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Summary

News from the market.......................................................................6 Bringing broadcast archives to life and into production!........... 22

Super Bowl LIII The world’s largest videoboard at the service of Super Bowl LIII..................................................................................... 26 The sound of Super Bowl LIII, IP technology is already present...................................................... 34

Radio RTL 102.5, when innovation and success go hand in hand...... 40

Technology HbbTV: new paths for convergence between TV and Internet.................................................................................... 50 Broadcast Engineers in the IP World: A Must Have..................56

NAB 2019 Preview....................................................................... 62

26 Editor in chief Javier de Martín

Creative Direction Mercedes González

editor@tmbroadcast.com

design@tmbroadcast.com

Key account manager Susana Sampedro ssa@tmbroadcast.com

Translation Fernando Alvárez

Editorial staff Sergio Julián press@tmbroadcast.com

Administration Laura de Diego administration@tmbroadcast.com

TM Broadcast International #68 April 2019

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 One of the most long-awaited moments by all broadcast industry has arrived. NAB Show 2019 opens up its doors to offer between 6-11 April all novelties in our industry as well as an ambitious look into the future. The Las Vegas Convention Center will be the venue hosting this encounter, not only for the players of the North American market, but for everyone around the globe. An ample team of professionals from our magazine will be there to tell you everything about this event, as well as to narrate you “in real time” the show’s highlights. Because TM Broadcast offers a free newsletter including all highlights, day by day. You are invited to subscribe! If you want to be ready for the NAB Show 2019, do not miss our extensive article about novelties and trends we have prepared for you. It is one of the most interesting contents in this month's issue, as also is the special feature on the LIII Superbowl. We got a sneak peek at its technical production from Julia Chongarlides, Producer and Technical Director, MercedesBenz Stadium, and from Kirk Powell, Senior Design Engineer, ATK, and sound engineer in charge. But there is more: we talked with Stefano Petroni “Radivisione Manager” of RTL 102.5, one of Italy’s top radio stations, to find out everything about its technology. We also bring you an article on Connected TV and the HbbTV standard, and our usual collaborator from Olympic Channel shows his vision on the role of Broadcast Engineers on an IP World. You will definitely enjoy this issue... and also coming issues of TM Broadcast International. We keep working to keep you up to date on the technological situation of the world’s major TV stations and we advance you that very shortly you will have highly interesting content in your hands. Turn the page and enjoy your monthly appointment with us.

4 APRIL ‘19


NEWS - PRODUCTS

Bluefish444 announces KRONOS K8 availability Bluefish444 has announced the new KRONOS K8 video I/O card will be available in Q2, 2019. The K8 supports eight independent channels for 2K/HD/SD and multichannel 4K, high dynamic range and high frame-rate workflows, with eight 3Gcapable HD-BNC connectors, four bypass relays, four internal keyers, and the same 12bit processing that drives every Bluefish444 I/O card, to ensure maximum video quality. Optional auxiliary connections can be added to the KRONOS K8, allowing unparalleled flexibility of digital and analogue audio, linear time code and RS-422 I/O. The features of K8 make it the ideal card for all areas of media and entertainment requiring the reliability and flexibility of SDI video I/O. Post-production, broadcast graphics, live 6 APRIL ‘19

production, live events, IMF/DCP quality assurance for SDR and HDR, multichannel display, archive and restoration, and virtual or augmented reality workflows all benefit from KRONOS K8. Over the coming months the KRONOS range will see further adoption of industry-standard, thirdparty applications already supported by the Epoch range, including software from Avid, Adobe, Marquise Technologies, Vizrt, Brainstorm, Medialooks, plus many more. The K8 will come bundled free with IngeSTore software for

multi-channel capture and the Bluefish444 SDK for developers wanting to integrate with KRONOS. The forthcoming Bluefish444 software, IngeSTream, will also be bundled with K8 for multichannel streaming to SMPTE 2022/2110, RTP and NewTek NDI protocols. Bluefish444 will be demonstrating the KRONOS range flagship Elektron and Optikos video I/O cards on stand SL9021 at NAB Show 2019, with a variety of partner software including Drastic Technologies, Avid, Adobe and Marquise Technologies. ď ľ


NEWS - PRODUCTS

LYNX Technik debuts HDR Evie™ at NAB 2019 At NAB 2019, booth N2827, LYNX Technik AG® will introduce HDR Evie™, an enhanced video image engine powered by the greenMachine® multipurpose processing platform. HDR Evie™ is the world’s first system using advanced algorithms which automatically analyze and apply optimal corrections in real time on a frame by frame bases. This unique capability is unlike any solution today and is the perfect real time production tool for sports or any live broadcast event needing high quality real time HDR to SDR conversions. Typically, HDR to SDR conversion is achieved using a single static correction for the entire production, which can be accomplished with LYNX Technik’s greenMachine® HDR Static Conversion solution. This is effective for fixed, predicable 8 APRIL ‘19

applications such as TV studio production. However, for more dynamically demanding and unpredictable content, the analysis and corrections must be adapted on a frame by frame basis to cope with challenging lighting conditions, brightness levels and image composition. Until now “frame by frame” corrections were only possible by manually applying correction metadata to each frame which is then utilized during live playback; a non-real-time process, both time consuming and expensive. HDR Evie™ is powered by the award-winning greenMachine titan

platform, a compact selfcontained AV processing appliance. greenMachine HDR Evie™ supports single channel 12G SDI 4K/UHD conversions or can be configured as a four channel device for 3G (HD) applications. 4K Quad 2SI inputs and optional 12G fiber I/O connectivity makes it compatible with almost any system. A wide array of conversion possibilities are supported including: 4K HDR to 4K SDR, 4K HDR to HD SDR and even conversion between HDR standards. HDR Evie™ supports a range of open standards for conversion, tone mapping and color gamut including HLG, PQ, SDR and SLog3. 


NEWS - PRODUCTS

V-Nova launches PERSEUSTM Platform

V-Nova has launched its cloud-based SaaS transcoding and delivery platform for enhanced PERSEUS Plus h.264 and native h.264 encoding. The platform enables service providers and third party streaming platforms to rapidly launch PERSEUS Plus enhanced services offering higher quality video at up to 50% lower bitrates to a multitude of existing devices. Running on AWS, the PERSEUS platform can be integrated into any service via APIs and utilises industry standard security and scalability practices for operator-grade robustness and uptime. The platform is also fully 10 APRIL ‘19

integrated with Amazon CloudFront enabling immediate distribution of content, or operators can push to any CDN of their choosing. PERSEUS Plus is a compression technology that enhances the compression and computational performance of existing codecs such as AVC/h.264, HEVC, VP9 and in the future AV1. Supported by a broad range of industrystandard players, apps can be software-updated to support PERSEUS Plus with decoding leveraging existing hardware for the best possible powerconsumption.

Guido Meardi, CEO and co-founder at V-Nova, said: “Moving transcoding services to the cloud, in particular for live streams, has remained economically challenging for many operators despite the clear benefits. However, the PERSEUS platform redefines those dynamics completely. I invite operators of all shapes and sizes to trial it alongside their existing encoding pipelines and see the results for themselves – thanks to the platform we can have them up and running in no time.” V-Nova is offering free trials of the platform until 31 May 2019. 


NEWS - SUCCESS STORIES

Amarin TV upgrades LiveU fleet for Thai Election

Amarin TV covering the Thai elections with LiveU.

Thai broadcaster Amarin TV reinforced its live coverage capabilities ahead of last month’s general election with LiveU’s top-grade LU600 and compact LU300 HEVC live video transmission solutions. Multiple units 12 APRIL ‘19

were deployed around the country to follow the campaign trail and cover all aspects of election day itself. The deal was overseen by LiveU’s local partner in Thailand, Smart Broadcast Solution. Amarin TV has been

using LiveU for two years, covering major news stories, such as last year’s Thai boys cave rescue in the Chiang Rai Province and ferry disaster off Phuket. Enhancing its fleet with LiveU’s hardwarebased HEVC technology


NEWS - SUCCESS STORIES

takes the broadcaster’s live coverage to the next level, ensuring the highest video performance while using available bandwidth in the most efficient way. Cheewapat Nathalang, CTO, Amarin TV, said, "LiveU has transformed the way we cover news, enabling us to be far more flexible and mobile. During the boys’ rescue effort in the North, for example, we could get to

places around the cave which would have been impossible with a satellite truck. Upgrading to LiveU’s HEVC technology was an obvious choice, as we ramp up our newsgathering capabilities, backed up by the excellent local support and service provided by Smart Broadcast”.

key market in Asia for us

Yaal Eshel, VP Sales, LiveU, said, “Thailand is a

cellular transmission

and we’re delighted that a leading TV station Amarin TV selected LiveU’s HEVC units for its election coverage and ongoing newsgathering expansion. With proven success worldwide, we’re confident that our HEVC solutions offer the best options in the market.” 


NEWS - SUCCESS STORIES

SRG-TPC Switzerland chooses Skyline Communications’ DataMiner for its new all-IP broadcast facility TPC, the technology arm of Swiss public broadcaster SRG in charge of TV, radio and multimedia production for SRF, has trusted in DataMiner for its new innovative news, sports and technology center in Zurich. The Skyline Communications solution will be responsible of the complete management of the media data center, from ingest to media asset management and master control room up to the playout. The system looks after areas such as infrastructure, virtual machine, operation systems and media software applications individually, but also is aware of the complete workflow of the processes. All monitoring solutions of SRG SSR will be migrated towards DataMiner to ensure operational continuity 14 APRIL ‘19

across all SRG locations. The broadcaster will be able to take advantage of other benefits of the tool, as its proactive monitoring. This is how Bart Reynaert, Sales Manager at Skyline Communications, describe the implementation of DataMiner at SRG-TPC: “The first step is to monitor all new systems in the new technical center and to integrate already existing systems to be visible. All the different levels of information will be aggregated in order to

be displayed on the monitor wall. In other words, DataMiner allows operators to intuitively manage and control any device, software function or media service from a single pane of glass.” “We will also deliver our highly innovative and awarded DataMiner Service and Resource Manager (SRM) suite.“This state-of-the-art solution will be used to monitor services dynamically, end to end, cutting straight across all vendor and technology boundaries. In order to do so, DataMiner


NEWS - SUCCESS STORIES

tightly integrates any product from any vendor, either interfacing directly with those products or alternatively via domain or vendor-specific controllers, such as the BFE broadcast controller and the Nevion VideoiPath software. DataMiner receives event information from the broadcast controller and exchanges media flow information with the other controllers in the system. Combining

all of this with the vast amount of additional metrics collected from the underlying physical and virtual infrastructure, such as PTP information, DataMiner creates rich and dynamically updated visuals of all services, their performance and availability metrics, and their flow through the infrastructure”. “As such, Skyline’s DataMiner is truly unique

because the system integrates with literally any product from any vendor, including open specifications like NMOS IS-04 & IS-05, which is crucial for TPC as this gives full freedom to go for a best-of-breed solution. With the end-toend DataMiner platform, the technical center in Zurich will be able to tackle the challenges that accompany the move from SDI to IP.” 


NEWS - SUCCESS STORIES

Wilmington Community TV streamlines productions with BPswitch GX Integrated Production Switcher

Wilmington Community Television, a PEG station serving Wilmington, Mass., has upgraded its control room with a BPswitch™ GX integrated production switcher. 16 APRIL ‘19

Adam Dusenberry, operations manager for WCTV, said the new install allowed a general “decluttering” of extra gear from the control room, including playback

decks and an external CG. “Having one console to do graphics and video roll-ins makes it a whole lot more streamlined and easier to do in our environment,” he said.


All roll-ins and opens are stored in the BPswitch using its Watch-Folders media management system. Dusenberry said all shows have a dedicated folder; producers upload their assets from an NLE using the integrated BPNet™ cloud-based video workflow service. “The goal is to make it as easy and streamlined for our producers as possible,” he added. Graphics are produced with the built-in NewBlueNTX multi-layer 3D motion graphics CG, which has improved the on-air look and saves at least one producer from adding specialized closing credits in post. WCTV also uses the integrated BPview™ customizable multi-view, which feeds four monitors in the control room, including two main monitors on the wall and two smaller monitors in the production console dedicated to graphics and the technical director. Wilmington Community Television purchased a Broadcast Pix BPswitch GX integrated production switcher to simplify productions. WCTV offers hyperlocal coverage of events, government meetings, and education programs. The station operates three cable channels that are distributed through Comcast and Verizon, well as a website with live streaming and video-on-demand. WCTV maintains an active production schedule in its three-camera HD studio, with a handful of series as well instructional workshops for its active youth program, promotional videos for local organizations, and other shows. “I will push a piece of gear to its limits,” Dusenberry said. “I always want to try and push for the production values that will make our programs look similar to the major networks. The BPswitch really makes that easy to do.” 


NEWS - BUSINESS & PEOPLE

ChyronHego expands sales presence in Americas with four key appointments The company has announced the appointment of Gregoire Rouyer as regional sales manager of major accounts, Holly Myers as director of government accounts, and Mark Friedman as global creative services manager. In addition, ChyronHego has promoted Jason Toliopoulos to strategic account executive. "We're pleased to welcome these highcaliber sales and creative professionals to our Americas broadcast team. All four bring stellar expertise, relationships, and experience" said Marco Lopez, CEO of ChyronHego. 

18 APRIL ‘19

Masstech announces George Kilpatrick as new CEO George Kilpatrick has been appointed as the new Masstech CEO, taking over from outgoing CEO, Joe French, who is stepping down. Kilpatrick joins Masstech from Amazon Web Services (AWS), where he was Industry Lead, Media & Entertainment, EMEA. He has over 20 years technology and media industry experience. Prior to AWS, Kilpatrick was VP of Advanced Digital Product Management at Technicolor Inc, and before that Managing Director, Technicolor Media Services Ltd. “I’m very pleased to be joining Masstech as CEO,” said Kilpatrick. “It’s an exciting time for the M&E industry, and Masstech has a significant role to play. I’m looking forward to helping guide the company towards our goal of harnessing the latest cloud and ML innovations to deliver the most innovative storage and content management solutions to our customers.” “George’s extensive experience of the M&E space was of course a key factor in our decision,” said Roger Flynn, Chairman of the Masstech Board. “The market is changing, and the cloud is becoming more important to all M&E businesses. George’s previous roles, particularly most recently at AWS, make him the perfect candidate and we are extremely pleased to have secured him as the new Masstech CEO.” 


NEWS - BUSINESS & PEOPLE

Broadpeak appoints Jean-Claude Sachot as New Business Development Director In his role at Broadpeak, Sachot will work with global pay-TV operators, helping them take advantage of the company's unique solutions, such as the award-winning nanoCDN™ multicastABR, for providing cloud DVR services as well as delivering live and VOD streaming services at scale with minimal latency. "Jean-Claude has an extensive understanding of the broadcast media

technology sector," said Jacques Le Mancq, CEO at Broadpeak. "Through his various positions within Technicolor over the last 20 years, Jean-Claude has worked with some of the largest pay-TV operators around the world as they implemented innovative, future-forward technologies. His comprehensive knowledge of the pay-TV ecosystem, solutions, and strong relationships with operators is unique and

Jean-Claude Sachot, New Business Development Director at Broadpeak®

will be invaluable to driving Broadpeak's global business growth." 


NEWS - BUSINESS & PEOPLE

Vizrt acquires NewTek to create “the largest company in broadcast dedicated to IT based video production”

Vizrt has just announced that has purchased the ITbased video production company NewTek. According to the company, this deal will provide flexible end-to-end workflows for “all levels of production and softwarebased products” for areas such as media, entertainment, esports, sports, education and enterprise. What is now the “largest company in the broadcast space that is dedicated to enabling IT based video production” has stated its will to be “the driving force” in the transition to 20 APRIL ‘19

IP video for live production with NDI and SMPTE 2110, “with each serving different needs”. Michael Hallén, Vizrt CEO, said about the agreement: “Combining our organizations allow us to pursue our joint vision of software-based video production, leveraging the power and flexibility of computing and IT-based systems. The combined business will be very well positioned to deliver turnkey systems that give creative power to any organization that has ambitions of producing content for any output

platform.” “Taking advantage of computational, software, and network technology to make video more accessible, and fun to create has always been NewTek’s mission. These changes have revolutionized the way stories are told worldwide, allowing anyone to create and share a show. The tools from our two companies have fueled the video revolution— from kids in classrooms, little league games, and web shows, to the highest levels of broadcasting, news and sports. The


NEWS - BUSINESS & PEOPLE

combined company represents one of the most disruptive changes for the video industry in decades, however the goal remains the same—to build a new world of IT-based video technology to grow the reach and impact for anyone with a story to share” added Dr. Andrew Cross, president & CTO of NewTek. Michael Hallén, current President & CEO of Vizrt, will lead the business. Dr. Andrew Cross, current President & CTO of NewTek, will assume the

role as President of Research & Development of the combined company. In addition, the company has shared a short-list with the vision of the union between Vizrt and NewTek: “1. Complementary software-based technology that creates an end-to-end workflow for the growing content creation market. 2. A dedication to growing the adoption, strength, and accessibility of IP technology for all markets.

3. A valuable channel network in place, that will benefit from taking a wider portfolio of products to customers. 4. The new company combines the brilliant minds that invented the NDI protocol with the innovators that invented template-driven real-time graphics. The company will be R&D focused with the vision of providing the software-based video technology that is the foundation of the future of the media industry”. 

Riedel hires Nacho Lee as U.K. Sales Manager for theatre and industry In response to increasing demand for its solutions in the U.K., Riedel Communications has announced the appointment of Nacho Lee as Riedel's U.K. Sales Manager for Theatre and Industry. Lee joins Riedel with 15 years of experience in the pro AV and electronics industries. Prior to joining Riedel, Lee served as Sales Manager for ATEN UK, helping the company's pro AV product range realize significant growth. He previously served as European Sales Manager at Surveon Europe, a surveillance-oriented affiliate of high-performance networked-storage solution provider Infortrend Corporation, and as Senior Key Account Manager for Yoko Technology, a manufacturer of video surveillance products. In an earlier role at ATEN, as U.K. Channel Sales Manager, Lee established the company's U.K. branch office. He began his career as an Account Manager at Microtek International. 

21 APRIL ‘19


TECHNOLOGY

Bringing broadcast archives to life and into production! "AI is not just about cataloging and preservation, it’s about connecting your content to opportunity.” Jean Gabriel Minel Head of Research and Development for the French National Audiovisual Institute (INA)

For decades, broadcasters and media companies have been archiving large quantities of audiovisual content. Some even have a dedicated team of highlytechnical archivists who manually add the information required to preserve the value of their archived content. Two of the main challenges faced by broadcasters and media companies are the continuously increasing amount of content sent to archive, the lack of detailed tagging, indexing and classification of this content, which results in missed opportunities to use the archival content in 22 APRIL ‘19

production or distribution workflows. This is where AI comes into play.

Applying AI to Archive Workflows Many companies pioneer the use of AI to further enrich archived content. In doing so, they increase the accessibility to this content which in turn generates a potential for new business opportunities. Workflows can consist of one or more AI engines to index content - as it is important to use the right engine for the appropriate type of content. On another angle, it is important that the organizations are able to

decide which engine to use depending on the cost / value ratio. Last, it is also important to build operations where the user and or teams train the AI models in order to adapt them to the particular domain and have the most accurate data aligned with the asset. Once the content is enriched, this opens the door to new workflows and tools like smart assistants making content suggestions within creative or editorial production work. With automated content discovery capabilities, media organizations can better monetize archival content. These assets – for


ARCHIVES

which the costs have already been sunk - are an important leverage and competitive advantage over new entrants to their markets. Dalet Media Cortex is an AI aggregation service

that connects to the content producer’s libraries and production platforms and utilizes the best selection of AI engines available for the expected outcomes. The selection is contextual and

based on the content type, the production operations and the publishing models of the end user. Its extensive set of functions include: cognitive services (like facial recognition, speech to text, entity 23 APRIL ‘19


TECHNOLOGY

detection, content moderation, object recognition, etc…) recommendation services and predictive analytics. (https://www.dalet.com/ platforms/dalet-mediacortex)

From Archive to Production In many organizations the production system (Production Asset Management, PAM) is different from the archive solution (Media Asset 24 APRIL ‘19

Management, MAM). This presents a challenge when trying to automate workflows and leverage AI engines linking archive and production in order to deliver speed, efficiency and effectiveness across the enterprise. For example, in the space of news production, Dalet Media Cortex is capable of recommending content to journalists working on a topic – including content that resides in the archive and content being produced by other journalists in the organization. It helps editorial teams discover

all stories related to the same topic. This sounds obvious written like this, and indeed the goal is to make it intuitive and easy for the users within their day to day work. But ‘under the hood’ this requires a mix of quite advanced technologies and concepts – Natural Language Processing, Data alignment, Content classification, Glossaries and Knowledge graphs. Dalet Media Cortex can also auto-create promos or highlights using archival content. It can also enrich metadata of incoming material or even the automatic generation


ARCHIVES

of subtitles based in speech-to-text functions. These emerging workflows require a platform that combines the functionalities of a PAM, a MAM, an agile orchestration layer and the suite of user services and tools built-in - or natively tapping into the platform’s data and processes. Dalet Galaxy five is one of the unique solutions capable to provide all the required tools for the different needs, including TV/Radio/Digital News production, Sports production, Programs preparation and the most

advanced archive workflows. All tightly integrated in a single platform and natively orchestrated by a BPM workflow engine (https://www.dalet.com/pl atforms/dalet-galaxy-five)

A Winning Example - Bundesliga Fußball Archives Sportcast, a subsidiary of DFL (Deutsche Fußball Liga), which oversees the largest digital football archive in the world, manages the entire value chain from stadium to the world with a Dalet Galaxy

Media Asset Management (MAM) system. Dalet’s Orchestration technology automates media processes and delivers more efficiently to their partners. With a grueling production schedule of 617 games each year, Sportcast is piloting AIbased indexing to optimize logging workflows and further enrich the massive amount of incoming content.  25 APRIL ‘19


EVENTS

Mercedes-Benz Stadium

The world’s largest videoboard at the service of Super Bowl LIII

26 APRIL ‘19


SUPER BOWL

27 APRIL ‘19


EVENTS

Mercedes-Benz Stadium, inaugurated in August 2017, hosted the latest edition of the Superbowl. Designed by the architecture firm HOK, its spectacular exterior design fits perfectly with an interior featuring state-ofthe-art audiovisual technology, including the world's largest video screen, with an area of 5,793 square meters and created by Daktronics. We talked with Julia Chongarlides, Producer and Technical Director at the Mercedes-Benz Stadium, to get more details about the technology used in this novel sports facility.

28 APRIL ‘19


SUPER BOWL

Interview with JULIA CHONGARLIDES, Producer and Technical Director at the Mercedes-Benz Stadium The Mercedes-Benz Stadium is a milestone in the global sport stadiums. Which technological possibilities does it provide? Mercedes-Benz Stadium has a fully IP control room and there is 4,000 miles of fiber. The production team utilizes two Ross Tessera systems to build and run the shows, as well as, a 4 panel, 6 ME Ross Acuity switcher. The video boards we create content for consist of the halo board, mega column, feather wall and LED fascias. One of the coolest things about our control room is that we can trigger all boards by a touch of one button.

One of the most astounding technologies is the halo board. Could you tell me more about this display? The halo board is 360-degree HD video board, which is currently the largest in professional sports. It is 58 ft tall and 11,000 ft around (they say if you unravel the halo board and stand it up - it would be the tallest building in Atlanta). We use 11 different looks that are triggered by the switcher or Ross dashboard (depending on the situation) which is routed through the spyder.

The mega column, the feather wall and the LED fascia boards are part of 25 APRIL ‘19


EVENTS

your daily work at the Mercedes-Benz Stadium. Which solutions do these screens offer? It is a lot different producing content here because of the aspect ratios. I used to work for the Miami HEAT and we produced content at 1920x1080 but, here, I am usually producing content at

30 APRIL ‘19

5042x1080. Not only am I producing content for the halo board but, I am producing content for the mega column, feather wall and LED fascias as well. I must be creative in ways that I never had to before. Some videos cannot be scaled to fit the mega column (which is 101 ft tall by 71 ft) so I have to come up with


SUPER BOWL

ways to produce complimentary content that fits with the main video look on the halo.

controlled by Ross talk commands and the feather wall and fascias are controlled by Daktronics Show Control.

What technology (hardware / software) do you use to control this system of displays?

In your opinion, what does the Mercedes Benz-Stadium contribute to the Superbowl compared to other venues?

The halo board and mega column are

27 APRIL ‘19


EVENTS

Mercedes-Benz Stadium contributed a fan experience unlike any other for Super Bowl LIII because of the state of the art technology and downtown location in the city. No other stadium has the unique, first of its kind halo board. MercedesBenz Stadium also has over 2,500 TVs throughout the building and there

32 APRIL ‘19

were 18 in-house camera sources for the show. The numbers tallied say that Mercedes-Benz Stadium used 24 terabytes of data (a new record) and not to mention the stadium is in the heart of downtown, which is where most of the Super Bowl events were held.

In the past, you have worked in events such

as the NBA Finals. What differences do you find between the technical production of that event and the production of the superbowl? The number of eyes and pressure is at a much larger scale for the Super Bowl since it is only 1 game. Where the NBA Finals is the best out of 7 games, so once you work


SUPER BOWL

Finally, which technological trends do you identify for the future of the av production in stadiums? Thank you very much!

the first one you kind of have an idea of what the rest are going to look like. There was also more prep work that went into transforming the stadium for the super bowl since it is a neutral location for the teams.

Which were your specific functions in the Superbowl? I was the Technical Director on the Ross Acuity switcher for the invenue show at MercedesBenz Stadium.

Technology is forever changing and so are people’s attention spans. Right now, everyone is glued to their phones. I personally have been reading a lot about AR, VR, e gaming, sports betting, and if that will change the way fans watch the game. That is what makes this field so exciting! Always have to be on your toes and trying new things. ď ľ


EVENTS

The sound of Super Bowl LIII

34 APRIL ‘19


SUPER BOWL

IP technology is already present ATK Audioteck has been in charge of the Superbowl's sound for 22 years. In this ocassion the company took up the challenge of tackiling an stadium which in its short life, has received some criticism for the acoustics offered in live music shows. We spoke with Kirk Powell, sound engineer ATK, in charge of producing Superbowl LIII, to tell us how he addressed the issues relating sound design for such a massive event, and more specifically, the always spectacular music performance at half-time, which this year featured the US band Maroon 5.

31 APRIL ‘19


EVENTS

Interview with Kirk Powell, Senior Design Engineer, ATK, and the engineer in charge for Super Bowl LIII. The Mercedes-Benz Stadium is a relatively new venue. Did you find more challenging than the usual to set up the PA system? Yes. This stadium has no acoustical treatment and how you set up the system is very important to not create more issues with the acoustic problems.

Which manufactures do you trust for large-scale projects like this? We are primarily a JBL house. We used VTX A12s and VT4889s for this event.

What are the complications of the setup of the components of the halftime show in such a short time? Getting everything on the field, connected and

36 APRIL ‘19

JBL VT4889

We have used Dante for the last three Super Bowls. What makes this year different than the other two was that everything was on one single network.

verified before the show starts is the biggest challenge. We are always delayed from starting because the players have to leave the field before we can start moving our stuff.

What about the problematics of the venue? Were you aware of the acoustic problems of the stadium before taking charge of the event? Yes. We attended a


SUPER BOWL

you give me more details of this set up? We have amplifier locations in each corner of the stadium. We used custom built speaker cable looms to connect the carts to these locations. These looms got quite extensive due to lighting and pyro being added to the carts for the actual production.

You used a Dante-based network to connect key points in the system (amplifiers, mix consoles). How was the experience? couple of Atlanta Falcons regular season games and worked very closely with the NFL and the production company on making these big issues as minimum as possible. I am very happy with the results we got in the end.

You decided to place the subs in the corners during Maroon 5 show to amplify the low frequencies. How did you come up to this solution?

We actually have two JBL S28 subs on each of the full-range A12 carts. We used 14 of our 18 carts for the A12/S28 configuration and because we cut that down from 18 carts that we used in the past we took the other 4 carts and made them sub cart to help make up the LF that we lost by using fewer carts.

The connections have been distributed through a custom cartborne PA system. Could

We have used Dante for the last three Super Bowls. What makes this year different than the other two was that everything was on one single network. In the past I would create several separate networks for isolation (i.e. TV truck was one network, the entertainment system was one network and the house system interface was one network). We would crosspatch between these systems. This year everything was on one

37 APRIL ‘19


EVENTS

network. Almost all of our patching was done by moving dots around in the software. This made lots of things much easier. At the same time it made some things more complicated like troubleshooting a signal issue. You can no longer unplug a XLR and plug it into a Q-Box to check the signal. You have to assign it to a device with a speaker attached to actually listen to it.

38 APRIL ‘19

IP based-networks are the future of live audio. But (and this is a BIG but) those of us deploying these audio networks need to really step up our game in our knowledge of IP networks.

There was also a level of stress that was unexpected. With a system that large and throwing around roughly 700 channels of audio on the same network was a bit

nerve-wracking. But having a good network design and redundancy really minimizes the issue you will have. Overall it was a good experience. We will continue to


SUPER BOWL

streamline our deployment of this system over the next year and hopefully have an even better experience next year.

Are IP based-networks the future of live sound systems in live productions? Yes I see that IP basednetworks are the future of live audio. But (and this is a BIG but) those of us deploying these audio networks need to really step up our game in our knowledge of IP networks. If one is deploying a single use dedicated network (i.e. 1Gbps Dante only network) then setting up this type of network is relatively easy.

(i.e. a network that is the backbone of a building or stadium with mixed traffic on it) than one really needs to become an IP expert. We generally have no control on these systems but we have to communicate our need clearly and precisely to the IT experts in their own language how these systems need to be configured for proper traffic control. The real change to the audio community will be the need to really learn and become experts in the IT world.

What will be the innovations for sound

productions for music events in the future? Have you already thought about new innovations that could be implemented in the following Superbowls? At this point I really see everything just getting better. Speaker technologies are constantly improving. Digital distribution continues to improve. Console technology continues to improve. My goal with Super Bowl is to implement these newer technologies as we feel they will improve our event. ď ľ

If a vendor is setting up a converged network (i.e. with mixed traffic on it such as amplifier control or other equipment control and 100/1000Mbps devices) then one really has to step up their knowledge of how to implement traffic control on this network. If you are going to use a shared enterprise network

39 APRIL ‘19


RADIOS

40 APRIL ‘19


RTL 102.5

RTL 102.5 When innovation and success go hand in hand RTL 102.5, one of the most listened radios in Italy, has recently celebrated its 40th anniversary. Of course, the station has faced many technological changes throughout its history, and Stefano Petroni, “Radiovisione Manager”, is the best person to tell us about them. With the collaboration of his colleague Eugenio La Teana, Research and Development Manager, Mr. Petroni gives us every insight about the present and the future of the radio station. Interview by Sergio Julián

41 APRIL ‘19


RADIOS

Stefano Petroni, Radivisione Manager at RTL 102.5

What have been the technological changes that have defined the station in the last 15-20 years? The first great change goes back to more than ten years ago when ‘Radiovisione’ was born. RTL 102.5 has been the first radio station to 42 APRIL ‘19

RTL 102.5 has been the first radio station to deliver all its contents in simulcast on audio and video reaching a whole new audience that contributed in the following years to validate even more RTL 102.5 as the most listened radio in Italy.


RTL 102.5

RTL Studio 4.

deliver all its contents in simulcast on audio and video reaching a whole new audience that contributed in the following years to validate even more RTL 102.5 as the most listened radio in

Italy. Not to forget is the huge commitment for developing DAB as RTL 102.5 has been one of the pioneering companies in adopting this platform. In the last three years RTL 102.5 added two more

radios to its network: Radio Zeta, that only plays Italian music, and Radiofreccia that plays International rock music.

Radio technology is constantly changing. What are the trends 43 APRIL ‘19


RADIOS

Radiofreccia Studio2.

that you identify that will define the future of radio broadcast? The future of radio broadcasting is more and more tied to the 44 APRIL ‘19

development of the Internet that is heavily going to turn upside down the dynamics of the traditional media. The paradigm of fruition of the

media is changing and so is doing the interaction of it and even the model for the collection of audience data is going to get a new definition.


RTL 102.5

Could you describe us how the RTL 102.5 studios network is distributed? RTL 102.5 has its headquarters in a building right on the outskirts of Milan which is the core of the radio, then we have another branch based in an historical building in Prati neighborhood - in the heart of Rome - which hosts a smaller recreation of RTL 102.5 studios, studios to broadcast Radiozeta and Radiofreccia, a newsroom and more offices.

In 2004, RTL 102.5 renewed its headquarters, building what is known as the first tailor-made radio station in Europe. Could you describe us these studios? Yes, our headquarter is not a building in which we set our studios or offices but it is made in service of the radio and all the main area is built in a way you can easily and quickly reach the studio wherever you are since we broadcast live 24 h 7 days a week. In the main block on the first floor you can find the newsroom with 12 workstations, - used by journalists, press agents, producers and Social Media collaborators – editorial, music and advertising managers offices, meeting rooms and two ‘Radiovisione’ studios: RTL 102.5 and Radiofreccia. RTL 102.5 studios measure about 150 square metres and are equipped with 8 PTZ Cameras, 3 sliders for moving cameras, 6 video projectors for the scenic design. Radiofreccia studios are 80 square meters big and have 4 PTZ cameras, 1 video projector for the scenic design and 22 moving headlights for light FX. In another area on the same floor you can find eating facilities, commercial and marketing offices and on two connected blocks you have all the administration offices and the technology, research/development, web programming, design and video making sections and of course, warehouses. On the lower floor you can find Radio Zeta studios that is 80 square metres and equipped with 4 PTZ cameras and one 10 square 45 APRIL ‘19


metres big led wall for the scenery, a recording studio in which an artist should rehearsal or record an album, and a couple more smaller studios we use to record anything we should need, like our commercials or even clients’ ones in case they don’t have yet their own.

Have you done any renovation of RTL 102.5 studio recently? What have been the implementations? One of the most important tech innovations of the recent years is for sure the adoption of a new audio system ‘Over IP’. RTL 102.5 has been the first important Italian network to implement this technology reconsidering all the infrastructure of signals transportation and distribution. I think that IP technology is the future and will be the most used standard. Another remarkable innovation has been the development of automations that allow the remote control of the radio – we use it in particular for Radiofreccia and Radio Zeta – without the assistance of technicians and operators. 46 APRIL ‘19


RTL 102.5

Radiofreccia Studio3

One of the most important tech innovations of the recent years is for sure the adoption of a new audio system ‘Over IP’.

TRENDS AND TECHNOLOGY RTL 102.5 has trusted in radio convergence. Actually, you are broadcasting via web, app, dmb and dab+. What difficulties does this imply? The main difficulties are related to being constantly up to date keeping on investing in technologies and standards that often change in a very short time.

RTL 102.5 uses FM as well as DAB+. When did you do the transformation to digital radio? What were the difficulties of the process? As said before, RTL 102.5 has been one of the trailblazers in the DAB technology in Italy and the main difficulties are connected in entering a market that here is not well known nor supported yet and only recently is moving a bit forward so resources investments have been on a very long term. 47 APRIL ‘19


RADIOS

Which equipment has a standard RTL 102.5 studio? Every studio in RTL 102.5 is equipped to deliver an audio/video production so, in addition to all the typical equipment you can find in a radio studio (mixer, microphones, codec, hybrids) there video cameras, studio lights, video mixer, control monitors and so on.

There is a major change in the way listeners enjoy radio. They want to watch the live transmission of a radio program! Are you using currently PTZ cameras? Are we heading to a paradigm in which each 48 APRIL ‘19

radio program is video broadcasted? In all our studios we use IP controlled Panasonic PTZ cameras. Our channels are all simultaneously in audio and video.

Audio-On-Demand is a reality. How does RTL 102.5 adapt to this new reality in which the OTT’s media services are so important? Eugenio La Teana (Research and Development Manager): One of the competitive advantages of radio is to be live, and our group has

always invested in having no program recorded within its own schedule, day or night. Being live means being alive. It is however true that the new generations are accustomed to an average consumption that is no longer linked to a linear flow. The rise of Netflix and the evolution of decoders of premium channels, such as Sky, is clean cut. Our strategic approach is based on two modes of publication of content on demand: the classic publication of concerts, interviews and audio columns that can be accessed through the


RTL 102.5

website, applications on smartphones and Hbbtv applications. In addition, an innovative one in which within the linear flow of the radio, nothing is thrown away. Through the speech to text technologies integrated with semantic analysis engines, a platform is being implemented that will allow users to find, share, discovery and comment on all the contents that he has listened to on the radio right after the program started. ď ľ 49 APRIL ‘19


TECHNOLOGY

50 APRIL ‘19


HbbTV

51 APRIL ‘19


TECHNOLOGY

By Carlos Alberto Martín Edo Senior Project Engineer at ATOS

Recent years have seen a definite increase in consumption of audiovisual content broadcast over the Internet. According to the report [1], 80% of Internet traffic will be caused by audiovisual content by 2020 and a significant part of it will be consumed through mobile devices. This new trend has led to the appearance of new socalled OTT (Over the Top) operators, which provide their services over infrastructures deployed by other operators) with great success as they offer catalogues comprising thousands of contents for a modest fixed rate. Contents broadcast through the Internet may be viewed by means of mobile devices, computers, devices connected to displays and also through the TV screen itself. This has resulted in the paradigm of hybrid TV or connected 52 APRIL ‘19

TV, which is characterized by TV screens that can receive and play content received both from a traditional broadcast network and from the Internet. There are basically two different models for exploitation of content directly on screens: either the manufacturers of TV sets determine which content will be available or screens may support the HbbTV (Hybrid Broadcast Broadband TV) standard [2], enabling linear TV operators to exploit their contents. In the first model, there is a button in the remote control allowing access to the manufacturer’s

content portal. In some instances, applications such as those from mobile platforms are available. TV operators have also favoured this solution by developing applications for all major manufacturers of displays. As the content portal is the manufacturer’s own portal, no compatibility standards must be supported and a proprietary specification may be established instead. Traditional TV operators and operators of the new OTT platforms see their development costs soar as they have to launch applications for display manufacturers and models for which compatibility is desired.


HbbTV

Additionally, agreements must be entered into with manufacturers to have the relevant application available in their TV sets. On the other hand, the HbbTV standard is an interoperability technology though out to enable users access contents from any operator by purchasing any supported screen. This model is no longer within the manufacturers’ control (provided that a decision is made to integrate the HbbTV standard in the display and provided also that such support is enabled by default or easy

to configure by users), but linear TV operators may directly offer content on the TV screen via Internet. To such purpose, a TV operator broadcasts along with the audiovisual standard a simple graphic application inviting users to access the content portal. This standard specifies that said access must be done through the remote control's red button and that is why some operators call "Red Button" their HbbTV application. In practice there is even no need to send such graphical interface through the air,

just putting it on a server and sending the URL in a signalling table called AIT does the trick as well. Therefore, the main feature of this model for content exploitation via Internet lies in the fact that TV operators are able to make the screen link to their content portal, which is done by including very light information transmitted over the diffusion channel. Overload in transmission flow is minimal (some tens of kilobits per second) while enabling access to thousands of customized content items. 53 APRIL ‘19


TECHNOLOGY

The TV screen integrates an Internet browser that reads HbbTV contents in a way that is similar to how web browsers for computers work. Although called HbbTV applications, they are actually web contents in a HTML version. The initial versions of this standard would use CE-HTML, that is, a simplified HMTL for easier interpretation in consumer electronics devices, although newer versions support HTML5. As for contents, there are many types, such as news made up of text and pictures or what the standard terms as digital teletext (which is somewhat paradoxical as teletext in analogue TV is an intrinsically digital system). However, the flagship contents of HbbTV applications are programs already broadcast, thanks to the fact that the standard specifies playback of audiovisual formats. As already pointed out, this standard has seen different versions released to include new 54 APRIL ‘19

capabilities. Thus, version 1.5 featured the novelty of support for adaptive streaming based on standard MPEG-DASH technology [4]. Adaptive streaming has the distinct feature of allowing several qualities to be available (in terms of encoding binary rate) and the player assesses which is the highest bit rate that may be required in each case in such a way that both user-perceived quality and use of the transmission bandwidth are streamlined. Additionally, DASH allows live streaming, while prior technologies were based on progressive downloading, that is, the

downloading of a video file adapted in such a way that playing it as is being received was possible, with no need having the file fully downloaded. As for version 2.0, a feature worth noting in addition to HTML5 support, is providing for integration with a second screen (companion screens and streams), in such a way that the “main” screen and other “additional” screens will show contents that are related in a coordinated, synchronized fashion. It is a very well-known fact that viewers usually watch TV while operating a mobile device for personal use connected to the

REFERENCES [1] ATOS. “Accelerating the race to value.” Serie Look Out 2020+; Industry Trends - Telecom. Available in: https://atos.net/content/mini-sites/look-out2020/assets/pdf/ATOS_LOOK%20OUT_TELCO.pdf [2] http://www.hbbtv.org [3] https://mpeg.chiariglione.org/standards/mpeg-dash [4] Carlos Alberto Martín, José Manuel Menéndez and Guillermo Cisneros. “Connected TV: new opportunities for the accessibility”. NEM Summit. Istambul (Turkey). 16-18 October, 2012.


HbbTV

Internet. That is why this new version of the standard has seen the opportunity of enriching contents through interaction between the two screens.

This evolution of services offered by operators is yet another sign of the technological convergence process that we have been witnessing

for a couple of decades now, which is felt both in receivers and in networks and services, also including multimedia content. ď ľ

55 APRIL ‘19


PANORAMA

In an industry that is changing at a tremendous speed, professional profiles most demanded have also changed and will continue to do so. This does not mean that other profiles previously in demand will no longer be required in this new era; on the contrary, they are essential. By Yeray Alfageme, Business Technology Manager Olympic Channel

56 APRIL ‘19


BROADCAST ENGINEERS

57 APRIL ‘19


PANORAMA

Fast-paced implementation of OTT services and of production environments over IP may lead us to think that the future of traditional broadcast engineers is at risk as knowledge on networks and IT environments more in the line of IT or telecom engineers is now in high demand. However, these skills added to those possessed by a broadcast engineer make the value of such profile soar. But of course, there is the need to reinvent oneself and keep learning. For an IT or a telecom engineer, equipment used in the AV industry such as rasterizers, waveforms and CCUs, for example, may sound strange. The learning curve for these specific systems may become an access barrier that many professionals could view as forbidding. Although the initial effort –due to the fact that these are systems having very specific uses and applications- can be significant, once the essential knowledge is 58 APRIL ‘19

Fig 1

gained, going more in depth gets easier. Which is more or less the opposite with network and IT systems. Everyone has a computer, a router or even a switch at home to which their devices are connected to form a small network, used just to connect to the Internet or to share information between those devices. A switch does not sound as something as odd as a rasterizer; or a router as strange as a CCU to us the vast majority of mortals. Does this mean that anyone could set up a

corporate network, a multimedia work environment or a largescale distribution network? Of course not. As opposed to specific broadcast equipment, IT devices are much better known to the general public. You may find routers, switches and NAS systems at any department store, but not a waveform monitor or an Intercom panel, this is clear. The access barrier –the prior knowledge requiredfor getting acquainted with such equipment is nearly inexistent


BROADCAST ENGINEERS

counter-intuitive, accessing this field is not as complex and a lesser time investment allows acquiring a very high level of specialization.

Times are changing

Fig 2

nowadays. However, the learning curve for getting to know in depth the relevant techniques and configurations for these professional environments is much steeper.

Nevertheless, reaching a high degree of skill demands much dedication. Eventually becoming an expert in this field is neither easy nor accessible to everyone.

Graphically, it can be pictured in Fig 1 and 2.

In Fig 2: On the other hand, as Broadcast skills are neither so accessible nor so intuitive, they normally require more time in order to gain a necessary base of essential knowledge. However, as this is a limited field, increased dedication over time allows reaching a very advanced level of skill. Although it may appear

In Fig 1 you can see how, at the beginning, little time is required for acquiring basic skills. That is, said skills are accessible, both from a literal point of view –as these are resources that are readily available- and based on complexity. This causes them to be easily democratized.

In the current situation – in which finding combined professional profiles boasting a high degree of skill in both fields is hardit is necessary that professionals from both fields come closer. Facing the task of acquiring new skills outside their own professional fields, most especially for professionals nearing the end of their careers, no doubt requires an extraordinary effort.

From Broadcast to IT As a general rule, professionals from the Broadcast world have very high levels of knowledge and specialization in their field. This is due to several factors: • Limited field of knowledge. • Highly-demanding labour market. 59 APRIL ‘19


PANORAMA

Support and training are carried out on a one-onone basis and it is rare that an appropriate contact to sort out issues is missing.

• Specific, close equipment and manufacturers. • Relatively low technological development. • Closed professional environment. 60 APRIL ‘19

As the equipment is very specific and manufacturers are mostly dedicated to this area and not to general equipment, relationships between manufacturers and professionals tend to be close in this industry.

For this reason, going from the Broadcast world to IT may be confusing for professionals and they may see this as a very complex move, for they lack direct contact, normally, with manufacturers because this is a much wider field.


BROADCAST ENGINEERS

From IT to Broadcast The IT World may be just the opposite. Manufacturers of IT equipment operate in a vast array of fields and their product portfolios may be much more extensive as compared to Broadcast manufacturers. Additionally, equipment is not sold directly but most usually through distributors, which act as a front desk for customers and clarify doubts while offering a first line of support. This causes IT professionals to need a high level of training and specialization for the equipment they operate. This is not due to poor support but rather to the fact that deeper knowledge in this field -a much broader oneprovides great added value. However, when getting into the Broadcast world from IT all concepts are quite different and mostly specific to this new world.

This leads to initial reluctance and to an added difficulty which, as the first steps are being taken, gradually fades because of the fact that this field is much narrower and specific.

surely find broadcast a highly exciting environment. As they come from a widely known field with so much information available everywhere, they may find broadcast as something

Conclusions As it is evident, both kinds of professionals may swing and adapt to the needs to the new existing labour market. The difficulties both backgrounds may initially encounter quickly disappear as soon as they dive into the other field in some depth.

more hermetic and awkward. However, as it is a narrower field and manufacturers are so close, they just need to break thin ice to find that everything is much easier and affordable. Last, for those who are still undergoing training and

Broadcast engineers have a lot of information and training on IT at easy reach. As this is a field so incidental to all industries and markets, there are countless courses and such a vast amount of information available. The immensity of this field should not scare one away from getting involved and learning.

do not have yet a well-

IT engineers, who have the opportunity of taking on so many fields, will

engineer, so it is a

shaped background, cultivating multiple disciplines is doubtless a piece of advice to take dearly into account. Based on solid IT foundations, choosing broadcast as field for specialization surely will be a great thing to do. All this from the standpoint of a broadcast completely subjective opinion. ď ľ 61 APRIL ‘19


EVENTS

Over 100,000 visitors. Over 160 countries. Over 1,700 exhibitors. $20.5 billion in purchasing power. Figures on NAB Show are spectacular, but there is nothing than can compare to the feeling one experiences when landing in Las Vegas, travelling to the LVCC (Las Vegas Convention Center) and being in the midst of hundreds of booths of exhibitors gathering every year to showcase the innovations that will ultimately shape out the world’s broadcast industry.

62 APRIL ‘19


NAB PREVIEW

The impression is just overwhelming, as it is also the pace at which technology progresses. Companies from the radio, telecom, satellite, sports, movies, or podcasting industries are now dealing with solutions that even if once seemed far away, are already here with us: 5G, 4K, 8K, Artificial Intelligence, IP, Cloud, eSports, remote production, virtual reality ATSC 3.0, UHD, HDR… All of them are already a reality and we are not only recycling names for consumer electronics, but tools capable of solving the problems facing the industry. Part of the TM Broadcast team will travel to Las Vegas to tell you

everything there is worth knowing about the show in the next issue of our magazine. Until then, please find here an preview on the most relevant trends to define the US fair and on some novelties that are going to be showcased there.

TRENDS TO COME… Although NAB show covers any and all processes involved in the Broadcast world, there are five novel lines which the organizers of this show wanted to highlight. We are pretty sure you may have heard about the first one: eSports. Regulation contests gathering thousands of spectators from around the globe. Let us put in

financial figures: as we were able to find out from a research by eMarketer, it is expected that turnover generated by this industry in the US alone will exceed $200 million by 2020. Just breadcrumbs! Throughout the show a large number of lectures will be given dealing with topics covering from the business side (branding, monetization) to pure broadcast issues in-game camera systems, streaming, integration with 5G services, infrastructures… Companies such as Akamai, Beasley XP, eBlue, Grass Valley, IHSEusa, LLC and The Switch are sponsoring this new space called “eSports Experience”.

63 APRIL ‘19


EVENTS

“Destination 5G” is the name given to the theme area devoted to the new mobile transmission standard, although the truth is that this will be present in a good number of booths at throughout the show. We are talking about a technology that is already a reality: not only have alternatives been shown to the general public, but also awards are taking place now in many countries. And let us not forget that applications both in broadcast and in the services and IA fields will be essential. Throughout the event, experts will discuss on this topic, raising the issue of 5G and content creation, relationships between 5G and satellites and with 4K broadcasting. ATSC 3.0 keeps moving ahead and NAB Show has really gone all the way for this transmission standard by gathering a large number of companies committed towards this format. 20 different panels will showcase their latest developments, high stakes 64 APRIL ‘19

“Destination 5G” is the name given to the theme area devoted to the new mobile transmission standard

at programming level to be supplemented by the ATSC 3 Academy. The combination of OTA transmission and household Internet will redefine the way we use TV.

Artificial Intelligence and its integration with Cloud services will also cover a good part of NAB Show. As put by the show organizers themselvesi “from predictive to


NAB PREVIEW

are companies such as AWS, Google Cloud, Harmonic, Sony or Vilynx. Another space that will be highly interesting for visitors will be the "InVehicle Experience" an area that will showcase a host of various technologies applied to vehicles, among which there are ever-recurring themes such as voiceactivated technology, different Media Display options or HD Radio. Audi, Access, Gaian Solutions and Xperi are just some of the brands supporting this theme.

prescriptive” will meet at the LVCC. Attendees will be able to discover the latest innovations applied to Machine Learning, Big Data, Internet of Things (IoT), Augmented Cognition, Volumetric Capture, Edge Technologies, Multi-Cloud, integration with Broadcast or Disaster Recovery and Storage, among other trending topics. Sponsors in this area of knowledge

…AND TRENDS THAT ARE ALREADY WITH US Beyond these lines of work, with nearly endless possibilities for broadcasters, we find technologies that have been gradually coming and which are already here with us. 4K is already an established standard at production and consumer levels, with 8K nearly knocking on the door,

although still a few paces behind. The various technological solutions, either for signal conveyance or for video capture or transmission in this format, are found by the dozens among manufacturers, whch also include HDR –High Dynamic Rangetechnology that enriches lighting and complexity of images displayed on the screens. This format also extends to transmission, in which hopes are that 5G signals will be successfully used as it was the case with the US Tennis Open; or to library management, both in regard to software providing access to contents and in disks, which capacity multiples as new generations of devices appear in the market. Conversión of IP infrastructure is another hot issue. Are studios ready to switch from SDI to IP? Certainly, for the time being everything seems to be pointing to a gradual transformation, in view of the new models offered by various 65 APRIL ‘19


EVENTS

manufacturers in an attempt to achieve this goal. However, NAB Show is strongly characterized for innovation and for setting the trend in the market, so we will have to closely follow any novelties there. Remote production, new technologies for cameras or sound, audio over IP technologies, multi-screen management systems, developments in the podcasting sector, cybersecurity. development of user interfaces, increasingly advanced systems in graphics or dedicated software for developing solutions for OTTs are also subject of this event. Although at this issue’s closing we do not know what products will be showcased on-site (we are not seers!), we invite you to take a look at the products and services that will be present at the show. Even if the various technological companies usually aim at a range of services for a specific part of the broadcast workflow, some of them have services covering a good part of the 66 APRIL ‘19

process. In this ocassion we wanted to focus more in depth in three of them. Sony could not miss its annual appointment with NAB. Its presence in the fair will be well-served by its already well-known range of VENICE cinema cameras and their extension system (CBK3610XS) being now used for shooting the sequels of the Avatar saga. This company will also present the versatile camcorder PXWFS7 II, the 4K compact camcorder PXW-FS5 II, the professional reference monitor TRIMASTER HX™ BVM-HX310 and the reference monitor for crucial images 16.5” TRIMASTER EL™ OLED BVM-E171. In regard to production of news programs and live events, we will see the 4K handheld camcorder PXWZ190, in addition to the new HDC range models: the point-of-view-style system camera HDC-P50, the portable HDC-3500 system camera and the fibre and triaxial system cameras HDC-3100 and HDC-3170. On the other hand, beyond announcing its intention to keep working on the IP


NAB PREVIEW

ConversiĂłn of IP infrastructure is another hot issue. Are studios ready to switch from SDI to IP?

technology, Sony will continue developing the Intelligent Media Services (IMS), its cloud-based range of services. A good part of the attention enjoyed by Harmonic in NAB Show 2019 lies in the various lectures this company will give on technological innovation. Take good note because the topics covered are quite interesting and, at the same time set the technological trend: "AI Technology Is Changing the Future of Video Compression", "How OTT Services Can Match the Quality of Broadcast", "Demystifying Live UHD HDR Service Delivery", "Implementation and Test Results for ATSC 3.0 Hybrid Services at Chicago 3.0" and "Using Big Data and Workflow Redesign to Enhance

Broadcast Service Availability". Grass Valley keeps expanding its product range across the whole creation and broadcast process. In the field of news/media workflow, the company will show us its Ignite v11 automated production control (APC) platform, GV STRATUS video production and content management solution, EDIUS real-time editing software (which integrates with GV STRATUS) and K2 media server and storage platform) not to forget Rio online editing, color and finishing solution for HD, 4K UHD, 4K DCI and 8K UHD. Moving on to the playout field: Grass Valley will showcase its iTX integrated playout platform for broadcast television, its morpheus automation solution and 67 APRIL ‘19


EVENTS

the ICE automated playout solution, which delivers multiformat file support allowing SD or HD files to be played back-toback. As for remote production, we will see three major innovations: the LiveTouch highlights and replay system, the Kayenne production switcher and the compact Kula Production Switcher. Last, the company also has products adapted to IP workflows. Grass Valley will exhibit the GV Convergent IP/SDI router control and configuration system, the Densité XIP3901, which uses a flexible “virtualized” hardware platform; and the MV-820IP multiviewer, that delivers 48 IP inputs and 12 IP outputs in a 2 RU chassis.

IP IP is the present and the sooner we accept this, the better. Either on fixed setups or when broadcasting in remote, the progress of infrastructures and the imminent settling of 5G as the mobile network 68 APRIL ‘19

standard, both promote that we will have more and more devices available to this purpose. Magewell is one of the companies that has devoted more efforts to integration with IP systems. To this aim, the company is showcasing its Pro Convert range, including the latest Pro Convert SDI Plus, capable of converting HD or 2K inputs into NDI sources; and also its Pro Convert AIO RX hardware-based NDI decoder. We will also be able to see its capture devices through their USB Capture Plus family of plug-and-play devices, its M.2 Eco Capture cards and

its Pro Capture range of PCIe cards, being among them the Pro Capture Dual SDI 4K Plus; the stream range, featuring the Ultra Stream HDMI streaming enconder; and the playout range, with the input-output Flex I/O cards. Lawo comes with novel functionalities for Power Core, its versatile AoIP mixing engine and I/O node. Among them we find a Dante® card with dual-redundant ports and sample rate conversión; dual-redundant frontpanel SFP ports for AoIP and ST2022-7 Seamless Protection Switching. Novelties of Media Links


NAB PREVIEW

include their new range of 100G media-centric IP switches, targeting facilities transitioning to 4K and IP video transport. And indeed, MDX100G, dedicated to remote production and WAN applications, meet the market's demands in the media multicast and both unidirectional and bidrectional data areas. Among their features we also find encontramos VLAN bridging and translation, special QoS services, physical layer alarming and LLDP diagnostic and monitoring support. The company will also showcase its MDP3040 4K/UHD IP Media Gateway for

Network Edge applications, a piece of equipment within the MDP3000 device series. Artel will offer at its booth a wide array of products mostly based on IP technology. In this area we find the SMART Media Delivery Platform, a fourchannel auto-sense 3G/HD/SD-SDI-over-IP multifunction Gateway with integrated nonblocking Layer 2/3 switching and routing capabilities, coming out with new SDI/SMPTE ST 2110 encapsulation/deencapsulation capabilities. Also present will be its Quarra PTP Ethernet Switches, the ARQ IP

Streaming System and the FiberLink® family of media transport products. IMT Vislink will be present in Las Vegas to show the update of its HCAM 4K Wireless Video Transmiter, an update of its Vislink MDR-Series and its Advent satellite communications line. Loooking into the first one of these devices, we find a newly achieved compatibility with the HEVC format which, according to the manufactuer, results in improved "reception, robustness and double the transmission range”. The main weapon of LTN Global is LTN Network, its

Lawo comes with novel functionalities for Power Core, its versatile AoIP mixing engine and I/O node.

69 APRIL ‘19


EVENTS

unique global IP transmission solution, of which more details will be given at the LVCC. On the other hand, the company will offer an update for its LTN LEAF™, a device to be used for video transmission and reception in broadcastquality SD or HD One of the main novelties offered by this equipment, which features low-latency used, is HEVC and 1080p60 support. On the other hand, Mobile Viewpoint will lauch a cellular video uplink suite comprising three pillars. First of all, Base Link 2.0, which enables transmitting content up to 1080p60 through 4G, WiFi and Ethernet modems. With support for H.265 and H.264 encoding, it wll also support 5G networks in the future. Data Link supplements this service by operating as a portable internet hotspot, while the TerraLink Mini-M, which supports transmission of live video with integrated Ethernet, Wi-Fi and external USB modems, 70 APRIL ‘19

ChyronHego’s PRIME Graphics version 3.5

operates both as backup solution and as a standalone encoder as part of a Broadband Global Area Network (BGAN) or High Dynamic Range (HDR) package.

GRAPHICS SYSTEMS The eternal search for the spectacular, encouraged by viewers receiving increasingly more and more stimuli, make broadcasters from all over the world invest in the latest, state-of-the-art graphics systems. Add this to the arrival of immersive reality in productions and we will find a technology to exploit that is being developed through truly

interesting tools. In this regard, ChyronHego is proposing several solutions: CAMIO Universe as an ecosystem for for multiplatform news delivery; Vidigo News, a platform for creation and publication of OTT content; or PRIME Graphics version 3.5, the latest revision of its graphic content creation platform, this time with HDR capabilities. We will also be able to see its latest novelties on augmented reality, support for the Unreal Engine of Epic Games, the NewsTicker 5, Paint, Virtual Placement, Click Effects PRIME systems... we are restless!


NAB PREVIEW

Brainstorm wll showcase in NAB its real-time ray tracing technology through the use of NVIDIA RTX GPUs. This functionality is included in version 3.1 of InfinitySet, along with other capabilities such as compatibility with Unreal Engine 4.22, HDR I/O, PRB as well as new effects and 360º output. We will also have the opportunity to check version 3.1 of its graphics tools, Aston titling and emission -which contains Aston2D, for bidimensional environments-; and AstonElections for election coverage graphics. As for Ventuz, we can see its novelties in regard to dynamic viewing of data in sports, news or contests environments, among others. A good part of their presence will focus on Ventuz X, its realtime graphics generation tool. And it comes loaded with new goodies: datadriven particles, NDI integration, support for the glTF 2.0 3D file format, faster rendering…

STREAMING Solutions that need IP, 4K, HDR… support Support for IP, 4K, HRD, UHD systems and a long list of other acronyms take up the most “traditional” area of the show. A great number of companies have strengthened their electronic components by opening them up to the latest transmission standards, thus resulting in increasingly versatile devices. Videon, for instance, is one of such companies. It will showcase the latest novelties from its VersaStreamer range of all-in-one streaming and recording devices, available in three models supporting various

resolutions up to 4K format. We will also be able to see in more detail the Edge Caster line of devices, with ultra low latency streaming, forward error correction, multiplebit-rate support and full duplex encoding/decoding. For-A will showcase several products used for transmisión of contents. In the field of 12-G and IPenabled technology for live production we find the SOM-100 media orchestration platform. The MBP-1000VS Series multi-channel video server adapts to the needs of every broadcaster: 12GSDI, 3G-SDI and SFP+ for 12G-SDI or video over IP transmission. This company will also present its DSK-4800 K4 downstream keyer and its

Videon VersaStreamer4K.

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MultiDyne MD9200 Compression Series

new modular series: the USF-106TICO-12 4K/TICO encoder/decoder, and the USF-10IP Series. The range of products from AVIWEST makes a powerful appearance at NAB, including the presentation of a new story-centric solution, which “streamlines the way professionals produce and transmit live video”. As for devices, we find the AVIWEST PRO3 Series, which includes a H.265/HEVC hardware encoder; new models in its range of ultralight AIR products, including support for 5G networks; the HE4000 4K UHD HEVC 72 APRIL ‘19

live encoder, the QUAD Celllink 3G/4K LTE cellular transmission solution and its MOJOPRO application targeting journalistic coverage. ROSS has set as a goal for the Las Vegas show to focus on the “High Impact, High Efficiency Production” theme, an approach being adopted by the vast majority of its new products. More specifically, this company intends to offer a series of demos in which we will be able to see their products in operation: an end-toend news production suite, a stadium production zone, a full virtual green

screen production with automated workflow, a 12G UHD production solution, graphics workflow for news and for sports, camera motion systems demo zone, IP infrastructure demos… Multidyne wanted this year to put the spotlight on a new generation of its SilverBack series of camera-mounted fiber transport solutions, and the SilverBack V model in particular. This device, the industry’s first 12G- and 4K- capable camera-back system to incorpórate an IP output, adapts to the needs of broadcasters operating in Ultra HD,


NAB PREVIEW

being capable of handling resolutions up to 8K. Among the innovations of this latest product generation we find new power management capabilities that eliminate the need of using external power devices. On the other hand, the company will showcase the SilverBack HP (an update of the SilverBack II fiber transceiver), the SilverBack Pro, as well as the MD9200 series of encoders and decoders specifically targeting OTT and IPTV service providers moving SD, HD and 4K content over public and private IP and fiber networks. EnGo 1.3 is probably Dejero’s most amibitious launch at NAB. This mobile transmitter supports up to 20 MB/s bit rate for live transmissions and 1080p 50/60, “ideal

for sports” according to the company. And of course, it supports the HEVC standard. Other novelties that will be showcased at the fair are its CellSat connectivity service, the latest novelties of GateWay, the cloud-based Dejero Control management system and its latest developments on content distribution over IP networks. TVU Anywhere, TVU CAS, TVU Command Center, TVU Grid, TVU Producer, TVU receivers and transceivers, TVU Remote Production System, TVU Routers… This technological company comes to NAB Show with a handful of products although undoubtedly its flagship is the TVU TM1000 HEVC cellular 4G/LTE mobile transmitter, capable of transmitting

Ultra-HD/4Kp60 HEVC content. Additionally, we can see the MediaMind content creation, production and distribution platform, which includes support for automation, AI, streaming, 4K and 5G. Vislink keeps implementing interesting novelties in its Advent satellite communications line, the Vislink MDRSeries… as well as in one of its main products, the HCAM 4K Wireless Video Transmitter, which is able to offer 4K transmission capabilities in sports, broadcasting or event coverages. Its latest innovation is the feature of handling HD application using the product’s core HEVC capability. As pointed out by the technology company, this update has enabled professionals to

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improve “reception, robustness and double the transmission range”. LYNX keeps improving its renowned GreenMachine, a multipurpose signal processing platform. One of the novel features of this system is the implementation of what the company terms as “Constellations” or predefined setups for various processes such as, for instance, 4K content conversion. They will also show us the possibilities offered by HDR Evie™, a system capable, through the use of algorithms, of automatically analyzing and applying corrections in real time on a frame by frame basis, a technology that can be applied in HDR to SDR Conversion.

CP Communications will premiere its STREAM family of content acquisition. It comprises three solutions: CamStream, a single –or dual- camera acquisition system with streaming support over Ethernet, Wifi, and bonded cellular service targeting corporate events, distance learning or modest TV productions; MultiCam STREAM, a scalable multicamera acquisition camera system for livestreamed and at-home productions, which supports up to four cameras, 32 channels for audio and data transmission; and Production STREAM, a multi-camera flypack acquisition system for in-

LYNX keeps improving its renowned GreenMachine, a multi-purpose signal processing platform.

74 APRIL ‘19

site and remote production with bigger I/O signal requirements. These products are part of the Red House Streaming subbrand. Cobalt will perform at its booth a demo of the new 9971 series of UHD multiviewers for the openGear® platform. We are dealing with three different models: the 9971-MV18-4K, with 18 SDI inputs, 9971-MV6-4K with six SDI inputs, and 971MV6-4H-4K, with six SDI and four HDMI 2.0 inputs. Each of these devices supports 12G/6G/3G/HD/SD-SDI and UHD1 3820x2160 square division (SDQS) or two-sample interleave (2SI) quad 3G-SDI formats as I/O.


NAB PREVIEW

A large number of visitors may want to take a look at the booth of Qligent to test first-hand the possibilities of its Vision monitoring system, which provides comprehensive monitoring and analysis of four items bearing an impact on viewer experience: compliance errors (regulatory and SLA considerations), objective errors (QoS), subjective errors (QoE) and programmatic errors (intended presentation to the viewer). Furthermore, as a novelty, we will be able to test its new As-Run module, which allows operators to visually correlate compliance events and anomalies against an imported program schedule”.

OTT We cannot forget about consumption of non-linear content, which is becoming an indispensable issue for a traditional broadcaster, as well as digital alternatives for new content transmission projects.

Faced with this paradigm, there are tools available to get a better control of all workflows relating these platforms. Tightrope keeps working to make the streaming process increasingly efficient. This is the aim of its latest updated of the Cablecast Community Media platform, which features OTT distribution capabilities. The latest version of this service, v6.7, provides turnkey VOD and live stream publishing for the VOD and OTT to customers such as local governments or schools. It includes all capabilities such as its new digital file upload feature, which allows

content managers to copy media files onto their server from anywhere.

BROADCAST SOUND Although the visual side takes up most products showcased on the NAB Show (rather the audiovisual side, to be fair), there are solutions focusing only on audio. Solid State Logic will showcase its new Dynamic Automation Software (DAS), targeting System T broadcast production mixing consoles S500, S300 and TCR. This solution provides new possibilities described by the company as “the most comprehensive broadcast 75 APRIL ‘19


EVENTS

production feature set” included in any format digital console. Among solutions included, we find the ability to record mix data during play speed and stationary timecode, at all times with the goal of providing the ultimate control when conforming audio for picture. As it is usual from the company, Calrec has prepared a wide range of solutions focusing on audio. Novelties in this field include ImPulse, an audio processing and routing engine with AES67 y SMPTE 2110 connectivity; Type R, a modular IP-based radio system with a 2U core with integrated I/O resources; an H2/IP Gateway that links Hydra2 to the IP domain; and the possibility of updating the Modular I/O frames with a new switchable controller card enabling integration on a Hydra2 or an IP network. The company will also pay special attention to its virtualized solutions, which include VP2, a virtualized mixing system and RP1, a 76 APRIL ‘19

Calrec has prepared a wide range of solutions focusing on audio.

broadcast mixing system in a 2U rackmount box. GatesAir will showcase three configurations of its Flexiva FMXi 4G embedded HD Radio solution, available as a single exporter/importer or as separate importer and exporter systems. Some of the products that we will be able to see in the show are the Intraplex Ascent embedded Audio over IP solution or the new 7.5kwFAX air-cooled transmitter. In the TV field, it will offer its Maxiva UHF / VHF televisión transmitter line-up, ready for the ATSC 3.0 format.

CODING Security of contents, as well as transmission thereof over long distances are just two major concerns arising in an ultra-competitive environment resorting more than ever to IP networks. In this area, new encoding and decoding devices appear to achieve a quicker signal transmission process. In this regard, V-Nova will continue showing solutions that make use of its PERSEUS cross-media compression technology: P.Link, which together


NAB PREVIEW

TV IPTV & Digital Signage solution, for IPTV and signage applications for corporate, government and sports venues.

with Artificial Intelligence tools optimizes encoding processes over JPEG 2000, MPEG-4 and HEVC-I solutions; PERSEUS Pro, an intra codec for mathematically lossless and visually lossless professional production, contribution and imaging workflows, for image optimisation and for MLpower media analysis and indexing acceleration; PERSEUS Plus, a temporal codec designed to enhance codecs such as H.264, HEVC or AV1 for improved distribution workflows; and also a new solution based on Cloud

technology for using PERSEUS in streaming services. VITEC will showcase its range of options for IPTV and contribution. Among its innovations, worth noting are the MGW Ace Encoder and MGW Ace Decoder, which provides a glass-to-glass latency of just 16 miliseconds thanks to its HEVC GEN2+ codec, offering quality of up to 4:2:2 10 bit. We will also have the opportunity of taking a look at the MGW Ace Encoder and the MGW Diamond Encoder, which feature time-synchronized playback; and also the EZ

We cannot forget about the cybersecurity area, in which NAGRA will offer its piracy-prevention and watermarking technologies and services. Among these products we find its cloud-based Security Services Platform, cloud. SSP, or its antipiracy and forensic watermarking services for VOD content and premium live sports. Furthermore, the company will also showcase OpenTV Suite and Conax Go Live, solutions relating OTT; and NAGRA Insight, its AIdriven, pay-TV data analytics platform.

STORAGE High storage volumes resulting from new highquality standardized formats put a lot of pressure on manufacturers as the latter are forced to adapt their systems in an attempt to achieve significant data flow speeds and the ever77 APRIL ‘19


EVENTS

present aim: Storing more content in the least space possible. Elements is one of the companies resolved to meeting both goals. This company will showcase for the first time Elements Bolt, a unit in a compact 2U chassis with up to 200TB of highperformance shared storage, even when working with resolutions exceeding 8K. It provides up to 25GByte/s read performance and delivers high-levels of Input/Output Operations per Second (IOPS) rates with “almost zero latencies”, according to the company. We will also be able to take a look at its MAM Media Library tool or to the new implementations of Elements Bolt

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workflow automation included in the company’s Task Manager.

SOFTWARE Video editing, content management, streaming platforms, specific tools for workflows in TVs, Big Data, Artificial Intelligence or monitoring. And this list could go on and on forever… Companies engaged in the development of specific software are multiplying. We highlight some of the latest solutions available in this field, such as “Newsconnect” from VSN. This HTML5 plugin adaptable to NRCS allows users to create customized news production environments, thus increasing process speed in a single interface. Of

VSN Newsconnect


NAB PREVIEW

course, it is capable of displaying all contents in the MAM/PAM system VSNExplorer. Phabrix will bring its range of solutions dedicated to analysis and monitoring of IP/SDI hybrid networks for workflows integrating SMPTE 2110 and 2011-7. Among its flagship

products we find version 3.0 of the Qx software Qx, offering now support for SMPTE 2110 (-20, -30, -31, 40), ST 2059 Precision Time protocol (PTP) and two-port ST 2022-7 seamless protection. This system is a perfect complement for the Sx TAG range of handheld products.

The new devices of the StreamScope® family of analyzers and monitors are the backbone of the offering brought to NAB by Triveni Digital. The StreamScope® XM Verifier takes care of receiving, verifying, and recording ATSC 3.0 broadcast streams via ROUTE, MMTP, or SLTP protocols; the 79 APRIL ‘19


EVENTS

StreamScope® XM MT Analyzer, featuring rulesenabled analysis and the industry's first implementation of Dolby AC-4 audio system analysis and rendering among a number of capabilities; and StreamScope® MT-60 Analyzer, a toolkit for advanced RF input analysis. On the other hand, we will be able to take a look at its SkyScraper® XM datacasting system for hybrid content distribution, as well as to its GuideBuilder® XM ATSC 3.0 program. Digital Nirvana comes with plenty of options for its customers. Monitor IQ 6.0 is a broadcastmonitoring solution offering services such as signal and loudness monitoring, air-check logging, competitive analysis and content repurposing; Metadator 2.0 automates the process of metadata generation for live content, production and preproduction; Caption Quality Check offers 80 APRIL ‘19

Enco enCaption4

automatic corrections, format conversions and frame-rate conversions; Closed Caption Generations proposes a postproduction captioning service with near-live and weekly turnaround options; and, finally,

Caption Synchronization automates the process of repurposing closed captions. Although Enco will showcase several products, one of the most appealing ones is enCaption4, which


NAB PREVIEW

generation process, we find entirely cloud-based captioning or a complete integration in NDI workflows. We will also pay special attention to its novel enCaption for Radio software, a tool that maintains direct dialogue with the growth of visual radio consumption all over the world.

CONTENT MANAGEMENT

combines machine learning with a neuralnetwork speech-to-text engine. Among the novelties being showcased in this latest version in the ISE, beyond the goal of increasingly reducing latencies in the text

Very closely related to the previous section are the systems controlling the audiovisual content of broadcasters. These integrated platforms that structure the workflow of stations keep improving and providing solutions for the concerns of operators. And, above all, they point to a single path: integration of various features in a single platform. Telestream will provide a detailed review of OptiQ, a solution for creation of channels for Cloud-based environments in a single clic. Being the result of a cooperation

with a major telecommunications service provider in Europe, this project comprises live transmission, workflow, cloud, integrated monitoring, container capabilities and more. Its best weapon -they underline- is the capability of quickly creating channels for short-time events, an area that will be greatly appreciated by the various creators of content. GB Labs will showcase Core 4 and Core 4 Lite, its operating systems designed for management of media files that include implementation of artificial intelligence for providing service stability and quality. This program includes the Mosaic asset organization software, yet another novel feature that, as opposed to other MAM systems, “automatically scours all in-built metadata and integrates with AI tagging systems to fully provide the power to store, catalogue, and retrieve assets with no need to manually enter metadata”, 81 APRIL ‘19


EVENTS

as reported in the press release. Last, we will be able to check the latest novelties from the FastNAS, SPACE, ECHO y VAULT systems. Veritone will pay special attention to its Digital Media Hub by focusing on two specific aspects: access and delivery, and monetization. Through this system, “right holders can offer secure, cloudnative global, access to their content to key stakeholders and monetize their content via e-commerce options”. Simultaneously, we will approach Veritone Attribute, in charge of correlating the traffic on the brand’s website to ads that have run on the broadcast networks; as well as Veritone Content Licensing Services, targeting those right holders needing to fully monetize their content. Actus Digital will showcase their integrated monitoring and media intelligence platform. We will be able to check how the Actus Complicae and Loggin Suite can perform 82 APRIL ‘19

Primestream has announced integration with Adobe Creative Cloud

functions as varied as recording and management of content or even creation of clips from a single platform. The company highlights the platform's ease of use, which dramatically reduces the integration process into this system. This technology company will also showcase the latest novelties relating its Actus Clip Factory. Primestream keeps improving its Primestream MAM system through integration of novel artificial intelligence systems, which enables

adding features such as facial and object recognition, speech to text transcription, sentiment analysis, and more. This company has also announced integration with Adobe Creative Cloud through a new graphiccentric asset management workflow to assist graphics, visual FX… On a different line, the company will also showcase Media I/O™, which achieves an easier management of IP and SDI through a single platform that, once more, integrates production, management and delivery


NAB PREVIEW

tools. Last, they will also showcase the latest beta version of Review Hub, a review and approval platform that will assist users in sharing content in a secure fashion through implementation of systems such as watermarks, passwordbased platforms and time specific expiration of shared links, amongst other features.

IA, IT, AUGMENTED REALITY AND CLOUD The future is already here. Yes, it may sound archetypical, but it is a

reality. Notions such as artificial intelligence, augmented reality or cloud are gaining ground with proposals that are at last materializing the imagination of broadcasters. We have seen them integrated in a significant part of content and software management systems, but there are specific applications that are exclusive for these platforms. The wide range of Prime Focus products could have led us to include it either in the software or in the content management sections, but the truth is that for the coming

edition of the NAB Show they have been focusing on Vision Cloud, a suite of microservices driven by artificial intelligence that according to this company “synthesizes and focuses on the most diverse and relevant annotations to deliver actionable search results that are meaningful and contextual”. The company will also focus on its CLEARTM Media ERP Suite and on its wide range of services: Centralization, Content Acquisition Portal, Promo Operations Automation, DAX ® Production Cloud and Mastering Automation, among others.

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wTVision will remain focused the augmented reality field and, more specifically in its integration in live broadcasts from the technical and creative point of views. With this aim in mind, the company will present various data management and realtime graphics solutions for sports productions, their Master Control Room flexible work models and its PCR options for automation of live productions.

workflows, not to mention all possibilities in regard to storage. In this field, worth highlighting is Masstech with FlasnNet, a video-centric storage solution combining the cloud with intelligent workflows. With full availability in the cloud or as hybrid cloud, it is presented as a versatile tool for the needs of the various broadcasters. This company will also showcase MassStore, its advanced media services framework.

The Cloud is an integrated option, seen more and more in various software applications and

On the other hand, the Thunderbolt™-to-PCI Express® (PCIe®) card expansion system is an

wTVision channel-in-the-box4

84 APRIL ‘19

essential item in the proposal that Sonnet will take to the NAB Show. In this area we have the eGFX Breakaway™, which speeds up the workflows of audiovisual productions through the use of the latest GPU cards from NVIDIA® and AMD; or the Echo™ Express systems. The company will also showcase its portable eGPU solutions eGFX Breakway™ Puck Radeon RX 560 and eGFX Breakaway Puck Radeon RX 570; its 10 Gigabit Ethernet (10GbE) networking product


NAB PREVIEW

BlackBox Emerald 4K Receiver.

family; the SF3™ Series Pro Card Readers and the Thunderbolt™ 3 Pro Dock. Blackbox keeps working in remote connection of IT equipment. Its cornerstone is still the Emerald ™ Unified KVM-over-IP Platform, which 2019 version includes the Emerald 4K and Emerald SE transmitter-receiver pairs. These equipment items, capable of connecting users at their workstations with remote computers and servers,

are able to deliver 4K pixel-perfect HD or 4K video over an IP network with support for mixed resolutions. Blackbox will also showcase its Boxilla™ KVM manager, the Radian Flex™ software-based video Wall processing platform, and the Control Bridge multisystem and control room system for control room and building automation. Apantac will showcase its new KM Switch for its OpenGear platform. The OG-KM has interchangeable

capabilities that facilitate system integration. Its functionality enables controlling and interchanging between four and eight computers with a single keyboard and mouse, including an extended desktop from the same graphics cards. It can be combined with OGMiniDE-II cascadable HDMI multiviewer, OGMiniQ cascadable SDI multiviewer, OG-MicroQ SDI quad-split and OGMini-DL-X-X cascadable HDMI + SDI quad-split cards.  85 APRIL ‘19


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TM Broadcast International 68, April 2019  

Special Super Bowl LIII report; RTL 102.5 Radio; HbbTV, new paths for convergence between TV and Internet; Broadcast Engineers in the IP Wor...

TM Broadcast International 68, April 2019  

Special Super Bowl LIII report; RTL 102.5 Radio; HbbTV, new paths for convergence between TV and Internet; Broadcast Engineers in the IP Wor...

Profile for daromedia