Summary
6
20
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Pan Shot, the news from the audiovisual market
EUROSPORT AT WINTER GAMES Interview with Simon Farnsworth, EVP European & Sports Technology
MIXING CONSOLES
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52
62
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NAB 2018
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Editor in chief Javier de Martín
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TM Broadcast International #57 May 2018
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
The Broadcast market grows. Business opportunities, too. This is one of the conclusions of the latest edition of NAB, held in April. In line with our purpose of providing our readers with exclusive information, this issue includes a careful analysis of the most relevant technological trends observed in Las Vegas, after chatting with the main CEOs and managers in the marketplace. The evolution of the sector towards software solutions, its consensus in ensuring that IP will lead the way or the surprises that artificial intelligence will offer us in the short term are some of the headlines we extract from the event. In this issue, we continue to explore the technological innovations deployed by the world's leading television companies, alongside their top leaders. This time it was Eurosport's turn. We spoke with Simon Farnsworth, EVP Sports Technology, about his coverage of the last Winter Games, after the great technological deployment that the television sports network promoted during the event. We can only hope that you will enjoy reading these contents and everything else TM Broadcast has in store exclusively for you one more month.
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DTC BROADCAST CONFIRMS MAJOR SALE OF AEON SYSTEMS TO NEP AUSTRALIA In association with its incountry partner, AV Group, DTC Broadcast has announced the sale of four AEON 4K wireless camera systems that includes IP enabled camera control and RF over fibre solutions, to NEP Australia. NEP Australia is exploring moving into 4K and HDR content provision in due course for the Asia Pacific region it services, but until now the volume of raw data transmission required for 4K/UHD production has made wireless cameras impractical. However, NEP Australia cameras equipped with AEON-TX will be able to transmit 4K UHD and HDR video formats if they wish by taking advantage of the encoding technology built into the AEON-TX. NEP Australia Director of Technology, Marc Segar, said: “We chose the AEONTX because of its flexibility to provide high quality HD, HDR, and 4K video transmission using HEVC encoding for improved link efficiency. That, coupled with DTC's renowned PRORXD receiver and outstanding local support from AV Group, convinced us that that TMBi - 6
DTC Broadcast has announced the sale of four AEON 4K wireless camera systems
AEON-TX was the correct choice.” DTC Vice President, Broadcast Sales, JP Delport said: “We are delighted that NEP has chosen DTC as their wireless camera system supplier. We are positive that NEP Australia’s implementation will enhance enjoyment and offer new creative options for all of the many commercial and subscription TV networks and leading independent production companies NEP Australia works with in the region.”
AEON-TX includes fully integrated return channels for bi-directional IP connectivity and lowbandwidth telemetry, plus a scalable return channel for talk-back, camera control, and return video. The transmitter also includes industry standard DVB-T modulation for compatibility with existing systems and DTC’s proprietary UMVL and dual pedestal modulation for enhanced high frequency/high speed performance.
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JVC DEBUTS 4K HDR STUDIO LCD MONITORS few lines of delay, which is suitable for lip sync monitoring. Both series also feature 3D LUT 17x17x17 precise auto calibration, with built-in color generator and calibration software, and support user uploaded 3DLUT cube files, which are convenient for color creation in post. Plus, with several built-in De-log LUTs (including JVC J-log1), the monitors can convert directly to ITU-Rec.709. JVC Professional Video has announced two new series of studio LCD monitors to support today’s growing 4K workflows. Available in two models, the DT U series provides native 4K resolution with 10-bit color depth and HDR compatibility. The four models in the more economical DT G series convert 4K and 2K sources to full HD. The 28-inch DT-U28U and 31.5-inch DT-U31U feature native 4K LCD panels with 3840x2160 resolution, LED backlight, wider color gamut, and HLG HDR and PQ HDR display for realistic imagery. Both monitors feature multiple 4K inputs, including 12G-SDI, 3G-SDI quad link, 4K/60p HDMI 2.0, and optional plugin SFP adapter. Users can TMBi - 8
also display four independent SDI sources in quad view mode, and there are extensive connectivity options for legacy sources. The DTU31E supports 100 percent DCI-P3 and 84 percent ITU-R BT.2020 color gamut, while the DT-U28E supports 100 percent Rec.709 and 80 percent DCI-P3 color gamut. With sizes ranging from 17.3 to 27 inches, DT-G series monitors support 4K/60p HDMI and 2K-SDI signals. Each 8-bit panel has 10-bit signal processing and LED backlight, with the three largest models offering 1000:1 contrast ratio. Both the DT-G and DT-U series are equipped with a new zero latency image processing mode with only a
All models feature a built-in auto calibration function, with only an external X-Rite sensor probe required. Calibration can be done directly from the front-panel USB connection, so the monitor does not need to be removed from its installation. Both the DT-G and DT-U series offer remote control via web browser. Users can check monitor status, adjust menu settings, and control all monitors in a facility remotely when connected to a LAN. All models also feature convenient front panel controls with dual speakers, AC/DC power with integrated battery port, on-screen tools including tally and 16-channel audio meters, plus built-in waveform, vectorscope with line selector, and histogram.
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WOODY TECHNOLOGIES INTEGRATES IBM ASPERA FASP TECHNOLOGY Woody Technologies has announced that the Aspera FASP® high speed transport protocol has been integrated into the Woody Technologies suite of media processing solutions. Aspera FASP® is now available in Woody in2it, Woody Ingest, Woody Social and Woody Outgest. It allows broadcasters and media industry actors to build endto-end solutions for ingest and media processing across different sites, taking advantage of the transfer acceleration offered by Aspera FASP® protocol. Aspera is eliminates the fundamental shortcomings of conventional, TCP-based file transfer technologies such as FTP and HTTP. As a result, FASP® transfers achieve speeds that are hundreds of times faster than FTP/HTTP and provide a guaranteed delivery time regardless of file size, transfer distance or network conditions, including transfers over satellite, wireless, and inherently unreliable long distance, international links. FASP® also provides complete visibility into bandwidth utilization and extraordinary TMBi - 10
control over transfer rates and bandwidth sharing with other network traffic. Complete security is built-in, including secure endpoint authentication, on-the-fly data encryption, and integrity verification. Woody in2it, the tool for journalists and ingest operators, can be used from the field or distant sites to index, transcode and transfer content to a broadcaster’s main facility. Woody Ingest and Woody Outgest automate media processing operations and exchanges across heterogenous production environments. Aspera FASP® is now available for delivery of media and metadata in all these applications.
"The combination of Woody Technologies solutions and Aspera FASP transfer technology is a perfect fit for remote ingest workflows and multi-site collaboration, which are becoming a reality for our customers," said Nicolas Gautron, CEO of Woody Technologies. "Media companies that leverage Woody Technologies solutions can now also benefit from the secure, high-speed transfer of their digital assets, powered by Aspera FASP,” said Mike Flathers, CTO of Aspera. "We are excited that Woody is enhancing their media processing solutions to incorporate the speed and reliability that Aspera is known for."
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RTL RADIO EQUIPS ITS NEW STUDIO WITH STUDIOTALK Moving to its new premises, RTL radio has launched its new Radio studio completely equipped with a visual radio platform, managed by BCE’s StudioTalk. “The transition to high quality Visual Radio was one of the objectives for the new studios. StudioTalk is a modular solution that can meet the needs for optimized operations with the production automation, but which also allows to meet the needs of television production, thanks to the manual controls, the servers and graphics stations management with high-end cameras” explains Mathias Bejanin, technical director, Groupe M6. StudioTalk, the one touch
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production solution, is all-inone software which allows the production of television shows, the creation and control of the studio branding and sets, the management of content and the broadcast and distribution to multiple screens. RTL Radio can choose whether to supervise the production of its shows or to switch to automatic production with the detection of the speakers and active scene change. With the advanced video clip management, the operator can interact during the shows with featured content or simply follow the established playlist. Thanks to its distribution platform, StudioTalk broadcasts live to RTL Radio website and
stores the videos for on demand features on the replay platforms of the customer. “What is interesting about StudioTalk, is to be able to produce quality programs that meet the requirements and standards of broadcast and professional production, with very light products,” explains Michel Nougué, Directeur de Marque,Groupe M6. On the system integration side, BCE France installed the three new studios of RTL Radio. Equipped with cameras, RTL radio can produce dynamic shows in manual or automatic mode. Each studio has multiple televisions to screen the animated sets coming from StudioTalk.
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TSL’S TALLYMAN CONTROL SYSTEM EMPOWERS SPORTS BROADCASTERS who plugs the cameras in,” explains Dan Bailey, product manager - control systems, TSL Products. “TallyMan detects the rest, so operators don’t have to do anything differently.”
One TallyMan can route a 4K broadcast through an HD truck with minimal equipment and cost. With just a 4K camera and 4K cable switcher plugged into a standard router, TallyMan can detect and differentiate between HD and 4K signals, and automatically implement the pre-programmed workflow throughout the truck.
TallyMan’s Virtual Panel Interface allows operators to ensure this process is configurable. With drag-anddrop controls, users can customize production setups to fit specific needs. The interface can be set up to outline an overhead view of a stadium, floor plan or track on the panel, and add sources and destinations as needed for that location. With everything pre-configured prior to the production, TallyMan presents a simplified workflow that requires minimal labor and training to operate effectively, resulting in a substantial decrease in the potential for mistakes and increase in operational cost savings. Presets can be established across a fleet of broadcast trucks, ensuring the same configuration when required.
“The only person who had to do anything different on the day they’re shooting in 4K as opposed to the day they’re shooting in HD, is the person
With traditional control infrastructures, sports broadcast operators spend tens of seconds taking multiple steps to secure a
TSL’s products in Soccer Stadium.
With over 1.000 global installations and counting, TSL Products’ user configurable TallyMan Advanced Broadcast Control System continues to be an asset to production crews worldwide. TallyMan was built to be independent, universal, configurable and infinitely scalable, allowing broadcasters to achieve interoperability between equipment regardless of manufacturers and format specifications. Whether a broadcaster needs to connect two trucks with different manufacturers’ cameras or upconvert HD signals into a 4K truck, TallyMan can group TMBi - 14
multi-level actions into a simple control surface that provides a single, shared entry point for signal flow and routing control.
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certain shot of the crowd in the stadium, or the field of play. “After an operator picks a shot, they would then need to zero in on that location, fade up the microphones on their audio console, route the footage back into their multiviewer and then route that signal for broadcast,” explains Bailey. “TallyMan can repackage these steps into pre-defined commands long before the game begins, automating multi-step processes into single functions and capturing the action in a matter of milliseconds.”
‘Suggested shots’ For a recent professional auto racing series, TallyMan was used to circumvent conflicting commands from its camera operators. If an operator sees a crash or particularly strong performance, the camera includes a “pick me” button, which routes the camera feed onto a specific spot on the multi-viewer to indicate a “suggested shot.” However, since a producer must choose whether to take that shot, there is a delay before the feed goes live to air.
Conversely, unrestricted control could lead to multiple live cuts within milliseconds. TallyMan offered the broadcaster a powerful decision-making engine. Instead of routing operators’ “pick me” triggers to the router or the multi-viewer, it is first fed through TallyMan. The system sends the first camera operator live to air and locks out all other cameras for four seconds, while still allowing the producer to kill that functionality, if they choose. The process happens in less than half a second.
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AUBURN GRACE COMMUNITY CHURCH SETS A LIVE STREAM WORKFLOW WITH AJA Auburn Grace Community Church (AGCC), a vibrant church in Auburn, California, has woven video into nearly every aspect of its operations, with an emphasis on live streaming. Spearheading the effort, AGCC Media Director Alan Koshiyama established a live stream workflow using AJA KONA 4 and Io 4K for audio/video I/O. “We live in a media-driven culture, making video essential for any house of worship. Video is your first chance to make an impression on potential members and can improve your connection with existing members; it also allows you to share sermons and events with those who can’t attend, such as elderly, ill or traveling members,” shared Koshiyama. “There’s growing demand for high quality video during services and through social platforms, which is why we’re investing in gear like TMBi - 16
the KONA 4 and Io 4K. It helps us bring more relevant and visually compelling live content to members across different platforms.” AGCC’s facility houses a video production booth outfitted with live streaming hardware and software that is used for in-house AV and YouTube live streams. A Sony® DSLR captures live HD footage of each Sunday service. The feed is output via HDMI and converted to SDI by an AJA HA5-Plus Mini-Converter and input into an AJA KONA 4 audio and video I/O card installed on a Microsoft® Windows computer. Using vMix live streaming software, the live feed is then broadcast to YouTube, and archived. For remote event streaming, Koshiyama relies on a similar setup comprising a DSLR, Apple® MacBook Pro®, Thunderbolt™ 2-equipped AJA Io 4K for I/O, and vMix streaming software.
Sharing his experiences with KONA 4 and Io 4K, Koshiyama said, “AJA is the Mercedes Benz of technology in our industry. Every piece of kit they make is rock solid and easy to use, so I’m always confident I won’t run into any issues when live streaming. KONA 4 and Io 4K just work, so we never waste time troubleshooting, and if I’m ever in a bind, I know AJA’s support team will go above and beyond to help me out.” AGCC’s live streaming team consists of volunteers, most of whom don’t have technical or video production backgrounds, so having intuitive gear in place that doesn’t require intense training is advantageous. “We work with a lot of volunteers who have never touched this sort of equipment before, so the gear itself needs to be reliable, and easy enough to use that you don’t need an engineering degree to figure
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it out,” Koshiyama shared. “AJA kit is that for us, and inspires volunteers to get involved, because a lot of them want to get their hands on high quality production equipment for experience.”
Scalable tools, an important consideration Although AGCC is just beginning to dip its toes into broadcast quality production with HD live streams, Koshiyama will continue to explore how his team can
bring higher quality content to audiences, with an eye on 4K/UltraHD and HDR. As he continues to expand the church’s workflow, scalable tools are an important consideration. “We’re a small church with a modest AV budget, so the fact that AJA makes broadcast grade production gear at a price that’s accessible to us is amazing. We may be working in HD now, but we’re just getting started, so it’s nice to know that we can grow with our AJA gear; it supports our current HD
needs, but leaves room to easily make the switch to 4K in the future.” With AGCC’s live streaming workflow evolving rapidly, Koshiyama is also considering an investment in AJA RovoCams. “RovoCams would allow us to easily stream multiple UltraHD views to our audiences and give us a broadcast grade setup that could open up new doors to host and streaming larger conferences and events,” he said.
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CAUVERY NEWS OPTIMIZES WORKFLOWS GRASS VALLEY SOLUTIONS Cauvery News selects Grass Valley equipment for its growing news programming needs. The multimedia broadcast company now utilizes a full range of Grass Valley solutions, including: Karrera K-Frame S-series and GV Korona K-Frame V-series switchers, GV STRATUS Video Production and Content Management System, K2 Summit 3G Production Clients attached to a K2 Production SAN Storage system, Imagestore 750 HD/SD Master Control and Branding Processor and iTX Master Control integrated playout. “When we’re working to get breaking news to our viewers, the last thing we need is complex solutions or a provider we can’t rely on,” said Mr. Elangovan, chairman, Cauvery News. “Grass Valley solutions offer all of the advanced features we need while maintaining ease of use, and we can always rely on Grass Valley’s support for our entire news production platform.” Karrera K-Frame S-series and GV Korona K-Frame Vseries offer flexibility and efficiency in the form of multiformat support, TMBi - 18
including 1080p and 4K UHD. Karrera K-Frame Sseries switchers deliver creative freedom for highly produced content, using up to 6 M/Es across two suites, with four keyers per M/E, and up to eight floating iDPMs. At only 3 RU, the KFrame V-series is suitable for Cauvery’s small production spaces, providing power but requiring no compromise on enterprise features. The switcher is available in 1, 2 or 3 M/E options and when used in conjunction with the GV Korona panel, it is a powerful and compact production center. GV STRATUS also serves to help Cauvery News keep up with its growing number of channels and programs. GV STRATUS handles the entire content creation and delivery process across multiple digital media platforms, while offering the ability to handle the rising volume of user-generated content (UGC) and integrate with social media platforms.
The video production and content management system also includes full integration with K2 Production SAN Storage and K2 Summit 3G Production Clients so that finished content can be efficiently stored and disseminated. “Incorporating an end-toend production solution has countless benefits for Cauvery News,” said Somu Patil, vice president sales, APAC, Grass Valley. “Our news solutions are integrated and efficient from day one, as well as being flexible and scalable to expand with Cauvery News without missing a beat as news broadcasting continues to evolve.” To add the finishing touches and deliver content to viewers, Cauvery News’ new production platform also includes solutions for seamless master control. Imagestore 750, a master control and branding processor, combines iTX playout with Imagestore master control, providing Cauvery News the benefits of an integrated playout platform while retaining the hands-on operations required for proactive channel control.
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FLAVOURSYS ANNOUNCES STRAWBERRY 5.4 FlavourSys, an independent software company delivering products designed to improve the day-to-day workflow of any content production facility, announces the latest version of their Production Asset Management (PAM) tool Strawberry (v. 5.4). Many broadcast and video production facilities around the globe have been benefitting from Strawberry’s search, storage organization, and project sharing functionality. Strawberry is platform independent, working with any major editing and motion graphics application. Strawberry’s new Communications System
simplifies interaction between users, keeping everybody up to date about their Strawberry-managed projects, assets and workflow tasks. Users can subscribe to notification alerts with the click of a button or by using the autosubscribe feature. Users can also receive alerts about their projects and assets to tailored news feeds. The Global Event Log saves every single user-content interaction, allowing admins to regularly review activity on the system. “With the new Communications System, Strawberry becomes the pulse of the production pipeline,” says Derek
Barrilleaux, CEO FlavourSys. “Editors can mention their collaborators at a frame- accurate point in a clip, and their colleague will instantly be notified. Replies can be tracked and all information becomes searchable criteria included in Strawberry’s search index.”
Televisions of the World: EUROSPORT
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Televisions of the World: EUROSPORT
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Televisions of the World: EUROSPORT
EUROSPORT AT WINTER OLYMPICS Interview with Simon Farnsworth, EVP European & Sports Technology Eurosport is currently a global reference in sports productions. What technical milestones would you say that have allowed you to reach this stage? From a technical standpoint, the Olympic Games was immensely challenging and complex. For Discovery, we delivered across 48 markets, in more than 20 languages, from 17 studio locations and multiple outside positions. We are pleased with our achievements, which also TMBi - 22
Televisions of the World: EUROSPORT
provided learnings for ourselves and the industry about how such broadcasts will be carried out moving forward. We are pleased to have delivered on our promise to the IOC to bring the Games to more people, on more screens, than ever before. Delivering every single piece of content that we produce to every screen available for the consumer.
PyeongChang 2018 marked the first time we’ve integrated the technical delivery across Discovery’s assets - freeto-air, pay-tv and digital at such scale and across multiple countries, which we were able to accomplish seamlessly. The Wide Area Network (WAN) we installed to link all our production sites performed brilliantly. The IP multicast technology
was critical to the whole operation. It allowed us to encode content once in PyeongChang and we were able to then distribute the same feed to many sites simultaneously. We think this is the first time this has ever been achieved at this scale. The experience with the WAN at PyeongChang 2018 provides Discovery and Eurosport an excellent
Televisions of the World: EUROSPORT
Discovery IBC Roof Studio - BTS Norway and Markets
foundation for delivering remote production moving forward. We will certainly expand on this in the future. Discovery’s use of cloud technology at this scale we believe was an Olympic Games-first. Data delivery to the cloud worked very well. The cloud powered a range of our services, such as datadriven graphics, MAM, all remote commentary services to multiple TMBi - 24
locations and countries, and it all worked extremely well.
Tell us about your facilities. Apart from your headquarters, where do you have physical presence? How many studios do you have? Discovery’s delivery of the Olympics covered 48 markets in Europe, in more than 20 languages, from 17 studio locations and multiple outside
positions. There were ten main technical operation sites across Europe and in Korea.
We have seen innovative 5G trials during the latest Winter Games. What is your position regarding this technology? The technology is very interesting and is something we are actively monitoring. We believe it can make a significant contribution in the future.
Televisions of the World: EUROSPORT
Eurosport offered its audience the first-ever digital Games across Europe. What major challenges did you face to achieve this?
production, from 17 studios, in more than 20 languages, with every minute live on digital across the continent for the first time.
More broadly, Discovery delivered the Olympics at a scale and level of localisation that’s never been done before. Comprehensive coverage in 48 markets, fully integrated TV and digital
From a technical point of view, we prepared thoroughly and successfully to achieve this. Our teams also prepared very well in the cyber security space to protect our content and
ensure there was no impact on our consumer proposition.
You also deployed the Olympic-first ‘Eurosport cube’ augmented reality studio. How did you resolve this challenge successfully? Discovery promised to be innovative and offer something different, so it was pleasing to get such a
Televisions of the World: EUROSPORT
Bode Miller Eurosport Cube
positive reaction from viewers, athletes and everyone who visited the Eurosport cube. We embraced the technology in the cube to allow our experts and the latest medal-winning heroes to present deeper and more meaningful analysis. It meant we could take analysis from the flat screen and enable our experts to explain with their hands and their bodies, telling immersive stories that explain technical aspects that make the difference between winning gold and missing a medal and make TMBi - 26
the complicated simple. The integration of the technology within the cube, including augmented reality, was highly complex but worked really well from a technical point of view.
What will be the future applications of XR (AR, VR and MR) technologies on television, according to you? The use of augmented reality, both in the Eurosport cube and our dedicated studio for our Swedish production, was something new for the
Olympic Games. It certainly added to our coverage of the Games and the technology worked very well. We prepared robustly to ensure the lowest latency encoding standards possible. This ensured that when we had the twoway interactions between our experts in different locations, there was no delay and just like if they’d been there together in the one studio. Discovery partners with Olympic Broadcast Services (OBS) and Intel to deliver the first Olympic
Televisions of the World: EUROSPORT
Games live VR across Europe. VR is another technology we’ve used in a range of ways in our production and are interested in exploring the best ways to utilise in the future.
fans, giving audiences the opportunity to go behind-the-scenes. What workflow did you deploy to achieve this? What were the main technological challenges?
As well, you launched a dedicated mobile digital studio moving between Olympic venues, producing social-first short form clips with athletes, influencers and
The Mobile Studio for digital was another of our remote locations, housed in various places such as the PyeongChang 2018 Medal Plaza and Snowpark.
Our teams used mobile phones to produce content with athletes, our experts and fans over a WIFI network. We have now proved this approach can deliver a viable and engaging product to mobile devices. This opens so many doors for us moving forward and interesting potential for our digital production in the future.
Panorama: Mixing Consoles
MIXING CONSOLES By Raúl Marín
It is becoming increasingly difficult to define what a mixing console really is, as they are involved in so many different applications in one way or another. Perhaps we need to go back in time to find the answer. It would be virtually impossible to speak of an inventor so-to-speak of the mixing console. Instead, mixing consoles are a technological concept that has evolved over time, from the first solutions implemented at the BBC or Disney, through the successive equipment TMBi - 28
of Universal Audio/Urei, Telefunken, RCA, etc., to the present day. From the 1950s onwards, in a growing audiovisual industry, a good mixing console design became an essential part of the increasingly sophisticated needs of studios (more channels, more integrated processes, better signal preservation specifications, etc.), all of which were still based on vacuum valves. This was the case until the appearance of the first console based entirely on transistors, designed by Rupert Neve. Everything
started to go very fast from here on. Many companies appeared here and there, bringing new concepts and defining the different characteristics to be implemented in various situations (direct, studio, radio, television...). Solid State Logic, Yamaha, Calrec, Trident, Soundcraft, API, AMEK and Focusrite are some of the names. The digital changeover began at the end of the 1980s. First, digital signal processors (DSPs) were developed, which were initially used in the audio world as independent
Panorama: Mixing Consoles
The new Lawo mc256 at NAB Show 2018.
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Panorama: Mixing Consoles
processors but were later integrated into more complex systems, including the mixing consoles themselves and the newly introduced DAWs (Digital Audio Workstation), which combined recording, editing, processing and mixing, all based on another new player: computers. Given the exponential nature of the development of these new technologies, the rules were written over and over again, and new developments kept appearing faster than you could say Jack Robinson. Nowadays, to speak of mixing consoles is, in fact, to talk of a conglomerate of very diverse technologies, each with their own developments and following their own paths, but which converge in common points to respond to the changing needs of everything related to the audiovisual world. Of these technologies, we could highlight some that are quite relevant: TMBi - 30
CONNECTIVITY Classical topologies are disappearing in the face of the waste of connective possibilities that we have today. The evolution of the current multichannel transmission formats,
together with the efficient management of the signals that travel through them, make the current mixing consoles a true matrix with a multitude of available formats. The incorporation of the MADI or the subsequent
Panorama: Mixing Consoles
Nowadays, to speak of mixing consoles is, in fact, to talk of a conglomerate of very diverse technologies, each with their own developments and following their own paths, but which converge in common points to respond to the changing needs of everything related to the audiovisual world.
development of the Audio IP formats (Dante, Ravenna, AES 67, etc.), have opened up the possibilities of these systems enormously. One of the peculiarities of digital systems is their modularity. For example,
Calrec Brio 32
Panorama: Mixing Consoles
in the case of a DAW, with just one stereo input, we could record hundreds of tracks independently that could then be routed internally to dedicated channels. This essentially means that only two good "physical" system inputs are required (in the past each channel had its own input). This "virtualisation" also lets us mix with multiple "ghost" summation buses, which are converted to physical format exclusively through the control room and a dedicated programme master. We can also have multiple split points without using connections up, etc. The great advantage of these connectivity systems is, without a doubt, the economic one. We can transport hundreds of channels through a common computer
network, even redundant. What used to take thousands of metres of cable, splitters, patches, etc. is now resolved with common computer equipment. We can interconnect rooms directly with each other, without the need for dedicated matrices or any other device other than
The incorporation of the MADI or the subsequent development of the Audio IP formats (Dante, Ravenna, AES 67, etc.), have opened up the possibilities of these systems enormously. TMBi - 32
the consoles themselves. We can also handle multichannel signals seamlessly (5.1, 7.1, Auro, Atmoss...) or integrate communications and the control room with unprecedented levels of sophistication.
THE EVOLUTION OF THE DSP The technology required to process audio signals has developed exponentially into spheres that were simply unimaginable just a few years ago.
Panorama: Mixing Consoles
first digital mixing consoles.
Yamaha Nuage
On the one hand, this evolution happened in hardware. Initially, to achieve the power required to run the multiple algorithms to process the various signals of a given project, 'DSP farms' were available, which were no more than a cluster of dedicated signal processing chips. The balance between the computational capabilities of those early Motorola or Analogue Devices chips and the processing demands of those algorithms made this equipment very expensive and unique. Today, with the
development of "generic" computing and other more specific computational elements (VLSI, FPGA, RISC...), not only have processing capabilities been boosted, but they have also been made accessible to a vast sector of the market due to the affordable cost. The other evolution of the DSP world has to do with software, on the other hand. Physical modelling and convolution technologies have been developed with a truly dazzling level of "imagination", nothing like those dull EQ/Dynamic strips that appeared in the
Today, we have increasingly accurate emulations of almost anything that has happened in the history of audio: classic compressors and EQs, with transformers, valves.... absolutely everything can be taken to the virtual world. The latest developments even dare to model microphone preamplifiers... and even the microphones themselves! In addition to emulating, there are also processes unique to this technology in the digital world. Mastering processors with all kinds of dynamic corrections in frequency selective ranges, dynamic equalisation, ultra-realistic reverberations or automatic tone correctors (the famous autotune). The inclusion of computer elements in these mixing systems allows things such as automatic microphone mixing, a consoleintegrated player or the possibility of recording the TMBi - 33
Panorama: Mixing Consoles
Midas and Klark Teknik PRO X-CC-IP
entire session on separate tracks. You can remotely manage the gains of microphone preamps from various points of interest, manage the access to the console control in the form of user permissions, not to mention the level of automation that some of these consoles can achieve, both in the snapshot and dynamic automation formats. Any parameter can be saved, recalled or dynamically synchronised with a DAW session.
MODULARITY As I mentioned earlier, one of the significant advantages of digital mixing environments is modularity. Absolutely all TMBi - 34
On consoles of a certain level, and more especially in DAW environments, the number of inputs and outputs (and their format), the amount of DSP processing available and the algorithms we want to run on them (in many cases in plugin format), the size of the control console.... virtually any element of the system can be configured on demand.
buses, their multichannel format and their functionality, be it an auxiliary, a subgroup/stem, a master, a CUE... You can choose the number of customised channels, their insertions, their processes, their practically unlimited sending.... in short, maximum freedom to configure this equipment. This concept has been extended to more mixing environments.
For this reason, new mixing languages have appeared. In the case of DAWs, there is unprecedented topological freedom. Any of these platforms allow you to design a custommade console for each project. You can choose the number of summation
The broadcast world has also undergone major changes. These concepts of "open" topology are becoming increasingly popular, further extending these topologies. The latest trends unify local connectivity and processing arrays into a single entity that is
components are available "in pieces".
Panorama: Mixing Consoles
“metered" so-to-speak and shared according to user requirements. If you add the ever-closer interaction with post-production systems (DAWs), the inclusion of multi-channel formats and the variety of processes available, you get true "audio centres" capable of handling huge audiovisual installations.
THE RESURGENCE OF ANALOGUE Apart from all of the above, large analogue consoles are experiencing a second youth, albeit readjusted to interact in today's world. Important musical productions did not want to let go of the "warmth" that was somehow dying with the prevailing "digitalitis", without giving up the comforts offered by the rest of the digital process. The response was forthcoming with the advent of "hybrid" consoles. These consoles are derived directly from the classic designs of the 80's and 90's, but incorporate
The "resurrection" of the analogue has unleashed a fever for the "vintage" world and "expensive" boutique equipment, whether it is individualised elements derived from the tables or explicit designs in outboard format updated monitoring systems, DAWs control and some extra flexibility to take full advantage of the available analogue processes. They also have certain modularity when it comes to the configuration (the price is sometimes decisive), and various improvements regarding power consumption and maintenance (another of the headaches of the old consoles). SSL with its Duality, AWS or Matrix models, as well as NEVE with the Genesys console line, are good examples of this trend. In turn, this "resurrection" of the analogue has unleashed a fever for the "vintage" world and "expensive" boutique equipment, whether it is individualised elements
derived from the tables or explicit designs in outboard format. Equalisers, dynamics processors, preamplifiers and injection boxes, channel strips, adders... A whole new world! In a nutshell, there is something for everyone. Apart from these "specialities", even today's "generic" consoles tend to offer a wide range of options to meet the specific needs of more advanced environments. The world of live music, broadcast and studios all benefit from these advances, which seem to have no end in sight. In the meantime, we’ll have to sit tight and wait to see what the future has in store. TMBi - 35
NAB Show 2018
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NAB Show 2018
NAB 2018 Altius, citius, fortius By Luis Pavía
The phrase comes from the first Olympic Games of the modern age, Athens, 1896, and pretty much sums up the contents of the fair: “Backwards compatible and future proof.”
We have just returned from Las Vegas, and like every year, we face the challenge of providing you with a summary of all that we have experienced this year. There is so much more in a meeting of this magnitude than the presentation of new products, conferences and the exhibition of equipment and solutions to entice and attract new customers. Together with the Broadcast Asia show in
Singapore in June and the IBC in Amsterdam in September, this is one of the three most important shows in the world for the Broadcast sector. However, it always generates a particular expectation for being the first of the year. In fact, there are significantly more professionals from around the world than in either of the other two in terms of both exhibitors and visitors. This year, we decided to
approach this article differently, moving away from the usual lists of manufacturers/products information that is very easy to find in a quick search on the Internet or by following the companies in our field of interest- to focus more on the atmosphere, which is something that does not fit into an alphabetical list but equally allows us to get an insight into the current situation and, above all, where the industry is going.
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NAB Show 2018
Or so we believe… We attempt to convey more of a strategic than a tactical vision. As in almost all shows, exhibitors want to reach more customers. Everything can be sold: products, services, technology, content... in all price ranges and for all needs. But exhibitors also want to listen to customers, talk to them to understand their needs and develop solutions to meet their demands. The market moves forward by listening to the customer. Some exhibitors even took advantage of the show to look for staff: we saw some job offers advertised on a stand. Visitors, for their part, want to discover and
2018 still stands as a transition phase, a transition that began years ago and which we hope will not end. Ever. TMBi - 38
The TM Broadcast team at Las Vegas. From left to right: Beatriz Calvo, Luis Pavía and Cristina Feduchi.
compare products and services that help them produce more and better content in order to reach more customers. They are also looking to meet more people, to expand their networks and discover and perhaps develop- new opportunities in their respective businesses. Overall, we could point out that almost everything now tends to be software. 2018 still stands as a transition phase, a transition that began years ago and which we hope will not end. Ever. Driven by the permanent advance
of technology and software development, the change in habits and fads of customers’ appetites and the constant emergence of new market niches. The transition, rather, the evolution will be constant but not because we do not know where to go, but because we discover new and attractive horizons every step of the way. We’ve seen a great deal of acronyms, a lot of acronyms, some with numbers! Exciting yet disturbing at the same time, they offer another
NAB Show 2018
way to summarise almost the entire NAB2018 in a single paragraph: IP, 4k, IA/ML, UHD, HDR, HFR, WCG, HLG, ATSC3.0, H.265, HEVC, ST2020, ST2110‌ and there are probably some we have forgotten to mention. But it is not just the technological concept or the specifications behind these acronyms. The market, the customers, the spectators and the consumers are also
The market, the customers, the spectators and the consumers are also players of a game that no longer resembles that of a few years ago, and in a few more years, things will be very different from today, surpassing even our wildest of dreams. players of a game that no longer resembles that of a few years ago, and in a few more years, things will
be very different from today, surpassing even our wildest of dreams.
NAB Show 2018
This path we are already on today is called "IP". But IP as an industry, not as technology. After all, IP is just a protocol (a language between machines) that transports information between two points. Or more than two, or many more than two. Similar to what our HDSDI does, but with many more possibilities. Thanks to the meticulous planning of the extraordinary Cristina Feduchi and Beatriz Calvoď€key people without whose tireless daily activity at the show we would not have achieved this coverageď€we have TMBi - 40
had the opportunity to hold many interviews with managers, directors and CEO's of the main companies involved in broadcast, and the conclusion in this regard is clear: the whole sector agrees that IP is the way forward.The only aspect on which there are differing opinions is in the timeframe. It ranges from "we are already there" to "more than ten years". Opinions that vary widely, but which we find are all based on a common criterion: when companies feel that the IP is as reliable for their needs as
their current production, broadcast and distribution systems, change will be a fact. Hence the disparity: there are those who have already covered this requirement, and there are those who do not expect to have reliable equipment in the short or medium term. Let us not forget that the consumption of content via the Internet is growing exponentially, while consumption via conventional broadcasting systems remains relatively stable. Today, any of us can be a broadcaster with
NAB Show 2018
Let us not forget that the consumption of content via the Internet is growing exponentially, while consumption via conventional broadcasting systems remains relatively stable potential viewers almost all over the world. How many broadcasters ten years ago had access to what an individual can do today through social networks or free Internet platforms? Uncertainty as to the timeframes is combined with the obligation to amortise the investments
already made and the need to invest accurately in a market where the amortisation periods get shorter and shorter because next year's product is likely to be more complete, more reliable and cheaper than this year's product. Which will make me more competitive next year... All
right... In that case, you might think, you shouldn’t produce, broadcast or compete this year. And so on every year. This forces us to reconsider the entire traditional economic scenario, adapting it to real needs and to the capacity to monetise investments in ever shorter terms. It is as “simple� as that. We've already experienced it, but we've gotten used to it without realising. The same thing happened when we started working with computers.... TMBi - 41
NAB Show 2018
And this is where we must pay attention to the new ways of making and consuming television, with the peculiarities of each market, of each region, of each country. Mass consumption of television is moving from being linear to becoming ondemand content, mobile and on different screens. We no longer sit on the sofa at home to watch the 10 o’clock film on the TV in the living room. This is no longer what we do. TMBi - 42
Now, weeach individual viewerare the spectators. We decide what we want to see, when and on what device. TVs are not just at home anymore. Or at the bar. They are on cell phones and tablets, too. Hence the success of platforms such as Movistar+, Netflix, HBO, etc. Of course, always conditioned by a quality content offer. A real boost for traditional broadcasters, who are also generating their own highquality content.
Now each content must be served to each client when and how they request it. Immediately. We are only interested in seeing something together at the same time in major sporting events. And even though we are in the stadium, we also want the comments, the repetitions and the close-ups that TV can deliver. The same applies to any other type of major live show that requires the ability to cater for thousands or millions of users. Or a
NAB Show 2018
Mass consumption of television is moving from being linear to becoming on-demand content, mobile and on different screens. We no longer sit on the sofa at home to watch the 10 o’clock film on the TV in the living room. This is no longer what we do. couple of few hundred who have hired it. And one or the other can only be done with IP. This means
the possibility of inserting advertising, an important source of income for the sector, in a much more
personalised and bettertargeted way. New opportunities. The innovation in the ways of creating, selecting and positioning advertising presents a horizon with a long way ahead. Virtual studios are advancing positions. The smaller the station's budget, the more they advance. Broadcasters no longer want a single studio, in a single location,
NAB Show 2018
Another major source of income for the sector is content. In this sense, we have also been able to see the growth of companies whose purpose is to manage content to facilitate its sale, supply or distribution to monetise it more efficiently.
with a single control room. News and sports are still key pieces, but we want connectivity from any source, to be able to integrate any content with little or no time. The naturalness with which virtual studios are integrated and used, and their multiple configuration possibilities make them extraordinary to cover this need. What’s more, they are adjustable to almost any budget. Cameras, lenses, drones, audio and video recording and storage systems, lighting, microphones, monitors, converters, robotics, accessories for any need.... everything imaginable from the hand of all brands, more or less popular, to create the best TMBi - 44
content. An immense showcase in which everyone exhibits their best tools, with firsts, novelties and projects as every year, wishing they would end up in the best hands to be part of the next on-screen success. Another major source of income for the sector is content. In this sense, we have also been able to see the growth of companies whose purpose is to manage content to facilitate its sale, supply or distribution to monetise it more efficiently. They are an excellent mediation channel that also makes it easy for the buyer to find exactly what they need. They are already moving volumes of information in the order of Petabytes
every day (one petabyte is one million Gigabytes or one thousand Terabytes). Fortunately, to ensure this whole environment does not become a madness of hundreds of
NAB Show 2018
incompatible formats and media, there is an alliance to which most of the manufacturers, developers and distributors have adhered so that this evolution is convergent, maximising the
interoperability of all software: AIMS. Alliance for IP Media Solutions. But evolution cannot— should not—ignore everything that works today. We have been
pleasantly impressed by the number of hybrid systems available in all areas: production, distribution, analysis, control, management, etc. Systems with all the traditional HDSDI
NAB Show 2018
functionalities that are also fully functional over IP. Today, the audiovisual world is hybrid. We don't care when it comes. We are ready. We can now invest in what we know works in our facilities, in what we trust, but also in what is ready for the future. And along that stretch of the way, we've seen a multitude of companies, large and small, showcasing all kinds of devices, small and large, aimed at facilitating this transition and, above all, doing their part to improve the customer experience every step of the way. This is where we think another important change is coming from that will shake up all the organisations that are not yet on a roll: the traditional broadcast professional, from the engineer to the operator, will now need to add systems knowledge to his arsenal of skills—and vice versa! Because all "conventional" equipment such as signal generators TMBi - 46
David Ross, Ross Video’s CEO
and analysers, multiviewers, matrixes, etc. still exist and will continue to be used as before, but there is also IP. Or hybrids. It changes the internal technology, but not the way we work. User interaction with the content will be key. And the key to interaction is latency. Latency will be one of the keys to determining the speed of transition. This is well known to those who know the world of video games. Another technology in the process of being
implemented and about which there is no doubt is 4K, or to be correct "UHD" in its commercial version. Although it affects the whole chain, from the collection of the content until it reaches the end customer, which will dispense their penetration at the pace that the market is willing to pay for it. While the visual result goes far beyond its improved resolution, it offers significantly higher quality thanks to significant improvements in contrast (HDR), colour (WCG), fluency (HFR), and
NAB Show 2018
even capture/reproduction (HLG), which will be much easier to reach our viewers via IP. In fact, we hope that the technology that has already started to appear comes not far behind IP, or thanks to it: 8K, quadruple 4K. As technology and equipment, it already exists, although it will still take a little time to land in full due to the limitations
We think another important change is coming from that will shake up all the organisations that are not yet on a roll: the traditional broadcast professional, from the engineer to the operator, will now need to add systems knowledge to his arsenal of skills—and vice versa! of the transmission. For now, it's enough to know it
that already exists. It will need its time.
NAB Show 2018
The IA/ML, artificial intelligence and "learning" machines applied to the broadcast sector are in a relatively early stage, and although there are more developments in some areas than in others, we do expect big surprises in the short term. In this area, for example, real-time subtitling systems are fully operational, operating with minimal delay. We have seen them running from English and Spanish audio, and they can present the text in any of the 28 languages in their catalogue. And not just subtitles, but direct transcriptions to text and metadata ingest into the media. As far as technology is concerned, it is terrific, but considering the possibilities it brings with it by being able to offer our contents in very different markets, immediately, without delays due to transcriptions or translations, it is also a real business opportunity. There are also systems capable of editing video TMBi - 48
Blackmagic Design’s press conference
by analysing the content of the images, but so far, they still need to undergo a learning process to achieve what a good editor can do. In contrast, robotic arms able to follow our movements are
doing an impressive job. It's not about imitating us, as motion capture systems do, but about handling a camera to keep us framed as we move. And they certainly keep us framed no matter how fast we
The IA/ML, artificial intelligence and "learning" machines applied to the broadcast sector are in a relatively early stage, and although there are more developments in some areas than in others
NAB Show 2018
of better content more efficiently are always welcome.
move! They even dance with us if push comes to shove. These have already learned. It is not only what we have seen, it is what we have not seen but can imagine. This leads us to think that there will be some surprising advances in store for us in the short term. We speculate that a good part of them will be focused on facilitating the creation of new and better contents. New algorithms with
better compression techniques that allow us to reconstruct a betterquality image by transporting a smaller amount of data. More information, further, faster. Both concerning capture and broadcast. One of the needs of any television station is to generate revenue to be able to cover its own production and distribution costs. In this vein, products and services that facilitate the creation
That is why we also see important advances in remote production systems, where mobile units will no longer have to be carted around. Signals can be sent from multiple cameras to distant, very distant rooms. The director may be in another location, or in another country. The set, with a virtual set mounted in a small room, may look like a huge room with video walls and integrated virtual objects but it might not be. We just need technology to guarantee the reliability and that nothing will freeze or let us down in the middle of a live show. Remote production, even cloudbased. Some fora talk about the democratisation of production because the tools for creating and distributing media are becoming increasingly accessible. Aspects that seemed long lost, such as radio, are experiencing a new thrust with high TMBi - 49
NAB Show 2018
Tomas Riedel, CEO of "Riedel", a company celebrating its 30th anniversary, came to the stand of its competitors "ClearCom", who were also celebrating an anniversary their 50th–with a cake specially designed for the occasion, to congratulate them on their 30th anniversary of "Clear Competence".
definition in sound... and image. There are radios that are broadcasting their contents on video. Systems are already in place to process the signal from a mobile phone and broadcast it in real time with broadcast specifications. We believe that the terms "broadcast" and� streaming" inevitably converge. Transmissions over fibre optic and TMBi - 50
satellite links are already being replaced by transmissions over public Internet networks. And reliably. One aspect that makes this show so great is that it accommodates all types of companies and, fortunately, we find all types of activity in all shapes and sizes. From large and small
companies that are specialised in doing just one thing; to others that, regardless of whether they are large or small, can provide integrated solutions for the whole chain of their customers' needs, end to end. We were very pleased to discover that we are beginning to take care of sectors that up until now
NAB Show 2018
We perceive that success comes not only from good management and professional work, but also from the way they relate to other people, be they employees, customers, or even competitors. We love to see these gestures. Thinking about people. have been under-served. The first to be highlighted, of course, is the promotion of the role of women in all areas of the broadcast world, recognising the extraordinary work of the few professionals that currently make it up and encouraging them to have greater participation and recognition in the sector. It's about time. As regards viewers with vision difficulties such as colour blindness or similar difficulties, we have found a company dedicated to creating systems that make it easier for them to view. All spectators are cared for. You will have noticed that in this editorial focused on strategy, we have chosen to avoid quoting any company
specifically. But within the changes in the sector, in which the relationship model between issuer and spectator, and even the relationship model between companies, is changing, we wish to share a fact that seemed very relevant. The changes showcase the style of some companies, whose success is not accidental. We perceive that success comes not only from good management and professional work, but also from the way they relate to other people, be they employees, customers, or even competitors. We love to see these gestures. Thinking about people. We were fortunate enough to live this anecdote in the flesh without it being
announced or notified to the media: Tomas Riedel, CEO of "Riedel", a company celebrating its 30th anniversary, came to the stand of its competitors "ClearCom", who were also celebrating an anniversary their 50th—with a cake specially designed for the occasion, to congratulate them on their 30th anniversary of "Clear Competence". This way of understanding competition made us feel rather good. Yes. This market is growing. Contents are growing. Viewers are growing. Business opportunities are growing. The smaller ones are growing, and some of the larger ones are merging to grow better. Growing a little like before and growing a lot in new ways. The market evolves at a rate where the record figures for one year become the average for the next. Evolution has taught us that the surviving species are not always the strongest, but those able to adapt. Are you ready? TMBi - 51
Audiovisual stories
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Audiovisual stories
GUARANGO FROM PERU TO THE WORLD By Daniel Esparza
With more than 23 years of experience in production and distribution of audiovisual stories and more than 35 awards from acclaimed film festivals, Guarango Cine y Video has become one of the leading production houses in Peru, with many of its projects televised on BBC World, Travel Channel, Discovery Channel, TELESUR, TV Peru, RED TV and Canal N del Peru. Based in Lima, Guarango offers a range of services including colour grading of films, international documentaries, trailers and local brand ads. Just over a year ago, Guarango founder Ernesto Cabellos and executive producer Ricardo Cabellos embarked on a mission to write, direct and classify their main project "Hija de la Laguna" ("Daughter of the Lagoon"). The acclaimed documentary is now available on Netflix, and it is about a woman who can communicate with water spirits to prevent a mining corporation from destroying the lake she considers her mother. The film takes place in the Andes, and its focus was on nature, often becoming a character of its own. To make sure the backdrop was full of life, Guarango relied on DaVinci Resolve Studio 12.5 for the colour grading of the documentary. Guarango cited DaVinci Resolve's ease of use and numerous tools as part of the film's success. The documentary took about a year to complete, and Guarango had to make sure that they complied with Netflix's strict guidelines by delivering the film to them for distribution.
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Audiovisual stories
Director Ernesto Cabellos and Nélida Ayay, star of the documentary "Hija de la laguna"
Interview with Guarango Cine y Vídeo How did Guarango Cine y Vídeo come about? Guarango was born in 1993 from the inquisitiveness of young filmmakers to tell stories that reflect their feelings and express their views on the Peruvian and Latin American reality. We were fortunate enough to have Stefan Kaspar as a mentor and guide, a Swiss producer in love with Peru TMBi - 54
who stayed in Lima and made several films in the 1980s that are considered classics of Peruvian cinema, such as "Gregorio" and "Juliana". The internet had not yet arrived in Lima, and all we had to keep us connected to the world was Stefan's fax machine, his subscriptions to film magazines and the stories he told us of his trips to film festivals and meetings of international producers. Celluloid reigned supreme back then and we, the youngest, had no
option but to use analogue video as a tool to express ourselves. There was a marked gap between those of us who used Hi8, S-VHS or ¾ and those who used 16mm and 35mm film, and filmmakers seemed to look down on videotapes with disdain. However, with the appearance of DV in 1995, the gap began to narrow, and in a few years' time, Guarango was ready to take the plunge into digital video, without having to go through the expensive celluloid.
Audiovisual stories
The audiovisual industry has undergone enormous changes over the last two decades. Which of these changes have affected you the most? For those of us who had not invested in expensive analogue broadcast video equipment, the fact that the technology to process and store images increased capacity and became cheaper each year represented a unique
opportunity. The appearance of DV was also a milestone. Suddenly, it was possible to shoot video at a higher quality at a fraction of the price. This allowed us greater freedom to experiment, to create and develop more complex projects. We shot our first documentary feature films with the DV format, including the awardwinning “Choropampa, the price of gold� (2002),
For those of us who had not invested in expensive analogue broadcast video equipment, the fact that the technology to process and store images increased capacity and became cheaper each year represented a unique opportunity.
which was acquired by the Sundance Channel and was very successful at festivals. The appearance of the first digital cinema cameras in 2007, bridged the gap with celluloid, and we had the technology for non-linear editing, which became much more affordable. Now, it was us who looked on those who resisted the change in the digital revolution with disdain. DSLR cameras were also a milestone for budgetconstrained productions like ours. Suddenly, you could count on top-quality photo optics to shoot in HD for a few thousand dollars. With these cameras and its optics, we produced "Hija de la Laguna", a documentary about how a woman from the Andes who is spiritually connected to some lagoons that she considers the Yakumama (Mother Water) defends water.
Which Guarango technical milestones are you most proud of? In 2009, we made the TMBi - 55
Audiovisual stories
first DCP for the first commercial public screening of a Peruvian film in theatres. It was "De ollas y sueĂąos", a film that takes the pulse of Peru's gastronomic revolution and was released in four commercial theatres in Lima in December of that year. We were given only one week for the exhibition because "Avatar" was expected to come out and take over most of the screens, especially the few DCP rooms available in Lima at the time. Another milestone that we are proud of is having become a benchmark in film postproduction in Peru, having set up the only postproduction and mastering studio specialised in films in our country, where we have several Blackmagic Design
Color grading of "Hija de la laguna" with DaVinci in the studio of Guarango. In the photo, in the foreground, Ernesto Cabellos, director of the documentary, and Jorge Sabana, colorist.
Another milestone that was difficult to reach and of which we are very proud is to have met the demanding specifications of Netflix and to enter its service at a global level in May 2017.
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products. There are indeed other studios, but the bulk of their work is focused on advertising or television. For Guarango, on the other hand, cinema is our centre of gravity and our passion. Almost all Peruvian films come through our studio, both
Audiovisual stories
difficult to reach and of which we are very proud is to have met the demanding specifications of Netflix and to enter its service at a global level in May 2017. It is the first time that our work has reached more than 190 countries. Netflix offers unique visibility and impact for us as producers and for the message of love for Mother Water that inspires the documentary.
Let's focus on your latest project, Hija de la Laguna (Daughter of the Lagoon). What technical challenges did you encounter when shooting this film?
the most box office films and author films. We have started also receiving films from neighbouring countries as well. Producers come to us for postproduction processes of their projects, whether it be colourisation, mastering, DCP copying or to generate the deliveries that the market requires.
They are films that are destined not only for the domestic market, but also for the world's leading exhibition windows, for example, festivals such as Cannes, the Berlinale, or televisions such as HBO, FOX or platforms such as Netflix. Finally, another milestone that was
We went through some tough moments, like when we filmed in the high Andean lagoons of Cajamarca, in northern Peru, at more than 4,000 metres above sea level, under the siege of a powerful mining company security service. Having said that, it was beautiful to connect with NÊlida’s way of seeing and understanding the world. She is the protagonist, who considers water and earth as living beings. The TMBi - 57
Audiovisual stories
photographic optics and the careful sound record allowed us to construct nature as a character that enveloped history. We returned to the studio with more than a hundred hours of material and began a rigorous editing process, testing and discarding material, to articulate a dramatic structure that would grasp the viewer's attention during the hour and a half the film lasts.
How did DaVinci Resolve help you to classify the colour? Blackmagic Design's DaVinci Resolve Studio is a powerful tool for creative colour work. We used the DaVinci Resolve 12.5 Studio version. This allowed us to define the look and aesthetics of an entire shot or sequence with the colourist, appreciating in real time the results together with the photo director. Working in this way indeed saves time, which you then invest in the fine adjustments or even aesthetic changes. When viewing the entire TMBi - 58
film in our studio, in addition to our perception -which no matter how much technical experience we have, is ultimately subjective- we use tools such as Blackmagic UltraScope, which offers us quantitative values to verify that what our eyes
see is within the correct technical parameters. Finally, from the same DaVinci Resolve 12.5 Studio timeline, we generated a DCP (Digital Cinema Package) using a plug-in and performed quality control in a calibrated movie theatre, viewing the film in real-
Color grading of "Hija de la laguna" with DaVinci in the studio of Guarango. In the photo, Jorge Sabana, the colorist of the film.
Audiovisual stories
life display conditions, then returned to the studio and to make more subtle colour adjustments on the DaVinci Resolve 12.5 Studio.
The film is distributed by Netflix. How did you manage to reach this agreement with them? Many have asked us how
Blackmagic Design's DaVinci Resolve Studio is a powerful tool for creative colour work. We used the DaVinci Resolve 12.5 Studio version. we got into Netflix. Our strategy was to gain public attention for our film on the social media with a
little helping hand from influential people. The Hija de la Laguna (“Daughter of the Lagoon”) trailer attained millions of reproductions and tens of thousands of people shared it on their social media pages when it started participating in festivals. We also received comments from opinion leaders like Noam Chomsky, who wrote to us to tell us that he found the film "heart-breaking and highly significant”. This helps to show that your film has international market potential, with opinion leaders recommending it and many people anxious to see it. Another essential point is to be able to participate in influential festivals that have a market encompassing buyers, distributors, television stations, film funds, as well TMBi - 59
Audiovisual stories
as press from the global industry. This is very important for the life of a film because there are many festivals, where you share and meet other filmmakers, watch good films and attend fun parties, but of the hundreds of festivals that exist, there are only a few dozens that are really worth it. You only get to world première once, so the first round of applications for your film should be directed to these top festivals. The world première of Hija de la Laguna ("Daughter of the Lagoon") was held at the Hot Docs competition in Toronto, the largest documentary film festival on the American continent attended by buyers, programmers, distributors and fund representatives. It was in April 2015. Here was where the guys at Netflix saw it. That's how it all began, really. It took us two years from the initial interest to actually signing a contract, from delivering the required materials and passing through all the TMBi - 60
Our goal for the next few years is to become a certified digital laboratory specialised in media processing, text localisation and masters' quality control, with a view to becoming a preferred supplier to Netflix (NPV) and better serving Latin American cinema. quality controls to finally be on the platform.
What are the additional requirements for working with this platform? Additional technical requirements include closed captions in the original language, subtitles in several languages, graphic art, photographs and promotional material, all with the technical specifications of the platform, which represents more work compared to just delivering one copy of the film master. Also, once you enter the platform with a global agreement, as we did with Hija de la Laguna ("Daughter of the Lagoon"), you must forget
about sales to other TV stations, as they will no longer be interested in your work and expect the interest of film festivals to diminish. Don't get me
Audiovisual stories
wrong; all this is well compensated by this platform, which offers an audience of more than 117 million subscribers in more than 190 countries.
To finish, what are your plans for the future? Our goal for the next few years is to become a certified digital laboratory specialised in media processing, text localisation and masters' quality control, with a view to becoming a preferred supplier to
Netflix (NPV) and better serving Latin American cinema. There are only three NPV Latin America companies, and we want to be the next to join them. To this end, we have improved our protocols and equipment, thanks to an award from InnĂłvate, the business innovation programme of the Ministry of Production of Peru. We also plan to invest in technology to digitise and restore celluloid films. There are true jewels of
Ricardo Cabellos, post-production supervisor at the Guarango studio.
Peruvian and Latin American cinema out there in danger of being lost and that is part of the cultural identity of this part of the world. It is an urgent need as they are deteriorating no end every year and current technology, such as the Blackmagic Design Film Scanner Tape, offers affordable solutions for this task. We have already had our first experience in restoration. It was the film La ciudad y los perros ("The City and the Dogs"), based on the novel of the same name by Nobel Prize winner Mario Vargas Llosa. We performed the colour restoration with the DaVinci Resolve 12.5 Studio and the remastering to DCP from a negative scan performed in a laboratory in Buenos Aires. The results are encouraging and when it has been shown in public, we are pleased that people, especially young people, have been able to appreciate this work with the same or better quality as its première in theatres back in 1985. TMBi - 61
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Remote Production System, RPS
We try
Remote Production System, RPS, by TVU Networks Mobile units without mobile units The proliferation of distribution channels, the ease of generating content and the growing interest of viewers in choosing their programming on the one hand, and the availability of communications technology with increasing bandwidths and increasingly cheaper prices on the other, are an open invitation to rethink some of our working methods.
Author: Luis PavĂa
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We are thrilled to see how technology makes it so much easier for almost everything around us to become more sophisticated and, at the same time, more straightforward. It thrills us, even more, when tools designed to make our lives easier are made available to us. Achieving this without triggering costs is certainly an advantage, but if we can reduce them too, it is doubly good. This is precisely what TVU Networks' RPS offers us today. Simplifying a lot, it is a device that allows producing a live broadcast from a remote installation only by moving the cameras. Although, this is not new. So, what is? The ability to do so through a single "home� fibre optic line. Like with the home one, there is no need for a dedicated line. Having said this, these priorities are very much kept: total stability of the system, synchronisation and optimum coding of signals, in addition to minimum delay. The entire system only TMBi - 64
requires two devices: an encoder for the remote location, and a decoder for the local station. These are simple standard twoheight rack size units. Easy to transport, more so considering that we only have to carry one device. HD-SDI, Ethernet and DVI connections are available on the rear panel. Easy and quick to install. The management of quality, compression, etc. of audio/video signals is done through a computer connected to the same network with no special requirements. Easy and quick to configure. As for our tests, we were fortunate enough to be at the broadcast of a sporting event and get first-hand impressions of real-life usage: a local league football match broadcast live on local television. On the field, there were three cameras with two embedded audio signals each, connected to TVU Networks' RPS (Remote Production System) encoder. This, in turn, was connected to a fibre optic
Remote Production System, RPS
router identical to the common-or-garden ones we see in anyone's home, with the same standard 300Mb home connection that most operators offer throughout the country. In the television station, the RPS decoder was connected to one of its 300 Mb data lines on the one hand, and to the SDI signal array on the other. To be more precise, the field was CD Martinenc’s sporting facilities in Barcelona. The event had the support of Lavinia’s technical team and was broadcast through betevé television studios, also of Barcelona. The fibre access was a standard 300 Mb line provided by Movistar, and the match was held on 21 January 2018. Three cameras were used for broadcast, although the RPS allows up to 6 synchronised HD video signals with embedded audio to be sent simultaneously over a single fibre line. The equipment can be configured with up to two return signals, i.e., 6 with TMBi - 65
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no return, 5 with one return, or 4 with two return signals. Since the broadcast was being supported over a public network with IP protocol, the RPS equipment configured a virtual private network, so that our devices could see each other, but not be interfered with by third parties. Going into a little more detail, the concept does not change compared to what we have been doing for years in sports broadcasts, shows, news, etc. The big difference is that now we no longer need the traditional mobile units, nor do we need to replace our cameras with IP equipment. All we need is access to a fibre optic line. What we have found most remarkable is the ability of the RPS to work seamlessly on a simple 300 Mb home line, handling synchronised signals. This is one of the keys we must underscore in this equipment: the ability to synchronise signals and keep them TMBi - 66
Graph 1.
synchronised through a home line. The RPS encoder converts and encapsulates HD-SDI signals, channels them through the virtual private network it creates to our television station, and there, the RPS decoder converts them back into HD-SDI signals, to enter them into the switcher and work with all the means of our
installation without having to move anything other than the cameras from the studios. The coding is done in H264, and one of the differential aspects of this equipment is that the signals are synchronised at source and travel synchronised. This means that the signals arrive at the production switcher directly. The installation follows
Remote Production System, RPS
one to broadcast/receive packaged video signals. As we have already mentioned, the test was carried out with three cameras, and a return channel with the produced signal, as can be seen in the Image 1 a screenshot of the broadcast control computer. It is noteworthy that each channel can be configured with a different data transfer rate, occupying different bandwidths and optimising the capacity of the line in cases where the available broadcast capacity may be limited. The general plane, or a marker plane, does not the scheme of the Graph 1. This graph represents the remote control of the cameras with the remote CCU. The only thing missing would be the SDI links from the camera directly to the RPS encoder and from the RPS decoder to the station matrix. You can see that the equipment uses one network to control the equipment and a different
Image 1
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need the same data rate, as a closed plane on people or fast moving objects, so we distribute the bandwidth according to each specific need. The network parameters of the RPS encoder that we see in the "TVU RPS TMB - 02” image are controlled by a screen and a keyboard connected directly, which we could do without once the equipment is configured. In the Image 2 we see that everything needed to replace our mobile unit fits in the boot of practically any car. The access to the line with which the broadcast was made is exactly that of the Image 3, identical in features and with the same line that any of us might have in our home. It wasn't just dedicated to our broadcast. Rather it was simultaneously receiving two additional video signals from each of our backpacks. The cameras and operators are the same as we might see in any event, and it makes no difference whether the director is sat TMBi - 68
Image 2
in a mobile unit around the corner or a room miles away (Image 4). In fact, the Graph 2 (two pages later) shows how we could mount an intercom system on the same network.
We took advantage of halftime to move to betevé’s facilities, a television studio in Barcelona that transmitted live from its central studios. In "TVU
Remote Production System, RPS
RPS TMB - 15", we see the production room fitted out with a multiviewer and all the signals, preview and programme monitors, the switcher, etc. During the second part of the match, we found that all commutations were always perfectly synchronised, and any effect or transition was executed without image defects or artefacts of any kind. There is no noticeable difference in quality in the broadcast if we reduce data rates from 10 to 8 Mbps on each channel. The delay, which can also be compromised in
Image 3
Image 4
these scenarios because it is sensitive to the stability of the sustained data rate supported by the fibre line, was no problem either. Remember that we
are broadcasting HD signals over a home line, not a dedicated one. The RPS allows setting the delay with values from 0.3 sec. During the first part of the match, the broadcast was configured with a 1 sec delay, and for the second half, it was reduced to 0.5 sec. No problem arose, and even the longest time is now admissible in a broadcast these days. Bear in mind that this delay is a determining factor set by the quality of the available network, and not by the system itself. In fact, this configuration capability allows avoiding broadcast interruptions TMBi - 69
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due to the possible lack of stability of the available data line. The technical teams confirmed their satisfaction with the results of the test, which yielded precise synchronisations, no faults and delays within the limits. The RPS decoder (Image 5), has virtually the same appearance as the encoder, and its broadcast control software, Image 6, generates an application window for each channel with its respective control parameters. What does all this mean in terms of operational work? Very simple: We could do without the mobile units as we know them today and use a simple car or small van to move operators, cameras,
Graph 2
tripods, and the case containing the RPS encoder. And in production terms? If we consider the whole
Image 5
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amount of production rooms that are inactive in many broadcasters and all the time that we are not producing from the local
Remote Production System, RPS
studios, we could convert any studio that has a home fibre optic line into the studio, just by adding an RPS next to the matrix. What does this mean in terms of costs? Consider the savings in investment by not having conventional mobile units. If we add the possibility of renting the cameras in faraway destinations and only moving our RPS encoder. Let's keep adding... How much does it mean not having to move the entire technical production team? We can also add that all the production equipment, which would otherwise have been inactive, have remained active and profitable. The longer we have our equipment in operation, the more competitive we will be as a company.
Image 6
If all this were not enough, our range of action is no longer limited by the feasibility in time and distance of moving our equipment, and we can also cover many more events in many more locations. Almost TMBi - 71
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simultaneously. Even if we need to cover distant scenarios, simply by having an RPS encoder in each remote location. This scenario, by the way, would also allow carrying out our live performances combining scenes distant from the broadcaster and distant from each other. What about limitations? Yeah, nothing is infinite. But the six channels are by all means no limitation. With two devices, we can reach up to 12 channels, which could be up to 8 in broadcast and 4 in return, and thus grow successively, because there is the possibility to reference signals in cascade when adding devices, and all of them would be synchronised. The fact that the channels are HD does not imply any limitation either, since thanks to the synchronisation, four channels can be used to send a 4K signal. Differences? One of the aspects that makes RPS something else is the creation of a virtual private network (RPV or VPN). The feature that makes it outstanding is being the only equipment of this type on the market, at the time of these tests, that multiplexes synchronised signals. In short, what seems to open more doors is the reduction of costs, facilitating the possibility of TMBi - 72
Remote Production System, RPS
covering events affordably, unthinkable until now. This allows a multitude of potential clients who were unable to access a live broadcast before to do so now. Practically any sports club, event centre, cultural centre, association... can have a fibre optics line for its communications. You don't have to lug large technical equipment around anymore. This opens a multitude of new market options: from the small company that is devoted to making this type of broadcasts to the big ones that will now be able to serve in many more places, from the remote producer that lends its services to the corporation that can make its investment profitable with greater use times, spaces with fixed cameras that can be controlled locally or remotely, etc. In these times of technological change, it is also a cool tool to facilitate and accelerate the transition to IP of audiovisual service providers and customers. There are so many applications that we could turn this into a monographic with the new market niches. For those who are not
familiar with the game, it is interesting to remember that TVU Networks teams have been providing their equipment for many years and in world-class sporting events: football, tennis, winter and summer games, basketball, hockey, football, etc. Surely we have all enjoyed ourselves as viewers of broadcasts that have been carried out thanks to their technology. We give no better ending to this analysis than our deep gratitude for the effort made and all the attention given to us by those who have made our participation possible and dedicated their time to us during this real field test: • Jordi Colom, Technical and Innovation Director, betevé • Lluis Garriga, Director of Audiovisual Services, Lavinia • Joan Masip, Technical Director, Lavinia • Joan Mir, Business development director for Iberia, TVU Networks • Yoni Tayar, Marketing, TVU Networks Thank you all very much. TMBi - 73
We try
IngeSTore Server 3G powered by Supernova “A star is born. Supernova.”
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IngeSTore
Laboratory conducted by Carlos Lapuente
The delivery and consumption of media has changed dramatically in recent years with access to VOD, Youtube, Live Streaming services, and content delivered through Social Media in addition to traditional broadcast. To keep up with this demand for fast moving live event coverage some new tools have become available, providing a different approach to live production workflows. To record multi-cam and ISO during Live events, and to give content creators access to media in real time we are taking a look at Bluefish444’s IngeSTore Server 3G. We will be putting it through it’s paces and providing a review of the features and its relevance to live production today. In this laboratory, we will be analysing the high-definition video capture server system, IngeSTore Server 3G, that comes integrated with IngeSTore software and equipped with the Epoch | 4K Supernova S+ EX capture card, created and developed by Bluefish444.
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Bluefish444 is a worldwide company founded in 1998, with headquarters in North Melbourne, Australia, with a long history in the professional video industry. Bluefish444 is the manufacturer of the highest quality uncompressed video I/O cards with 4K SDI, ASI, Video Over IP and HDMI for Windows, MacOS and Linux operating systems. Their video cards are not only used in traditional
Epoch 4k supernova S+EX
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broadcast and postproduction, but also in emerging workflows such as live events, immersive graphics, augmented reality and video over IP.
LET' S GET TO KNOW THE SYSTEM For this laboratory test, we had a demo system provided by Bluefish444, which consists of a 3RU rackmount ingest server
with an installed Epoch | 4K Supernova S+ EX capture/playback card and IngeSTore software. Bluefish444 package the three together as a turnkey appliance called IngeSTore Server 3G. CARD The Epoch | 4K Supernova S + EX card is the world's first SDI video card with bi-directional BNCs offering, multichannel HD SDI IO and 4K capture or playback. Each
IngeSTore
complementary multichannel ingest tool. The software allows the Bluefish444 hardware to capture multiple independent format SDI sources simultaneously. It captures video to uncompressed QuickTime, AVI and DVCPRO50/HD codecs for free.
Epoch 4k supernova S+
two-way video connector can capture or playback 3G, 2K, HD and SD SDI video, providing unmatched flexibility and power to its IngeSTore video application. With capacity for up to four independent channels and simultaneous 3G/HD/SD-SDI input or output channels with 12bit processing, it also features a fifth BNC for SDI monitor output, AES audio IO, an analogue audio output, RS-422 control, LTC I/O and a dedicated BNC Genlock.
free Bluefish444 applications such as IngeSTore (capture application) and Symmetry (DI acquisition, review and playout software). SOFTWARE Bluefish444 has developed the IngeSTore software as a
IngeSTore can also be used seamlessly with the popular Avid Media Composer nonlinear editing software and Adobe Premiere Pro CC, to provide a simultaneous capture and output solution with Bluefish444's supported hardware and firmware modes. This means that, for the first time, we will be able to capture a video while editing it in the NLE
All Bluefish444 video cards are Thunderbolt compatible and work with TMBi - 77
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software. It saves time and costs for teams that have to generate content with very little time on their hands, such as teams based in mobile units, news teams, field teams, etc. IngeSTore features software licence updates for SDI capture to other codecs, such as Avidcompatible 8-bit OPATOM DNxHD 8-bit OPATOM media. IngeSTore can record to network
IngeSTore Server Back Panel.
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attached storage, including shared Avid storage (allowing systems to access media directly from the Avid Media Database) or other systems. You can purchase an additional licence called BlueCodecPack, which includes DNxHD, ProRes, H.264, Sony XDCAM and AVC-Intra codecs, with JPEG 2000 also available as an optional addition.
SERVER The server hardware has been commissioned by Bluefish444 specifically for the requirements of IngeSTore software. The server itself is a 3RU system with plenty of ventilation and plenty or horsepower to suite the real time encoding requirements of IngeSTore software. It has a SuperMicro X10DRL-I motherboard with Dual XEON
IngeSTore
Diagram 1
processors, up to 512GB DDR4 RAM capacity (32GB installed), an Nvidia P2000 graphics card with 3.0 TFLOPS and 5 GB GPU of GDDR5 memory, and four Displayport outputs with 5K output capacity, onboard is 2 x 1Gb Ethernet ports and a PCIe network card with 2 x 10GbE fibre optic ports.
FIELD TESTS We get an idea of its potential as soon as we open the box and feel the weight of the IngeSTore Server. The first thing we noticed once started up was the not-so-discreet noise of its powerful cooling fans, necessary to cool the two powerful CPUs and video cards (Epoch | 4K Supernova S+
EX and NVidia P2000) that get to work at "full throttle". Regarding capture and ingest, what we did in our laboratory was to essentially perform two separate tests. The first one (see diagram 1) was capturing four signals in different formats. The idea was to check if we could ingest four different signals from different sources and with TMBi - 79
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different capture codecs. The signals were as follows: - SDI TV signal PAL 576x720 (Standard signal SMPTE 259M). - Video camera signal. For ease, we used a GoPro Hero4 (configured to
2.7K at 30fps) and converted the signal to 1080p with an HDMI to SDI converter. - Signal from an HD (1080i) signal generator. Bars. - 4K SSD player output signal (in ProRes HQ 422
Diagram 2
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codec) at 1080p. The second test (see diagram 2) was a capture test of a 4K signal (obtained through the combination of four Full HD outputs) from a 4K video and, in turn, from an SSD disc played by a 4K
IngeSTore
SSD player. As we had no compatible material recorded in 4K, we resorted to our graphics partners, who lent a hand. We produced two test videos "Torso Lima" and "Naves Fucsia" generated in 4K and encoded in ProRes HQ 422, as it was one of the formats supported by our 4K SSD player
high definition and with good compression rates. However, they are somewhat heavy files that can easily be one GB for every 10 seconds of video, depending on the compression algorithm used. Media files of this size and quality obviously targets the requirements of content creation for broadcast.
IngeSTore software is very intuitive and easy to use. All you have to do is select one of the four boxes corresponding to the video inputs; and then, select the capture or trigger mode (by inputting the signal, pressing REC, etc.), file format, codec and audio depth (default 16 bits), and that's it!
Once the captures are finished, the left column of the IngeSTore software immediately produces the layout of the video thumbnails that we have just ingested. The software also allows us to select them and see the information of the formats and codecs, see the location of the video, and so on.
The supported file formats are AVI, QuickTime, MP4 and MXF (AVID OP-ATOM, DCP, SONY XDCAM). The codecs of the different formats can be uncompressed (BGRA or V210), H.264, ProRes 422 (HQ or not), AVCi 100, DVHD or DNxHD (from AVID in different compression). The results of these recordings were videos in
In our case, the test videos were captured through IngeSTore software and sent to the local network within our workflow at a network speed of 10Gb Ethernet to a SuperMicro SuperStorage 6048R disc server (with parallel storing on different discs over different Ethernetdistributed connections). To configure the location
where the captures would take place, you must configure the scratch (file path) for each channel in IngeSTore. You only need to do this once for the first time. Because it is demo equipment and no CODEC license had been installed, we got a watermark over some of the videos when recording in MP4, MOV and QuickTime (ProRes or H.264). Once the test captures were finished, the videos were tested for editing on our NLE workstations (iMac equipment with Final Cut video editing software). The videos were of high quality and did not give us any error whatsoever when processing them or nor did any frame drops appear. We then played with the free DI software included in the Symmetry version 3.10.1, which is basically an integrated 3D and DI acquisition, review and playback software. It is also quite simple and intuitive with a potential to match the NVidia P2000 graphics card. In a nutshell, the Bluefish444 IngeSTore TMBi - 81
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Server 3G with the Epoch | 4K Supernova S+ EX card worked with no problem at all and didn’t crash or freeze when making the different captures. It has not slowed at any moment either, and responded very well to the different stress tests we carried out, working in our workflow. We have proven that it stays within an optimal working temperature range and does not overheat (unlike our 4K player!). Unfortunately, we couldn’t test the wonderful functionality of "edit while recording" or "editing on the fly" (Growing Files) because our facilities are not equipped with the AVID/Adobe Premiere Pro combined system with hardware upgraded to the Bluefish444 requirements (although, we have worked with this tandem in the past). That's why we didn’t ask the manufacturer for the plugin for it (Some workflows require a plugin to be installed on the NLE). Our NLE stations currently work with iMac (Apple Mac OS High Sierra 10.3) and Final Cut Pro (version TMBi - 82
10.4). Even so, we wanted to test it to and see what happened but, indeed, it is not compatible at this stage.
WHAT COULD WE BE MISSING? IngeSTore's software may come across as minimalist to some, since sometimes you seem to be lacking more menu
options or settings, the possibility of knowing the available disc space in the capture path, the working temperature of the cards, etc. But then again Bluefish444 designed IngeSTore for simplicity of use even by an untrained operator. Another interesting application would be to be able to "select and
IngeSTore
drag" a video from the recorded clips area to any of the four channels to play the selected video on the chosen channel and use the bi-directional option as a player. On the other hand, I must confess that the IngeSTore Server is a rather heavy and noisy piece of equipment because its potential has
been designed for form part of a rack and not be placed in front of an operating user. Also, although it has some redundancy with a dual processor and sufficient SDI BNC inputs and outputs, this demonstration version of the 3RU server did not have a redundant power supply. Bluefish444 advise that the production specification of the 3RU server does come with a redundant power supply. The price of the EPOCH card can be quite hefty if you want to use it in a small production company, although you can get slightly cheaper configurations. For a professional team, it is not an exorbitant price either. We will choose one or the other configuration according to our needs.
CONCLUSIONS IngeSTore Server 3G is a 3RU 3G / HD / SD SDI video signal devouring turnkey appliance from the famous piranha (or abyssal fish) brand. With this metaphor, we can affirm that, to date,
Bluefish444’s biggest fish gobbles up smaller fish or manufacturers of SDI capture cards and, as its name suggests, the IngeSTore Server 3G, powered by the Epoch | 4K Supernova S+ EX card shines with its own light. IngeSTore Server 3G is a genuine and competent integrated ingest system that will facilitate all the operations described above, and is integrated into a single 3RU server with all the high-definition codec options you would expect. It is a piece of equipment to consider in future integrations in our NLE edition workflow. For further information and a more personalised assessment of the different solutions it offers, I recommend contacting Bluefish444 or visiting their website at https://bluefish444.com/. I would like to thank Tom Lithgow, Product Manager of Bluefish444, for the treatment and for lending us the demo equipment, as well as IB3 TV for letting us use its facilities and diverse technical equipment for us to carry out this laboratory test. Thanks guys! TMBi - 83
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