TM Broadcast International 10, June 2014

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Staff Editor Javier de Martín Director Jesús Carrillo Key account manager Cristina Feduchi Javier M. Gutiérrez Creative Direction Mercedes González Editorial staff Administration Margarita Quevedo






NAB 2014 (II)


ZOOM IN DiGiCo consoles play major role in Olympics audio

ZOOM IN Riedel and the Wings for Life World Run

TM Broadcast International #10 May 2014

TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 1 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43

Published in Spain, May 2014.




TEST AREA TM9 (Touch Monitor) of RTW


The IP irruption will be profound and irreversible, but we firmly believe that it will only bring benefits to our industry. Not only is changing the way we watch TV, the new technologies also open the possibility to unthinkable workflows until now, and maybe some kind of new companies will appear. Something that seems very interesting is all that provide remote environments. The capability to send a OB Van to a site and connect it via IP with the production centre, and then connect the cameras signals to the resident mixers, etc. So the production team works in remote. Having and IP Control Room for remote connections will be a must in several years in Tv Stations. We honestly believe this is something that will not take too long. Actually we´re just missing some protocols and equipment, but we know that several manufacturers R + D are targeted in that direction. Let's have an open mind.

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MGG Productions invests in South Africa’s first DiGiCo SD Ten available for rental South Africa’s MGG Productions has an envious history of supplying both state-of-the-art equipment for sound, lighting, video and staging, and technical services to the broadest range of entertainment disciplines. Earlier this year, it took delivery of South Africa’s first DiGiCo SD Ten console from DiGiCo’s South African distributor Tadco, adding to its existing SD11. The International acceptability, software upgrades, service and back up made the SD Ten an easy choice, and MGG quickly put it to work doing two gigs back-to-back at the Metro FM Awards and Discovery Leadership Awards.

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The Metro FM Awards saw the SD Ten at the Front of House position, operated by Adriaan van der Walt, with MGG’s Fanie Pieterse as system tech. The console was connected to an SD-Rack via fibre with a DiGiCo Little Blue Box used to connect to a D-Rack, which was used to distribute the outputs to the amplifiers. The SD Ten was also at Front of House at the Discovery Leadership Awards, once again manned by Adriaan with Fani as system tech. The SD-Rack was utilized for stage inputs and output distribution to the amplifiers and a Little Blue Box was used to connect a DRack for additional local inputs. MGG’s Mark Gaylard has found the

SD Ten to be “a very cool piece of kit,” and added that the fact it is kit that both his staff and many freelance engineers want to work with is a real bonus. “I’ve always been a fan of DiGiCo,” adds freelance sound engineer and system tech Jaco Beukes. “The design, the layout and the flexibilty allows me to rock up at a show and quickly get it going. The main thing about the desk is its versatility,” concludes Adriaan. “You can configure many inputs with many outputs in a small footprint. It is reliable, sounds great and is easy to use. Accessing any aspect of the console is peanuts!”.




TERRITORY purchases Pablo Rio with Neo Nano panel interaction with Pablo Rio’s comprehensive color toolset. TERRITORY offers a complete post production experience from creative editorial to finishing, creating motion graphics, compositing, color and audio. TERRITORY works with local and national ad agencies on TV and web spots for customers including Toyota, US Navy, Fiat and Ford.

Michigan-based creative boutique, TERRITORY, has purchased a Quantel Pablo Rio high quality color and finishing system to enhance its post production capabilities. TERRITORY has also invested in a Neo Nano panel to provide seamless

Pablo Rio is Quantel’s high-quality color and finishing system that provides productive workflow for 2D and S3D projects. Capable of handling 4K 60p in realtime, Pablo Rio runs on high performance PC hardware and exploits NVIDIA Maximus multi-GPU technology to deliver true interactivity and maximum producti-

vity. TERRITORY’s Finishing Editor and Colorist, Brent Edwards, said, “The color correction capabilities paired with the finishing capabilities is what has always attracted me to the Pablo Rio. It’s a package second to none. Quantel built a robust system that we will be able to scale to our needs for many years to come. They have done due diligence at ‘future proofing’ their product.” Quantel Marketing Director, Steve Owen, said, “We are delighted that TERRITORY has chosen to invest in Pablo Rio to provide the ultimate post workflow. We look forward to seeing TERRITORY’s talented creative editors exploit the phenomenal power of Pablo Rio.”




LiveU deploys comprehensive service packages for global broadcasters at the FIFA World Cup 2014™ LiveU (, has revealed the scale of its technology and service support for customers at the FIFA World Cup 2014™ in Brazil. Over 200 LiveU units will be deployed in the 12 host cities across Brazil by media companies from over 30 countries. LiveU units will offer live video transmission, as well as hot spot connectivity via the new LiveU DataBridge solution, which turns any LiveU unit into a bonded cellular hotspot for any kind of Internet usage on any device. LiveU’s support team will be on the ground in the different locations, offering onsite 24/7 support in multiple languages during the tournament. During the FIFA World Cup 2014™, LiveU will provide onsite support at all the main venues in Brazil both directly and through its local partner, UCAN Digital Transmission. LiveU will deploy its entire portfolio of uplink solutions

including its backpack and cameramount cellular bonding devices such as the LU500 and its signal boost Xtender external antennas. Customers will include global sports and news networks, news

Pebble Beach Systems debuts Marina Lite automation at Broadcast Asia 2014 Pebble Beach Systems is showing the new Marina Lite automation solution for the first time in Asia on booth 5E3-01 at next month’s Broadcast Asia exhibition. Optimised for small scale systems of up to 4 channels, Marina Lite was launched at NAB and is based on the company’s flagship Marina automation platform which currently controls in excess of 300 channels at leading broadcasters and service providers worldwide. This new solution benefits from Marina’s sophisticated and configurable control layer, and each configuration is available with fault tolerant options, such as 1+1 redundancy with fully automatic changeover. Managing Director Peter Hajittofi explains further, “Marina Lite delivers world class automation at an affordable price to broadcasters with low channel counts. Based on the proven and resilient 64-bit client-server architecture of our enterprise level Marina automation platform, Marina Lite is capable of controlling traditional legacy products as well as emerging solutions - such as integrated channel technologies - within video, IT and hybrid infrastructures. One of its major strengths is the highly intelligent and flexible playlist, which has the ability to control highly reactive channels with frequent late scheduling changes.”

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agencies, local stations, and online broadcasters from almost every participating country in the tournament. All units in the field can be controlled directly by the operator, or remotely from the studio in the home country via the browser-based LiveU Central management system. TERRA, the largest Internet company in Latin America (NASDAQ: TRLY), will use LiveU technology during the World Cup. Allan Pessoa, Technology Manager with TERRA, said, “Our goal is to be very dynamic, delivering great content with solid facts. LiveU provides us with the mobility and technology to do that.” The content will be available on TERRA’s web site ( for multiscreen viewing. TERRA and UCAN expect to reach more than 80 million people in Latin America by using LiveU solutions. Ronen Artman, LiveU’s VP Marketing, said, “ LiveU technology is ideal for covering stories and sports news around the tournament, as evidenced at the 2012 London Olympics, Super Bowl, UK Premier League football and US collegiate championships. UCAN and LiveU are primed and ready to provide the ultimate in tournament support.”




Turner Studios selects Pablo Rio for high quality color and finishing

Atlanta-based Turner Studios, a full-service production division of Turner Broadcasting System, Inc. (TBS, Inc.) has purchased a Pablo Rio high quality color and finishing system. The system will provide comprehensive post production and creative services to all of Turner’s Entertainment Networks including TBS, TNT, TCM, Cartoon Network and Turner Sports. Turner Studios has also purchased a Neo Nano panel for enhanced color control.

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Pablo Rio is Quantel's high-quality color and finishing system that provides the ultimate productive workflow for 2D and S3D projects. Capable of handling 4K 60p in realtime, Pablo Rio runs on high performance PC hardware and exploits NVIDIA Maximus multi-GPU technology to deliver true interactivity and maximum productivity. John Mandato, senior editor at Turner Studios said, “As an artist, Pablo Rio provides the tools I need

with the ergonomics that fit a more creative workflow. I spend a lot less time thinking about the processes, and more time exploring creative options.” Quantel Sales Director, Martin Mulligan, said, “We are delighted that Turner Studios has chosen to make such a significant investment in Quantel technology. Pablo Rio’s fast performance and intuitive finishing toolset provides Turner Studios with the ultimate post workflow.”




Calrec products at KOBA 2014 Summa Audio Console KOBA 2014 hosted the Korean debut of Calrec's Summa audio console. Summa, originally called Callisto, was rebranded in April 2014. The Summa console is designed for broadcast professionals who need a straightforward solution for producing creative and engrossing broadcast audio, but not all of the resources offered by Calrec's Apollo and Artemis consoles. Designed to ensure intuitive operation in live broadcast applications, Summa simplifies even complex

Fujifilm Service Centers to provide technical service support at the FIFA World Cup 2014 being held in Brazil from June 12th to July 13th, 2014 The dedicated service centers will provide technical and service support to all FUJINON Brand TV and CINE lens products during the span of the event, which will have thirtytwo (32) Nations at sixtyfour (64) Games batteling for the World-championship. FUJIFILM provides this one of a kind service to all of its clients at major sports and entertainment events around the Globe. European Broadcasters and Production companies can contact the Technical Service Station as per below contact details if they required technical/service support.

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workflow tasks, such as creating mix-minus feeds, with a highly intuitive GUI suitable for a broad range of operator levels. Users control the console via a 17-inch multitouch screen inspired by familiar tablet technology. The crisp, high-resolution display provides elegant controls and a clear presentation of information. The console's other large displays are fully configurable to display bus, output, and loudness meters, and they feature dedicated metering, routing, and processing information for each fader.

Location and Contact details: 1. Rio de Janeiro Service Center CAMERA - 2 VIDEO FILMS Address : RUA: VISCONDE DA GRACA 43 e 63, JARDIM BOTANICO, RIO DE JANEIRO CEP 22461-010, BRASIL. Phone : +55-21-2294-9391, +55-21-3874-0146 Contact Person : Jorge Delgado / Karla Alvera Operation Time : 09:00 ~ 18:00 at local time Language spoken : English and Portuguese 2. San Paulo Service Center TREVISAN’S LENS SERVICE Address : RUA: BRIGADEIRO JORDAO, 113 IPIRANGA, SAO PAULO CEP 04210-000, BRASIL. Phone : +55-11-4508-5650 Contact Person : Umberto Trevisan / Flavia Trevisan Opening Time : 09:00 ~ 18:00 at local time Language spoken : English and Portuguese




NewTek triples the action at The World Athletics Indoor Championships The World Indoor Championships of the IAAF, the International Association of A t h l e t i c s Federations, took place in Sopot, Poland. It is the most important event for the A t h l e t i c s Federations this year as there will be no Olympics and no outdoor world championship. 150 countries were represented for a three-day all sports event. The event was broadcasted on major television networks, such as TVP, the host broadcaster in Poland, and the BBC, Eurosport, TV Globo, who even built their own studio in the Ergo Arena. TRBroadcast, 3D Storm partner and NewTek dealer in Poland, installed the complete production setup with a total of three NewTek systems. They operated the live production with a TriCaster as the backbone. They used a TriCaster with eight camera inputs, fed by the Polish television as well as local organizers' cameras, to broadcast all the sporting event, but also behind the scenes images. TriCaster was also sending the program out to four big LED screens hung above the main field. To complete TriCaster actions, as a full sports live production solution, a 3Play was added in the production workflow to operate slowmotion and instant replay. 3Play is a powerful slow-motion and instant replay system, used by many sports entities, mainly to operate slow motion, but also to extend TriCaster sources capa-

cities. Lately many sports organizations have found a new application for 3Play, in the referee room. A 3Play 4800was used by the referees to take the right decisions during the actions or during controversial events. With the 200 hours recording capacity in HD of the 3Play, the six cameras of the Polish television could send all the competitions images and highlights to be judged by the referees. "The quality of the slow motion delivered by the 3play impressed the jury of the IAAF" says Tomasz Kolaczyk, owner of TRBroadcast "The image is that sharp that it is a great help for the referees, they can have an eye on any details of the competition. On my side, I could operate NewTek solutions for sports live productions with my eyes shut. It is that reliable and efficient, that I never hesitate to recommend TriCaster and 3Play on such major international events. It always delivers!" NewTek multi-camera sports production solutions is used in major international sports venues to broadcast competitions on television networks, to feed a web TV or a Dailymotion sports channel, or to display the big game on big displays or on second screens. Thanks to TriCaster and 3Play, sports broadcasters and producers today have the ability, to reach sports fans on every screen, to have them more engaged and to keep the sport's fever alive and live.

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Ross Video grows its EMEA team

Imagine Communications signs distribution agreement with Tech Data Corporation Imagine Communications announced it has signed a distribution agreement with Tech Data Corporation. Through this joint effort, Tech Data will distribute Imagine Communications’ end-toend portfolio to its North American network of resellersincluding strategic key verticals, with the intention to expand internationally.

Ross Video announced that Andy Newham has joined the company in a newly created position: EMEA Business Development Manager, Switchers and openTruck. Andy brings a wealth of broadcast sector experience with him to Ross, having previously worked for many years in sales and product management roles with Arqiva UK Ltd, Harmonic Inc., Harris Corporation and Omnibus Systems. “Ross is winning highprofile business right across the territory and I’m delighted to have secured this new role with a company that’s growing so rapidly,” said Newham. “It’s an exciting time to be joining Ross Video’s dynamic EMEA team and, with the launch of the new flagship Acuity switcher, to be working with the core product line.” Ross Video has been making groundbreaking production switchers, which are the company’s core products, since 1974. As well working with the switcher product line, Andy

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Newham will also be developing business for Ross Video’s openTruck™, a powerful remote-production initiative that opens the door to cost-effective network-quality production. openTruck is an innovative initiative that provides a standardized yet customizable way to design a new generation of cost-effective remote-production vehicles that deliver the highest quality video and audio content from sports and other live events. “This is yet another excellent addition to Ross Video’s EMEA team,” commented David Dowling, Ross Video’s Director of Sales for EMEA. “Ross is enjoying unprecedented results at a time when the industry is consumed with merger and acquisition activity. We’re attracting the best talent in the broadcast world thanks to our consistent approach and customer-centric values. Andy will be an important contributor to our on-going success and I expect to make further additions to the team in the run-up to IBC.”

“We are excited about ournewly fostereddistributionagreement with Tech Data,bringing the latest inIP, Cloud, Digital Signage and TV Everywhereinnovation to a broader range of channel partners and vertical markets,“said Charlie Vogt, CEO of Imagine Communications. “Through its expansive global network, established channels and position at the center of the supply chain, Tech Data willenable us to more effectively and efficientlyreach our target verticals; broadcasters, service providers, education, healthcare, retail and government.We are confidentthat thispartnership will drive increased economiesof scale and scope to better support our customers around the world.” The agreement gives Tech Data’s channel of solution providers access to Imagine Communications’ comprehensiveEnterprise Business Software, Playout Automationand Networkingsolutions, with a focus on routing,signaling, processing, compression, digital signage, and test and measurement products.Tech Data provides a broad range of logistics capabilities and value-added services that enable technology manufacturers and resellers to more quickly sell, deliver and deploy Imagine Communications’ products. “Imagine Communications provides our channel of resellers with best-in-class solutions, and we are excited about the partnership,” said Joe Quaglia, president, the Americas at Tech Data. “Every day, resellers around the world depend on Tech Data to help cost-effectively meet the needs of end users of all sizes, including small and medium-sized businesses, large enterprises, educational institutions, government agencies and consumers. This partnership gives our vertical resellers a competitive edge as they look to capitalize on new market opportunities.”




AKK TV powers up EVS technology for live coverage of Grand Prix European motor racing AKK TV, a top German OB facility, has upgraded all of its EVS production servers to enable Austrian public broadcaster ORF’s live TV coverage of this season’s major motor racing competition in Europe, starting with the recent Spanish Grand Prix motor race in Barcelona. EVS, the leading provider of live video production systems, strengthened its long-standing relationship with AKK TV by facilitating the upgrade of its existing XT2 servers to XT3 live production servers and adding an LSM Connect tablet-based solution for instant access to, and control of, all clips and playlists. For ORF’s Grand Prix workflow, AKK TV employs XT3 servers to ingest multiple feeds and playout highlights packages and pre-recorded interviews. The LSM Connect allows the operator to instantly access clips, integrate metadata and create and edit playlists on-thefly via its direct connection to the LSM remote and XT3. Upgrading to XT3 servers gives AKK TV the peace of mind to handle any current or future format or workflow without needing to overhaul its infrastructure. With bigger files and new file formats emerging daily, the ability to handle and store 4K images is paramount, and the XT3 boasts 20TB of storage space, 381 hours of HD recording space or 762 hours of SD recording capacity. Compared to the XT2, the XT3 comes with an extra two HD/SD video channels, meaning AKK TV can have two operators working on the same machine at the same time. It also gives AKK TV the option to configure up to

eight SD/HD video channels or three 4K channels. Volker Gispert, CEO at AKK TV, explained: “EVS is a long-standing and highly trusted partner. Its reliable solutions are central to our live production infrastructure and our business success. The upgrade to XT3 servers will not only make our operations even faster and futureproof our workflow, but will also allow us to further extend our live TV production capabilities.”

NUGEN Audio's VisLM now supports 7.1 Surround Audio To meet the evolving loudness requirements of the games industry, NUGEN Audio today announced that its industry-leading VisLM loudness metering plug-in now includes support for 7.1 surround audio for the Xbox® One console and the Audio Standards Working Group (ASWG) standard for PlayStation development. VisLM provides an easy-to-use, standard-compliant way to measure, compare, and contrast loudness during production, broadcast, postproduction, and quality assurance, on the fly or after the fact for entire sections of audio. With detailed, objective loudness measurement, history, and logging facilities, VisLM

supports ITU, ATSC, EBU, and Game Audio standards to ensure loudness compliance for titles to be distributed virtually anywhere in the world. In addition to supporting channels recorded in 7.1 format, the latest version of VisLM now offers support for the VST3 plug-in format, improved routing in the stand-alone mode, and a new analyze/render option.

"The latest version of VisLM is a direct response to our Game Audio customers, who need high-quality audio tools as they begin to adopt 7.1 as a standard format for titles for the new Xbox One and PlayStation 4 consoles," said Jon Schorah, creative director, NUGEN Audio. "Just as with broadcasting, these customers need the ability to distribute their products in every market whilst ensuring loudness compliance. At the same time, they want to ensure appropriate loudness in order to give users the most immersive, exciting audio experience possible. VisLM provides a highly visual and easy-to-use way of meeting both goals."

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RTW exhibits Masterclass Plugins, LQL software and Touchmonitor family of meters at Broadcastasia 2014 offering the precision and ease of use required to ensure compliance with custom specifications. Operation of the plug-in is highly intuitive, so that even users without a great deal of experience in monitoring loudness can use it effectively. The plug-in includes RTW’s Peak Program Meter, TruePeak, and Spot Correlator instruments and also offers all common loudness displays plus MagicLRA mode or SPL view.

RTW is pleased to exhibit its new RTW Loudness Tools from the new Masterclass PlugIns range of software, the LQL Loudness Quality Logger software and its TM3, TM7 and TM9 TouchMonitor audio meters at this year’s BroadcastAsia Show (Booth 5E6-01).

Masterclass PlugIns The new Masterclass PlugIns software provides RTW’s metering tools as standard-format plug-ins for Windows and Mac OS platforms, allowing a larger number of RTW customers to access the tools. The RTW Loudness Tools are the first of the company’s products available as part of the new software. The RTW Masterclass PlugIns Loudness Tools visually depicts audio with all relevant level and loudness values as specified by international standards. Conforming to the EBU R128 loudness standard, as well as ITU-R BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, CalmAct and custom as well as SPL mode, it is a handy tool for quality control,

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The RTW Masterclass PlugIns Loudness Tools require Windows 7/8 (32-bit or 64-bit) or Mac OS 10.6 or higher. RTW has first made them available in the VST 2.4 format for Windows systems and the RTAS format for Mac OS. VST, RTAS and native AAX64 support on the two platforms will follow.

LQL Quality Logger Software The LQL is a natural extension of RTW’s range of innovative software options for the 7- and 9-inch line of TouchMonitor audio meters, as it was developed for logging, truepeak data analysis and reporting. It is compatible with the TM7, TMR7 and TM9 TouchMonitor line of products running with the Logging Data Server license (SW20014). Once activated, LQL enables measured Loudness and TruePeak data to be derived directly via an IP connection from a capable TouchMonitor audio meter, as well as from external storage media such as a USB stick. The software also includes dual limit weighting, status information, marker and various other reporting features.

TM3, TM7 and TM9 TouchMonitors Controlled using a touch-sensitive display, the TM3 TouchMonitor has a

budget-friendly base price, a 4.3inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. It includes a large number of graphical and numerical instruments showing single-channel and summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. It offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.17703/1771-1, ATSC A/85,ARIB, OP-59, AGCOM, CalmAct and custom as well as SPL mode. As with all TouchMonitor products, it features the Magic LRA instrument, designed by RTW for intuitive visualization of the loudness range and integratedloudness parameters. The TM7 and TM9 TouchMonitors, which include the innovative Magic LRA instrument, feature a sevenand nine-inch touch-sensitive display, respectively, and provide unparalleled flexibility and modularity combined with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. The system visualizes up to 16 analog and/or digital sources at the same time. The TM9 is also capable of providing a view of up to 32 digital channels when the 3G-SDI option is implemented. Along with RTW’s entire TouchMonitor range, the TM7 and TM9 were created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, CalmAct and custom as well as SPL mode.




Riedel products at Broadcast Asia2014 “Riedel is once again happy to be a part of the premier broadcast trade show in southeast Asia and BroadcastAsia comes at an exciting time for us. Our new MediorNet update and the MetroN core router take our philosophy of totally networked solutions to the next level and we are thrilled to be able to show them in Singapore." — Joe Tan, General Manager, Southeast Asia.

MediorNet MetroN Core Router The MediorNet family of real-time networks has been expanded with the addition of the 2-RU large-scale MediorNet MetroN core router. The new MediorNet MetroN provides a real-time routing capacity of 64x10G ports. The new frame can function within a larger MediorNet installation, interfacing with other MediorNet frames via fiber.

MediorNet Supports Studer Consoles Riedel will also present the MN-

ST-AL-2, the company's new MediorNet expansion card for Studer consoles. The MN-ST-AL-2 card provides two ports, each with redundant interfaces, for connecting Studer mixing consoles via the Studer A-Link protocol. In this way, the consoles become an integrated part of the entire signal distribution infrastructure. Users can gain up to 384 channels per connection and realize significant cost savings in cabling and maintenance. Routing of the audio stream is handled by the user-friendly MediorWorks control and management software via drag-and-drop programming, which makes last-minute changes easy and intuitive. Additional routing adjustments can be performed via Pro-Bel commands or the new EMBER+ remote control protocol in MediorNet.

Integrated AVB Control Panel for Artist Digital Matrix Intercom During BroadcastAsia2014, Riedel Communications will feature

its new CPX-AVB expansion card for Riedel Artist 1100 series control panels. The CPX-AVB provides the next generation of AVB interfacing for Riedel Artist digital matrix intercom control panels. The CPX-AVB is a dedicated card that fits in the expansion slot of the Artist 1100 series OLED control panels. The card turns the control panel into an AVB-enabled device, in turn making the panel's ports available within the entire AVB network. The expansion card converts two Artist ports to the AVB network and vice versa. Also on display will be the AVB108 G2 Client Card and Connect AVBx8 panel interfaces. The AVB108 G2 card is a regular Artist client card to be used inside the Artist mainframe. It converts eight Artist matrix ports into AVB and vice versa. The card can communicate with other AVB-108 G2 client cards in another Artist system for trunking, or with Riedel's Connect AVBx8 panel interface.

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Lawo releases major update for mc²-systems with software v. 5.0 all DSP modules per channel remain available. Up to eight AutoMixgroups can be used per system, each with an unlimited number of contributing channels.

mxGUI faders

Software version 5.0 for all Lawo MKII mc² mixing consoles and routers is available. As with all Lawo software releases, version 5.0 is free of charge for all existing customers.

AutoMix Version 5.0 introduces the all-new AutoMixfeature. In contrast to existing systems, AutoMix automatically balances mono, stereo and surround-sources for a variety of different applications. For talkshows or panel discussions, for example, AutoMix ensures users never miss a

fader raise and always have the right mic open in time. A completely new application would be to use AutoMix during the broadcast production of sports events and shows, where it can be used to mix the commentators and international sound, reducing spill from the crowd and avoiding sound coloration from mics when multiple commentators are working. In this application, the AutoMix works asgentle bi-directional ducking. Automix does not take up additional processing power from the system –

The Lawo mxGUI is a touchscreen-optimized software for monitoring and control of mc² consoles. With version 5.0 software, levels can now be adjusted via faders within mxGUI, making it a fully-fledged operating interface for the mc² series consoles, and allowing improved remote control workflows and use as a backup.

Ember+ integration Release 5.0 also brings Ember+ integration to all mc² series consoles. The Ember+ self-discovering protocol (an initiative from the Lawo Group and L-S-B Broadcast Technologies) enables highly effective and custom integration of consoles from the mc² family with broadcast control systems such as VSM. Ember+ provides access to almost any parameters and allows users to edit individual settings and routings.

LiveU at Broadcast Asia

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LiveU will demonstrate its complete range of bonded 3G/4G uplink solutions for broadcast and online media, offering a one-stop-shop for live news, sports and event coverage. This includes LiveU’s new smaller, stronger LU500 uplink unit, available in backpack or camera-mount configurations, which has achieved instant success worldwide. Weighing only 1 kg (2.2lbs), the LU500 includes up to 14 bonded connections. The LU500 benefits from LiveU’s proprietary antenna modules for greater resiliency and is powered by LiveU’s new multi-processor video encoding engine.

in the world. The system includes: the LiveU Matrix for real-time previews and flexible online management of multiple feeds for live broadcasts and social newsgathering; geo-location for each LiveU application; and enhanced remote control.

LiveU will be presenting its comprehensive LiveU Central management system that allows full control and monitoring of the entire ecosystem and content via any browser-supported device from anywhere

LiveU is supported throughout AsiaPacific with local offices and onsite support for its regional customers. Customers include Asia’s top broadcasters, news agencies and online media.

Also on show will be LiveU’s mobile application for smartphones and tablets, the LU-Smart with its innovative handheld Smart Grip; LiveU’s Xtender external antenna solution for extra-resilient signal in extreme scenarios; and hybrid solutions with cellular, microwave and satellite technologies.




Miller Camera Support Equipment pans Japan’s majestic scenery for Shane Peel’s debut documentary film “Snowsurf” When award-winning Australian photographer and writer Shane Peel, moved to Hokkaido, Japan for the production of his debut documentary film “Snowsurf,” Miller Camera Support Equipment was along for the ride to offer its assistance with its Compass 12 Solo 75 Carbon Fibre system. “The reality of film making is that it’s a whole lot more complex than capturing stills; camera movements are the key to this type of storytelling, which is why I chose to work with Miller’s Compass 12 Solo 75 2-Stage Carbon Fibre system as my primary camera support solution on this project,” Peel says. “Miller tripods and fluid heads have been in my equipment roster since day one. Shooting in Hokkaido, where long hikes in waist-deep snow and negative 30 degree wind chills are the norm and a simple mistake can take your life, means that the equipment decisions have to make sense from the get-go. Working with Miller’s exemplary camera support solutions makes the most sense to me.” Shane is currently one year into the production of his first full-length film, “Snowsurf,” which is a documentary that dives into the history of a special snowboard subculture that

exists in Japan’s northern-most island, Hokkaido. Primarily a surf photographer, Shane is generally used to shooting projects in warmer, more leisurely atmospheres. However, for “Snowsurf,” he says that working in the back-country of one of the world’s snowiest, and sometimes incredibly treacherous, places makes the weight and functionality of his equipment of utmost concern. Miller’s Compass 12 Solo 75 Carbon Fibre system consists of the Compass 12 Fluid Head and the ultra light, yet rigid, Solo 75 3-Stage Carbon Fibre Tripod. Key features to the system that Peel found particularly useful while shooting through such harsh, snowy conditions include its selectable smooth pan/tilt drags, illuminated bubble level and quick release sliding camera plate with 60mm travel. “Communications during this project have been difficult. As my crew doesn’t speak a word of Japanese, we are often faced with sudden changes while shooting, because language barriers often hinder the communication between the rider and the crew. For instance, a slow, steady panning shot can turn into a rapid double axis ‘L’ movement in a

matter of seconds,” Peel says. “To be able to smoothly adjust the Compass 12 Fluid Head’s movement speed to any of the three pressure options in a moment’s notice has been a real advantage. Additionally, the illuminated bubble level has been incredibly handy, especially when working during the darkening blizzards I often experience! The head is a joy to work with.” Peel also says that the light weight of the Compass 12 Solo 75 2-Stage Carbon Fibre system has proved essential when he shoots in really remote locations during this project, as the system is very portable. Furthermore, he mentions that the quick release sliding camera plate not only saves time with its efficient locking mechanism but also eliminates unnecessary pack weight. “I have experienced some amazing days, shooting in unique places that boggle my mind—awesome silver-birch glades, natural hot springs and majestic snow-capped volcanoes are just some of nature’s amazing gifts that I’ve seen,” he says. “And, the defining element, through it all, has been the smooth, clean movement of Miller’s Compass 12 system.”

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Lawo in TV Skyline’s new 3G SDI / 4k HD OB truck flagship TV Skyline’s new Ü7 OB truck took to the road on 1 May. This unit is the latest addition to the facilities operated by the Rhine-valley-based production company, and sets new standards in design and workflow for high-end OB trucks. The Ü7 is fully equipped for high-quality operation on ambitious productions with three studio control rooms and up to 32 workplaces. The audio area occupied by the Lawo mc²66 is suited to the live broadcast of big sports events and music festivals in 5.1 surround, and can also handle parallel production of stereo material. The mixing crew can follow the 5.1 production in four rooms with surround monitoring. “An mc²66 mixing console was installed in our Ü5 OB, which was completed 2006, and we have had only positive experiences with it,’ saysTV Skyline founder and CEO, Wolfgang Reeh. “It is very stable in operation, provides optimal functionality and is reliably doing its job. Another reason for our choice is that Lawo constantly develops and advances itself and its systems. With the current generation of the mc² mixing console, Lawo has

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brought a high-quality and ergonomically optimized product to the market. With the functionality of its console core and DALLIS I/O system, it allows signal processing to a high level.” The 16.6m, 38 tonÜ7 trailer is fitted with one movable 1.60m side and two 60 cm drawers on the other – one of these houses the audio control room. Itsacoustic environment is designedfor optimum listening with regard to equipment placement and the positioning of the monitorloudspeakers – a 5.1-channel setup with digital Dynaudio Airspeakers, plus a K+H system,with Wohler audio control. The abundantly equipped area isable to handle multitrack recordings of up to 256 channels, with processing and limiting from TC Electronic. The truck’s silent air-conditioning, fabric-lined walls and carpet, together with the ergonomic overall design of the room – which also has a “tonmeister workplace”– is optimized forthe highest levels of technical and artistic production. One of the three control rooms is accommodated in an auxiliary truck

dedicated to the Ü7, another 16.6m,29-ton heavy trailer that offers an additional multi-function cabin. According to Wolfgang Reeh, these three control rooms are an important considerationin the future applications of the Ü7: “For sports events, that the host signal is typically created in one control room, with a second and third control room needed to generate the unilateral feeds with highlights as well as edited versions of the programming,” he says. When designing the OB van, TV Skyline took completely different approach in determining the demands: “The reason why the Ü7 OB truck is so different from our other OB trucks is that it is based on two-year long observations regarding the requirements of the marketplace and of our company,’ Reehexplains. “Thus we devised a new room concept with up to 32 workplaces, and a technical infrastructure and ambience that translates our ideas on the future of production. In this way, we can cover everything from soccer broadcasts to high-end classical music events.”




Latest EVS XT3 servers integrate seamlessly with new Grass Valley 6X high frame rate camera The latest EVS XT3 live video production server offers full support for the latest LDX HiSpeed (LDX HS™) 3X and LDX XtremeSpeed (LDX XS™) 6X Super Slow-Motion Cameras from Grass Valley. Existing XT3 customers can integrate these cameras into their existing workflow without the need for any additional equipment or the extra cost. EVS XT3 servers have been supporting 3G already since 2011 enabling easy integration with other High Speed camera systems available on the market. By adding full support for the Grass Valley LDX 6X High Speed Super Slow Motion camera, live Super Slow Motion replays can now be fully managed and controlled via EVS Multicam LSM. Leading Asian facilities provider Broadcast Solutions is planning to use its XT3 fleet along with recently released LDX XtremeSpeed cameras to offer unique 6x Super Motion replays to its customers. Broadcast Solutions CEO Saeed Izadi said: “We’ve built a reputation for offering our customers the very best quality and cutting edge technology when it comes to our live production services. The integration between EVS XT3 servers and Grass Valley XtremeSpeed cameras is a real asset, allowing us to continue delivering the highest quality and leverage the very latest technology for live Super Slo-Mo replays.” The integration between the EVS XT3 server and Grass Valley’s XtremeSpeed cameras is the result of a joint effort between the EVS and Grass Valley development teams. As a result, the EVS operator in the OB truck can control the Super Slow Motion feed from a LDX 6X HS or LDX XS camera, managing live replays with the same level of ease and accuracy as with any other HD camera. The operator can adjust variable speed levels from -400 to

+400% for instant replays and create clips. The integration also allows production teams to benefit from the unique EVS SDTI and Gigabit Ethernet media sharing network, enabling advanced content management and exchange with post production and highlight creation teams.

Marcel Koutstaal, VP and general manager of Camera Systems at Grass Valley, a Belden Brand. “We’re very proud of this collaboration between ourselves and EVS and the way we’ve been able to achieve the seamless integration between our cameras and the EVS XT3 server.”

“Thanks to our work with EVS we can now offer the market completely transparent integration between our products and deliver real benefits to our respective customers,” said

EVS XT3 servers are built on a fully open architecture, allowing tight integration with all existing Super, Ultra and HyperMotion camera system on the market.

Thomson Video Networks Sapphire MPEG Stream Server and Ideal Systems SoftCast Broadcast Operations Suite now integrated for Turnkey Playout and Ad Insertion Thomson Video Networks announced the integration of its Sapphire MPEG stream server with SoftCast, a comprehensive suite of software products from SoftCast Technologies that streamlines operation and management of broadcast TV channels. SoftCast Technologies is the new product department of Ideal Systems Group. The integration of SoftCast and the Sapphire "channel-in-a-box" server will provide Thomson Video Networks and Ideal Systems customers with a costeffective turnkey playout and ad insertion solution. Sapphire is a unique channel-in-a-box solution that provides all the functions needed to ingest, process, brand, and generate TV channels ready for air, and offers advanced capture, playout, and ad insertion capabilities and frame-accurate operation for MPEG-2 and H.264 compressed content. As the world's first downloadable suite of solutions for broadcast TV operators, SoftCast is now available for purchase from the Ideal Systems online store. The integration of Sapphire with the SoftCast Automation, Broadcast Schedule Planning (traffic), and Broadcast Ad Sales (ad scheduling) modules addresses broadcasters' new-generation playout requirements with a hybrid solution for both MPEG and baseband video delivery.

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Atomos Ninja Star Atomos Launch Atomos launched the Ninja Star at NAB 2014. The Ninja Star is designed for "Record Apple ProRes on Board" camera rigs, such as Drones, RC Helicopters, extreme sports and Reality TV. "Our customers screamed for a tiny flash based ProRes recorder and player for extreme applications, their second location cameras or simply when they already had a monitor." said Jeromy Young, CEO and Founder of Atomos. The Ninja Star is the next breakthrough in external HDMI recorders based on core technologies that have made Atomos the leader in camera mounted solutions. Its small, self contained size and flexible mounting options allow DP’s and cameramen to mount it to just about any POV setup and offer edit ready format recording with ProRes.

Atomos Licence ProRes Codec to Panasonic Atomos announce a strategic partnership at NAB 2014. Atomos will licence their Apple ProRes codec to Panasonic for the VariCam 35 camera. "There are tremendous long term gains by collaborating with prestigious Japanese brands.” said

Jeromy Young, CEO and Founder of Atomos. “By leveraging our IP we can bring an improved format flexibility to the high end camera market." “Given the prevalence of ProRes as a popular editing format within the production community, its inclu-

sion in the VariCam 35 will position the new camera/recorder solidly within a well-established and widely accepted HD workflow,” said Steve Cooperman, Product Manager, Panasonic System Communications Company of North America.

Shogun, New 4K HDMI Monitor/Recorder Shogun is a new 4K Apple ProRes and RAW capable 12G-SDI and 4K HDMI. "Shogun is the culmination of everything we stand for, amazing edit codec’s from the sensor like 4K ProRes and RAW Cinema DNG. Affordable 4K recording through Raided HDD’s and SSD’s and unbelievable custom panels for monitoring”. said Jeromy Young, CEO and Founder of Atomos. "Super light and slim and at a price point under 2K.

We offer a faster more affordable camera to timeline workflow with revolutionary 4K cameras from Sony, Panasonic and Canon”. The new Atomos Shogun is the world's first 12G SDI & 4K HDMI I/O monitor recorder and deck and features a 1920x1080 SuperAtom IPS 7" touchscreen 325 PPI 179-degree viewing. The Shogun utilises both 4K and HD clean output from HDMI

cameras such as the latest Sony A7S, Panasonic GH4, 4K SDI C500, and can record 24, 25 or 30p from the camera and up to 120fps HD if the camera is capable. It also has genlock in for synced playout and features optional Wifi for remote control from iOS or Android devices. Improved audio handling with the included Lemo breakout cable for XLR Audio gives balanced audio, mic and Phantom power.

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Autodesk Flame 2015 Flame 2015 debuted at NAB with new creative tools, faster performance, and an end-to-end 4K workflow to meet the needs of today’s high-end post-production facilities. “We’ve taken note of the challenges our media and entertainment customers are up against, and have evolved Flame to deliver a more efficient, interactive workflow,” said Chris Bradshaw, senior vice president, Media & Entertainment at Autodesk. “Flame 2015 is packed full of features that help artists work collaboratively with high-res material faster than ever before – even at 4K. Flame artists will be able to meet client 4K needs, without compromising the unmatched Flame creative experience.” Ntropic founder and executive creative director Nate Robinson

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said, “I love getting clients in the room and saying ‘let’s do something cool – something different.’ The speed at which I can now move around the interface and toolset helps me show so many possibilities – Flame makes the freeform creative process possible.”

Support for 4K and Ultra HD (UHD) Workflows Flame 2015 allows artists to work creatively and interactively to deliver high quality final results at 4K resolution. The new workflow helps deliver on the needs of today’s Flame artists with: industry standard 4K formats; 4K/UHD color management supporting ACES and REC-2020 color spaces; real-time monitoring and playback via SDI of 4K/UHD material at 50P and 60P; timeline

effects and batch nodes performance optimization & 4K capable substance textures; and 16 Gb fiber channel controllers in high performance storage for real-time throughput of high resolution images. Flame 2015 now supports the addition of a second GPU card in the Flame workstation. Background Reactor helps accelerate rendering by allowing artists to send their shot, sequence, or batch setup to the second GPU for rendering while continuing to work interactively on certain other tasks in the foreground. Background Reactor requires two NVIDIA Quadro K6000 GPUs (for HP Z820 workstations) or two NVIDIA Quadro 6000 GPUs (for HP Z800 and Z820 workstations).


Smoke 2015 In addition to significant new creative tools and performance enhancements, Smoke 2015 is available as a Desktop Subscription, so customers can access the software on a pay-as-you-go basis for the first time. “When Autodesk launched the

‘radically redesigned’ Smoke two years ago at NAB, we made a commitment to bring high-quality effects to editors in post, video production and corporate branding. And Smoke 2015 delivers on that promise,” said Chris Bradshaw, senior vice president, Autodesk Media &

Entertainment. “Smoke 2015 not only features highly-requested new creative tools and improved workflows with industry-standard tools such as Final Cut Pro, but also an even easier and more affordable way for small studios to get started with the software.”

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Calrec Audio

AoIP Interface Support to Global Customers Calrec Audio has committed support to AoIP networking by announcing its membership in the RAVENNA Community by entering into a partnership agreement with ALC NetworX, the company behind RAVENNA. The announcement demonstrates Calrec’s commitment to developing RAVENNA and AES67-compatible AoIP interfaces for its range of audio consoles through the Hydra2 network. “MADI continues to serve the industry extremely well, but we expect to see AoIP interconnections providing a more flexible and elegant replacement in the near future. AoIP offers greater capacity, flexibility, and multicast possibilities, all on an infrastructure shared with other services,” said Patrick Warrington, technical director of Calrec Audio. Calrec is also announcing the development of Audinate’s Dante AoIP network interface, available later this year, which will provide 64 inputs and outputs to the Hydra2 network on a Gigabit interface.

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Broadcast Console Introduced as Callisto Now Goes by Name ‘Summa’ Calrec Audio announced that it is rebranding its Callisto audio console with a new name: Summa. The console is designed for broadcast professionals who need a straightforward solution for producing creative and engrossing broadcast audio, but not all of the resources offered by Calrec’s Apollo and Artemis consoles. “The term Summa is mainly used for texts that ‘sum

up’ knowledge in a field, and the name also reflects the fact that a mixing console is essentially a summing engine,” said Henry Goodman, Calrec’s head of sales and marketing. “More fundamentally, we took the decision to change the name because Callisto was recently registered by another pro audio company! We missed the registration, and we have consequently been asked to change it, which of course we have agreed to do.”

Calrec Audio Acquired by Electra Partners Calrec Audio is pleased to announce its acquisition by Electra Partners. Calrec will become a sister company to Allen & Heath, which Electra acquired last year. “When we made our initial investment in the professional audio sector by supporting the buyout of Allen & Heath, Electra provided all of the new financing to ensure flexibility with respect to further acquisitions in the sector,” said Alex Fortescue, chief investment partner of Electra Partners. “The acquisition of Calrec shows the benefits of this approach, and both companies are well-placed to accelerate growth as a result.”

“We are delighted to have funded the acquisition of Calrec,” said Charles Elkington, investment partner of Electra Partners. “Part of our investment strategy in the professional audio sector is to acquire additional businesses to create a group of market-leading professional audio brands. We look forward to working with Roger Henderson and his team

to continue to invest in developing new products for Calrec’s customers.” “Calrec has experienced rapid growth over the past few years. We have a very healthy product portfolio, and we look forward to working alongside Electra Partners as we continue to break new technological boundaries.”

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G-Technology New ‘Studio’ line of external hard drives G-Technology announced the first products in its new Studio line, the G-RAID Studio and G-SPEED Studio. The Studio family comes in new high-quality, sleek black enclosure for today’s high-performance computers and workstations. The Studio line features multiple RAID options, removable enterprise-class 7,200 RPM drives, 20 gigabits per second (Gbps) Thunderbolt 2interfaces, and the industry’s highest capacity 6TB hard disk drives (HDDs) forpre- and post-production workflows.

G-SPEED Studio The G-SPEED Studio with hardware RAID is a four-bay Thunderbolt 2 storage solution that supports user selectableRAID 0, 1, 5 and 10 for ultimate flexibility and speed. With its built-in RAID controller, theG-SPEED Studio is not tied to a single workstation and can be easily transported and used on a Mac®laptop or desktop in the studio, edit bay or on the road.The G-SPEED Studio boasts sustained transfer rates of up to 660MB/sec in RAID 0and can be daisy-chained via dual Thunderbolt 2 ports. This G-SPEED Studio solution ships with four removable enterprise-class hard drives, designed to support multi-stream compressed 4K and 2K workflows. In a RAID 5 (data redundant) configuration,the G-SPEED Studio RAID can easily handle up to 30 hours of 4K footage in ProRes 4444 and can seamlessly edit three streams of compressed 4K.

G-RAID Studio The G-RAID Studio is a high-performance storage system with hardware RAID, enabling digital contentcreation workflow. User-selectable in RAID 0, RAID 1 or JBOD, the GRAID Studio features Thunderbolt 2 technology and has transfer rates up to 360MB/sec for editing high-resolution photos or multiple streams of compressed 2K and 4K projects. TheG-RAID Studio ships with two removable enterprise-class 7,200RPM hard drives for total capacities up to 12TB, complete in a

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sleekblack enclosure.The G-RAID Studio will be availablein Mayfor a MSRP of $1,299.95 for 12TB, $849.95 for 8TB and $699.95 for 6TB. “From lightning-fast transfer speeds to modern designs, we’ve approached our Studio series with the needs of today’s editors, photographers, filmmakers and musicians in mind,” said Mike Williams, vice president and general manager, GTechnology. “The Studio series is

built to handle the demands of 2K and 4K workflows, and represents the next level in our constant evolution to better support professional workflows with performance, style and reliability.” All products in G-Technology’s Studio lineare plug-and-play for Macand come with a three-year limited warranty. For additional information or details for Windows® support, please visit


International Datacasting

International Datacasting expended its portfolio of solutions at the 2014 NAB Show in Las Vegas, with the launch of new products for high performance video contribution, targeted ad insertion, and the latest video compression technologies to deliver premium content in Ultra High Definition format. IDC take very low latency encoding to new heights with its new TITAN 3 Contribution Encoder. TITAN 3 leads the industry in video and audio compression quality, with the flexibility to deliver lower latency encoding without requiring a proprietary decoder. The latest addition

to IDC’s portfolio of video contribution solutions, TITAN 3 boasts a flexible internal modulator, as well as full support for all the leading audio and video formats and BISS encryption.

gram insertion. IDC now has the industry’s broadest portfolio of solutions for targeted ad insertion, including support for satellite, digital terrestrial, and IP distribution networks.

The LASERTM Multi Program Splicer (MPS) enables seamless content and ad insertion on multiple channels simultaneously, which is a perfect complement to IDC’s existing ad insertion solution. The LASER MPS also extends IDC's LASER Targeted Ad Insertion Platform by integrating with existing receive-site equipment, and providing support for long-format pro-

IDC is also developing a 4K Ultra High Definition system as part of a new joint development program with the European Space Agency. The goal of the program is to enable the cost effective delivery of live 4K UHD broadcast via satellite for distribution to the home and to digital cinema screens using the new High Efficiency Video Coding compression algorithm.

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Pebble Beach Systems Marina Lite automation G-Technology announced the first products in its new Studio line, the G-RAID Studio and G-SPEED Studio. The Studio family comes in new high-quality, sleek black enclosure for today’s high-performance computers and workstations. The Studio line features multiple RAID options, removable enterprise-class 7,200 RPM drives, 20 gigabits per second (Gbps) Thunderbolt 2interfaces, and the industry’s highest capacity 6TB hard disk drives (HDDs) forpre- and post-production workflows. Marina Lite is based on the company’s flagship Marina automation platform which currently controls in excess of 300 channels at leading broadcasters and service providers worldwide. This new solution benefits from Marina’s sophisticated and configurable control layer, and is scalable from 1 to 4 channels and from 1 to 4 clients. Each configuration is available with fault tolerant options, such as 1+1 redundancy with fully automatic changeover. Managing Director Peter Hajittofi explains further, “Marina Lite delivers world class automation, at an affordable price. Developed to meet the needs of the broadcaster with low channel counts, it is based on

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the proven and resilient 64-bit clientserver architecture of our enterprise level Marina automation platform, and is capable of controlling traditional legacy products as well as emerging solutions - such as integrated channel technologies - within video, IT and hybrid infrastructures. One of Marina Lite’s major strengths is its highly intelligent and flexible playlist, which has the ability to control highly reactive channels with frequent late scheduling changes. We’re excited to be able to offer this best of breed performance to broadcasters with low channel counts.”

DolphinIP integrated channel device

In addition to the launch of Marina Lite, Pebble Beach Systems also showcased:

Marlin is a pre-render graphics workflow tool for Marina automation which leverages the power of Adobe® After Effects® CC. By managing the advance generation of complex promos and captions on this widely used Adobe graphics platform, and storing the resulting file as a video clip for playout, Marlin reduces the dependence on dedicated 3D graphics playout hardware, simplifies graphics workflows and lowers the processing demands on playout devices.

New configurations for the award-winning self-contained Stingray channel in a box Stingray leverages Pebble Beach Systems’ core automation and server technology to deliver a full HD ingest and playout solution. The system provides multi-format playback with mixed formats on the same timeline, and is now scalable for systems from 1 up to 6 channels, with redundant versions available for each configuration.

Developed to meet the needs of broadcasters who wish to move away from traditional SDI-based infrastructures, the DolphinIP integrated channel device delivers an MPEG2 and H.264 stream over IP (TSoIP). This adds full resolution IP delivery to the Dolphin range, and complements the IP monitoring output capability which the standard Dolphin already offers.

MARLIN pre-render graphics workflow

Lighthouse monitoring by exception Designed to alert operators clearly and unambiguously to upcoming events that need their attention, Lighthouse is the new tool for Marina automation which monitors by exception. The dedicated user interface gives a clear indication of potential issues across multiple channels, displaying, for example, missing media alerts, or timing and overlap anomalies. With more channels being controlled by fewer operators, Lighthouse maximises the opportunity for errors to be detected early and safeguards the smooth playout of all channels.


Quantel Enterprise sQ gets more tools, enhanced IT integration and AS-11 Quantel announced major developments for its Enterprise sQ news and sports production system at NAB. These include enhancements for what is already the industry's fastest news editor, and significant advances in file-based workflows and management that help integrate Enterprise sQ even more fully with the facility's IT infrastructure. Enhancements for sQ editors announced at NAB include: Optical Flow for high quality slow or fast motion; improved audio handling when working the video effects; AVCHD softmount; XAVC support; and improved shapes performance. In addition, the Marco field editor also gains the same toolset as the rest of Quantel's broadcast product range with the addition of an HSL

keyer. Also the range of laptop computers on which Marco supports SDI is greatly expanded with the announcement of support for the AJA Io XT. Enhanced IT integration comes courtesy of four developments to sQ Fileflow: 1. FTP client support - making it easier to integrate Enterprise sQ systems into existing FTP-based workflows, which are widely used in broadcast. 2. New Profiles capabilities - allowing the priorities of individual jobs to be automatically specified, giving more control with less management time. 3. New Fileflow UI - now a crossplatform HTML-5 browser-based

interface. Built with the benefit of extensive user feedback, the new UI streamlines and simplifies all operations. 4. Easy deployment - secure rolebased access and per-location access credentials that fit in naturally with existing IT infrastructures and policies. These enhancements provide secure access into the system and give every user the right tools.

AS-11 AS-11 is the new file-based delivery standard and is now supported on Enterprise sQ. This means Enterprise sQ systems can export AS-11 files for delivery to file-based playout centers.

Genetic Engineering 2 turbo-charges Pablo Rio productivity GE2 is Quantel's new shared storage solution for post that delivers flexibility, performance and productivity for Quantel Pablo Rio color and finishing system users. GE2 uses COTS hardware and is already

transforming the efficiency of post houses in today's multi-resolution post world. GE2 brings total scheduling flexibility to the post production process, allowing high resolution jobs to be instantly switched or sha-

red between suites so post houses can meet tight deadlines or take on short-notice work. Up to four Pablo Rio systems can share the same GenePool storage, with guaranteed realtime performance on every connected system no matter what each is doing - even when working at 4K. GE2 also goes beyond 4K - offering 6K 16-bit operation on multiple clients to cater for the new generation of ultra-high resolution cameras. New for NAB, the Pablo PA workflow assist station can now be directly connected to the GenePool. This enables conform, prep and workflow tasks to be undertaken on lower cost equipment so that the Pablo Rios can deliver maximum value for client-attended creative sessions.

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Quantel's high quality color and finishing software handles more file types, Avid effects in conforms, gains new slo-mo capabilities Quantel showed the latest software release for its Pablo Rio high quality color and finishing system at NAB 2014. This is the fifth new feature release since IBC 2013 - just seven months ago - and adds yet more capabilities to the system's already rich toolset. The new software ensures that Pablo Rio continues to set the pace in file-based post production pipelines with support for yet more file formats, including 4K XAVC export and DCP import as well as the latest RED SDK. TMBi - 32

The new software also supports conform of Avid effects. This new facility greatly speeds the transition from Avid offline to Pablo Rio 4K finishing and color correction. For example if the Avid editor has used a DVE to resize a clip, the metadata for the DVE move comes across to Pablo Rio with the media, so the clip is automatically resized when it is conformed in Pablo Rio using the 4K media. The Pablo Rio toolset also gets a major boost with Optical Flow slow motion. Optical Flow uses advanced motion estimation techniques to produce smoother, higher

quality slow or fast motion. The new software also features many additional improvements that increase flexibility and performance. These include: audio in MLT, AVCHD softmount, tracker homography, better text handling, faster shape creation, wireframe updates and better subtitling tools. "The momentum continues to build for Pablo Rio. This raft of new developments will maintain Pablo Rio's pre-eminent position as the color and finishing system of choice for 4K and beyond," said Steve Owen, Quantel Marketing Director.


Quantel announces support for AJA Io XT and KONA 3G At NAB 2014 Quantel announced support for the AJA Io XT on its Marco field editor, and KONA 3G video card on its Pablo Rio color and finishing systems. AJA Io XT will be supported for input and output on Marco in addition to AJA's TTAP(tm) Thunderbolt(tm) adapter, enabling journalists and editors easily to exchange media with a professional SDI infrastructure - for example satellite or outside broadcast/remote trucks, or for direct recording from HD cameras. Pablo Rio already supports the AJA Corvid

Ultra, which delivers realtime 4K 60p. The addition of support for the AJA KONA 3G gives customers a wider choice of I/O infrastructure and will be particularly attractive to

customers who currently require realtime 2K capability. The KONA 3G card is supported on softwareonly Pablo Rio 2K and 4K systems and 2KO turnkey systems.

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Rohde & Schwarz DVS The new SpycerBox Cell modular storage solution from Rohde & Schwarz DVS delivers data rates for formats up to 8K SpycerBox Cell is a SAN for uncompressed and compressed post production and broadcast formats – whether for SD, HD, 2K, 4K or 8K. The vast quantities of data produced at higher resolutions can be stored effortlessly as SpycerBox Cell's redundant architecture is scalable and cascadable. A single SpycerBox Cell offers a guaranteed data throughput of over 3 GB/s and a capacity of up to 36 TB with SAS which is scalable using multiple SpycerBox Cell systems. The incredible storage density and scalability is especially advantageous to post production studios, digital cinema mastering houses, and broadcast studios that want a futureready and flexible storage environment. Rohde & Schwarz DVS designed the SpycerBox Cell to be modu-

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lar and redundant so the storage solution can be expanded easily when requirements become more demanding. The integrated SAN Remo webbased user interface offers convenient configuration of the hardware and software components. It also lets users monitor the system status, bandwidth levels, and the system's performance. Jorge RĂ­os, Product Manager at Rohde & Schwarz DVS: "With

SpycerBox Cell, we are offering our post production and TV production customers maximum storage density and robustness combined with easy scalability and redundancy."



TVLogic has exhibit 2 new field production monitors, two 24” broadcast models and two 4K displays at NAB 2014 that incorporate a host of innovative features for digital cinema and broadcast production. VFM-058W – is the successor of the VFM-056WP viewfinder monitor and is designed for demanding compact monitoring. A 6”x 4”x1” lightweight magnesium-alloy case houses a 5.5” native 1920x1080 LED backlit LCD display with a full complement of preferred features, including DSLR Scale, Focus Assist, HDMI / HD-SDI cross-conversion, Waveform/Vector Scope, Y Level Check, Range Error Check Various Scan Models, Markers, Audio Level Metering with speaker, and Time Code Display.

rate Rec. 709 color gamut. Inputs supported are quad 3G-SDI and quad HDMI I/O as well as HDMI 1.4 and DisplayPort 1.1. LVM-095W – features a high-resolution (1920x1080) 9” LED backlit LCD panel housed in a durable aluminum frame. Designed for field production applications, the LVM095W features 3G HD/SD-SDI and HDMI input, highly accurate Rec. 709 color gamut, 17 front-panel controls, and a built-in V-mount. Additional features include Waveform and Vector Scope, Focus Assist, 1:1 Pixel Mode, a full range of selectable frame markers, mattes and colors, Auto-Color Calibration Support, and more.

LUM-300A/550A – are two new UHD/4K monitors. The LUM-300A is a 31.1” 4096x2160 4K DCI reference display with a full 10-bit white LED backlit high contrast (1450 : 1) and high luminance (850cd/m²) LCD. Inputs supported are quad 3GSDI and quad HDMI I/O as well as HDMI 1.4 and DisplayPort 1.1. The monitor provides wide color gamut response up to DCI-P3 and includes 3D LUT support and a full feature set.

LVM-246W – This updated version of LVM-242W - 24” broadcast monitor features a high contrast (1000:1) 1920 x 1080 8-bit white LED backlit LCD with two 3G-SDI inputs, one 3G-SDI output as well as DVI-I input w/HDCP, Analog Component/Composite/SVideo/RGB Inputs, Closed Caption : CEA-608/708 (SDI), Additional features include Waveform and Vector Scope, Focus Assist, 1:1 Pixel Mode, Luma Zone Check, Firmware upgrade via USB / Ethernet, and more.

The LUM-550A is a 55” 10-bit 3840 x 2160 broadcast UHD monitor with a full 10-bit white LED backlight unit, wide contrast (4000 : 1), wide viewing angle (178° H/V), and accu-

LVM-245W – This updated version of LVM-243W - 24” broadcast QCgrade monitor features a new high contrast (1000:1) 1920 x 1080 10-bit LCD with a High-Purity Precision

RGB Matrix LED Backlight Array. I/O includes two 3G-SDI in and out as well as one (each) HDMI and DVI-I input w/HDCP, Analog Component/Composite/SVideo/RGB Inputs. Additional features include Closed Captioning : CEA-608/708 (SDI), Waveform and Vector Scope, Focus Assist, 1:1 Pixel Mode, Luma Zone Check, Firmware upgrade via USB / Ethernet, Monitor control via RS422 / Ethernet and more. LVM-327W – This 32” QC-Grade monitor features a 1920 x 1080 10bit EEFL backlit LCD with two 3GSDI inputs/outputs as well as one (each) HDMI and DVI-I input w/HDCP, Analog Component/Composite/SVideo/RGB Inputs. Features include firmware updates via Ethernet or USB, Waveform/Vector Scope (Y/Cb/Cr, Wide type, Line waveform and Range Error), Closed Caption: CEA- 608/708 (SDI) and more. LVM-420A/460A/550A – TV Logic three large format LVM series monitors get new 10-bit panels a redesigned front bezel free of lights or controls. All three offer two 3G-SDI inputs/outputs as well as one (each) HDMI and DVI-I input w/HDCP, Analog Component/Composite/SVideo/RGB Inputs, Audio Level Meter (16ch), Closed Captioning, Waveform/Vector Scope (Y/Cb/Cr, RGB, Wide Type, Line Waveform) and more.

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Scott Willsallen, director of Auditoria Pty Ltd (Australia), was Audio Director and Designer for the opening and closing ceremonies of the Olympic and Paralympic games at Sochi’s 40,000�seat Fisht Olympic Stadium, at which DiGiCo consoles played a major part.

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Bobby Aitken worked with Scott to EQ the Olympics’ system along with Richard Sharratt who was EQing stems received from the music department. In addition to the main consoles, seven SD11 surfaces consoles were also deployed and used as a monitoring interface for the replay team, patch engineer and RF engineer.

Scott was engaged initially by the Ceremonies Staging Agency for the first stage of planning work, then CSA engaged Five Currents to deliver the Olympic Ceremonies and World Wide Shows to deliver the Paralympics, who engaged him for the delivery stage. The bid for tenders to provide the ceremonies’ audio equipment and a 34-member team of specialists who installed and managed the impressive set-up (with nine containers of equipment) was won by Agorà of L’Aquila (Italy), who is no newcomer to Olympic events, having supplied equipment, logistic support and technical staff for Turin’s 2006 Olympic and Paralympic Games’ opening and closing ceremonies. Scott explains, “The console network at Sochi was quite similar to London 2012. FOH, monitors and main broadcast each had a pair of mirrored SD7 consoles, one of which was connected to the Optocore network via MADI, the other to DiGiCo SD Racks, also via MADI. Using MADI as the connecti-

vity for all consoles makes mirroring the SD7s really easy and ensures 100% fail-safety not only on the mixing systems, but also the signal transport networks.” The FOH consoles (helmed by Richard Sharratt) were on Level 5, at the northern end of the show control rooms. The monitor consoles (manned by Umberto Polidori of Agorà) were located adjacent to the patch room, on level 3 back of house, and the broadcast facility (in the capable hands of Andy Rose) was located next door to the Olympic Broadcast Service (OBS) OB trucks in their compound. Griff Hewis on the other hand manned a pair of mirrored SD11 consoles (also connected to the network) and looked after the “atmos” sub-mix; the 5.1 audio was mixed with stereo crowd mixes to obtain the sonic environment of the venue. Justin Arthur (Auditoria) configured the consoles’ audio and data networking whilst Agorà’s Senior System Engineer at both ceremonies was industry veteran Daniele Tramontani. Audio Consultant

There are always challenges to overcome in order to accomplish such a large event so smoothly, Scott reports, “One big issue faced was the transportation of the broadcast audio facility, which was unable to be freighted directly from Rome to Sochi, so we had a very brief period to dismantle the truck, pack the equipment for air freight and build the facility into portable cabins, which were acoustically treated onsite while the equipment was being pushed through customs. This was accomplished in just three days - a great job by all concerned!”. As well as London 2012, Scott had in fact already spec’d DiGiCo consoles on other large projects in the past, such as Doha 2011 Arab Games Ceremonies, 2011 and 2003 Rugby World Cup Ceremonies and the Athens 2011 Special Olympic Games Ceremonies, and has no doubts regarding the reasons he found them particular suited to use on such events, highlighting, “Their integration of MADI and Optocore, as well as their reliability, wide availability, wide industry acceptance and the unparalleled support offered by DiGiCo UK.” TMBi - 37

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Riedel solution supports Red Bull-Sponsored Wings for Life World Run staged across 34 countries TMBi - 39

Riedel Communications announced that it provided the global communications backbone for the Wings for Life World Run, sponsored by Red Bull and supporting research to cure spinal cord injuries. An extensive installation of Riedel's Artist digital matrix intercom system and MediorNet real-time media network supported race-day communica-

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tions worldwide, as well as production of a television broadcast and a live streaming broadcast with updates from all 34 participating countries. RecordLab TV & Media GmbH was responsible for providing the broadcast infrastructure for the event. "The flexibility and reliability of Riedel solutions make them an ideal

fit for complex large-scale global events, such as the Wings for Life World Run," said Boris Kantzow, senior project engineer at Riedel. "Building on the Artist intercom system and MediorNet network, we were able to pull off a truly remarkable event that raised an amazing 3 million euros for spinal cord research."

On May 4 at 10:00 AM Coordinated Universal Time, more than 35,000 runners began the race simultaneously in 34 countries on six continents. Half an hour later, two "catcher cars" at each site began pursuit at 16 kmph (approximately 10 mph), using sensors to mark the time each athlete was caught and passed. The last woman

and man to be "caught" earned the title of Wings for Life World Run Champion. The global winner was Lemawork Ketema of Ethiopia, who covered 78.58 kilometers (48.83 miles). Because the race format spanned 13 times zones and lacked any fixed finish lines, coordination presented an enormous logistical challenge for the 110 timekeepers and organizers. The timekeeping and satellite news gathering (SNG) operations, with some 200 cameras feeding live images of the racing action, were based at the Red Bull Ring F1 circuit in Spielberg, Austria. The Riedel solution implemented by Red Bull included five Artist nodes deployed in a dual redundant fiber ring to provide 448 ports in a nonblocking system. Eighty control panels were spread across global race control, the outside broadcast (OB) truck, and all editing areas, with some panels connected via Riedel's MediorNet real-time media network to the SNG compound and other broadcast and social media facilities. All video and audio signals were distributed on Riedel's MediorNet system, and Riedel's CCP-1116 commentary units supported the main commentary position, as well as the radio program.

Each race site was connected to the system by two session initiation protocol (SIP) VoIP lines, one technical coordination circuit, and one production coordination circuit in what was likely the largest SIP VoIP installation ever implemented for such a global event. SIP VoIP cards in the Artist nodes were connected directly to a local VoIP private automatic branch exchange. To enable mobile communications, Riedel's RiFace universal radio interface systems connected Motorola radios on eight UHF radio channels. "The exciting thing about the Wings of Life World Run was the ability to have high quality and reliable global intercom communications despite having virtually no opportunity for a proper facilities test leading up to the event, said Christoph Winter, freelance communications engineer. "For a smooth connection between 34 countries, each with two coordination circuits, it was important that all involved parties be able to interact perfectly. Other key elements were a high degree of professionalism, optimum coordination, a faultless IT infrastructure to enable the connection to the SIP provider, and the excellent cooperation of OB van supplier RecordLab, who supplied the MediorNet real time network and Artist systems."

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In this issue of TM BROADCAST, we are going to analyze one of the compact equipments with more audio analysis options on the current market. Remembering some of the story of this manufacturer, we can say RTW is a world referent in equipments of measurement and

analysis of audio, always linked to strong and reliable equipments but with a basic and not very attractive design. With more than 40 years of experience, the company designed a new generation of equipments that integrated all the virtues and quality standards which are TMBi - 43


part of the company with an attractive an effective design. At that moment, the production of the series “Touch Monitor” started with the TM3, TM7 and the TM9, changing completely the equipment aesthetic. This was an innovative solution which stood out with regards to other equipments of the market. It was getting closer to the visual model of a touch screen which can be perfectly integrated in any studio. These equipments are a new audio measurement level regarding accuracy, performance, efficiency and flexibility. For RTW, “firstly, the idea was to assume the combination of a monitor with the necessary quality to be

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used as a visual indicator of the professional audio measurement. Something the LCD technology alre-


ady provided without problems. From there, it was a matter of integrating the TouchMonitor TM7 (with



a 7" screen) and TouchMonitor TM9 (of 9") with all the electronics and the audio circuits inside. Afterwards, RTW redesigned the graphical user interface (GUI) to take profit from the 16:9 area and the touch screen functions. All of it bearing in mind the television necessities which are much more worried now about the loudness management and the stereo sound that goes with the high definition image.”

IMPORTANT CHARACTERISTICS Among the most important characteristics we can find: the Surround analyzer, the real time analyzer (RTA), the loudness meter with the ITU/EBU standards and the intelligent analyzer of source identification. There is also available as a software option a very accurate “true-peak” meter.

of signal measurement we want to visualize in the screen can be done with one finger (although they can also be done with the mouse), enabling the positioning and redimensioning of each meter. Finally, RTW has created a modular structure of software components which enables each client to compare only the meter he needs, making the TouchMonitor range less expensive. This also enables the brand to expand in the future the meter functions by simply activating new software modules. RTW and the manufacturer Lawo have also announced the TouchMonitor TM7 will be available as an option for its integration in the range of Lawo mc² boards. Likewise, the Danish TC Electronic and RTW will begin a collaboration to develop new products of audio measurement, while the last company will include immediately the

Both the TM7 and the TM9 can receive audio signals in analogue format, AES3 and AES3id, but the TM9 also includes the 3G SDI. All the versions include one red LAN port, one VGA output to connect additional external monitors, GPIO interfaces and two USB ports. The control of all the configuration functions, as well as the selection of the type



Loudness Radar Meter LM5D as a software option for TouchMonitor. This equipment is an audio analyzer and the information is presented in a touch screen which enables you to set up the different possibilities of the equipment.



The first thing that comes to mind is its compact dimensions due to the quantity of features it includes. This makes it very useful in small spaces and it’s perfect for moving it from one place to another.

The options installed in the demo module are: SW20001: Multichannel To monitor different channels at the same time. SW20002: Loudness. Compatible with the following standards: EBU R128, ITU-R BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59. SW20003: RTA. Real time analyzer SW20004: SSA. To visualize the surround parameters. SW20005: Radar Display. To visualize the loudness history. SW20006: RTW Premium PPM. To visualize the vectorscope in dual mode and other advanced options. SW20008: Timecode Reader. To visualize the timecode information. SW20013: BLITS. To generate test lines according to the EBU 3304, GLITS and BITS standard. SW20014: Logging Data Server. To control it in a PC.

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It’s also important to highlight the output and input connectors: 3G-SDI input: the demo equipment didn’t include this option. Analogue audio input (8 channels): DB-25 connector AES input/output (8 channels): DB-25 connector VGA LAN: for the control with a PC GPIO 2 x USB: where the license USB is connected.

We miss an analogue audio output or type of minijack to be able to listen with headphones the signal that is being analyzed. When you start the equipment you can see it has a good resolution screen and a good answer to touch. The equipment doesn’t emit a sound, not even the usual fan sound and after several hours of working it doesn’t get especially overheated.

EFFECTIVENESS In order to use the equipment the first thing you have to do is create a preset according to your necessities with the “Preset Management”, these are the options available: - Create an audio group: to monitor audio inputs. - Create a non-audio group: to establish a clock, monitor the state of the hardware and a keyboard of START, STOP and RESET All this can be done using the touch screen. The important aspect of this section is the wide range of possibilities of the configuration because it can be adjusted to the necessities of each individual. Once we have configured our preset and we see on the screen the different measurements, it’s possible to configure each one by pressing them with the finger and then going to the option “Edit Instrument” that appears on the scre-

en. Depending on the type of instrument, you would be able to change some characteristics, such as the colour, the tolerance, reference levels, etc. Remote control with the PC (LQL – Loudness Quality Logger) It’s necessary to install the application “LQL – Loudness Quality Logger” which is obtained from RTW’s web page. If we connect the equipment to a PC with Ethernet connection, we can control the equipment by opening the application LQL, but first it’s necessary to set up the parameters of the audio monitor network which can be easily done in “Menu – System – Network”. It’s potential on real situations As we have previously said, its compact size enables us to have it in a control room or outside. I decided to test it in two scenarios. We use the TM9 as a quality control checker on the Central Control because this way we can monitor the signs which interest us in two different posts, with two independent signs and a person in charge of each shift, who in case of doubt of the operators can decide from its position the validity of the audio signal. For that and only with the TM9, we assigned two signals (AES) from the centre (audio follow video), independently commutable from the two positions defined in the Central Control. We assigned to each position a 17” VGA monitor, where with a VGA’s Hub, we doubled the monitors from the output provided by the TM9. We placed it on the position of the person in charge of the shift to verify it and adjust it if necessary. The screen was set up to show the measurement of the two audio groups we predefine trough the touch panel of the TM9. The signal measurement was compared with our audio measurement equipment which we calibrated at the beginning of the year and it was precise. It’s also important to mention the opera-




tion we organized to cover two quality control points, plus one point of supervision. The whole of measures and configurations we checked was of great help in order to monitor the audio signals, from a stereo signal to a surround. As we were able to configure all the parameters of measurement, it was very intuitive to interpret the audio measurement visualization. In the second test we used it as quality control meter outside. We did it in a concert where we were given the produced audio sign and we mixed it with our presenters. Thanks to the size and our simple operation, the equipment showed us immediately the measurement patterns that we had to do. In our case we had already done several presets for this type of situations, therefore I was able to measure without problems the audio signals provided by the sound unit and compared them in real time with the master output of our board. I was able to do this after mixing the master output with the audio signals we needed because I could move it wherever I wan-

ted. Before beginning, in the rehearsals, I did some local test on the board which gave us the pool audio signal, using as reference the output levels and the data values in order to compare them afterwards with the master output of our unit. This way I could control the signal losses due to wiring distances. It was all perfect; it was very useful to have the TM9, especially when we could carry it from place to another without problems for the measurements.

These are just two situations on which I decided to use the equipment, but with these kinds of equipments I say: all power to the imagination. You can do almost everything with the precise audio measurements without taking into account the situation of the source signal. One important detail is the strong and compact design of the TM9, which makes it practically immune to interferences. I did some tests with high magnetic fields to see the influence of them and they worked perfectly without any type of error.

WHAT WE MISS As usual, one of my main complaints is the fact it doesn’t have an ON/OFF button. From my point of view, it’s very interesting to have this button to avoid false contacts. As an added feature to the design I understand that, because of the construction, the system has to have an external power source, but it would be very useful to have it as an attached bag in the back part of the equipment. This will provide it with more mobility in case we want to use it outside, but it’s just a suggestion.

CONCLUSION It’s a great equipment with a compact size, it’s also precise and can be used intuitively. You can customize the measurements that will appear on the screen, through the preset. This is a very recommended option for those who want a big potential and a small size. I want to thank RTW ( for letting us use the equipment and my friend Biel Pol for the assistance, as well as IB3TV, for letting us use its facilities to do this test bench.

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