TM Broadcast International 80, April 2020

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New products, announcements and interviews


BRITISH MUSEUM: Creating content for global cultural consumers





Interview with Sian Toogood, AV and Production Manager at The British Museum

Test Zone: PANASONIC AG-CX10 1.5 kg of sheer 4K UHD TV video broadcast

Editor in chief Javier de Martín

Creative Direction Mercedes González

Key account manager Susana Sampedro

Administration Laura de Diego

Managing Editor Sergio Julián


TM Broadcast International #80 April 2020

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 ISSN: 2659-5966

EDITORIAL The world faces a fierce challenge shared by a broadcast industry that has tackled an interesting paradigm: transform its production while offering a reinforced service. It has been complicated, but the task has been conquered with solvency. The objective was clear: to continue broadcasting to the millions of people who wait on the other side of the screens for television to serve as a preferred channel for information and entertainment, as is already happening in several European countries. The situation is certainly complicated. We do not intend to ignore reality. However, we are absolutely convinced that we will be able to face all kinds of future challenges. Technological progress occupies a predominant role in an industry that is seeing how television consumption rises thanks to the creators’ creativity. Fortunately, we are ready for this new era. Technical evolution, in parallel, does not stop. Many companies have faced the definitive cancellation of the NAB Show by relying on web events or platforms such as our magazine, which is proud to have a decisive role in delivering its news. We can anticipate that there are solutions of great interest that will reach all of you imminently. Technical achievement resists, as does the creativity of engineers in these troubled times. The day when we will overcome this chaotic world context is approaching. China is already overcoming confinement and we know with certainty that its productive activity exceeds expectations. Once we overcome this disease, it will be the duty of industry players to continue to move forward firmly. The broadcast will remain relevant and our magazine will be there to communicate all of its trends.



Mobile Viewpoint launches Trolly Live – camera in a box for remote live streaming Mobile Viewpoint has announced the launch of a new all-on-one mobile camera system for live streaming. The Trolly Live solution is designed to be a selfcontained camera unit with all the functionality required to present a professional live stream from any remote location. The Trolly Live is a new concept where the camera and encoder are self-contained in a mobile unit and is very easy to set-up and operate. As a professional all-in-one studio mobile system, the unit comes complete with a screen that can be used for return video or for an autocue presentation. It also includes an IFB feature for audio return from a remote director. An off-the-shelf microphone can be used or can be supplied as an option. 6

The camera is a PTZ camera meaning it can be controlled remotely as needed.

The unit can live stream either directly as a web cast, for example directly to social media, or with a decoder unit installed in the broadcast center, it is possible to support live broadcast workflows where HD-SDI is required at the receiving end, which is normally required for news or other programs requiring a remote presenter to go live to air on broadcast TV.

The inbuilt H.265 encoder can live stream from the camera either via a direct wired LAN connection, Wi-Fi and there is an option to support multiple 4G networks via built-in modems. It supports bonding where all connections can be bonded as a single connection for reliability and bandwidth. The unit can be remotely managed via Mobile Viewpoint’s management portal Linkmatrix, which is available free of charge to users. With Linkmatrix it is possible to configure the unit and set up destinations which can be operated from anywhere in the world. The camera is a PTZ camera meaning it can be controlled remotely as needed. ď ľ


Facilis launches Version 8 of HUB Shared Storage System and Version 3.5 of FastTracker MAM unique software-defined Bandwidth Priority, SSD Tiering and Multi-disk Parity RAID6 disk-failure protection:

Facilis, international supplier of shared storage solutions for collaborative media production networks, has released Version 8 of the Facilis Shared Storage System, Version 3.5 of its FastTracker Media Asset Management software, and new Object Cloud remote workflows. These are available immediately and free of charge for any eligible Facilis customer with a current software support contract. One of the most compelling releases to date, Version 8 includes 8

- Bandwidth Priority delivers full throughput to all workstations during normal operation but prioritizes workstations to maintain greater throughput when the server enters a highload condition. This priority setting is dynamic and can affect client performance within seconds of applying. - SSD and HDD tiering was developed to deliver dedicated speed for projects needing SSD-level performance, while maintaining a perpetual HDD-based mirror. -Software-defined Multidisk Parity can be enabled for up to 4 drive failures per drive group, on a virtual

volume-basis. This technology allows owners of aging systems to better protect their assets from data loss due to drive failure. Moreover, Facilis FastTracker media asset management software continues to advance with file movement profiles, duplicate file reporting, and a secure directory browse interface. FastTracker can now flush and pre-fetch files and folders from cloud and LTO locations through the Object Cloud feature, while reporting the status of archived media. With proxy encoding of indexed assets to an Object Cloud location, FastTracker delivers compressed versions of facility media to any editor in the field. ď ľ


CP Communications releases app-based streaming initiative CP Communications is taking steps to help local organizations maintain communication with their communities in throughout the COVID-19 crisis. Leveraging a special mobile journalism (MoJo) app developed by partner Mobile Viewpoint, local businesses, governments, houses of worship and nonprofit organizations can live-stream important services and messages to their customers and communities. In addition to bringing communities and local organizations closer through MoJo, CP Communications will offer backend services from athome production facilities in Florida and New York to incorporate graphics, translations and other services to ensure messages reach the widest possible community audiences. The MoJo app has long been available to help journalists and content


contributors cover breaking news, interviews and live events by turning smartphones and tablets into content acquisition systems. The system uses Mobile Viewpoint’s H.264 codec to encode live video and stream to multiple platforms, including social media outlets and control rooms. Users have the flexibility to connect external cameras (such as a GoPro), and manage and monitor streams in the cloud using Mobile

Viewpoint’s LinkMatrix control and management center. The MoJo app directs users to the Webstreamur platform to login once installed on a mobile device. Live streams begin automatically upon clicking the “Live” button, along with supporting applications such as location-based push messaging and text chat functions. 


NEP Group implements TSL Products’ MPA-MIX MADI-V audio monitoring units in new OB trucks As a long-standing customer of TSL Products, NEP Group has relied on the company’s MPA1 units as their audio monitoring solution of choice for live broadcasts. NEP Group has recently integrated TSL’s MPA1-MIX MADI-V audio monitor to improve operator workflow within its new fleet of OB trucks. “We are always looking for ways to enhance the workflow of operators within our OB trucks,” says Michael Naugle, design engineer for NEP’s U.S. Broadcast Services team. “The newly designed TSL MPA1-MIX MADI-V units feature an extremely intuitive layout. The left to right ascending order of the knobs is very user-friendly as the operator can easily find the channel they need, without having to look directly at the panel. The ‘V’ pattern also has a nice aesthetic look to it.”


Since integrating the new TSL MPA1-MIX MADI-V units, Naugle has received positive feedback from the operators. “Operator feedback has been great – they enjoy the look of the new V Series, as well as the ease of use that comes with having the updated control layout. Also, the sound quality is amazing, which we have come to expect from all TSL solutions.” NEP Group currently has the MPA1-MIX MADI-V units installed in two of its OB

trucks and Naugle plans to continue relying on the units for projects going forward. “In addition to the two trucks that currently have the updated TSL MPA1 V units, we are building several other trucks in the U.S. this year that will also be equipped with the MPA1MIX MADI-V. Also, in our newer IP trucks, we have been installing the TSL PAM2-IP units, which are extremely useful tools when working with audio in an IP infrastructure.” 


Lynx Technik AG to test its products with Phabrix Qx IP/SDI rasterizers

Lynx Technik AG, German developer of products for the professional and broadcast market sectors, has purchased a further three PHABRIX Qx IP/SDI rasterizers to ensure the best possible testing processes for its products. The systems were supplied by Logic Media, a PHABRIX Distributor.

testing on the products we deliver to customers. As technical requirements are changing, with 12G processing, AES requirements and customers transitioning to IP workflows, we needed to replace our legacy testing equipment with the latest and best test system – so we chose the PHABRIX Qx.”

Stefan Gnann, CEO, Lynx Technik, said, “Lynx Technik AG is well known for rigorous 100%-QA

Qx is the “world’s first fully flexible” rasterizer for hybrid IP/SDI analysis and video/audio


monitoring, offering the latest hybrid IP/SDI test and measurement tools for environments that require 4K/UHD (12G/6G/3G-SDI), HD-SDI as well as SMPTE ST 2110, ST 2022-7, ST 2059 (PTP), AMWA NMOS and ST 2022-6 formats. The instrument set includes tools for rapid fault diagnosis, compliance monitoring and product development. The Qx rasterizer offers media analysis for


broadcast operator HDSDI environments, with picture view, waveform analyzer, vectorscope, 32 channel audio metering and ANC status as standard. The flexible architecture offers upgrades for UHD/4K-SDI, SMPTE 2110 and ST 20226, HDR, Audio and Video generation as well as engineering grade data view and ANC packet inspection. The Qx also

supports AES IO, with four versatile bi-directional unbalanced interfaces. It can also handle audio conversion from SDI input to AES output for both PCM and Dolby encoded audio, and AES input signals can be routed to other AES outputs providing a single loop output or up to 3 copy outputs. Lynx Technik already had a Qx rasterizer in its

development lab. This unit now joins the three new systems in the test department. “PHABRIX provides reasonably priced, futureproofed solutions that offer exceptional value for money. The Qx gives us the IP-ready capabilities we need, and it is also easy to use,” added Gnann. 


Aftonbladet TV covers the latest news with DYVI, EVS' live production switcher Aftonbladet TV has deployed the Dyvi production switcher for its news, current affairs and magazine studio productions. The software-defined solution offers a fresh approach to live production, taking the user far beyond the limits of conventional hardware switcher design. It was selected by the web TV offering of Swedish daily newspaper Aftonbladet (part of Schibsted) to replace the legacy switcher for its new Stockholm studio and control room. Now fully operational, the Dyvi is already relied on by the core team of staff and freelancers to control the many live productions distributed each day online by Aftonbladet TV, as well as on the screens of its multi-purpose studio floor. And with the everchanging narrative around the COVID-19 16

Aftonbladet TV has deployed the Dyvi production switcher for its news, current affairs and magazine studio productions.

crisis driving the news agenda, the switcher has been central to getting the latest information out to their national audience. A key advantage of Dyvi for Aftonbladet TV is its scalability, meaning the system can be expanded in the future if needed to cover additional studios. This can easily be done by adding processing modules together into one or more “clusters�. These processing

modules and the customizable panel can then be assigned to multiple control rooms to provide better resource utilization or be combined for bigger production requirements. As well as scalability, the team also wanted a powerful tool that could help operators drive productions of different sizes while ensuring a consistent level of quality, no matter how many people are present in the


control room at any time. Working together, EVS and Aftonbladet TV have created a bespoke suite of intelligent macros within the Dyvi to automate certain processes. These include controlling the audio of clips through the existing sound desk, and how graphics are presented on screen, reducing the potential for errors. Due to the nature of the

current affairs-based content that Aftonbladet TV produces, speed is of the essence, particularly when it comes to covering breaking news. The production team was therefore keen to accelerate the process of getting images on air, including those taken directly from social media feeds. Again, the software-defined nature of Dyvi made it easy to

simplify this process into a drag and drop action for the producer. The selected image then automatically appears in the correct size and framing on screen, without requiring any treatment from the graphics department. This new feature is now also available to other Dyvi users. ď ľ


ORF implements Lawo in first all-IP OB FÜ1 for sports and events production that now, apart from the existing cameras and the connection to the outside world, everything is IP.”

The new, fully IP-based Austrian Broadcasting Corporation (ORF) FÜ1, which is equipped for cover Alpine winter sports, football broadcasts, entertainment shows and concerts, uses two Lawo mc²96 Grand Production Console systems and five V__matrix frames loaded with 37 C100 Processing Blades for multiviewing and IP streaming. “The FÜ1 is ORF’s first IP project and is designed to be used extensively for television production of sports, entertainment and 18

cultural events,” said Andreas Fraundorfer, Group Manager, Video Technology in the Broadcast Technology Planning Department at ORF. “Two image and sound control rooms – designated ‘A’ and ‘B’ – provide the international and national video and sound signals respectively. The initial concept used IP switches and converters with an optional monitoring IP solution but, due to technological change, this concept was efficiently adapted so

The 38-ton trailer – 16.5m long, 2.5m wide and 2.5m high when travelling – has two extendable walls. With the monitor wall moving by 0.6m, the opposite rear wall of the audio and video work areas moving by 1.6m, FÜ1 offers around 77m² of floor space for 24 workstations. Networking of the mobile SMPTE2110 production unit (which has SMPTE 2022-7 redundancy) uses two Arista network switches for audio and video data, and another 14 switches for the control network and other tasks. In the two video control rooms, five Lawo V__matrix units host a total of 37 C100 processing blades – 13 perform multiviewer tasks as vm__dmv units and 24 perform the conversion between SDI


and IP as vm__streaming blades. Using Lawo theWALL software, up to 52 individual screens can be configured here for multiviewing. Lawo mc²96 production consoles are installed in both audio control rooms.The console for international sound in Control Room A is equipped with a dualfader unit, providing the sound engineer with 56

faders. The console’s HD core, equipped with six DSP cards, calculates 288 DSP channels and offers Waves SoundGrid integration. The core also integrates six RAVENNA cards and redundant router cards; four DALLIS stageboxes provide the interface between the contribution and the audio system. The Control Room B, for national sound, is

equipped with another Lawo mc²96 that also integrates a dual-fader option, providing 24 faders. The HD core with five DSP cards allows the use of 240 DSP channels – Waves SoundGrid is also integrated here. Two RAVENNA cards and redundant router cards complete the equipment. A further four DALLIS units serve as stageboxes.


Ruptly announces new partnership with TVU Networks Ruptly has announced a strategic partnership with TVU Networks, the global online broadcast distributor. The long-term collaboration will allow media partners to receive Ruptly’s live transmissions over the internet at full broadcast quality using the TVU Grid platform – a faster, more intuitive and more costeffective delivery system. The new partnership will enhance the propositions of both Ruptly and TVU by enabling them to serve new and prospective clients of all sizes. Using TVU Grid’s delivery system, Ruptly will be able to switch, route and seamlessly distribute live content to any number of locations with high quality and low latency. In addition, users of the platform will be able to choose their level of commitment, purchasing live content on a one-off or more regular basis. This marks a move from Ruptly and TVU towards a more scalable operation, that will reach wider audiences.  20

Adobe, Technicolor, Amazon Studios and others join CDSA Technology Committee The global entertainment industry’s advocate for content security, content protection and information security, the Content Delivery & Security Association (CDSA), has named their new members to the CDSA Technology Committee. The committee is charged by CDSA’s Board of Directors with helping advise and guide the Association, and its membership, which includes major Hollywood studios, content creators and broadcasters. The new Technology Committee members are known for their focus on innovation and are tasked with being advocates for the entertainment security community. Led by Amazon Studios Content Security Operations Manager Mischa Roth; Adobe Principal Solutions Consultant Todd Burke; and Technicolor Vice President, Content Security Micah Littleton; the committee will advise CDSA’s Board and Content Advisors on the new control framework and business model for application and cloud security assessments, new technology solutions and improved workflows for IP protection, security, and compliance, that are reshaping the way content is produced, managed and delivered. 


Coiron Inc. is now part of Ross Video Ross Video has acquired the US-based technology company Coiron, Inc. Located in Irvine, California, Coiron, Inc. has partnered with Ross Video to develop a suite of popular applications for use with the XPression family of real-time motion graphics systems:

XPression Telestrate, XPression Trackless Studio, and XPression Touch Factory. As a result of the acquisition, Carlos Vasquez (Coiron’s CEO) will become part of Ross Video’s graphics division in the role of Technical Product Manager for the

Ross Virtual Solutions group. “I’ve always been impressed with Carlos’ brilliance, integrity, and the fact that he’s an allaround nice guy”, says David Ross, CEO of Ross. “Coiron is a perfect fit for Ross”. 


Elecard releases integration with Zixi software defined video platform Zixi has announced a partnership and integrations with Elecard, a provider of software products for encoding, transcoding, monitoring and analysis of video and audio data in diverse formats. Elecard has integrated the Zixi Software-Defined Platform with CodecWorks, a professional platform for the real-time encoding and transcoding into HEVC/H.265, AVC/H.264 and MPEG-2 video, supporting adaptive bitrate streaming via HLS and MPEG-DASH protocols with the best possible quality. The software based CodecWorks can be deployed on end user’s hardware of choice and be used encode, decode and transcode video streams in real-time and package streams into HLS/MPEGDASH as well as unify streams from disparate input parameters, bringing all streams to one common video and audio format, resolution and bitrate. Alternatively, a single source can be processed to fit a vast number of distribution scenarios. 


Clear-Com appoints new Director of Sales to growing APAC Region Clear-Com® welcomes Peter Fong as the new Director of Sales for the Asia-Pacific region. With system sales and a customer base that continues to grow, Peter’s appointment to this role will centralize the company’s presence in the region. Peter will be responsible for developing and implementing sales strategies and ensuring his team is supported and meeting their sales goals. Peter brings a wealth of global technical sales experience, with over 20 years in sales/marketing and business development for technology companies. In his latest position, Peter worked for Net Insight as Head of Sales, APAC, and prior to that he worked for Globecast Group as Sales Director and Netia as Head of Sales—in both roles he was also responsible for the APAC region. In these roles he became very familiar with the nuances of the market and what is required for sales success in the area. “As we continue to experience very strong growth, particularly in China and the wider Asia-Pacific region, we are committed to ensuring that we have knowledgeable personnel to support it,” commented Chris Willis, Clear-Com Vice President of Worldwide Sales. “Peter brings significant sales experience and valuable knowledge of the region, and he will be an asset to our continued growth there. I’m thrilled to have him join the Clear-Com Sales Team.” 


Media Links appoints Tsukasa Sugawara as new CEO Media Links has appointed Tsukasa Sugawara as its new CEO, effective April 1, 2020. Tsukasa was previously Chief Technology Officer for the Company and succeeds John Dale III, who will remain actively involved in the role of Chief Marketing Officer.

John also remains a board member of Media Links. Tsukasa has been the CTO for Media Links since June 2014 and is a key architect of Media Links' ongoing IP product development strategy. As Media Links‘ new CEO, his leadership expertise will

help steer the company and its dedicated and talented employees forward toward its next generation charge into 100G and beyond Media over IP transport technology, serving broadcasters and service providers across the globe. 



NAB 2020

COULD HAVE BEEN By Sergio Julián

THE BROADCAST INDUSTRY DOESN’T STOP These are strange times. We cannot escape from this reality. World television, as well as production companies, are at the mercy of an uncertainty that is difficult to assume and control. Despite this, we have been able to observe how our industry does not stop. It is true. NAB Show 2020 has been cancelled. Global trade events are fundamental for our industry. But the broadcast world is already targeting events like Amsterdam’s IBC 2020 or New York’s NAB Show. And, of course, brands, communication agencies and the media family have taken a step forward to keep on communicating the upcoming highlights of each company. These new releases are not minor: its scope is global, and they deserve to be shared with the world. The broadcast industry is, in these covid-19 days, a vital part of our society. Television, radios and digital platforms continue to inform, to give a voice to billions of people, to entertain in those countries where confinement has been imposed. And beyond that, our industry is global. Not all 24

NAB 2020

countries have been affected. Lots of televisions begin in 2020 renovation cycles that require innovative, ground-breaking and comprehensive solutions to respond to all the problematics that the TV world involve. This is a massive paradigm in which acronyms such as HD, 4K, HDR, IP or 5G take on manifest importance. The panorama of audiovisual production worth a special mention. The VOD platforms, which have been infusing new energy into production thanks to the world reach of this services, will be reinforced by this movement. The arrival of Disney+ as well as platforms such as HBO Max will mean strong competition with the already established ones, such as Netflix or Amazon Prime Video. Huge investments in cloud technology will inevitably be bolstered

by increased demand, investments that will be replicated in the creative part. This is extrapolated to the video-on-demand platforms of TVs, which adapt its model to the new modalities of television consumption that will end up encompassing the future of broadcasting. This global-wide tragedy will change the world. But fortunately, there are some industries that will remain fundamental, such as the broadcast and media industry. And as we all know, without technology, none of them are possible. Therefore, lets celebrate new technologies, support reference and emerging brands, and keep the flame of innovation alive. TM Broadcast keeps ready for whatever may come. In this special “What NAB could have been”, we delved into 5 companies with interviews with some of

their representatives with its latest news, as well as their views on the broadcast future. Spoiler alert! They are cautious, but they send a message of optimism about the future. Let’s hold on to that. Next, we will show you a broad review of the latest news of the broadcast industry to discover what are the next innovations that leading companies in our industry are working on. Many of them would have been presented in style for NAB. That’s why we’re providing them with these slots in our latest issue. There will be many more news that will be communicated in the following days and that we haven’t been able to show you at of the closing date of the edition. Do not worry: we will be waiting to tell you all the news ASAP. As we have said before… this does not stop!  25


AVIWEST presents RACK Series: video encoders for live contribution and remote/at-home production AVIWEST unveils the new RACK Series (RACK300 and RACK200), the next generation of the company’s video contribution encoder. By integrating a “best-inclass” hardware H.265/HEVC encoder as well as an H.264/AVC encoder into a compact platform, the RACK Series is designed for spaceconstrained live production, including contribution applications and multicamera remote/at-home productions. The solutions are set to be released this summer. The RACK Series is designed to be deployed in fixed locations and directly connected on wired IP networks, offering an alternative to satellite or fiber. In addition, the RACK Series can be used on vans or trucks and connected to a roofmounted AVIWEST QUAD CellLink 3G/4G antenna or KA satellite transmitter, 26

“enabling video broadcast from any location around the world.” Equipped with a touch screen, the unit supports multiple operational modes including live, record, live and record, file forward, and data hot spot for high-speed internet connectivity. All of these operations are possible in only two taps on the touch screen. The brand-new RACK Series also features a SIP-based intercom to simplify communications between the master control room on the broadcaster premises and remote operators in the field. Another key benefit of the RACK hybrid encoder is its video return function. “In less than one second”, it enables remote crews to receive the on-air feed from the studio, receive teleprompting information, and ensure the live stream is being delivered properly. In addition, the device can synchronously backhaul multiple live feeds with perfect genlock and lip sync across multiple cameras. The RACK Series embeds

a full HD encoder to reach low bit rates at subsecond latency without comprising on video quality. Powered by the “double-award-winning” SST technology (Safe Streams Transport), the RACK encoder offers “ultra-reliable transmission on any network, thanks to an intelligent IP-bonding stack that aggregates all available bandwidth without needing to stop a live transmission, even as connections are added or dropped”, according to the press release. “As broadcasters aim to deliver superior-quality video content for live events, data costs are spiraling out of control. The RACK Series features

NAB 2020

AVIWEST Rack Series.

a next-generation encoder that is extremely powerful, significantly reducing the bit rates typically associated with broadcasting high-quality video in real time over bonded cellular and the public internet� commented Samuel Fleischhacker, senior product manager at AVIWEST.

Atomos enhances Ninja V features with the free AtomOS 10.3 update Atomos has announced that the AtomOS 10.3 update for the Ninja V HDR monitor-recorder is now available as a free download from the Atomos website. This new update brings Ninja V

users frame guides for social media, p.e., framing shots for posting on Facebook, Youtube, Instagram or Twitter each have different aspect ratios. In addition, AtomOS 10.3 introduces: 9 Grid overlay, Legalize HDMI input (Ninja V users now have the ability to manually apply a Full-to-Legal range conversion on the recorded input); IRE Scale for False Color; Anamorphic De-squeeze; and Rolling File Naming.

Bannister Lake’s Chameleon is ready for 2020 U.S. Election Cycle Canadian real-time data solutions provider Bannister Lake will be

focusing on its industryleading data aggregation and management solution Chameleon and how the product adds value to a wide variety of broadcast, OTT, and digital signage applications. Bannister Lake Chameleon's has an enhanced election module ready for the 2020 U.S. election cycle. Media companies can take advantage of Chameleon's new election features to produce real-time election coverage on any screen. Chameleon reads election results from both the Associated Press and Decision Desk HQ, allowing media to report on up ballot and down ballot races as well as the primaries and caucuses. 27


the fast creation of video clips and highlights to multiple devices and platforms including web, broadcast, OTT and social.

Black Box unveils Emerald PE highperformance, IPbased KVM extenders

Barix SIP Opus Codec M400.

Barix expands SIP Opus Codec Family for STL and Remote Contribution

Opus Codec, which offers analog microphone or line-level input and 5W 8ohm or line-level output in a PoE-powered configuration and now also includes RS-232 tunneling support.

Barix has introduced a new second model in its SIP Opus Codec family of Audio over IP transport solutions. The M400 SIP Opus Stereo Encoder/Decoder combines the simplicity and versatility of SIPbased link negotiation with the quality and efficiency of the Opus compression format, forging an IP audio delivery platform for studio-to-transmitter (STL), studio-to-studio (SSL) and remote contribution applications.

Blackbird plc (AIM: BIRD) delivers video editing in the cloud with AWS. Blackbird runs on Amazon Elastic Compute Cloud (Amazon EC2) and ingests content through AWS Elemental MediaLive, a broadcast-grade live video processing service.

The M400 SIP Opus Stereo Encoder/Decoder joins the previously announced, mono, bidirectional MA400 SIP

Blackbird is a professional video editor in a browser. Providing access to live and non-live content, Blackbird enables


Blackbird offers video editing in the cloud with Amazon Web Services

Black Box is expanding its Emerald® Unified KVM platform with the release of Emerald PE highperformance, IP-based KVM extenders tailored to the demands of applications including HD video and audio editing, live production, broadcast playout, 3D and graphic design, and medical imaging. Emerald PE transmitters and receivers enable extension and matrix switching of pixel-perfect HD DVI video (up to 1920x1200 at 60Hz), transparent USB 2.0, and bidirectional analog audio — over a dedicated or existing IP network, or even the internet — between any number of users and computers, servers, or virtual machines.

NAB 2020

Blackmagic Design unveils ATEM Mini Pro, Blackmagic Camera 6.9 y HyperDeck Studio Mini 7.1 Blackmagic Design has announced its latest developments in live production through a online event: ATEM Mini Pro, Blackmagic Camera 6.9 and HyperDeck Studio Mini 7.1 ATEM Mini Pro, is a lowcost live production switcher with all the features of ATEM Mini but now with extra features for recording, streaming and monitoring. ATEM Mini Pro includes a new hardware streaming engine to allow direct streaming via its Ethernet connection to YouTube

Live, Facebook and Twitch. There is also support for recording the stream direct to USB flash disks in H.264, plus support for recording to multiple disks for continuous recording. The new model also includes a multiview on the HDMI video output that allows all inputs to be monitored on a single monitor, as well as live status of recording, streaming and the audio mixer. The device is available immediately from Blackmagic Design resellers. To ensure maximum compatibility, ATEM Mini features a USB connection that operates as a simple webcam source. That means customers can plug in and instantly get working with any video

software. The software is tricked into thinking the ATEM Mini is a common webcam, but it’s really a live production switcher. That guarantees full compatibility with any video software and in full resolution 1080HD quality. ATEM Mini works with software and platforms such as Open Broadcaster, XSplit Broadcaster, YouTube Live, Facebook Live, Skype, Zoom, Twitch, Periscope, Livestream, Wirecast and more. The ATEM Software Control app unlocks the hidden power of ATEM Mini and allows access to every feature in the switcher. ATEM Software Control features a visual switcher user interface with parameter palettes for making quick

ATEM Mini Pro



ATEM Mini Pro

adjustments. Although customers can normally connect via USB, if customers connect using Ethernet it’s possible for multiple users to connect to ATEM Mini using separate copies of ATEM Software Control on different computers. Customers can even save the switcher state as an XML file. If customers need clip playback, customers can even control HyperDeck disk recorders via Ethernet.

we never expected it to be used for such large events! So now with this new ATEM Mini Pro model we are making this easier because customers can stream via the Ethernet, while at the same time record to files on a USB disk, all while monitoring all cameras, media and status on a single HDMI video monitor. It’s really exciting and we cannot wait to see what customers do with this new model!”

“This is an amazing new model as it has all the power of the original ATEM Mini and adds even more features with built in recording, streaming and multiview monitoring,” said Grant Petty, Blackmagic Design CEO. “What’s been surprising is the types of work customers have used the ATEM Mini model for and

Furthermore, Blackmagic Design has shared Blackmagic Camera 6.9, an update for Blackmagic Pocket Cinema 4K and 6K. Now customers can connect to an ATEM Mini switcher and get control of the camera parameters, lens and tally light. ATEM Mini can control up to 4 cameras via the HDMI video connection and


ensure all cameras are perfectly matched for a professional live studio workflow. In addition, the same Blackmagic Pocket Cinema Camera can work as a digital film camera and a studio camera thanks to features such as remote control, tally, and DaVinci color corrector. Last but not least, Blackmagic Design has uploaded HyperDeck Studio Mini v7.1. The new updates include a new H.264 codec that supports true interlaced HD formats, a new AAC audio codec allowing uploading files direct to YouTube, much faster Ethernet transfers of 110 MB/s and support for longer duration in a single file of at least 3 hours. Both updates are available for download from the Blackmagic Design Website.

NAB 2020

ChyronHego adds new features to Click Effects PRIME ChyronHego has upgraded Click Effects Prime graphics and display control solution. A new Scheduled Commands (G-Sync) capability within Click Effects PRIME 3.5 allows operators to trigger multiple GPU displays throughout the stadium network. In addition, newly combined SDI and GPU playout from a single Click Effects PRIME system allows greater workflow

adaptability for digital signage/fan engagement and broadcast production applications. Furthermore, ChyronHego has recently released PRIME Graphics 3.6 and announced PRIME AR, the augmented reality (AR) application of the PRIME Graphics Platform.

Cinegy releases TV Pack, a studio-in-abox software solution TV Pack, Cinegy latest release, is an application suite that consists of

Cinegy’s industry leading Cinegy Air PRO broadcast automation and playout software plus Cinegy Titler branding & CG, Cinegy Capture for video ingest, and Cinegy Multiviewer (named as a NAB Show Product of the Year in 2019), the Cinegy Live PRO IP video switcher, transcoding with Cinegy Convert, and Cinegy Player. At the same time, Cinegy keeps reinforcing its strong support for Secure Reliable Transport (SRT) and 8K HDR workflows.

ChyronHego Click Effects PRIME



Clear-Com hosts an educational session on wireless intercom technologies with the University of North Texas (UNT) Clear-Com® and the University of North Texas (UNT) recently co-hosted an educational session on the basic principles of wireless intercom technologies and applications, aimed at communications students and technical directors working in stage, live event, news and sports production. The joint presentation, titled “The Basics of Intercoms in (Mostly) Modern Times” was led by Martin Dzurenko, UNT’s Media Arts Department Chief Engineer, and Rom Rosenblum, Applications Engineer at Clear-Com. Both focused on delivering a real-world view of system set-up and use to the audience of UNT students and local production professionals. “Many students in the Media Arts Department will come across ClearCom products over the course of their careers, so 32

we knew this would be a helpful course. Inviting local industry professionals was a way of getting students excited for opportunities beyond the classroom,” said Martin. The introductory-level educational and demo session covered how to set

up and use a range of Clear-Com technologies including the FreeSpeak II® wireless intercom system, HelixNet® alldigital networked partyline intercom system and LQ® series interafces (AoIP). The university recently installed the Agent-IC® mobile app—

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Clear-Com at the University of North Texas (UNT)

an “easy and costefficient” way to maintain communications needs, remotely, from any iOS or Android device—which was also incorporated into the session. After the event, the students were able to network and “rub elbows” with industry professionals to share

information and ask questions. “The goal was for these students to have the most real work experience possible, so we wanted them to be able to interact with the technology, but we also wanted to introduce them to locals in the production business, so they could

learn about potential roles, as well as seek out job opportunities,” explained Rom. “We even covered free-lancing 101—a 1099 form versus a W2 tax form, professionalism, and rates—things they will be confronted with after graduation.” 33


CP Communications trusts in Mobile Viewpoint’s IQ Sports Producer Series CP Communications, exclusive distributor of Mobile Viewpoint solutions in the United States, is showcasing the benefits of Mobile Viewpoint’s IQ Sports Producer (IQSP), a new family of automated live sports production systems. Mobile Viewpoint developed IQ Sports Producer to easily capture, stream and re-publish sports events with ease, and also gives players and coaches a solution for

Cobalt Card-Based Router Series


recording practices and game footage. Content producers can use IQSP systems to support up to three 180-degree panoramic 4x4K cameras to capture on-field action. The output can be AIbased to follow the action, including automated zooming and game tracking technology.

Cobalt® Digital unveils new CardBased Router Series, Mini openGear® Frame and Reclocking DAs with 4K Support Cobalt’s new solutions are designed to help

Broadcasters transition to IP, 4K, HDR, the cloud, “and beyond”. Cobalt’s new 9942-RTR series of 12G/3G/HD/SDSDI/ASI/MADI routers provide a high-density card-based solution for openGear® with a design specifically optimized for 12G support. In addition, the company has recently introduced the BBG-1300-FR, a mini openGear® frame; and new 4K-ready distribution amplifiers such as the 9915DA-1x16-12G, 9915DA-2x16-XPT-12G, 9915DA-4x16-XPT-12G or the 9915DA-4x16-XPT-12G.

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winning Smart Blending and Hybrid Encoding technologies, the 5G-ready EnGo 260 weighs 30% less than its predecessor, features a screen that is 85% larger, and now includes a 3-hour internal rechargeable battery and global modems for simplified international travel.

Dalet StoreFront

Dalet presents StoreFront, a solution that allows users to create a content marketplace Dalet announces Dalet StoreFront, a new SaaSbased solution that enables Dalet customers to generate a content marketplace for their B2B clients, partners and affiliates. Dalet StoreFront manages multi-user access to Dalet MAM stored content with advanced search tools to locate assets. Content owners can identify and tag content rights for their community of licensees as well as establish rights to visitors and potential

licensees thanks to this new solution. Furthermore, recently Dalet has added new AI capabilities to Dalet Media Cortex, has introduced its state-of-thearts news graphics platform Dalet CubeNG and enhanced the possibilities of Ooyala Flex Media Platform.

Dejero is also set to unveil a new, smaller form-factor CuePoint server for use in field environments; the new GateWay 200 series for reliable general-purpose connectivity in the field, and more.

Dejero improves its field contribution, content distribution, and connectivity Solutions Dejero has announced the latest version of the renowned EnGo mobile transmitter. Featuring Dejero's EmmyÂŽ Award-

Dejero EnGo



Dielectric introduces DCR-Q VHF TV Antenna Dielectric’s DCR-Q Series reduces the space normally required on a tower to support a traditional, low-frequency panel or super turnstile channel 2 – 6 antenna. The DCR-Q design was adapted from the existing Dielectric DCR Series FM antenna family, with the goal of producing a more affordable and space efficient low-band VHF solution. The antenna array is comprised of eight ringstyle radiating elements. Each radiating element consists of large truncated helical elements, which provide a truly circular polarized signal. The DCRDielectric DCR-Q Antenna


Q is available in a two-bay configuration for lowpowered VHF TV stations, and four or eight-bay configurations for medium-powered stations.

Digital Nirvana announces the 7th generation release of its MonitorIQ broadcast monitoring and compliance logging platform Digital Nirvana presents MonitorIQ 7.0, the latest version of its broadcast monitoring and compliance logging platform. The solution includes an updated web interface, core feature improvements, and new capabilities. Digital Nirvana’s MonitorIQ allows operators to record, store, monitor, analyze, and repurpose content “quickly and efficiently with a minimum of clicks”. In addition, it makes metadata for each asset available on a single page, give users the option of comparing multiple channels at different points along the video delivery chain, includes AI

and machine learning capabilities, and features a hybrid cloud architecture.

Editshare boosts its scale-out shared storage and collaborative media management solutios, EFS and FLOW. Editshare has improved EFS and Flow with new features such as end-toend production in the cloud, deeper integration with creative tools like Adobe®Premiere® Pro to enable advanced, collaborative editorial workflows, and practical applications of AI to enrich archives. Flow 2020 manages the entire media technology stack, including the ability for users to index and organize thousand of video content, eliminating manual logging while standardizing content indexing for “richer” search capabilities. Moreover, EFS 2020 powers faster EditShare storage nodes and networks on-premise, in the cloud and in hybrid configurations.

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ENCO Interview with Mark Stewart, Marketing Manager at ENCO First things first, what’s new from your company? How are you addressing this situation? The ability to work remotely and leverage automated workflows is more important than ever at this moment. For our radio customers, our WebDAD and DAD-DR solutions can help operations to continue unabated. These solutions allow broadcasters to maintain employee health and safety by supporting work-from-home models. It also helps with keeping operating costs low in a very challenging economic environment. WebDAD is a browser-based remote automation control system, with a virtualized platform that allows users to remotely access and manage studio-based ENCO DAD automation systems. For these especially challenging times, ENCO is offering a free version of ENconveyor, an

Mark Stewart, Marketing Manager at ENCO

automated download tool that allows customers to continue adding fresh content into their DAD systems remotely, without requiring an immediate transition to a fully virtualized WebDAD environment. Meanwhile, the DAD Disaster Recovery (DADDR) system is a cloudbased companion to DAD that can immediately take

over program and ad playout in case of technical failure. DAD-DR works seamlessly with WebDAD to remotely update playlists, add new content, voice track shows, and perform library maintenance – even if the station is completely out of commission. For our TV customers, our automated enCaption systems are helping 37


broadcasters continue to provide reliable, accurate on-air closed captioning support with automated delivery, while remaining in compliance of all regulatory requirements. As the Internet is getting hammered by home-based workers and a torrent of video conferences, our totally on-premise solution also means there's no need to worry about Internet loss between your station and some cloud-based service or off-site captioner. It's totally in-house, which makes it faster and more secure, too. Of course, as internet connections return to their original fortitude, you can reconnect your enCaption to the cloud and access increased AI capabilities.

You have new solutions already developed and ready to hit the market. What are your bets for 2020 / 2021? The COVID-19 situation has in some ways accelerated a shift that has been gradually taking shape, which is more aggressive adoption of athome production models. As life gradually returns to 38

normal, we will likely find that it’s still not business as usual. Many businesses, including broadcasters, will take a new approach to operations. Therefore, we believe that systems like WebDAD and DAD-DR that support remote automation and control models will become more viable, and broadcasters will be better prepared to adopt such workflows.

What other “classic” products would you like to highlight? enCaption continues to be our gamechanger for broadcasters, cable networks and OTT services that crave more efficient and affordable closed captioning workflows. Our patented solution continues to deliver industry-leading speed, accuracy and cost-savings for closed captioning and subtitling. The on-premise or cloud-based solution can address breaking news without the challenge of finding a live captioner, and do so at a much lower cost. enCaption has proven to be not only a technically reliable solution for automated closed

ENCO MOM Automation FISM-3

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captioning, but also a smart business decision for the user from a long-term costsavings perspective. enCaption’s AI-based deep neural network can embed CEA-608/708 captions natively into your transmission signal (or drive third-arty encoders), and also generates real-time transcripts. This makes that content accessible on the station's website or smartphone app for those with hearing difficulties, or for viewers to simply follow along quietly to coverage. Another classic product that is gaining momentum in TV control rooms is ClipFire Video Automation, a comprehensive, reliable and cost-effective platform for organizing, managing and automating critical broadcast production and integrated channel playout tasks. Combining functionality including ingest, media asset management, graphics, live production and playout automation within a unified, easy-to-use platform, ClipFire also integrates seamlessly with a growing range of third-party systems to form frictionless, end-toend media workflows. 39


2020 still can be a great year for industry and we are sure you are getting ready for 2021. What will be your next developments? We have some exciting innovations that will bring the same remote automation and control benefits to other ENCO products and solutions. We are moving ahead with some device convergence strategies that will apply to both daily operations and emergency applications, and provide more flexibility for our TV and radio customers. We have also been on the cutting edge of virtualization of several years, and we anticipate some more aggressive moves into that area. We can’t quite tip our hand yet on anything specific, but our customers should be prepared for some exciting news leading into IBC.

Do you want to send any other message to our readers? While enCaption has grown into a global and familiar brand for TV systems, our radio customers should know 40

that enCaption delivers the important benefits around cost-savings, speed and accuracy, compliance, and accessibility for radio audiences. enCaption provides a reliable platform that will allow hard-of-hearing audiences to consume radio programming online or via over-the-top (OTT) services, with corresponding text displayed in the listener’s browser or app.

FISM TV implements ENCO automation and instant playout solutions OTT and online television network FISM TV has turned to the Media Operations Manager (MOM) television automation and integrated channel playout platform and ClipFire instant video playout system from ENCO. Available on a wide range of platforms – including Roku, Amazon Fire TV, YouTube, Android and iOS apps, and online at, FISM TV features preaching and teaching, news, financial, business and documentary content.

FISM selected a playout and scheduling system from a different vendor when it began building out its television operations in 2016, but soon found themselves needing a “more sophisticated and better-automated solution”, according to Krunti “Kae” Hester, Senior Producer and Engineer at FISM TV: “We were happy with it for our initial needs such as basic scheduling, but we had to do many things manually, and we outgrew its limited capabilities. We then tried a cloud-based channel playout service, but it proved to be a poor fit for our needs. It couldn’t provide the speed we needed for uploading shows or changing spots out, and it required multiple steps for things we needed to do quickly.” Having successfully used ENCO’s DAD automation system for their radio programming, FISM researched its television counterpart: “We purchased MOM in May 2019 and it has proven to be superb for our workflow, enabling us to do exactly what we need very quickly while

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Enco DAD

delivering the same rocksolid reliability we knew from DAD.” The ENCO system now handles all automation of FISM TV, including scheduling of live segments and breaks, as well as playout of prerecorded content, commercials, and bumpers. Live programming from the FISM TV studio is fed to MOM from a NewTek TriCaster production

switcher. For file-based content, the ENCO platform is connected to a network-attached storage (NAS) system. Users in different locations can remotely access the system to upload or replace files, and the ENCO DropBox utility automatically adds them to the media library. In addition, FISM TV recently added ENCO’s ClipFire to improve instant clip playout during their

live productions, feeding multiple outputs into their TriCaster switcher. “The live presentation software we had been using for clip playout really wasn’t designed for what we needed to do,” explained Hester. “Playout wasn’t consistently reliable, and we were encountering delays or visible issues. ClipFire has been far more stable, and since it shares the same core interface with MOM, there was no learning curve.” 41


EVS releases XT-GO, a new live production server for HD/FHD and UHD-4K workflows EVS has announced XTGO, a solution that allows the reliability and capabilities of EVS servers to be more accessible for smaller productions operating on tighter budgets. It delivers the essential functionalities of a XT live production server including live feed recording, slow and super motion replays, as well as clipping and playlist control. It also offers flexible configurations, integrates all new formats and protocols from HD/ FHD to UHD-4K, SDR to HDR, and SDI to IP.

Facilis debuts version 8 of the Facilis Shared Storage System Facilis has released one of the most compelling releases to date of its Shared Storage Systems. Version 8 includes unique software-defined Bandwidth Priority, SSD Tiering and Multi-disk Parity. 42


In addition, the company will release the version 3.5 of FastTracker MAM, which continues to advance with file movement profiles, duplicate file reporting, and a secure browse interface; and Facilis Object Cloud will introduce a new Multi-site Sync feature that can bring together groups of editors on the same file system across multiple locations.

FOR-A releases its compact character generator CGPortable FOR-A’s CG-Portable, a compact character generator designed for broadcast and digital signage applications, is

now shipping. Through its browser-based GUI, CGPortable produces and displays lower-thirds and other graphics. CG-Portable features four SDI ports for easy integration with production switchers and HD displays, as well as an Ethernet port for network connectivity. Two independent, multi-lingual text overlays support horizontal crawls and vertical rolls, while a timer overlay provides up/down count. CG-Portable supports more than 70 frames of graphic playback buffer, so users can insert animated as well as static logos over programming. Plus, its CG software have been developed by Brainstorm.

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GATESAIR Interview with Ray Miklius, Vice President and General Manager, Television Products, GatesAir First things first, what’s new from your company? How you are addressing this situation? GatesAir continues to emphasize efficiency and total cost of ownership with our transmission solutions. We have a large installed base of Maxiva UHF liquid-cooled and air-cooled transmitters that bring these core benefits to our customers worldwide. Our product innovations announced for the 2020 NAB Show emphasize how GatesAir has brought these same benefits to our growing range of VHF TV transmitters, including the VLX-OP Series, which is our first liquid-cooled VHF transmitter for the Maxiva family. These transmitters can also be modulated for DAB Radio. The innovation for over-the-air broadcasters continues. As it relates to COVID-19, GatesAir’s supply chain has secured sufficient inbound materials to support production. We have begun to see renewed supply chain healing from Asia. Barring new staffing restrictions on site, we do not foresee any substantial production slippages.

Ray Miklius, Vice President and General Manager, Television Products, GatesAir

strengthened its global sales team to address growing opportunities around digital broadcast transitions worldwide. With a long history of supporting some of the world’s largest national digital TV and radio networks, we anticipate that GatesAir will see increased activity in Africa, Asia, Latin America and North America related to DVB-T2, ISDB-Tb and ATSC 3.0 digital TV transitions. We also expect to see more business opportunities around the launch of DAB Radio networks, especially in Europe and Asia.

You have new solutions already developed and ready to hit the market. What are your bets for 2020 / 2021?

What other “classic” products would you like to highlight?

As the US spectrum repack initiative comes to a conclusion, GatesAir has

GatesAir remains focused on three key product families: The Maxiva transmitter 43


family for UHF/VHF TV and DAB Radio; the Flexiva transmitter family for FM and digital radio; and the Intraplex family of intelligent networking solutions. GatesAir continues to add new innovations to these key families that expand our value proposition to serve a broader customer base and a wider variety of applications.

2020 still can be a great year for industry and we are sure you are getting ready for 2021. What will be your next developments? We’re bullish on what’s ahead for all of our product lines. The GatesAir Europe team has helped us innovate lowpower transmitter and gap filler designs to better serve large, national networks in countries that cover a wide variety of power levels. They have especially strengthened our product range for VHF television and DAB Radio, and added more options for low-power UHF. These include high-density, lowpower packages designed to change the economics for network operators 44

managing a large number of low-power transmitters, transposers and gap fillers. Two new systems include the Maxiva IMTX-70 multitransmitter system, which houses up to six 70 W units into a compact desktop case; and the Maxiva PMTX1 pole-mounted system that integrates a 50 W system into rugged, telecom-grade weatherproof enclosure. We are preparing several new innovations for our Intraplex IP Link range of codecs, including a new solution that will strengthen direct interoperability with our Flexiva transmitters. We also anticipate a new application for our Intraplex Ascent cloudbased transport solution that will excite our NextGen TV (ATSC 3.0) customers.

Do you want to send any other message to our readers? GatesAir has the right-sized solution to

GATESAIR Maxiva OP Series-vlx.

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serve broadcasters focused on over-the-air content delivery, and the right solution to improve operational efficiency, reduce costs, and streamline maintenance. Our customers should also know that GatesAir remains operational worldwide. The majority of our employees are working from home, and we are all working together in a creative and collaborative manner. At GatesAir Europe headquarters in Italy, we have had employees take

transmitters home to perform final tests before shipping to customers. There are small, dedicated, governmentapproved teams managing spare parts and service. Our employees around the world are following prevailing hygiene and safety practices at each campus as dictated by the CDC or local governing bodies, and we remain committed to both serving our customers while prioritizing employee health and safety.

GatesAir adds new products to its Maxiva transmission family GatesAir has broadened its range of Maxiva transmitters and “nextgeneration” software for digital broadcasters. The company extends the “operational benefits” of its liquid-cooled UHF transmitters to VHF and DAB Radio with the global debut of its Maxiva VLXOP Series. The transmitter line covers low-band VHF (Channels 2-6), high-band VHF (Channels 7-13), and DAB/DAB+ radio. The VLXOP Series offers the same software-defined modulations as Maxiva VAXTE air-cooled transmitters to support global analog and digital standards. Like GatesAir’s Maxiva ULXTE liquid-cooled UHF transmitters, the VLX-OP Series integrates redundant, liquid-cooling pumps that move transmitter-generated heat to building exteriors. The system minimizes cooling requirements inside RF shelters, and especially “reduces utility bills at medium-to-high 45


power levels”, according to the press release. The GatesAir Maxiva VLX-OP Series transmits at the same power level for ATSC 1.0 and ATSC 3.0 broadcasts (from 1.8kW to 43kW), which “simplifies and lowers the cost of transitioning to NextGen TV”. GatesAir also introduces software features for NextGen TV content protection such as STL Security, a layer that encrypts the ATSC 3.0 content path. These features, along with a secure HTML5 web interface, will be available in all Maxiva UHF and VHF transmitters. “GatesAir has been focused on development roadmaps for ATSC 3.0 for years, and has tested and validated the basic feature sets of the standard,” said Ray Miklius, Vice President and General Manager, TV Products, GatesAir. “We have now turned our attention to software development for advanced ATSC 3.0 features, including access control and improved user account management. 46

These innovations ensure that our customers are fully prepared for NextGen TV operations.” GatesAir’s US-based engineers developed the Maxiva VLX-OP in cooperation with GatesAir Europe, a recently acquired division that has brought other innovations to the company, including:

DAB transmitters together into a 1RU chassis. All three systems leverage GatesAir Europe’s design and engineering solutions, including cablefree, plug-in architectures. Additionally, a single-band PA module covers all Band III frequencies in VHF and DAB Radio.

 Maxiva PMTX-1 PoleMount Transmitter Series: An outdoor polemounted 50W post-filter transmitter unit that can be configured as a transmitter, translator or on-channel gap filler.  Maxiva IMTX-70 MultiTransmitter Desktop: Designed in a unique compact case that can house up to six 70 W TV transmitters and/or translators/transposers, the packaging of this unique transmitter “minimizes real estate costs associated with multi-transmitter operational support”.  Maxiva MultiD MultiCarrier DAB Transmitter: The MultiD multi-carrier platform brings three

GatesAir IMTX Intra-Mast Transmitter

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Grass Valley unveils “GV LIVE presents”, a series of global events Grass Valley is set to engage with customers and prospects virtually in a series of events branded GV LIVE Presents. Multiple events have already been scheduled to provide useful information to Grass Valley customers and prospects as they deal with our unprecedented global crisis and “to enable a unique type of engagement” with Grass Valley solutions in the absence of the annual spring gathering in Las Vegas.

The series begins with a live webinar on April 3 at 11am EDT entitled “GV LIVE Presents – Enabling Business as Usual When Business Isn’t Usual”. This free webinar will focus on how customers can make the most of Grass Valley solutions to support remote workflows and improve viewer experience with a distributed, even homebound, workforce. On April 23, Grass Valley unveils what has defined as “the most ambitious customer engagement event in its history” with “GV LIVE Presents – Innovate 2020”. During

this live one-hour program, the company will announce its latest product innovations and strategic updates via a live newscast that will be streamed to customers and partners around the world at 11am and 9pm EDT. Anchored by a live studio host and featuring Grass Valley’s president Tim Shoulders, along with a number of the company’s industry experts, the hour-long show will be produced and delivered live using Grass Valley’s new technology that will be introduced during the program. 47


Innovate 2020 will be hosted in a studio located in Grass Valley’s Montreal HQ and will use the company’s live production solutions and technology to bring in feeds from sites around the world including Hillsboro, OR and Grass Valley, CA in the US; Newbury, UK; and Breda, The Netherlands. Attendees will get the opportunity to hear about the latest innovations and application use cases. “The enormous efficiencies and flexibility of solutions that harness IP will be featured with a special focus on their application in live production scenarios. Additionally, consistent with the company’s commitment earlier this year, a spotlight will shine on cloud-based applications and cloud computing as Grass Valley leads the industry’s charge towards a software-

defined future” the company said in a press release. Tim Shoulders, Grass Valley’s president, commented: “In these challenging times, we are deeply committed to keeping close to our customers and partners and helping them to navigate through uncharted waters. With a customer first ethos at the heart of everything we do, our GV LIVE Presents program will allow us to share the truly gamechanging launches we have planned this spring in a fresh and exciting way and deliver important, useful information that can be applied in the near-term. We will be announcing solutions that directly address the key concerns our customers have raised with us – providing the smarter, more flexible ways of working that they’ve asked for, while underpinning our new solutions with the

Hitachi CU-HD550


reliability and high performance that are the hallmarks of the Grass Valley brand.” Sign up for either of these two upcoming events by visiting the GV LIVE Presents landing page at

Hitachi unveils advances in CUHD550 camera control unit Hitachi Kokusai Electric America, Ltd. (Hitachi Kokusai) debuts powerful new features in its recently-introduced CUHD550 camera control unit (CCU). New capabilities include simultaneous High Dynamic Range (HDR) and Standard Dynamic Range (SDR) output with independent adjustments, and 4K/UHD output over single-link 12Gbps SDI connectivity.

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JVC - HEVC Encode

The CU-HD550 and its companion CAHF550 camera adapter collectively “lower the cost of entry� for 1080p60 video production, according to the company.

InSync Technology introduces Frame Rate Conversion of Live UHD/4K Content InSync is set to premiere soon motion compensated frame rate conversion of live UHD/4K streams via its FrameFormer Link software engine. The core software can be integrated into any live production platform or workflow through an open API. Furthermore, InSync is ready to unveil InSync FrameFormer Live, a software application that offers live motion compensated frame rate conversion of any format up to UHD/4K. Last but not least, FLICS | SOLO FF provides a content preparation solution that handles all file-based transcoding,

video conversion, and delivery needs for any format up to UHD/4K.

JVC announces SRT support for CONNECTED CAM series of broadcast cameras JVC Professional Video, a division of JVCKENWOOD USA Corporation, has added support for the SRT (Secure Reliable Transport) open streaming IP protocol to its CONNECTED CAM series of broadcast cameras. It has been incorporated into the GY-HC900, GYHC500 and GY-HC550 professional cameras. In addition to the SRT protocol, JVC CONNECTED CAM cameras also support Zixi, which addresses the challenges (latency, jitter and packet loss) of transporting content via LTE, Wi-Fi and LAN networks. 49


Lawo announces “MAX”, a new software license package for Power Core AoIP mixing engine and I/O node Lawo has presented a new software license package for its Power Core AoIP mixing engine and I/O node: Power Core MAX. “MAX”, short for Multiple Access, makes it possible for a single Power Core device to be the mixing engine for multiple on-air mixing consoles. Power Core offers dual redundant front-panel AES67 ports can accommodate up to 128 streams with a total of 256 audio channels. Four front-panel MADI ports can handle 64 MADI 50

channels each, for a total of 256 channels, or 128 MADI channels in dualredundant mode. Meanwhile, 8 rear-panel expansion slots allow mixing-and-matching analog line, AES3, Mic, MADI with sample-rate conversion, and Dante interface cards to allow tailoring a custom I/O load to “nearly any operational requirement”. A unique Studio I/O card supplies mic inputs plus headphone and monitor outputs in a single space. Power Core also has processing capabilities. 96 DSP channels allow sweetening and processing of large groups

of audio signals; in addition, it has 2,000 routing cross-points. ST2022-7 Seamless Protection Switching provides dual-redundant AoIP network connections to ensure against network link interruption. Four upgradeable license packages are available:  The new Power Core MAX package, with support for up to 254 physical and virtual faders, 96 channels of DSP (EQ, dynamics, compression and limiting), 32 channels of bus DSP processing,

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Lawo PowerCore SFP VRO

VisTool Standard touchscreen GUI control, 1920 x 1920 routing matrix, a 78-station Intercom matrix, and support for up to 4 independent connected mixing surfaces. It works with outfitting multiple studios with small or medium-sized consoles.  Power Core XL, with all the features of MAX enabled for a single console. This package is meant for network operations, master

control rooms, or large, busy main studios with multiple input sources.  Power Core L, matched to the requirements of single medium- and small-console studios, can accommodate up to 64 AES67 streams and 128 MADI streams, 128 physical and virtual faders (including utility software mini-mixer), 48 channels of DSP audio shaping, 16 channels of bus processing, and a 1728 x 1728 routing

matrix.  Power Core SAN for configuring Power Core as a high-capacity networked audio I/O gateway with limited DSP processing capabilities. In addition to being 100% AES67 compliant, Power Core also features ST2022-7 network redundancy via dual active front-panel SFP ports. Furthermore, Power Core has ST2110-30 compliance. 51


LIVEU Interview with Ronen Artman, VP Marketing, LiveU First things first, what’s new from your company? How you are addressing this situation? First and foremost, the health and safety of LiveU employees, customers and partners is our top priority and we are rigorously implementing safety instructions published by government authorities and healthcare organisations. At the same time, we are committed to ensuring business continuity and supporting the industry during this worldwide crisis. Operating in over 130 countries with local partners, we are supporting our customers everywhere, especially broadcasters who are playing such a critical role in keeping the public upto-date with news updates. We’re also seeing growing demand from different sectors, such as government agencies, 52

community organisations, music, and houses of worship for virtual events and remote productions to keep their communication going with their audiences.

You have new solutions already developed and ready to hit the market.

What are your bets for 2020 / 2021? We’re meeting these fast-changing needs with our portfolio of solutions – from LiveU’s LU-Smart mobile app and LiveU Solo wireless encoder to our flagship LU600 HEVC unit, together with flexible purchase/short-term lease

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options. We’re also continuing with our product releases and will announce them to the market at an appropriate time. It’s hard to predict anything with the current uncertainty but we certainly hope to see live sports taking off

again in the second half of the year. LiveU’s latest IP technology is poised to change the rules of the game for broadcasters, sports producers, and content creators.

What other “classic” products would you like to highlight?

Our “classic” portable transmission units, based on our patented cellular bonding technology, offer high-quality and reliable video performance for any live news and virtual event.

2020 still can be a great year for industry and we

Sunday mass live streamed on YouTube using LiveU technology, produced by motherstream



are sure you are getting ready for 2021. What will be your next developments? We have a breakthrough product announcement planned; this gamechanging technology will impact how live video is acquired and produced remotely. We will communicate about it when the time is right. Our main priority now is supporting our customers with our existing products.

Do you want to send any other message to our readers? Stay healthy everyone. We are here working around the clock, fully dedicated to providing solutions to help you stay connected with your audiences. Get in touch now and stay connected:

LiveU increases its collaboration on two addition PanEuropean EU 5G initiatives LiveU keeps collaborating with leading European partners on 5G Infrastructure Public 54

LIVEU 5G EU projects

Private Partnership (PPP) projects, testing and validating content contribution and media production use cases over advanced 5G Release 16 testbeds. The projects’ goals are to provide the broadcast community and other verticals with insights into 5G performance in real-world scenarios. The projects are funded by Horizon 2020, the biggest EU Research and Innovation program. LiveU is a technology and use case partner in 5G Tours and in 5G Solutions, where it also serves as the leader of the Leaving Lab project media working group. Both projects test and analyze 5G performance KPIs, including media use cases

related to LiveU 5G bonding technology. Participants include some of the largest cellular operators and cellular equipment manufacturers, broadcasters, non-media verticals partners, as well as AI and other technology partners and researchers and academics. The core 5G technologies being validated include network slicing, New Radio (NR), low latency, edge/cloud computing, SDN/VNF, service orchestration and more, bringing the 5G vision closer to realization. As part of these tests, LiveU’s field units are being used in live events, for example, the Turin festival where orchestral music in auditorium will

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used in our products and bring immediate advantages to our customers. There’s no doubt that cellular bonding will continue to play an important role in live broadcasts as the wider deployment of 5G networks results in greater commercial use.”

be synchronized live with street players (5G-Tours) and the Patras festival where multiple cameras will be transmitted from a crowded street (5GSolutions). Baruch Altman, AVP Technologies and Projects, LiveU, said, “We’re delighted to be collaborating with some of the leading players in the European cellular and media ecosystem in these important 5G projects, contributing our industryleading technology and real-world cellular and broadcast experience. Emerging 5G networks offer exciting opportunities for smart cellular bonding. The lessons learned from these 5G validation trials will be

The 5G-Solutions ICT-19 RIA project “5G Solutions for European Citizens” aims to prove and validate that 5G provides prominent industry verticals with ubiquitous access to a wide range of forward-looking services with orders of magnitude of improvement over 4G, thus bringing the 5G vision closer to realization. The project provides validation of more than 140 KPIs for 20 innovative and heterogeneous use cases that require 5G performance capabilities and that are expected to have a high future commercialization potential. (EU’s Horizon 2020 research and innovation program grant no. 856691). The 5G-Tours ICT-19 RIA project “SmarT mObility, media and e-health for

toURists and citizenS” involves advanced 5G validation trials across multiple vertical industries, deploying full end-to-end trials to bring 5G to real users for thirteen representative use cases. The project will provide efficient and reliable close-tocommercial services for tourists, citizens and patients in three different types of cities: Rennes, Turin and Athens. (EU’s Horizon 2020 research and innovation program grant no. 856950). LiveU was previously involved in the 5G-XCast project, completed last year. The two-year collaborative project focused on devising, assessing and demonstrating a conceptually novel and forward-looking 5G network architecture for large scale immersive media delivery. LiveU’s wireless high-speed mobile broadband technology, Databridge, was used to enable the convergence of fixed and cellular networks. (EU Horizon 2020 research and innovation program grant no 761498). 55


LYNX launches two 8K innovations: the yellobrik OTR 1A41 fiber transmission system and the Series 5000 DVD 5480 HO converter LYNX Technik presents two 8K compatible products: the yellobrik OTR 1A41 8K fiber transmission system and the DVD 5480 HO, an 8K SDI to fiber and fiber to 8K SDI converter for its Series 5000 product line. The LYNX Technik yellobrik (model: OTR 1A41) 8K fiber transmission system can transport real-time, uncompressed 8K content (up to 48G) over long distances with “zero signal degradation or loss”, according to the press release. The standalone, self-contained kit includes all the parts needed to send 8K uncompressed video over a single fiber link. It consists of four independent 12G/6G/3G/HD/SD-SDI channels with each channel individually reclocked and supporting resolutions up to 2160p/60Hz. The kits include the 8K optical 56

LYNX Technik presents two 8K compatible products: the yellobrik OTR 1A41 8K fiber transmission system and the DVD 5480 HO, an 8K SDI to fiber and fiber to 8K SDI converter for its Series 5000 product line.

transmitter, 8K optical receiver and power supply. The new OTR 1A41 8K fiber transmission solution can also be combined with existing yellobrik bidirectional transceivers to add Ethernet signals or RS232/RS422/RS485 signals to the 8K fiber link. This new yellobrik supports uncompressed video at full 7680×4320 50/59.94/60 Hz resolutions with zero delay and complements LYNX Technik’s existing 4K transmission solutions, the

OTR 1442 and OTR 1441. Full audio support makes this 8K transmission set a fully-featured solution. The modules transparently transport all embedded audio, metadata and ancillary data which is present in each of the four independent SDI streams. This system can be used as standalone or mounted onto 19” yellobrik rack trays to build a larger 8K transmission system. Furthermore, LYNX has launched the DVD 5480 HO, a new 8K SDI converter solution. The

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integrate 4K/UHD signals in 12G-SDI into the infrastructure. In this mode, the DVD 5480 HO module enables users to convert UHD signals between quad-link 3G and single-link 12G SDI.

DVD 5480 HO module supports video formats all the way up to 8K SDI and are designed with both a fiber and electrical interface. These cards are suitable for a variety of applications and can operate in four different modes. As an 8K SDI <> fiber converter, the module transports and converts up to 8K-SDI (12G, 6G, 3G, HD, SD) over optical fiber cable and vice-versa. Operating as a 12G-SDI reclocking distribution amplifier, the module

carries 4K video on a single cable and is suitable for any SDI video signal up to 12G for 4K applications. This new Series 5000 card also enables singlelink 12G SDI signals to be converted to quad-link 3GSDI and vice versa (i.e. quad-link 3G-SDI signals to be converted to singlelink 12G-SDI). 6G to/from quad-link 1.5G conversions are also supported. With many facilities still running in a 3G environment, there are many requirements to

The Series 5000 is LYNX Technik’s rack and cardbased modular interface solution that can be configured with any mix of modules from an extensive portfolio. Solutions include: converters, distribution amplifiers, embedders/deembedders, frame synchronizers, audio delay, audio distribution, test signal generators, multiplexers/demultiplexe rs, splitters, switches and a full range of fiber options (including CWDM) & accessories. All connected Series 5000 hardware are controlled through the centralized APPolo, a software solution for remote control, status monitoring and error reporting. APPolo offers a unique user experience through its flexGUI, an graphic user interface that offers a “simple” way to visualize and control Series 5000 modules. 57


Magewell will launch a flexible 4K Decoder for NDI ® and SRT Magewell will release what has defined as “the most powerful decoder hardware to date”. The Pro Convert for NDI® to HDMI 4K transforms IP streams up to 4Kp60 for baseband output over HDMI while support the Secure Reliable Transport (SRT) protocol, developed and open-sourced by Haivision.

The company is also simultaneously launching a second new model, the Pro Convert H.26x to HDMI 4K, which offers the same features as the Pro Convert for NDI® to HDMI 4K for users who don't require NDI support.

Mo-Sys unveils TimeCam, a remote camera solution that “eliminates latency” Mo-Sys Engineering, developer of real time camera tracking and

camera remote systems, presents TimeCam, a solution to remotely operate cameras “without perceived delay”. According to Mo-Sys, TimeCam represents a triple benefit to production companies: “First, there is the saving in cost and environmental impact in sending camera operators to site. Second, it means that the most indemand operators can be much more productive. Third, it means that you can add cameras to your coverage without adding headcount”.

Newtek creates Newtek.TV

Magewell Pro Convert for NDI to HDMI 4K


Newtek’s new platform Newtek TV will benefit from the NewTek tools to “show the flexibility of IPbased, software-defined visual storytelling on a global basis”. The TV will include content such as “Making IP Video a Reality for You Demo”, “NDI Demos”, “Interviews with thought leaders in our industry”, “Live product demonstrations”, “Customer panels on

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NewTek.TV launches on Friday, April 17.

support”, “Guest speakers”, “NewTek university free sessions” and more.

Object Matrix announces MatrixStore 4.1

addition of an internal database to enable faster searching of large data sates. It is also now possible to complete a single metadata form to

be applied across multiple vaults. In addition, the latest version features enhanced security access controls and an enhanced audit capability.

Object Matrix announces the latest version of its media focused hybrid cloud object storage solution: MatrixStore 4.1. This object storage platform enables creative teams to self-serve content both on-prem and remotely. It features a number of updates such as the

This object storage platform enables creative teams to self-serve content both on-prem and remotely.



long time. I’m sure you’ve faced many other difficult situations. Are there reasons to stay optimistic about broadcasting / AV technology?

Andre Meterian, Director Professional Video Systems Business Unit for EMEA, Panasonic System Communications Company Europe (PSCEU)

PANASONIC Interview with Andre Meterian, Director Professional Video Systems Business Unit for EMEA, Panasonic System Communications Company Europe (PSCEU) You’ve been a reference manager at PSCEU for a 60

Although we are all experiencing challenging times at the moment, I believe our industry can play an important role as people adapt to the current environment. For example, in the expansion of live streaming for eLearning or for remote working corporate solutions. Panasonic is keeping in close communication with its partners and customers to ensure we can assist these new ways of living and working wherever possible. I am optimistic about our industry. We are seeing major technological innovations in broadcasting and AV that will continue to allow us to improve the experience we deliver to audiences and transform the operation and economics of the industry.

For the last decades (and more!) Panasonic has been a benchmark

in developing state-ofthe-art solutions. What is Panasonic 2020 vision regarding UHD or even 8K technology? Are you ready for the future? At Panasonic, the future is already here! On the UHD front, we developed a full line-up suitable for a variety of applications and filming scenarios. Our flagship system camera AK-UC4000 is being used to capture major live events across the world. The AW-UE150 is the first PTZ to provide Position Data Notification (PTZF) and thanks to adoption of the FreeD protocol is compatible with VR/AR applications. The brand new 4K Live Switcher AVUHS500 is a portable solution, ideal for music, sports and live events. We introduced our 8K ROI (Region of Interest) multi camera system in 2019, which is set to revolutionise the industry. The 8K ROI system is able to produce 4 different HD signals or “virtual cameras” from a single 8K camera system. The 8K sensor produces a wide angle, large canvas, out of which four separate “crops” can be generated

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from the processing unit. The system improves operational efficiency, reducing operating costs on a multitude of potential production applications such as sports broadcasting, staging and studio applications.

Panasonic is still developing groundbreaking solutions. You’ve anticipated new developments such as the AG-CX10 camera, the Panapod elevation unit for PTZS, your next-gen IT/IP-centric video platform, and beyond. What are the key innovations you have prepared for 2020? We are working on a range of innovative new solutions for 2020 that will be announced over the coming months - just watch this space!

IP based platforms will play a decisive role in the near future. How is Panasonic addressing this eruptive trend? Panasonic is at the heart of this IP innovation. We have developed an IP Platform that is set to revolutionise the industry and provide the first glass-

to-glass solution. This new modular and open architecture platform will be a game-changer for many customers involved in high-quality video production and delivery, either live or in the studio. It will allow customers to optimise and future-proof their investment whilst maintaining the ultimate in flexibility. Our Live IP Switching application is just the start for this new platform. Its video processing architecture allows users to build and run any kind of application. In the near future, this new platform will be at the heart of video production, being used as a video processor, scaler, mixer or server. There is simply no limit to what can be achieved with this one platform for many applications. The platform is fully resolution and formatindependent and based on the latest technology in software and CPU/GPU processing, allowing users to allocate processing power with 100% efficiency and achieve performance levels currently impossible with

traditional hardwarebased products. It offers uncompressed processing, true uncompressed 4K inputs and full support of baseband and IP signals (such as ST2110 and NDI) at the same time. Fully embracing the latest IP technologies, the platform is also ready for Remote Production and can be integrated in a full IPbased environment. Thanks to a very intuitive, extremely well designed GUI and fully customisable interface, the platform sets a new standard of usability for customers, allowing them to manage an unlimited number of video layers. And along with the support of virtually any kind of signal in a single server, the platform offers super low 1-frame latency processing, making it an extremely powerful tool in all contexts and applications. It is the perfect solution for a smooth transition to the IP world and offers a new level of flexibility and control.

Panasonic has been a referential brand in sports broadcast 61


technology. As a matter of fact, it has developed and upgraded many technologies for the Tokyo 2020 Olympics. What are your solutions for this area? As a TOP Sponsor for the Olympic Games and Official Worldwide Paralympic Partner, Panasonic will continue its rich history in providing professional broadcast and AV technology at the Olympic and Paralympic Games Tokyo 2020. We will continue to support the Olympics and its rescheduled dateline for next year with our latest technological innovations. Panasonic is supporting the Olympic stadium in Tokyo with an extensive range of products and technologies, aiming to combine its technologies to serve as the host station and to contribute to advanced image production by the broadcasting stations of each country. Panasonic projectors, with real-time tracking and projection mapping technology, were used in the spectacular “1 Year to 62


Go!” ceremony that took place at the Tokyo International Forum in July 2019. Similar technology may be used in the opening and closing ceremonies of the Olympics but details are never revealed, so as not to ruin the thrill and surprise of the events. In a situation such as the one we’re experiencing, broadcasters will have a fundamental role. And each event is not being cancelled, but only postponed! Which TV events will feature Panasonic solutions soon? What have been some recent productions in which you have taken a relevant role?

We are proud to say that Panasonic camera technology has been adopted by major TV channels and broadcasters in Europe, including MediaPro, France Television; TV Pink, RTS Serbia, VGTRK, OTR and more. Panasonic broadcast camera technology is used at some of the largest sporting events around the world, from the main tennis court of Roland Garros during the French Open, the Finnish Elite Ice Hockey League (the Liiga), to the sky-camera at the UEFA Champions League Men’s Final. Another rapidly growing sector is Esport. Best

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Recorder, the “industry's smallest and lightest” 4K 60p camcorder. Packed into a compact body and offering the on-site mobility and portability demanded by professionals, the new camcorder enables highquality 4K 60p recording.

Broadcast Hire (BBH) has been using Panasonic’s technology to cover some of the major Esport tournaments around the world to deliver highquality content; including the BLAST Pro Series for its CS:GO tournament, the StarLadder Major tournament in Berlin, and the FIFA eSuperliga powered by Dreamhack in Copenhagen.

Would you like to send any other message to our readers? These are challenging times and we will do everything we can to support our customers, partners and staff through this difficult period. As an

industry, it is worth remembering that our technology has an important role to play in society at this time in the form of information, communication and entertainment. Overall, our industry is in the midst of exciting innovation and this bodes well for the longer term.

Panasonic presents the new CX Series line-up, the industry's “smallest and lightest” 4K 60p camcorder Panasonic has already released the new professional camcorder in the CX Series, the AG-CX10 Memory Card Camera

The AG-CX10 features high-spec optical performance with a wideangle 25mm lens and 24x optical zoom, Panasonic's exclusive high-precision AF provides high-speed, accurate focusing for both 4K and Full-HD shooting. The AG-CX10 has two manual rings, an ND filter, a built-in LED video light, and 24-bit linear PCM audio recording. For video recording, the AG-CX10 supports 4:2:2 10-bit internal recording, the high-efficiency HEVC codec, and the P2 MXF file format. The best of various recording formats can also be selected. And a 3G-SDI output for connection to an external recorder, Wi-Fi /Ethernet HD direct streaming and an NDI|HX compatible IP connection function are equipped, which meet the needs of various shooting situations. 63


Phabrix QxL 25G IP rasterizer

Phabrix releases QxL, the “world’s most compact, feature-rich” 25G IP ST 2110 rasterizer Phabrix launches what has defined as the “world’s most flexible” UHD-25G rasterizer, which has been created to address the needs of professionals broadcast media IP networks “in a compact form factor”. The QxL inherits all the JT-NM Tested features of the Qx. Out of the box, this 10G/25G IP enabled rasterizer supports JT-NM 64

TR 1001-1:2018, 2110-20 (video), 2110-30 (PCM audio), 2110-31 (AES transport), and 2110-40 ANC media flows all with 2022-7 Seamless IP Protection Switching (SIPS), and independent PTP slaves on both media ports for fully-redundant media network operation.

Primestream to launch Creative Bridge for MAC OS Primestream will introduce Creative Bridge, a Mac OS application that allows creative teams to take advantage of full

roundtrip workflows between creative tools and Primestream Xchange™. With Creative Bridge, users of tools such as Apple's Final Cut Pro X and Avid's ProTools can access and register entire folders of media to and from the MAM. In addition, the company announces a number of new solutions: Xchange DaVinci Workflow Panel, Primestream Visual Watermarking, the new “Project Dashboard” and a native Newsroom Framework with Octopus NRCS Integration.

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QLIGENT Interview with John Shoemaker, Director of Sales, Qligent First things first, what’s new from your company? How you are addressing this situation? Specific to the COVID-19 virus, our workforce is working from home worldwide. As a software company, we can maintain standards and communications fairly easily, and continue operations as usual. Externally, we are working with our customers to help them establish disaster recovery models, and take full advantage of all remote monitoring tools that our systems offer. These features and functionalities are built into our Vision platform, and they can use these tools to work from home, and reduce in-plant presence. Specific to Qligent, NAB was to be the coming out party for Dymos, our new dynamic monitoring system for live event streams. We are bringing this solution to market for

customers that don’t require a 24/7 service, and instead have all the same features and functionality to monitor QoS, QoE and compliance on an eventbased model. It is an innovation we are very excited about, and it can be turned on and off in the cloud to serve live events. This will help OTT providers reduce viewer churn during live streamed events, including sports and concerts, without the investment of a permanent systems.

You have new solutions already developed and ready to hit the market. What are your bets for 2020 / 2021? eSports has been on the rise for the past two years, and we think this will really take off through 2020 and into 2021. Following COVID-19 recovery, as society returns to normal we believe the thirst for sports and live events will be stronger than ever. While we take no joy in what is happening with COVID-19, the availability of Dymos will time well with the return of live events.

John Shoemaker, Director of Sales, Qligent

What other “classic” products would you like to highlight? Qligent brought its Vision 24/7 monitoring and analysis solution to market about five years ago, and at the time, there was nothing like it. It was the first system of its kind to integrate cloud elements and leverage COTS hardware to monitor expansive broadcast, MVPD and OTT networks. 65


Vision accelerates the move away from pointbased systems that were challenging and expensive to use as the industry moved toward multiplatform content delivery.

allow the same station to monitor competitive inmarket stations as well. It provides the bread and butter of a Vision system in a much more stripped down and lower cost solution.

Vision remains our flagship product, and its companion solution, Vision Analytics (do we want to use Foresight or save it for a press release?), arms Vision users with detailed analytics to predict performance, and reduce customer churn, leveraging AI, big data and machine learning. These remain core Qligent solutions. And it’s important to note that we are still innovating here, and doing so in ways that actually simplify the architecture for customers that don’t require such a broad, detailed system. For example, our new Vision All-In-One Compliance system takes this down to a singular platform that is simply plugged into the antenna system to monitor QoS, QoE and Compliance for local, over-the-air broadcast stations. A second connection will

2020 still can be a great year for industry and we are sure you are getting ready for 2021. What will be your next developments?


The Dymos product line will continue to expand, and we will re-introduce our Vision Analytics system with a new brand and a streamlined message that speaks to our customers and the industry at large. Overall, we want to combine our innovations into a single interface that allow customers to more easily create monitoring dashboards, analyze performance data, and reconcile QoS and QoE information with service level agreements, viewer satisfaction, and much more.

Do you want to send any other message to our readers? We are all in this

together as an industry. We have never seen a greater challenge, yet we are grateful at how people in the industry are coming together to help each other. We will persevere, and come out the stronger for it. And we can’t wait to see everyone at IBC and NAB New York.

Qligent presents its new Dynamic OTT Monitoring solution Qligent’s Dynamic OTT Monitoring solution packages all of the QoS, QoE and Compliance Monitoring benefits of Qligent’s Vision system for temporary services in the cloud, giving service providers a “friendly pricing model” and “lightweight monitoring infrastructure” that “turns on and off” as needed. “Our Dynamic OTT Monitoring innovation will revolutionize the live event universe through a cost-effective, cloud solution to address sports, concerts and other performances and events,” said John Shoemaker, Director of Sales, Qligent. “It’s special and unique because it brings all of the

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Qligent’s Dynamic OTT Monitoring solution packages all of the QoS, QoE and Compliance Monitoring benefits of Qligent’s Vision system for temporary services in the cloud

premium monitoring and analysis features that our 24/7 broadcast and MVPD customers rely on worldwide, at an hourly rate. It’s a paradigmshifting model that will bring substantial cost savings of 50 percent or more to our live-event customers that don’t require, or simply can’t afford, a permanent monitoring system. And, it entirely removes the need for on-premise infrastructure.” Users will be able to connect the service provider’s infrastructure with a Qligent Vision

system in the cloud through a secure URL. Customers will get the same features of Vision, monitoring QoS-related transport and physical streams, QoE-related issues (lack of signal, video freeze, missing audio) and compliancerelated matters, such as audio loudness and closed captioning. The system provides all the same standard Vision components, including aggregation servers and networked probes for gathering performance data across the delivery chain. Measurement and

compliance results and recordings are still available for the customer after the event for a defined period of time – with no additional costs associated as the probing cloud instances have been turned off. “The flexible hourly pricing structure means that service providers are not charged before or beyond the time that the system is live,” added Shoemaker. “Once disconnected from the cloud at the end of the event, a bill is generated and delivered to the customer.” 67


Quicklink debuts Skype-in-a-box Quicklink has presented Skype-in-a-box, a broadcast quality Skype video calling solution. It enables users to connect to any global broadcasters in studio-grade quality. This all-in-one professional-grade unit with inbuilt Panasonic PTZ camera and lightning. The Unit is a simple setup, plug-and-play device, with no technical expertise required. Built in Artificial Intelligence using the Pan, Tilt and Zoom camera enables the interviewee to easily frame the perfect head and shoulders shot with a “one-button click”. This ensures the interviewee “looks and sounds professional” onair.

RUSHWORKS details the new PTX Model 1L PanTilt head Rushworks keeps improving its core solutions series. The new PTX Model 1L PanTilt head includes a more powerful tilt motor and a larger L-shaped tilt platform. The latest in the PTX series allows 68

expanded compatibility with wider and heavier camera/lens combinations, including DSLR and mirrorless bodies like the Sony Alpha series and the versatile RX10 IV “bridge” camera with a 25x optical zoom lens. The Model 1L can be controlled using RS-422 VISCA devices as well as DMX hardware and software. It includes connections for cameras that can be controlled using RS-422, RS-232, RS485, LANC and Panasonic REMOTE (2-wire) communications.

SGO to premiere Mistika 10 in April 2020 Based on years of development, SGO’s Mistika 10 is a major upgrade focused on color that will be available for the full finishing software solution Mistika Boutique and turn-key system Mistika Ultima. Its global premiere is set for April 2020. According to Miguel Ángel Doncel, CEO at SGO, “A complete redesign and

SGO’s Mistika 10 is a major upgrade focused on color

redefined user experience paired with several new and enhanced existing features is in the core of Mistika 10. This all-new approach will surely ignite interest from the color community which allows all users to seize the exceptional power of Mistika with even greater control, giving them the creative freedom they always wanted.”

Shotoku incorporate an IP interface into its flahship SmartPed robotic pedestal Shotoku’s SmartPed, which is the flagship product of the company, now comes with two

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optional additions depending on the environment. AN-I is an IP interface within SmartPed enabling it to interface to existing external optical tracking systems such as Mosys StarTracker or Stype RedSpy using the absolute tracking information to reference and adjust the pedestals own internal navigation systems. AN-S provides a full integrated solution, including the optical tracking system for situations where customers do not already have installed optical tracking. In addition, Shotoku plans to release the new TG-18i studio pan/tilt head and multiple enhancements for the TRXT control system.

Streamgears finishes the beta version of VidiMo The beta version smartphone-empowered VidiMo handheld, live production system from streaming solutions startup StreamGear Inc. has been already shipped to the Early Adopter Program Members and is set to hit the market soon. VidiMo – short for Video director on Mobile – turns a smartphone and HDMI video source (such as a camera) into a fullfledged, virtual production and transmission studio, enabling a single operator to produce multi-source, television-style shows that can be streamed live, recorded or both. Users can combine the batterypowered VidiMo Go

hardware with the VidiMo Show app.

Streamguys announces SmartMedatata service for live radio The new SmartMetadata service by Streamguys automatically fills in missing music-related metadata in radio broadcasters’ live streams, enabling them to provide a more consistent and comprehensive user experience for their listeners by improving their metadata display. The solution listens to the broadcaster’s live stream and uses audio fingerprinting technology to identify music within it. The service then sends corresponding metadada including song title, artist 69


name, album name, marketing label and ISRC code back to StreamGuys’ streaming servers. StreamGuys’ SmartMetadata is already available.

Studio Technologies introduces StudioComm Studio Technologies has announced its new Danteenabled StudioComm multichannel monitoring system, the Model 792 Central Controller and the Model 793 Control Console. This system combines a rack-mounted main electronics unit with a desktop user control Veritone Hub Cognition



Digital Media Hub.

The “Fully-pro” signal path uses programmable logic to support both digital and analog audio. An extensive set of configuration features allow the system to support immersive formats including 5.1.4, 7.1.4, and 10.2.

In addition, the company has recently updated its operating system for AI, Veritone aiWARE with the expansion of its content classification capabilities to support IAB Tech Lab Content Taxonomycompliant metadata output via aiWARE APIs. The new offering will enable podcast distribution platforms to programmatically transcribe and tag audio streams with topical, descriptive, and timecorrelated keyword metadata prior to publishing.

Veritone remarks the benefits of its AI applications and solutions Veritone keeps showcasing new major UI and UX improvements to Veritone Discovery, its flagship application; and enhanced cognition in its

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VSN Explorer

VSN previews new enhancements to VSN Crea, VSNExplorer and VSN NewsConnect

order to achieve formal, unambiguous, accurate and user-agnostic metadata for content in any language.

VSN will introduce a number of enhancements to its solutions. The latest version of VSNCrea Traffic and Scheduling System now benefits from higher levels of automation, allowing users to “more easily” manage acquired content and advertising scheduling. VSNExplorer MAM is now capable of syntactically cataloguing all the terms and sentences used in the description of scenes in

Furthermore, VSN NewsConnect web plugin for news production now enables users to control multiple studios in different locations, even if the systems used in the studios are different.

Zeplaa LLC releases version 4.2 software Zeplay’s version 4.2 brings users presets for exporting video files among other improvements.

With these presets, Zeplay simplifies export to multiple locations by storing location and codec information. As a result, exporting files to multiple locations no longer requires manual setup for every file transfer. Zeplay supports a number of HD and SD import and export codecs, including Apple ProRes 422, XDCAM, and Avid DNxHD. Version 4.2 software is included with all new Zeplay R7 systems, and is now available to current customers through the company’s annual update contract. 71




BRITISH MUSEUM CREATING FREE AV CONTENT FOR GLOBAL CULTURAL CONSUMERS The British Museum is probably the most recognized cultural institution in the United Kingdom and one of the most relevant museums in the world. Its collection its simply breath-taking, as are the temporary exhibitions it houses. The British institution has a mission to keep knowledge flowing not only within its walls, but also on the Internet. That’s why it has an AV and production division dedicated to creating AV content to inform, teach and engage with a worldwide audience. TM Broadcast interviews Sian Toogood, AV and Production Manager at The British Museum for more details.



Interview with Sian Toogood, AV and Production Manager at The British Museum. How would you describe the strategy of the British Museum regarding AV content? We are a very audienceled institution. It’s part of our charter to make the collection available to everyone for free, and AV content is a key part of that, whether it is online or onsite. Our strategy is to ensure that any content we produce is suited, accessible and relevant to the audience that it is aimed at. In practical terms, we separate our content into “in-gallery” and “online”. Of course, these spaces have very different audiences with different needs and expectations. “In-gallery” content tends to have a much longer lead time as our temporary exhibitions are decided years in advance. We are in conversations with curators from very early on each project to 74

discuss options in terms of content and hardware. In terms of “online”, we can be much more reactive, especially due to the inhouse production team. We create a production schedule that looks across a few months at a time and takes into account all production. Plus, it does allow for some flexibility if we need to make some unplanned content in a hurry. Because we are a small team- a producer, senior producer and then half of my role, we have to shoot

“smart”. Whenever possible, we try to make sure we get content for all channels out of whatever we shoot, while still tempering that content to key audiences. We discovered that our most successful content is not necessarily thematic, but based around a story. I have worked at the Museum for almost 9 years and the senior producer has been here 5, so we have connections with the curatorial, research, archive and library departments to


Our goal is to create content that suits the platform it is going onto and the audience it is talking to

discover those stories and then disseminate them to the public. We are currently working with marketing and other key stakeholders across the museum to create a content strategy that encompasses all the myriad ways the museum talks to the public.

We’ve seen that most of your video content is prepared for YouTube. What are the main technical challenges that this platform implies? We don’t find that there

are many technical challenges to posting on YouTube. Our goal is to create content that suits the platform it is going onto and the audience it is talking to, so we do obviously tailor it in terms of length and tone, but I wouldn’t necessarily call that a “technical challenge”. Equally, we try to make our content as accessible as possible, and therefore we try to ensure that all of our films have subtitles at least in English! In the future, we would like to branch out

and have subtitles in more languages. But, at present, we don’t have the budget to do this, so we have been investigating crowdsourcing translations. We obviously do have some budgetary limitations that don’t allow us to use music or footage that we might otherwise, but I do see this as a benefit in some ways. It has meant that the team has had to be creative to meet these needs. So, for example, for an episode of “Curator’s Corner” about the “Lewis chessmen”, the team recreated the chess scene from Harry Potter using curators to play the key roles. This type of treatment obviously saves money on licensing, but also shows the lighter side of the Museum, which can be seen at best as a bastion of academia and at worst as a dusty and irrelevant dinosaur. Obviously, either of these points of view can be barriers for people who want to access the museum, so we hope that providing this lighter 75


aspect to the Museum within content that is interesting and informative will encourage people to engage with the Institution.

What kind of content do you produce? The nature of the Museum is such that you have the entire world and whole of human history to talk about, as well as the Institution itself. We create a huge variety of content around that. For the most part, it is short form content, but the Museum has produced long form live broadcasts for cinema and TV in the past. Anyway, for the most part we focus on short form anywhere from 6s – 15 min videos focused around the permanent collection and temporary exhibitions. I also produce the Museum podcast, which focuses around the work of the Museum and tends to be between 45-60 mins long.

You have all kind of contents. From tutorials to series such as 76

“Pleasant Vices”. Is all content created by The British Museum? Do you work with external production companies? We have an in-house production team, so we don’t often have a need to farm out of production companies, although sometimes we do if there

is a requirement for a lot of animation, for example, or if we have a lot of work on. There are major benefits to having an inhouse team if you are planning to create lots of content. It's cheaper by far, you get a greater variety of content because you aren’t tied to projects that have an attached

The Reading Room in the Great Court of the British Museum


budget to them and possibly the most important thing is that the in-house team knows how the museum works: they know the building and its idiosyncrasies, they know the staff and their idiosyncrasies. Building up relationships and trust is really important when you are filming with amazing

but inexperienced presenters. With “Pleasant Vices”, we worked with an external presenter, Tasha Marks, as we did with Tom Scott in a couple of videos. We found that getting this external voice can be useful for varying the content of videos and also

attracts new audiences to our channels. I would like to do more of these collaborations as I think they help new audiences find our content and allow the museum to tell stories in areas where we don’t have an expert on staff.

Surprisingly, you don’t create videos so many videos for Twitter or Instagram. What’s behind that decision? Did you study that possibility? We do create films for Twitter and Instagram. These are commission by Marketing, who run the social media channels: Facebook, Twitter and Instagram. They commission original content or request cut downs of Youtube or “ingallery” content to use on these channels.

In Facebook, you have a selection of YouTube content in addition some live videos. How do you create that live content? Do you use third-party tools or the original Facebook workflow?



We did look into the FBLive API in order to set up a more staged style for live broadcasts. Some other museums have used this to great effect. However, we have found that using a mobile phone, gimbal and love light allow us to be more mobile. In addition, this kit is less intimidating for our presenters. We can then treat these broadcasts much like a gallery tour that they do every day, so the atmosphere is more relaxed and congenial.

Do you also work as 78

content producer for external institutions, such as broadcasters or OTT platforms? We have done some partnership and collaborations, but I wouldn’t say we act as a content producer as such. BMImages (The British Museum Images) does license some of our footage and content to third parties. This is an area that I would like to see grow, but at present it isn’t a major focus of the team.

Do you have a studio to produce your content? Do you strictly use locations throughout the Museum? We film all over. I used to facilitate all external production for the Museum, so I have a fairly encyclopaedic knowledge of really great and really terrible filming locations in the Museum. That being said, I would love a studio space in the Museum. It would be great to be able to have somewhere bespoke set aside for


For the most part we focus on short form anywhere from 6s – 15 min videos focused around the permanent collection and temporary exhibitions.

content creation. The closest we have is a sound booth that we bought from Demvox about 4 years ago. It has been invaluable for recording everything from video voiceover and exhibition listening posts, to podcasts or the Museum’s audio guides.

Some creators are starting to produce vertical videos to adapt their content to social media platforms. What do you think of these new possibilities?

Vertical can look great for some things and be an absolute pain for others. I think we need to experiment more to figure out what we can do with this format instead of just rescaling 16:9 films to fit in.

What is the standard format in which your videos are produced? For YouTube, 16:9. For social, it could be square, 9:16 or 4:5 depending on what the marketing team require. For “in-gallery”, it depends a lot on the

design of the space. For example, for a recent exhibition, we were projecting onto a wall shaped like an inverted triangle, so the content had to be adjusted and masked appropriately.

What is the main equipment you deploy in a regular basis? We shoot on a Sony F7 and audio record with a Zoom F8 and a variety of microphones depending on the room. The F7 is a relatively recent upgrade as we were shooting on a 79


Sony A7s with an Atomos Shogun for 4K capture. We also have a couple of excavation kits of fixed lens DSLR to send out with curators on field work in case we want to make a film about their work in the future. We have film reels from previous curators, archaeologist and anthropologists working in the 70s and 80s, so this footage is the latest in a long line.

Have you ever considered the possibility of implementing 4K/HDR technologies? For the most part, we shoot in 4K to futureproof the footage as much as possible and to give us an extra angle in the edit as we output in 1080p. This does have storage implications and we must be very stringent about culling rushes at the end of projects.

Regarding sound, how do you work in that area? In terms of kit, I mostly record on a Zoom F8. We 80

have a couple of H6s for quick on-the-go stuff. Also, my colleague Nick uses a Mix pre 6, which, if I am frank, I find baffling. We recently bought a Cloudlifter which I am still getting to grips with; mainly practising with it in the sound booth at present. We have a wide variety of mics as the museum has so many different types of spaces:

Sennheiser EW100 radio packs with Tram Lavalier mics, MKH-416 and E-614. For podcasting we tend to use a Rode PodMic.

What software do you commonly deploy for edition, colouring and so on? We use Adobe Creative Cloud for editing, so Premiere Pro, After Effects, Audition, Photoshop etc. I


am considering looking into DaVinci Resolve again, as I am getting tired of all the glitches that Premiere keeps throwing up.

What is your experience regarding VR / AR solutions? Will you implement these technologies in your videos? I know that there are

other teams in the museum that have used these technologies for one thing and another. The learning team, for example, use it in the Samsung Digital Discovery Centre. However, we have not started to implement something like this in our content. I don’t have any plans to do it across the board. However, if a curator finds a great use

for it, I would certainly be up to give it a go.

What’s next for the British Museum? I would like to see us create a more diverse portfolio, focusing on the Museum’s national programmes rather than being so Bloomsburycentric. We do have some new content strands coming out in the next 12 months and I am excited to see the reaction too. In business terms, I would like to create more assets for licensing, as I think this could be beneficial to the Museum, both in revenue and in reputation. Finally, I would like to explore creating some longer format video content, perhaps in a more traditional documentary style. The V&As secrets of the Museum have shown that there is a hunger for this kind of content and I think my team is well placed to create this kind of content- time and budget wiling!  81




1.5 kg of sheer 4K UHD TV video broadcast 83


Lab test performed by CARLOS MEDINA Expert and Advisor in Audiovisual Technology and Cameras

The arrival of a new year always entails a presentation of innovations in technologies and equipment for the audiovisual industry. In this occasion manufacturer Panasonic has provided us with the opportunity of getting ourselves acquainted with, operating and testing a new professional video camera model: the AGCX10. AG CX-10 was presented to users and people interested in the hottest products for 2020 in CES Las Vegas (7-11 January, 2020, USA). One nice, obvious feature in this camera is that is a very lightweight piece of equipment: just one and a half kilos (with all implements in place: top handle, sun visor, battery and EVF viewer). 84


The most attractive thing about this unit is precisely that such a small camera body holds a range of capabilities that enable it to be included within the broadcast sector for high-quality image and sound recordings

But appearances can often be deceiving. Because of its size -being compact and lightweightit might be appealing just for home video recording amateur users, but the most attractive thing about this unit is precisely that such a small camera body holds a range of capabilities that enable it to be included within the broadcast sector for highquality image and sound recordings. As for a technical description of AG-CX10, it must be noted that this is a video camera featuring non-interchangeable optics and 24x (4.12-98.9 mm) variable length range, spanning from a 25mm (f:/1.8) wide-angle lens up to a 600mm (f/4) telephoto lens (equivalent to a 35mm camera). If we activate the 2x/5x/10x (Panasonic i.ZOOM) digital zoom, the in-build lens is capable of reaching 32x at 4K UHDTV resolution and 48x at FHD resolution. The partnership between Panasonic and Leica Dicomar is a longestablished alliance that 85


has always yielded fantastic results: video technology coupled with innovation in optics design and construction. Thus, the AG-CX10 features a 4Drive lens system that 86

controls lens groups independently (14 elements in 11 groups) together with 5-axis hybrid Optical Image Stabilization (OIS): Yaw & Pitch; X & Y and Roll). 3

modes can be selected: NORMAL (standard), STABLE (effective for fixed-frame takes) and PAN/TILT (effective in panoramic frames and tilting).


Although I am always an advocate of the three separate rings (zoom, focus and shutter) within the lens, I must say that the AG-CX10 features only two (focus / zoom or iris). Such decision is fully justified by the aim of achieving a perfect balance between weights concerning optics construction design and camera body. Lens diameter for fitting of filters or other accessories on the optics is 62mm, and this unit has a nice feature that is

The display is folding, rotating and touchoperated, which results in a quick access and placement of the camera at various heights and angles when it comes to recording

always welcome: The lens cap comes fitted on the sun visor, which makes it faster when it comes to start working with the device in addition to not being worried about missing lens caps. AG-CX10 becomes even more professional as it has ND filters (mechanic filter knob: 2 stop - 1/4, 4 stop 1/16, 6 stop - 1/64 and none) for better control of lighting under different recording conditions, most especially in outdoor locations. As for the sensor type available in this camera, this is a 1/2.5 inch MOS sensor featuring 8.29 effective megapixels which, together with the Venus engine (thoroughly tested in Panasonic's own Lumix range of cameras), enables taking this camera to broadcast levels in a 4K UHDV (3840 x 2160 - 16:9) environment. AG-CX10 features a 3.5inch LCD screen -with around 2,760,000 dots- on its left-hand side, as opposed to other models

from this same manufacturer, in which the display is placed on the camera's top handle. The display is folding, rotating and touch-operated, which results in a quick access and placement of the camera at various heights and angles when it comes to recording, providing for a full turnaround whenever you are both the camera operator and presenter of content to record. Once the LCD display is unfolded we will be able to find on the camera's body an on/off button and a double slot featuring a plastic cover for SD cards (SDHC for AVCHD recordings, MicroP2 for P2, and SDXC for MOV and MP4) , which allows us to establish the recording type through the setup menu (Recording submenu):  relay recording (cards fitted in two slots will make the recording from card 1 to card 2 whenever card 1 is full of data, and so on in an endless loop, just by replacing cards that are



full by empty cards in each relevant slot);  simultaneous recording (where cards fitted in each relevant slot record the same content


simultaneously);  and background recording (although less known, it enables card 2 to continue recording as a backup while in the

card 1 slot we can carry out interruptions through the REC button, activating and deactivating the recording. In this way, no


important scenes/takes will be lost while halting recordings in slot 1). In this same left-hand side, on the bottom there are six buttons for activating the most frequently used parameters in any recording as required: access to menu through the navigation knob, iris, gain, shutter and an option for operating the camera in manual or

automatic mode. And on the top, three customizable (USER) shortcut buttons. On the back of the AGCX10 we have a place for fitting the battery (we have worked with the AGVBR59 model @ 5900 MaH and 7.28V, which features a charge percentage test), a tilting (0.24-inch EVF OLED of approximately 1,560,000 dots) visor, the REC button and BNC connectivity (SDI out / 0.8V [pp], 75Ω, 3G / 1.5G HD-SDI compatible), A-type HDMI connection, headphones jack (3.5mm stereo mini jack) and power input (DC IN: DC 12V (11.4V - 12.6V) Type 4 EIAJ). Once we have seen design and features in the camera's body, we can find on the right-hand side the in-built handle with the zoom engine, microphone jack, remote (2.5mm super mini jack) and a USB connection (5pin Micro-AB). The heat dissipation system is very effective and efficient, as it features grids enabling air flow through an ultra-

slim engine placed inside the camera's body. On the top we find the camera’s stereo ambient microphones and an area for placing a handle. Undoubtedly, a camera carefully thought out for professional recordings without a significant cost in terms of transport and weight and without sacrificing usability. But a real hit is the possibility of placing a top handle crammed with good and wise capabilities. Thus, it comes with an adjustable LED torch featuring an intensity potentiometer of an approximate lighting of 70 lx at 1.0 meters and 30º radiation angle, with colour temperature around 4600ºK. We really loved this solution as the camera can be more free from wires; also considering that you can always have some supporting light that, as we know, can be used whenever least expected. Furthermore, this handle also features another REC button, a hold button and two XLR-3 inputs for audio with the relevant control 89


panel for input level, audio signal type (Line, MIC, +48V) in the two channels (CH1 / CH2); a place for the microphone holder, a back hole and a front pad for fitting of additional accessories. This handle really boosts the capabilities and functions provided by the AG-CX10 to much higher levels, giving the set a nearly unlimited range of actions, handling and also rendering it fully self-contained for operation under different situations that can arise when recording a report, a documentary or even a live event. We should mention that when we started testing the camera we found a model in which buttons and shortcuts are commensurate to the size of the camera’s body and therefore a bit small. However, the touch screen does help in handling and setup. A single touch is enough to activate the menu or to access the most relevant parameters for configuring a recording: iris, audio, shutter, colour temperature… On the other hand, the AG-CX10 has 12 customizable USER buttons (5 buttons on the camera’s body and 7 on-screen touch accesses) where operators will be able to allocate the most relevant parameters and/or actions, or those parameters or actions best suited to the operator’s criteria amongst a total of 38 different choices: focus assistant, zebra, level indicator, streaming start, AWB, DRS, menu... amongst many others. As for navigation through the menu, eight main items are available: camera, scene file, audio, video output/LCD/Visor, recording, network, system and others. Panasonic users can have clear, intuitive access to each parameter to tweak, as these are precisely the 90

A single touch is enough to activate the menu or to access the most


ones that this manufacturer includes in its video camera models. The Display button allows viewing a great deal of on-screen information about the way in which the camera is working, a total of 30 parameters that we can enable through on/off in the video output/LCD/Visor menu: video resolution, time code, battery level, zoom range, audio input level, ND filter fitted, recording format, Mb flow, shutter value, iris, gain... We must add that switching on the camera is a really fast process (two seconds), which allows watching the information on the screen/EFV and start recording with a 59.94Hz/50.00Hz system frequency. The AG-C10 features four recording formats -MOV, MP4, AVCHD and P2, using as video compressors H.264 / MPEG-4 AVC High Profile in MOV, MP4 and AVCHD and the AVCLongG 50 / AVC-LongG25 compressor on P2. For MOV and MP4 H.265 / MPEG-H HEVC Main10 Profile is also used. Additionally, the manufacturer has announced that this model will be shortly supporting the MXF file format. A combination of recording formats along with video compressors enables Panasonic AG-CX10 to record in 10-bit 4:2:0 UHD 3840 x 2160 with HEVC (MOV: 200 Mbp and MP4: 100Mps); in 10-bit 4:2:2 FHD 1920 x 1080 (P2: 50 Mps); and in 10-bit 4:2:2 UHD 3840 x 2160 (MOV: 150 Mps). Quite a luxury in the range of cameras we are considering.

relevant parameters for configuring a recording

As for audio recording, we must point out that in MOV / P2: LPCM (24-bit, 2 channels); in MP4: AAC (16-bit, 2 channels) and with AVCHD: Dolby Audio (16-bit, 2 channels). With regards to fixed image recording, format is (DCF / Exif2.2). One of the factors making the AG-CX a reference at present is the camera's live 91


broadcasting capability (either external WiFi – IEEE 802.11b / g / n, 2.4Ghz band; or supporting NDI / HX through connection to the Panasonic VW-UEA1 module) with H.264 / MPEG-A AVC High Profile video compression format; offering video resolutions of 1920 X 1080 (FHD), 1280 x 720 (HD), 640 x 360, 320 x 180; Unicast and Multicast broadcast methods; and a wide response in frames per second at 59.94Hz: 30 fps, 60 fps and at 50.00 Hz: 25 fps, 50 fps; up to a bit rate of 24 Mbps, 20 Mbps, 16 Mbps, 14 Mbps, 8 Mbps, 6 Mbps, 4 Mbps, 3 Mbps, 2 Mbps, 1.5 Mbps, 1 Mbps, 0.7 Mbps, 0.5 Mbps; audio compression format AACLC, 48 kHz / 16-bit, 2 channels; and network protocol: RTSP/RTP/RTMP/RTMPS. It can be used for live coverage of concerts and sports events, as well as for Facebook and/or YouTube broadcasting. During broadcasts, camera recording (MOV) in SD cards is also possible. 92

The resulting images recorded in the various formats have been truly satisfactory as outstanding image quality has been achieved. Supported formats have been generated for viewing and opening in perfectly implemented video editing programs. Connectivity capabilities for live HD streaming make work much easier

for social media as also does the possibility of wireless control from a smartphone/tablet both regarding lens handling and camera operations. Furthermore, the camera's SDI (3G - BNC) output enables providing FHD video signal output for external recorders up to a distance of 100 m. Its HDMI output broadcasts 10-bit 4:2:2 4K UHDTV.


Other details in the AGCX10 worth mentioning are: six scene modes (customized, Fluo, Spark, Still, Cine V and Cine D) in combination with seven different gamma modes enable us to achieve colorimetry and technical adjustments in the video signal more in keeping with the look that should define and differentiate our recordings; two zebra

levels; centre markers, security and screen framing markers (off, 2.35:1; 1,85:1; 14:9; 13:9; 4:3); shutter range from 1/8000 to 1/6; gain levels from 30db to 0db; autofocus (AF) for accurate face detection and focusing; IR recording, white-balance variable from 2000ºK to 15,000ºK, Free/Rec Run, activate MFO / Vectorscope... among many others; and last, a super slow-motion camera effect can be achieved by recording high-speed FHD at 120 fps (59.94 Hz) or 100 fps (50 Hz) only in MOV recording format. The AG-CX10 is a camera model that departs from the trend that had been seen with small videocameras -almost sunk into oblivion amongst manufacturersthat targeted video amateurs. A camera range that is slowing gaining ground among professionals. This model is a quantum leap in quality, technique and price, opening up the broadcast environment to

many users that would like to cover any TV reports at present and in the future, as well as videoclips, production of documentaries of a social and investigative nature, as well as integrating this in live and social media environments. In short, being able to have in our hands highlymobile video equipment that offers swift response in touch screen operations, featuring 24x optical zooming, enabling a choice of four recording formats that are widely used in the audiovisual sector (MOV, MP4, AVCHD and P2; achieving images of varying qualities up to 10-bit 4:2:2 UHD 3840 x 2160 levels and highperformance data flows and connectivity, both in wired and in wireless environments; working with two slots for cards, we can definitely say that the AG-CX10 is much more than just 1.5 kg in weight. It is sheer 4k UHDTV video broadcast.  93