Christophe Rasch, CEO of CNNMoney Switzerland. The installation will be spearheaded by Dalet Professional Services and European Systems Integrator Videlio. “Our Dalet Professional Services team, who will work in conjunction with Dalet business partner Videlio, will have the premium channel up and running within a two-month time frame,” explains Johann Zemmour, Director of Sales, EMEA & APAC at Dalet. “We are able to meet this tight deadline because the Dalet Unified News Operations solution is a set of tested and proven workflows. Our team is wellversed with cutting-edge news operations and these types of deployments.”


ADDER TECHNOLOGY JOINS INDUSTRY SHIFT TO OPEN STANDARDS WITH AIMS Adder Technology has announced it has joined the Alliance for IP Media Solutions (AIMS), a not-forprofit trade alliance, as an associate member. AIMS is dedicated to the education, awareness and promotion of industry standards for the transmission of video, audio and ancillary information over an IP infrastructure, as well as products based on those standards. The trade alliance was established in 2015 and counts almost 80 leading industry organisations as members. “Adopting IP as a standard transport method across the broadcast industry is presenting an opportunity for

far greater operational flexibility; a flexibility that many broadcasters are now benefiting from,” says Neil Hillier, senior vice president for global sales and marketing, Adder Technology. “As a company developing and supplying the broadcast sector, as well as a host of other sectors, with high performance, IP-based KVM products, we believe in the full adoption of IP. We are looking forward to collaborating with AIMS and its partners in furthering the adoption and use of open

standards in order for broadcasters to fully realise the cost, performance and operational benefits that IP delivers." Adder Technology is also active in the command and control space, banking, transport, AV and air traffic control industries with its range of IP-based KVM matrix, switching and extension technologies designed to bring greater flexibility, control and efficiency to operations of all sizes.



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LaLiga How to reach the global podium in sports productions INTERVIEW WITH MELCIOR SOLER, DIRECTOR OF

LALIGA’S AUDIOVISUAL DEPARTMENT LaLiga is a pioneer in 4K sports productions. What challenges does the broadcasting of a football match in this technology pose? The main obstacles that lie between us and the definitive implementation of 4K technology in our country have a lot to do with its distribution and production. As far as distribution is concerned, television channels equipped with this technology penetrates in the residential channel more so each day,

although there are still many homes yet to incorporate it. Moreover, not all operators have decoders adapted to this technology. Having said this, some companies such as Movistar or Vodafone have already opted for it and offer this possibility in their new decoders. On the other hand, the 4K production also posed some production challenges. During the 2015/2016 season, HD and 4K signals were running in parallel, but from the second round of 2016/2017 onward, we now offer a single native signal and dedicate the same resources to both HD and 4K production in terms of the number of cameras.

What new equipment needs does your decision to broadcast up to two games per day in 4K this season entail? LaLiga's commitment to 4K technology implies dedicating a greater number of resources in all senses; at the level of personnel, infrastructure or software, which translates into an all-round higher investment. In addition, the quality of our technology is 4K HDR, which means an even better viewer experience in terms of colours, lights, contrasts... It is important to note that LaLiga is currently the only regular competition that produces matches in 4K HDR each day with the same number of cameras, repeats and TMBi - 23



graphics as in HD version. Viewers appreciate the better technical quality provided the production uses the same amount of resources. Working at 4K-HDR does not necessarily mean increasing the human team, but rather expanding its capabilities. But, what’s more, in terms of technical resources, Mediapro enables us to produce two games per day in 4K-HDR from their best OB Vans. Obviously, they are quite new and equipped with the latest technology to reach the required level: 20 cameras, including 2 SuperSlow, 1 High Speed, 2 NetCam, 1 PoleCam and 1 Omni4Sky, 22 EVS recording channels and 2 augmented reality systems; Chyron Hego in real time and Viz Libero for replays.

When can 4K production be extended to all matches? We are studying how we can expand the production of this technology to more sporting events. Now, we can watch all the FC TMBi - 24

Melcior Soler, director of LaLiga’s Audiovisual Department.

Barcelona and Real Madrid matches in this quality, and the idea is that more and more LaLiga matches implement this technology in the future. As soon as we have more OB Vans available, we will go through with it.

You will have installed aerial cameras in a total of nine stadiums this season, a level that no other football competition has ever reached. What are the challenges involved in implementing this type of cameras?



Sure. We are convinced that we must continue surprising our spectators around the world with new experiences how they see matches and that means having the best production infrastructure in each stadium. The installation of aerial cameras is not always as simple as it may seem for different reasons. For example, there is a UEFA regulation that we must comply with, which indicates that the camera must remain at a minimum height of 21 metres in relation to the field of play. TMBi - 26

Not all stadiums are prepared for this, but LaLiga works closely with the Clubs to install all the complementary infrastructure necessary to make it viable.

Another novelty of this season is the introduction of cameras in corner positions to capture actions in super slow motion. What was the reason behind this decision? The motivation to achieve these new positions is based on the fact that the conditions for

all of us (Clubs, LaLiga and production) to work in the same line of continuous improvement of the television product have come together at the same time for the first time in the history of our league. These new positions cover an angle never before explored in Spain based on an axis opposite the main camera, an intermediate height with respect to the field of play and an angle position close to the corner. The images it provides are completely different to those obtained by the rest of the cameras.

Santiago Bernabeu and Camp Nou were the first stadiums in Europe to incorporate 360ยบ technology. What led you to introduce it? You followed the wake of competitions like the NFL, NBA or MLB. Did you set your eyes on a particular model? The NBA is an example of innovation in sports broadcasting, and we want LaLiga to be on a par with the world's best competitions. This is just the beginning of this type of technology from Intel. We believe in the so-called volumetric video, and that is why we have committed to it as resolutely as we have done.

You have installed Intel 360ยบ repeating systems in two more stadiums (Sevilla and Atletico), on top of those that you already implemented last season in the stadiums of Madrid and Barรงa. What challenges has this expansion in more stadiums entailed? In the recently-created Wanda Metropolitano stadium, there were other priorities regarding the infrastructure of the stadium itself that meant an obstacle in its installation. As regards the Sanchez Pizjuan, the Club's commitment has also been second to none, and we worked together to carry out all the



necessary adaptations to make this technology available this season. Both stadiums will have this technology from December.

What is the degree of compliance of the Spanish stadiums with LaLiga regulations for television broadcasts? The commitment is on the rise, and the Clubs' compliance continues to increase, with 95% of them being aware that this is an element that contributes to improving the quality of our competition and our audiovisual products.

To what extent do you TMBi - 28

use the sanctions (referred to in the rules for Clubs that do not comply with the rules)? We have not had to apply these measures due to the high degree of compliance.

What level of quality do the Spanish stadiums show in comparison to other European leagues? LaLiga has first-class stadiums. Besides, in recent years we have witnessed the inauguration of the new San Mames, the RCDE Stadium or the Wanda Metropolitano, all of them first-class stadiums

equipped with the latest kit and privately financed. We have also seen that other Clubs such as Real Betis Balompie or Sevilla FC have carried out a profound renovation of their stadiums adapting them to the new needs of the competition. Recentlypromoted teams such as Levante UD are also an excellent example of this, as their return to LaLiga Santander has been accompanied by a refurbishment of their facilities aligned with the promotion to a new division. All this has been possible thanks to the good management of the Clubs and the economic


control of LaLiga since the arrival of Javier Tebas to its Presidency, which has been accompanied by a new economic impulse for the competition and all the Clubs that are part of it, offering a fairer and more equitable distribution.

Mediapro is the official producer of LaLiga. How would you rate their work? It is important for LaLiga to have a valuable partner capable of responding to

the production needs of our competition. Mediapro has a state-of-the-art OB van and a large broadcasting and publishing centre. It is a relationship that already existed with the Clubs and is now managed from LaLiga.

What qualities is it capable of contributing to sports broadcasting as opposed other producers?

Its main virtue is to be present in the entire value chain of the audiovisual industry from the production of matches to the broadcasting of the signal, as well as the preparation of postproduction programmes and an attractive continuity of content on the television grid that contributes to further promoting LaLiga worldwide.




MEDIAPRO State-of-the-art innovator: What will be the next step? TMBi - 30


Far for been satisfied with the progress achieved so far, Mediapro continues to focus on the next technical innovations. LaLiga’s technological provider has left its mark of innovation in the successful history of the competition, but it strives to achieve more. Mediapro CTO Emili Planas highlights that LaLiga is a global pioneer in the use of HDR technology or 360º systems. We asked him about the following challenges of the company.

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replay equipment that is fast and accurate in operation, among other things. Although, having a leading team of professionals who know how to make the most of the best technology is essential.

Emili Planas, CTO and Operations Manager at Mediapro



What specific challenges do sports broadcasting pose compared to other productions? There are many sports, and each one is unique in its own way, but, if we generalise, there are certain challenges that repeat time and time TMBi - 32

again. The most important thing is that maximum interest concentrates during the live broadcast, so all efforts must be made to tell people what is happening at that very moment. For this reason, in each event, we focus both on ensuring the production, using backup strategies, as well as showcasing the best of each sport using the finest possible resources. This involves from high-speed cameras, large optics and special cameras to quality

The production of specific football matches, such as the Classic Madrid-Barça match, involves a greater deployment of equipment. What challenges does this type of sporting event pose in relation to workflow or integration of technologies and equipment? We produce more than 2,500 football matches worldwide every year at Mediapro, but we always treat the Classics as something special. Not only because each Classic has more audience than the Superbowl final, but also because the level of demand is at its highest. Years ago, a Classic meant using twice or three times more resources than any other match. Today, this difference is much smaller, because



the resources used in the production of the two best matches of each day have risen almost to the level of a Classic. Even so, there are challenges in terms of workflows or integration of technologies, since twice as many people congregate in the production of the Classics and, in addition to the international signal of the match, we offer a multitude of technical and production services to all

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television broadcasters who have broadcasting rights.

The Spanish league is at the forefront of football broadcasts. What technical innovations stand out in your productions compared to those of other leagues? LaLiga has always been at the forefront of television production, understanding that the best league in the world

must have the best television production. Since the very first day of last 16/17 season, Mediapro began producing one LaLiga match per week in UHDHDR, making it the first regular competition to be produced in HDR in the world. Now, we produce two games per day in UHD-HDR, maintaining our position as a benchmark in this field. With this, we aim to create more realistic images to


offer more immersive productions. Another innovation compared to similar competitions is that for this season, LaLiga will have a fixed aerial camera installation (OmniCam4Sky) in ten stadiums. LaLiga is also the world's first regular football competition with a permanent installation of the Intel 360 replay

system. We went from two to four stadiums with this technology, which allows us to literally fly to any of the points of interest that the producers may be interested in through virtualisation with real imaging. This season, we have incorporated VR graphics with tracking, which allows visualising data on the field of play or right next to

the players during the game, making the data obtained from Mediacoach or the information related to the game strategies come across as being much more visual. And we continue to be leaders in remote production, which has allowed us to improve the level of match productions with fewer resources.

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What is the level of collaboration of the production teams and stadiums to ensure optimum quality productions? The mentality of clubs and stadium managers is getting better and better in relation to productions. In recent years, teamwork

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with a common project vision has become commonplace. This allows us to make improvements that add value to LaLiga and facilitate innovation and quality in each production. These improvements range from better lighting in the stadiums to good turf care, to rigorous

compliance with the times when players and coaches are involved in interviews and press conferences, among other things.

Mediapro is one of 14 companies approved by FIFA to supply VAR technology. This is a significant challenge


because it implies, among other things, the provision of all the technical support for the viewing room, operators and technicians in charge of image search. Hawk-Eye is currently the official supplier of all VAR technology used by FIFA, but their

contract ends next summer. FIFA will then have to find a new VAR operator: Will this be one of the next big challenges for Mediapro? We are putting a lot of effort into offering the best technology for VAR, taking into account all our experience in regular

match production. This experience within the Mediapro Group is a major differentiating factor, where we can offer, in addition to the quality required for the VAR, added security, operability and flexibility. The Portuguese League and Libertadores Cup have relied on Mediapro for their VAR projects, and we

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are confident that other leagues and federations will do the same in the future.

360Âş technology, broadcasting on Facebook Live, 4K signal or, more recently, Automatic TV, are technological advances that you have implemented for LaLiga in recent years. TMBi - 38

What technical innovation will you be revealing next? We are working on several technological projects in order to offer better content to LaLiga fans, but all in good time. For the time being, I only dare say that it is very likely that they will be related to the capture and difussion of sound, but

you never know if any of the other projects we have in store end up moving forward. It is also important to bear in mind that any of these novelties already implemented needs constant evolution, which implies the need to be continually innovating them.

Besides this, do you plan to incorporate



any new equipment for the production of LaLiga? We are always on the lookout for new kit that may be of interest. We are looking forward to evaluating new cameras that might provide us with better quality or differential value, new ingest/replay systems that can improve the workflows of UHD productions, new systems TMBi - 40

that facilitate monitoring and producing in HDR, new UHD-HDR encoding equipment and so on.

You will have installed aerial cameras in a total of ten stadiums during this season. Which manufacturers or models have you placed your trust in? When we first became interested in these types

of aerial cameras, we discovered that there was only one truly reliable supplier, but that they were not applicable to the competitions we produced, both in terms of price and operation. We saw this as an opportunity, and with the help of Omnicam, we developed the OmniCam4Sky system that we use in LaLiga and other


competitions. It is a 4-wire suspended and remotely controlled camera system that allows for spectacular freedom of positioning and flight. The system can be used with different camera models, depending on its application. In the case of LaLiga, we prefer using the Panasonic AK-UB300.

What cameras do you use to record actions at super slow speed? We use both the For-A FT-One and different Phantom models. It is a

challenge for the manufacturers of these cameras to offer us the perfect product. For the time being, none of them has been able to meet the ideal requirements, since the lighting conditions we work with are not always adequate for high-speed operation. We are also testing new special compact cameras, which can work at high speed for very specific applications.

You have relied on ChyronHego to

provide performance data and live 3D graphics. What does this manufacturer offer compared to other competitors? ChyronHego has given us speed in the implementation of a very specific product. With the help of WTVision, ChyronHego was able to quickly link up with the tracking data we generated in the stadiums to produce the virtual reality graphics we




and it has been difficult for us to integrate certain equipment into these flows. This effort has paid off again anyway, and we can say that we have one of the best UHD-HDR units on the market.

We take this opportunity to ask you this question: Will we see another OB Van soon?

introduced in live production. The system is just one more signal in the production process, which uses the master camera as background and to which augmented reality graphics are added.

technology is concerned, does not differ much from the rest of the programmes we produce. The entire system is HD 1080i50 and relies on EVS, Panasonic and SAM for key electronics.

This season, LaLiga will produce a live programme in English each day for the first time ever. What key equipment and technologies have you used for this production?

We had the opportunity to see the last OB Van that you have sourced to cover LaLiga in your installations... Which technical challenges has this integration implied?

At Mediapro, we produce different programmes related to LaLiga, usually for specific TV channels (Bein USA, Bein EspaĂąa, Gol, etc.). This English programme, as far as

The most important challenge has been the integration of HDR workflows. With this UHD OB Van, we found that not all manufacturers are ready for HDR production,

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Certainly. We have plans both to build new OB Vans and to gradually renovate existing ones to UHD.

Mediapro has offices all over the world. Where are you heading internationally? What are the challenges of this expansion and what is the roadmap to success? We have always had an international vocation, but we have never focused on a specific market. Right now, there are over 5,000 people working from more than 40 offices around the world. We will continue to make our way to where we see that we can bring value, whether it is to cover a small eventual need or to participate in large long-term projects.


You have recently acquired the 360 group. What implications does this acquisition have for Mediapro? At the business level, it is a key acquisition to help the growth in audiovisual services, which should allow us to continue to offer more services that our clients demand. At a technical/operational level, it would be great to be able to work with a group of professionals and

equipment of the highest level with whom we can begin to share our daily life.

To finish: How satisfied are you with your relationship with LaLiga? How do you see the common route travelled so far and its projection for the future? We are very proud to be the technology provider for the best league in the world that relies on our

experience to help them evolve in such a demanding market. What we have been through together has served to converge and reach common grounds regarding how to develop game by game. The trust that LaLiga places in Mediapro every day is a responsibility that we try to take care of as much as possible, and that should contribute towards us creating the best television content yet.





A look behind the curtain of next generation

OB vans

State-of-the-art OB vans carry an enormous heap of technology required for live broadcasting. The new generation of rolling studios with UHD and even UHD-HDR capabilities needs even more advanced high tech to rise to entirely new challenges. TVN MOBILE PRODUCTION, German expert for mobile live TV production, grants a look inside their high-end OB vans – and reveals how a new approach allows them to master the issue.

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Utterly mobile and flexible, and packed with the latest high-end technology: modern OB vans are engineering marvels, ready to go any time and indispensable for live TV production. TVN MOBILE PRODUCTION, headquartered in Hannover, Germany, is one of the biggest players in the field of mobile production of major events across Europe – and proud owner of an entire fleet of ultramodern TV trucks. Aside from

covering games of the German Bundesliga every match day as well as Champions League and German Cup games for broadcasters ARD and ZDF, Eurosport and Sky, TVN has a long list of other reputable customers, including RTL Sport, UEFA and Red Bull. In short: TVN has seen and done - it all. In order to stay ahead of the curve and keep the fleet up-to-date at all times, a regularly recurring task for the engineering professionals at TVN is to constantly update and upgrade the OB vans. In 2016 it was time to scrutinize the existing media storage environment on the trucks, answering the increasing demands on UHD and UHD-HDR production. “We put a lot of time and effort into researching the latest storage technologies to make sure to choose a future-proof solution that would work for our requirements in the long-run.” said Felix Rumpf, Head of PostProduction and Production Engineer at TVN MOBILE PRODUCTION. “Highspeed media storage that

would play nicely with our existing EVS system was critical. But since our customers prefer different editing applications for their productions, it was equally important to us to get a solution that would give us utmost flexibility to work with every modern editing application available today.”




After completion of the thorough research, the team of engineers decided to replace the previously installed, Fibre Channelbased Apple Xsan, limiting TVN in many ways, with an all-in-one media server and storage solution developed by ELEMENTS, German manufacturer based in Dusseldorf. ELEMENTS ONE, providing both Fibre Channel and Ethernet connectivity, was not only easily integrated with the existing EVS system but also allowed TVN to work natively with all common editing applications, such as Avid, Final Cut and Premiere. “With these capabilities, ELEMENTS ONE already TMBi - 45


met our most important demands”, said Rumpf. “Yet, at that point we didn’t even know what else they had in stock.”



SHRINKING PROBLEMS The speed and overall performance of the new media storage granted the EVS system to offload content directly and in real-time, freeing the buffer faster. “The new solution provides us with a lot more flexibility, and we can work a lot faster and more efficient.” said Felix Rumpf. “At a major soccer event, for instance, the camera feeds are ingested consistently through the EVS system directly to the ELEMENTS storage. Thanks to the support of edit-while-

ingest (or “growing files”), we are able to start editing right away. Basically, at the time the game is over the cut of the highlights of the game is ready to go.” he added.



IMAGES AND METADATA TOGETHER On special request of TVN, ELEMENTS implemented the API of VPMS, the go-to resource for metadata, in their embedded MAM system. By making ELEMENTS Media Library compatible with VPMS they closed a crucial gap – and make metadata available on-site in real-time. Especially during the production of major sports events, users can leverage the full-text search engine in the

Media Library to find critical metadata, such as player statistics, in the VPMS database. Every assets tagged in VPMS can be located easily directly through ELEMENTS Media Library. “This is a huge benefit.” stated Rumpf. “Instead of the usual clutter of Excel sheets or other lists with time codes or notes, producers on the ground can now easily search the database and instantly find not only metadata but also all related video content, and even read out video content according to an EDL or cutlist.” The exchange of data between VPMS and ELEMENTS Media Library works both ways though. If the producer, editor or archivist on site begins to add tags to the freshly recorded video assets in the Media Library, the newly added tags will be put back into the VPMS database. André Kamps, CEO of ELEMENTS, commented: “The combination of VPMS and our Media Library on OB vans is quite powerful, as it not

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notable competitive advantage, TVN is in an excellent position, and ready to produce major sporting events, international tournaments and championships in the future.

only enables the crew to work a lot more efficiently during the actual production but it also saves a lot of time after the show is over.” The bidirectional exchange of data between VPMS and Media Library allows for keeping the media archive up-to-date at all times, streamlining the process notably.






Following the example of TVN, RTL Sport now deploys two of ELEMENTS’ portable storage solution themselves, ELEMENTS CUBE. This circumstance allows for an optimized workflow between the two major players, making them a perfect and highly

efficient team. RTL basically utilizes the mobile storage unit as a transportation vessel: after pre-loading all the metadata to the CUBE, they use it to do the live editing in TVN’s OB van on-site. After the event is over, they take it back to the broadcasting center – loaded with all the current material recorded during the event, enabling RTL to start repurposing the content right away out of the broadcasting headquarters.



Today, in addition to the originally deployed ELEMENTS ONE, TVN utilizes two additional ELEMENTS NAS in their OB van fleet, plus an ELEMENTS CUBE. Providing them with a

While an increasing number of productions will be transmitted in UHD and UHD-HDR alongside HD, TVN thinks ahead though, making sure that their services don’t stop after the production. By using ELEMENTS’ technologies, including ELEMENTS Media Library, in their post-production facility in their headquarters in Hannover as well as their entity in Hamburg, TVN offers customers secure remote access to their dedicated media archives. Authorized customers can log on to TVN’s passwordprotected LTO archive and search the Media Library for proxies at any time and from anywhere. The web-based portal with fulltext search engine not only enables viewing and sharing of media assets but also allows for commenting and even draw on images, using any standard device at hand. TMBi - 47


Norwegians Not Only Would, They Did! Back in the sixties, the Beatles informed us as to how good Norwegian wood was. This landmark song was on the lips of every aware person during this great artistic period of our history. Today, following this famous tradition and recognising the qualities of both “wood” and “would”, Norway’s largest private broadcaster, TV 2, are in the process of expanding and, at the same time, finalising a major technological upgrade together with the implementation of the Provys Broadcast Management Solution. The solution allows TV companies to plan their programme offerings in one integrated software system. It can be used throughout the entire broadcasting process, from booking some production equipment, or ordering a new TMBi - 48

blockbuster movie, until the finished product goes on air. The architect and system integrator of the Provys solution for TV 2 is Mediability (a highly regarded Scandinavian provider of products, solutions and support for the broadcast and media industries) who have been central in creating this new chapter of Nordic broadcasting history. Lucky Martin Rejchrt and his seven TV 2 clients

“When TV 2 decided on this major technological upgrade, it was clear to everyone that this was not a single shot project, but was indeed, a two or three year programme comprising three or more phases. Naturally, a thorough analysis was required at the outset, to be followed by implementation of systems for linear programme and


VOD planning in the first phase. These systems perfectly complement TV 2’s SUMO VOD platform. In the following phase, the advertisement sales module was launched, providing TV 2 with a well known state-of-the-art campaign management solution. It would be fair to mention that this phase was not without some difficulties as time proved short for the necessary introduction and training. TV 2 staff reported that the rollout of the ad sales module came a little early for them to fully absorb all its new features, and another couple of weeks’ familiarisation were necessary to smooth out

operations on the new system” says Martin Rejchrt, Project Manager and Consultant, Provys. Ad sales staff at TV 2 today, appreciate the new features such as order preferences, campaign budgeting, multi-channel campaign management, hierarchical campaigns and many more which significantly improve communications with their very important advertising clients, and simplify their daily tasks. Currently, TV 2 is planning to make some significant changes in their continuity studios. This will involve a change of systems at TV 2 and Provys are closely following these changes providing all necessary adaptations and interfacing. Mediability is a company which demands the highest standards of reliability and quality, and Provys are proud to have been invited to play a major role in this high profile project. The experience of the first phases at TV 2 have led to the development of a very high and pleasing level of trust between all parties, and as every project manager knows,

this mutual confidence results in a more agile methodology. In line with current trends, TV 2 requires the maximum level of automation in all of their processes. This can be secured only through the workflow management systems, and it is in this respect where Provys modestly claims to be an industry leader. These developments are now affecting every possible operation from long term strategic planning through acquisition and production of new content, detailed scheduling including advertisements, and advanced media management, to IPR and finance. As examples of such technological progress, where software plays the first violin, we may cite secondary graphics planning, creation and insertion including advanced branding, sponsoring workflows or full integration of scheduling and playout systems. All of these functions must be totally automatic, and seamless just like Norwegian Wood. And as the Beatles sang: “Isn’t it good?” TMBi - 49




sets its goal for 2018: to be the benchmark show in Southern Europe

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6102 professionals attended the show this year, almost 15% more than the previous edition.

BITAM Show celebrated its fifth edition on 21, 22 and 23 November in the Spanish city of Madrid. The protagonists of the audiovisual world were once again brought together under the umbrella of the show to address new developments, trends and challenges; and TM Broadcast was there to cover the event. The boundaries that divided the audiovisual segment into smaller parcels are thinner than ever. We regularly receive news from companies that demonstrate this phenomenon. One of BITAM's traits has always been on this axis, on a cross-cutting component. For this very reason, since its first edition in 2013, the show has always been committed to the inclusion of all verticals in a single space, which implies a seamless interaction between the Broadcast, IT, Audio and Media sectors.

BITAM further reinforced this vocation of bringing together the whole market with the inclusion of the 35 mm Area in the show this year, aimed at the technological side of the cinematography market. In addition, the event once again brought together different spaces such as MAMTV, dedicated to the production and distribution of audiovisual content, and BeScreen, aimed at the screens, signage and dynamic advertising market. The president of the show, Javier de Martín, gave us an overview of his expectations for next year's edition: "Our goal is to consolidate ourselves as the benchmark show in Southern Europe for the Broadcast, IT, Audiovisual, Digital Signage and Media sectors, with strong links between them". Javier de Martín supported his optimism in the evolution BITAM has followed so far: "The show TMBi - 51



has grown very consistently since its conception.�

NUMBERS The data support this thesis. The number of participating companies, the number of visitors and the square metres of exhibition have increased in this last edition. 6102 professionals attended the show this year, almost 15% more than the previous edition, excluding students from this count. Note that last TMBi - 52

year students were able to attend the show, unlike this year. The organisers, keen to welcome the professionals of the future, had to make this decision following the request of several exhibitors. A total of 18 countries participated. 40.7% of the visitors were managers (CEO, general managers, technical directors...). The number of participating companies rose to 183 this year, 13% more than the previous

edition. The products and novelties they exhibited at their stands, which we will look into in greater depth later on, attracted the interest of more than 9000 visiting companies, 10% more than in 2016. The extension of the enclosure also surpassed 9000 square metres in this edition, 10% more than last year.

EVOLUTION BITAM has been a privileged witness to the evolution of the sector


following the crisis. The show emerged in difficult times, back in 2013, with the market still feeling the effects of the recession. Far from retreating, Daró Media Group, the organisers, took advantage of this environment to create an industry catalyst. The event brought together 67 companies represented in 46 stands at the Auditorium Hotel in Madrid. The exhibition was a success, and there was a substantial increase in exhibitors and visitors

the following year. This increase forced the show to relocate in the 2015 edition to its current location, the Crystal Pavilion of the Casa de Campo in Madrid. The change of venue did not go unnoticed by the attendees, where the floor area increased by 59% that year. BITAM's evolutionary line reminds us of the route followed by worldrenowned shows such as IBC, which began its journey 50 years ago in a London hotel.

Javier de Martín considers that "the main thing about BITAM is its orientation and the visitors’ profile". He explains his position further: "Since the first edition, our philosophy has been to create an event focused on networking, the monetisation of investment and not just of the mere brand image. The profile and quality of the visitor is another fundamental point. Visitors composed mainly of professionals with direct

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purchasing power. The numbers throughout these last five editions, with double-digit growth, clearly confirm that BITAM Show is just the fair the market needs, in general terms.�

contact between exhibitors and participants to schedule their agenda.

On the other hand, BITAM developed a new edition of its one-to-one application, which facilitates a more direct

BITAM's main attraction was, as in the rest of the shows, the vast catalogue of novelties presented by the exhibitors. It was an

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excellent occasion to trace a diagnosis of the market through the most advanced products and technologies of the moment, exhibited in the different stands. Next, we have prepared a tour with some of the information provided by the exhibiting companies during the show.




NewTek was one of the companies that exhibited at the show. Attendees were introduced first-hand to the new Tricaster TC1, PTZ cameras or Spark converters capable of converting an HDMI or 3G SDI signal to NDI. Visitors saw Fujinon's 4K lenses, Lawo consoles,

Miller tripods, Interra's Baton quality control, Norwia fibre transmitters, Ross Video's ULTRIX multifunction platform, audio monitors for TSL IP environments or Avid's S6 modular control surface. Samyang and XEEN were also represented, as well as Hasselblad's latest camera, the X1D model. Another focus of interest

was NEC projectors. The newest PA653U, PA803U and PX1004UL models were exhibited, among others. Allen & Heath brought its digital mixing system dLive C1500, a model of the C Class series, which was on permanent demonstration. We saw Genelec’s “The Ones” line, a range of coaxial TMBi - 55



point source monitors made up of models 8331, 8341 and 8351. Among Sennheiser's solutions at BITAM were the new 6000 series, which is suitable for highquality digital and wireless audio production.

AUDIO Many brands attended the audio section. One of them was Lynx Pro Audio, TMBi - 56

which presented, among other novelties, its new GXR-LA10A Line Array. Another company was D.A.S Audio, which chose BITAM to exhibit its new Altea series. The Altea 700 range includes two models, which incorporate a Class D dual-channel 1500-Watt amplifier. It also introduces DASlink, its own intelligent all-in-one application. The Altea 400 range features a similar

design, with an 800-Watt amplifier. ECLER, for its part, brought recently-launched products such as TRAIL103 or eMOTUS. Another prominent brand was Presonus. Among many other novelties, we were able to see their compact 8, 12, 16 and 22channel USB tables that provide an all-in-one solution for mixing and recording.


again this year to present its new products. EQC showed its innovations in the robotics and static areas. This includes their LED mobile headstock with blade system, which incorporates liquid cooling system, zoom, CTC control, DMX wireless WDMX or Artnet. Metz supplied its two new LED video torches, Mecalight L1000 BC and L1000 BC X, the latter with dust and splash protection.

Yamaha presented its audio network solutions based on Dante. Some products of interest were its CL, QL and TF Series consoles or its flagship, the Rivage PM10 highperformance mixing system. RCF exhibited the HDL30 and HDL6 line arrays. The HDL30 is a biamped 2-way active touring system for medium to large events. The

HDL6-A is a suitable choice when line array performance is needed and a fast and easy setup a must.

LED Another area of interest was that of the products related to LED technology. Alfalite is an example. The only Spanish LED video panels manufacturer attended the fair once

Kinson exhibited its series equipped with Wi-Fi DMX and battery. Within the range, we highlight its new Free Par Pro 72 5in1 projector. It has a battery with an eight-hour battery life on standby and 5/9channel wireless DMX. It also presented spotlights and an LED bar.

IP, 4K,



The latest market trends, such as IP technology occupied a predominant place in the show, of course. In addition to the companies mentioned above, an important one in this field in Spain is TMBi - 57




Estructure. The company presented, among other solutions, Nibble, a realtime contribution system to send AV signals using the existing IP infrastructure. Another novelty was XYRUS, its tool for sending news and contents. Craltech exhibited its 4K innovations, including its new Multiscreen 4K (4Craft), as well as new properties in the Box4Boxes line, Professional Monitors and Quad-splits. The field of subtitling, considered by many manufacturers to be a booming industry, also had its place at BITAM. In this vein, Anglatecnic presented its Fingertext line, a modular and complete solution to offer accessibility and data in television. The system allows the creation, cataloguing, real-time generation and insertion of accessibility contents (subtitling, audio description and sign language) and data (Teletext, EPG, HbbTV, stream events) in the television signal (SD/HD SDI and/or DVB). In this same field, PlayBox TMBi - 58

Technology EU unveiled the multilingual subtitling platform SubtitleNEXT for the very first time in Spain. This tool offers a wide range of applications and hardware that supports multiple work scenarios, from creation to distribution. Another manufacturer of interest was FENIX Stage, which gave much more prominence to its platforms this year, to which it has added many improvements. BITAM also had an extensive representation of cable companies. Percon showed, for example, its new coaxial Silver+ video cable with a central silver-plated copper conductor for digital applications. The French company, S2CEB, exhibited microphone and speaker cables, coaxial, triaxial, multipair and so

on. Emelec exhibited 3G/4K video connectors, digital audio cables and DMX521, AudioLan or Multimedia, among others. The manufacturer TooQ Technology and its brand Nanocable are other examples. They offered structured cabling solutions, as well as a wide range of video and audio solutions. Antonio Cachinero y Asociados also presented its special transport boxes and custom-made ATA300 containers. There was also space for illumination. In addition to the companies mentioned above, the Dutch company CLF Lighting, which brought high-quality lighting devices for the live entertainment market, theatre, television and business events to the show. Musicson also



that BITAM has always given special attention. One of the topics of analysis this year was public television in Spain, in a context of heavy investment. The format chosen was a roundtable, moderated by Luis Sanz, where technical managers of several television stations talked about the situation of the audiovisual technology in their companies. The needs of exploitation or its timely or permanent recourse to the media of private companies were subjects that were on the table. The needs of exploitation or its timely or permanent recourse to the media of private companies were subjects that were on the table.

Lastly, the technical seminars are a section

The Spanish Association of Cinematographers

presented lighting innovations in its portfolio. StarLights, dedicated to special effects, was another company with a presence in BITAM. In this section, we must not forget LUME CUBE, the first technically versatile external torch for portable devices. Visitors were able to see it first-hand. Brainstorm's SmartSet virtual scenography system was also on display. This tool makes it easy for small broadcasters to offer quality programmes created using pre-defined templates.

(AEC), an exhibitor at the show, organised a meeting on the second day, to address the challenges and obstacles faced by these professionals. The format was also a roundtable, moderated by the president of the association, Angel Torres, where four cinematographers participated. The title of the seminar was “Technology in today's cinematographic photography”. The AEC, responsible for disseminating the work of cinematographers, is part of the European Federation of Cinematographers (IMAGO), comprising 49 associations from countries all around the world.

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We try

Newtek Tricaster TC1

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Newtek Tricaster TC1

Lab testing performed by Yeray Alfageme

When the great Tricaster appeared on the market years ago, it quickly became a benchmark in all-in-one production systems. Its affordable cost and characteristics of a traditional production system gave it the title of “benchmark” in low-cost

productions, and became an unrivalled solution for screen production in stadiums and institutional events. Now TC1 goes one step further and offers a series of features that put it back in the leading position of all-inone production equipment.

At TM Broadcast, we have had the opportunity to test the big brother of the range with two redundant 400-W power supplies each and with three 19-inch rackmount units. This is something that certainly did not go unnoticed.

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We have had the opportunity to test the big brother of the range with two redundant 400-W power supplies each and with three 19inch rack-mount units. This is something that certainly did not go unnoticed. All the features that made Tricaster what it is today are still there (integrated graphics, audio processing, multiple input and output formats, and so on), but now they include some new features that make it really interesting even for current Tricaster owners. TMBi - 62

We are going to review those that have impressed us the most, and that undoubtedly represent a change of concept concerning what an integrated production system represents.

NATIVE 4K SUPPORT No one talks about SD and HD anymore. We all know that HD is the standard in all our productions. However, 4K now comes into play, as

Newtek Tricaster TC1

it happened a few years ago. But this time, and having learned from the quick acceptance of HD Newtek, the brand is already introducing support for 4K in its products without limiting its capabilities. The TC1 system has four 3G/HD/SD-SDI I/O connections; without a doubt a limitation when it comes to 4K productions. To avoid this limitation, Newtek offers Tricaster owners the NC1 module, which converts any 3G/HD/SD-SDI source and transfers it via the network, without loss, of course, to the TC1 system so that up to 16 simultaneous external inputs can be made available thanks to the NDI protocol driven by Newtek itself.

In addition, each NC1 module makes eight 3G/HD/SD-SDI I/Os available for eight additional inputs and outputs via the NDI network, which, together with those available on the TC1 itself, give it multiple possibilities for both HD and 4K productions, where the demand for bandwidth is much greater.

MULTICHANNEL RECORDING SERVER AND R EPEATS An indispensable companion of any Tricaster system was its brother in the world of repetitions, the 3Play. TC1 now offers a complete integrated 6channel recording and replay system, ideal for the size of the productions to which this system is geared.

It is called Isorecorder. It offers 4 XDCam HD Quicktime recorders at a native resolution of 4:2:2 with 24-bit audio, plus two H. 264 recordings from both input sources and internal signals generated by the system. It also offers an MP3 audio encoder for immediate export of any audio break. The system has internal storage. Two 3TB drives give us more than enough recording space to store as many takes as we want and export them to external hard drives. The recording time will depend on the number of signals to be recorded and their quality. There are numerous combinations, but 6TB is undoubtedly more than enough for 95% of our productions.

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 TEST AREA INTEGRATED TX SKYPE One of the most pressing needs facing any production is to feed the social networks with the event in question and to do so as quickly as possible. In the past, complex recording, encoding and publishing systems were necessary, which slowed down the publication of content itself and made the necessary resources and personnel enormously more expensive for something that "a simple mobile phone can do". Newtek has not overlooked this. When Tricaster TC1 connects to the Internet, its

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When Tricaster TC1 connects to the Internet, its possibilities are multiplied, and it offers an unmatched added value in production possibilities are multiplied, and it offers an unmatched added value in production. Firstly, you can integrate up

to two Skype calls in real time and simultaneously into the mix with a configuration as simple as our traditional Skype client. Undoubtedly, this feature will be highly appreciated by news and event producers where remote collaborations bring added value to production. Newtek makes it really easy for us in this respect. There are no converters or adapters or complex calling systems: we just type in the Skype nickname of the person we want to talk to, the video appears in our multiviewer, and the audio signal is made available in our switcher. It is a simple as that.

Newtek Tricaster TC1

Of course, we can continue to record any of these signals as if they were another signal within our system to be published in VOD or used as a repeat or false direct signal later on.

It's amazing how quickly TC1 publishes any content on social networks and notifies our users.

The system has USB 3.0 and e-SATA connectivity, which makes copying the media outside of the system fast if we ignore the use of Gigabit network ports. An hour-long clip took less than 10 minutes to copy over the network in our tests, no doubt saving time and money when the production is finished.

publishing any content on social networks has never been easier and more straightforward. Whether it's Facebook, YouTube, Twitter or any known social network, as well as our own FTP server, TC1 offers multiple presets and the ability to configure our own, making online publishing child's play.


Not only does it offer the possibility to publish an excerpt from our production outputs immediately. As we have six recording channels, any recorded signal can be published on social

Secondly, and thanks again to the fact that the system is connected to the network of networks,

networks, offering digital platforms followers that specific angle not shown by the producers in a programme or a particular exclusive content. The large social networking market is thus nurtured. And all of this in real time. It's amazing how quickly TC1 publishes any content on social networks and notifies our users. Thanks to the native H. 264 encoding available, there is no need for further transcoding of files or a high bandwidth Internet connection for publishing. TMBi - 65


 TEST AREA We have even seen that we could publish content with our mobile phone, connecting it to the TC1 via USB to share the data connection with the system, as if it had been recorded by the mobile phone itself. A true game changer.



The advantages of connecting Tricaster TC1 to the Internet do not end here. It also allows us to stream up to two content streams in different formats regardless of our physical SDI outputs. We can publish two different qualities, one oriented to mobile devices and another to connected TVs, or even to different social networks (Periscope and Facebook Live, to name just a few), thanks to the default pre-settings of the TC1. Again, bandwidth is not going to be a problem. We tested several configurations in our tests. We can confirm that the encoding quality, always in HD definition 1920x1080, with only 6 Mbps, is impressive. In this way, a mobile data connection is sufficient to make our production available on the Internet. Of course, it is TMBi - 66

We tested several configurations in our tests. We can confirm that the encoding quality, always in HD definition 1920x1080, with only 6 Mbps, is impressive. In this way, a mobile data connection is sufficient to make our production available on the Internet. always advisable to increase our bandwidth and base ourselves on fixed data networks with greater reliability, but we do have the possibility thanks to this system.

multiviewer • 4 M/E buses supporting video re-entry: o 1 Mix/Effect channel per bus with support for up to 4 sources


o 4 KEY layers per bus

Although these are the features that have impressed us most of all with Newel’s new Tricaster, we couldn't help but mention some of those that made and continue to make Tricaster what it is today. But these are some more:

o 9 memory slots per bus

• 3 multiviewer outputs supporting standard display resolutions: o 1 DVI user interface with multiviewer o 1 HDMI multiviewer o 1 Display Port

Newtek Tricaster TC1

• 1 PREVIZ configuration and preview bus

o 4 M/E keyers


o 1 PREVIZ keyer

• 4 DSK channels

o 15 buffer keyers

After the tests carried out in our laboratory, we can confirm that we are not dealing with just another update of the most famous all-in-one system on the market. This is a new tool that offers us production possibilities that will make us rethink how we are going to produce our basketball games, promotional, corporate or cultural events from now on, beyond lowering costs and improving our quality of production.

• 5 media players o 2 DDR o 2 GFX o 1 Sound • 15 media buffers: o 10 animation buffers o 5 graphic buffers • 30 clip players (available for use as transitions or media depending on function) • Integrated LiveMatee chroma and lima keying technology on all source channels and M/E buses o 16 input keyers o 4 media player keyers

• Integrated LiveSet technology with 30+ live virtual sets and box effects included. • Supported media file formats: o Video: AVI, DV, DVCPro, DVCProHD, FLV, F4V, H.263, H.264, MOV, MKV, MJPEG, MPEG, MP4, WMV, WebM and many more. o Image: PSD, PNG, TGA, BMP, JPEG, JPEG-XR, JPEG2000, EXR, RAW, TIF, WebP and many more. o Audio: AIFF, MP3, WAV and many more...

All that the Newtek Tricaster TC1 system offers us concerning Internet connection, social networking, VOD, streaming or Skype opens up possibilities by allowing much more extensive productions than a traditional switcher or any other all-in-one system. If we add the fact that we can add the NC1 network expansion modules to this, we conclude that we are not talking about a small production system, but an all-in-one production system that is really powerful for any event. TMBi - 67

We try

Canon C200

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Canon C200

The Canon C200 is the latest camera in Canon’s Cinema EOS lineup with a super 35 sensor. This camera covers the market gap of those seeking 4K recording with super 35 aesthetics without breaking the bank. It is also the first camera in this price range to include internal recording in RAW format.

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 TEST AREA Lab testing performed by Álvaro Bernal

We will begin by talking about the recording formats it offers, as this is a determining factor for each type of audiovisual project. In 4K you can record, as we say, internally at 25/30 p in 12-bit or at 50/60 p in 10-bit. In MP4 4.2.0 long GOP at a flow rate of 150 Mbps 50/60 p. Here is where the debate arises. Why doesn't Canon offer an "intermediate” 4:2:2 codec? I don't have the answer to this, but perhaps the existence of the C300 range explains why. The C200 is probably aimed at those who would normally go for an agile MP4 workflow with 4K resolution and all the good things of the EOS line, which is an image that we can't describe but is very natural and credible, on top of it offering an excellent performance with low light, a good dynamic range and an ergonomics designed by professionals and not by engineers in an office and who have never recorded professional video in their lives. That is the natural market, but it brings that extra 4K in RAW that will allow us to play in the real TMBi - 70

Canon C200

The C200 is probably aimed at those who would normally go for an agile MP4 workflow with 4K resolution and all the good things of the EOS line

image post-processing league from time to time. Having said this, we must not forget that when we record in RAW, the costs increase considerably. The specific "Compact Fast" cards are currently much more expensive than the SD cards that allow recording in 4K MP4, the volume of gigabytes generated is significantly higher and the computer we need to process the RAW and then edit them must be really powerful. This is why I insist in saying that normal use will be MP4 4K with the options of the curves, sometimes LOG and sometimes in "WIDE RANGE", where we get much of the good EOS philosophy without too much complication. As an approximation, in 128 gigabytes you will be able to record 15 minutes in RAW 4K and 110 minutes in MP4 4K. In HD, we can reach about 100/120 continuous frames, this time without cutting the sensor. Canon has yet to position itself at the forefront of maximum performance in slow-motion cameras, but it already offers statistics that allow us to consider this option narratively. It is worth TMBi - 71


 TEST AREA mentioning that when recording at 50p, we can achieve a subtle, slow motion in editing without a 50% loss, which offers a subtle change in many planes that accompanies the emotional intention of the edition to perfection. This is the case of slowing down the movement of people, elements of nature, etc. Finally, in this aspect, we can say that by recording in 4K RAW, we can simultaneously record a file in 4K with high compression on an SD card to visualise it on a not very powerful equipment while having access to the powerful PC that will process the RAW. The C200's super-size 35 sensor offers dynamic 15step (Cinema RAW Light) and 13-step (MP4/Canon Log3) ranges. If you use EF lenses at 4096 x 2160 or 2048 x 1080 resolution, the actual focal length will be multiplied by 1.460 or by 1.534 if at 3840 x 2160 or 1920 x 1080 resolution. This is relevant when choosing your lens. At this point, it should be noted that Canon's excellent dual pixel auto-photo system is compatible with many of Canon's EF lenses and also with some of the brand's TMBi - 72

Canon C200

If you use EF lenses at 4096 x 2160 or 2048 x 1080 resolution, the actual focal length will be multiplied by 1.460 or by 1.534 if at 3840 x 2160 or 1920 x 1080 resolution.

motorised zooms. Canon's concept of autofocus has nothing to do with old autofocus systems that tended to be slow and imprecise (and exasperating more than helpful!). I don't know anyone who, after trying it, doesn't admit that only in a specific situation would he do better than this camera does. The possibilities of customising the autofocus are so many that at first, it can come across as overwhelming, but once you understand what and how it can focus, it is difficult to see why there are people out there who insist on focusing manually. It is a joy to personalise the response of the autofocus and the speed at which it makes the transition between two elements of the composition. Just by touching the screen or moving the joystick aptly located next to the REC button on the handle if we are looking through the viewfinder. All manufacturers are working hard on autofocus systems. Times are changing. This way of focusing avoids repeating many shots due to problems in the focus that everyone who works with large sensors knows very well. In addition, we creatively come TMBi - 73



up with camera movements that were unthinkable in filming where we do not control what is in front of the camera. Options such as face recognition -where it is really easy to switch from one to another-, the focus with tracking, the possibility of using a customisable button to stop the operation of the autofocus and take it back whenever we want, etc. makes us gain a lot of time by not repeating shots or simply achieving things that only happen once and that due to the difficulty of focusing manually, we either don’t dare or fail to achieve it. We can do all this if we TMBi - 74

We know that in the coming year, we will have an update to the Canon XFAVC 4K format but we still don't know if it will be in 4:2:2, which is something we would all love to see. are going to use systemcompatible optics. If we use 100x100 manual optics, we will still have an excellent visual aid to know when we focus correctly. With regard to sensitivity, we reached 25600 and two "forced" modes of 51200 and 102400. In this respect, numbers don’t really say

much. Each audiovisual project requires a certain level of quality in the technical invoice, and what in news bulletins will be perfectly acceptable in a careful documentary, the fact an interview is recorded with noise in the image improper of the rhythm and type of documentary due to

Canon C200

a lack of lighting will not be acceptable. I don't understand expressions like "it works well up to 6,400" when we all know that with the same isos for a certain the type of scene, contrast, etc. the result will be very different. We can obtain 3840 x 2160 at 8 bits 4.2.2

and 10 bits at 1920 x 1080 from the HMDI output. With the information available, we will not be able to record 4K externally. We know that in the coming year, we will have an update to the Canon XF-AVC 4K format but we still don't know if it will be in 4:2:2, which is

The camera has all the usual functions (white, peaking, gain, etc.) on easy-toaccess physical buttons and other customisable ones with which it is easy to personalise the camera to the taste of each operator.

something we would all love to see. The body and ergonomics of the camera are remarkable. When held, it feels almost like a photo camera. The viewfinder is of a very acceptable quality with 1.77 million points and dioptre correction logic. The 4-inch 1.23-million-point touch screen allows for a very intuitive use of the autofocus. This time, we can reposition the screen in multiple positions thanks to a three-axis movement mechanism. Of course, we have zebra, peaking, waveform, etc. and on the TMBi - 75


 TEST AREA screen, we can apply colour-correction curves if we have previously activated the recording options in Canon Log. We have ND filters, 2, 4, 6, 8, 10 steps, using very accessible physical buttons. The camera has all the usual functions (white, peaking, gain, etc.) on easy-toaccess physical buttons and other customisable ones with which it is easy to personalise the camera to the taste of each operator. This time, the audio connectors and controls have been placed on the camera body and not on the removable handle. This option is probably more to the liking of operators as the cables on the handle complicated the grip of the camera in one way or another. We have access to creative functions such as time lapse, single-frame recording and 3-second prerecording that will sometimes be of great help. Regarding the slow-motion recording, we said that we could reach 100 frames (or 120 in "American" mode) in HD. The image is not bad at all, but when you get used to visualising 4K the feeling is a certain lack of detail. We try to counteract it with TMBi - 76

We can control many functions, record and stop, as well as the focus, from the screen of our phone or tablet. This opens the door to other uses such as carrying the camera in a gymbal or having someone else take care of the focus. frames in which we can defocus the background slightly by lens type and thus deceive the brain, but at the same time with diaphragms thus avoiding the maximum opening that increases that feeling of a "loose" image. To date, no manufacturer offers the

same frames in 4K and HD, and this is probably something we will not see in the short term as 4K processes 4 times more data. Finally, we will discuss the possibility of controlling the C200 remotely through a

Canon C200

browser via a WI-FI connection. We can control many functions, record and stop, as well as the focus, from the screen of our phone or tablet. This opens the door to other uses such as carrying the camera in a gymbal or having someone else take care of the focus. It's true that there is a delay of a few frames, but the feeling we've had in the tests has been that it is a function that can reasonably be used.

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