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Staff Editor Javier de Martín editor@tmbroadcast.com Director Jesús Carrillo director@tmbroadcast.com Key account manager Cristina Feduchi Javier M. Gutiérrez international@tmbroadcast.com

Summary

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Editorial

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Creative Direction Mercedes González design@tmbroadcast.com

ZOOM IN

Editorial staff press@tmbroadcast.com

Interview with Niclas Ericson and Mark Ginyer

Administration Margarita Quevedo administration@tmbroadcast.com

FIFA World Cup 2014

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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, June 2014.

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TEST AREA Canon C100 vs C300

TEST AREA TM Broadcast International #11 June 2014

PAN SHOT

Jünger Audio Processors

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Editorial

Finally started one of the most important events in the world, the FIFA Cup. We´ve been talking with lot of professionals who are now, as we write this editorial, working in Brazil for different media in different specialties. Uniformly have forwarded us his displeasure, some infrastructures that should be completed are not, and there is a sense of chaos and disorder. Even someone has told us to be thinking about going to the Olympics held there in two years. It is great to hold such large events in developing areas, but it is also true that the entire country should be involved. Because of what happens here depends an important part of business and technological development, Brazil should strive to face the Olympics. Tokyo is certainly a spectacular technological catalyst, they are studying right now how to incorporate 8K in broadcasting and that many years left. That's the kind of commitment we need.

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SP Telefilm to use Grass Valley live production solutions to produce the FIFA 2014 World Cup in Brazil for TV Azteca São Paulo production company SP Telefilm will provide broadcast services to TV Azteca to broadcast the games of the Mexican national team in Brazil during the FIFA 2014 World Cup using live production solutions from Grass Valley, a Belden Brand. SP Telefilm, referred to the project by International Media Services Inc., will use its HD OB van to transmit the games via satellite from Santos in the state of São Paulo and from the cities where the games will take place. The SP Telefilm mobile unit is equipped with a Grass Valley

Kayenne Video Production Center switcher with 48 inputs, nine LDK 4000 Elite single format HD cameras, one LDK 8300 Live 1X/2X/3X Super SloMo camera, three 4-channel K2 Dyno Replay Systems and a Concerto multiformat routing switcher. "The production equipment from Grass Valley will not only allow us to capture each match, but will provide stunning, captivating and engaging images to the viewers in Mexico," said João Carlos Serres, general manager, SP Telefilm. "This is especially true with the integration of our three K2 Dyno Replay Systems, which gives us the opportunity to assemble highlight packages and

Advantech Wireless SapphireBlu™ Series of UltraLinear™ GaN technology based High Power Amplifiers Awarded Teleport Technology of the year 2014 by the World Teleport Association and “Vision Award” as Most Innovative Product of the Year 2013, the SapphireBlu™ Series of UltraLinear™ GaN based HPAs is the ultimate solution for any uplink activity, such as content contribution, distribution and DTH TV. It empowers full Ultra HDTV, with the new 4K standard,

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replays that fans in Mexico will expect from World Cup matches." This agreement dates back to 2013 when SP Telefilm and TV Azteca first agreed to produce and broadcast the Confederations Cup. The agreement was then expanded to include the draw of the FIFA 2014 World Cup Brazil groups, a program on the host cities of the World Cup and the coverage of the Mexican national team. "With such an important event as FIFA 2014 World Cup Brazil, we are honored that SP Telefilm has put their trust in Grass Valley live production equipment so that the fans in Mexico can root for their national team," said Leonel da Luz, vice president sales, Latin America, Grass Valley.

in a very performant and cost effective way. This is the first time GaN technology is being used to transmit the world’s most important sport event of the year. It is a world premier. With this pioneering technology it’s possible to saturate all transponders of the modern satellite with a single 13m antenna and a single amplifier per polarization.


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Genelec sponsors The Walk to Fisterra Genelec is a proud sponsor of The Walk to Fisterra project and has supplied its 1037C monitors to facilitate the ambitious recording vision of project engineer, Kyle Pyke. The Walk to Fisterra has seen world renowned cellist, Dane Johansen, embark on a musical pilgrimage along the ancient el Camino de Santiago. Along the 600 mile route from France to Spain’s Atlantic coast Johansen is carrying his cello and will be stopping in ancient churches on route to perform and record Bach’s Suites. The team’s challenge is already underway, having set off in May, and is set to finish in mid-June. “This is an extremely exciting vision and one we are very proud to be supporting,” says Lars-Olof Janflod, Marketing and PR Director at Genelec. “In each church the Fisterra team will run an impulse response using our 1037C monitors to take a reading of the sonic state of each space which they will aim to recreate for future audiences.” “The loudspeaker will send out a signal for 30 seconds, starting at 20 Hertz and running all the way up to 20,000 Hertz. That signal will bounce off the walls of the church and come back to be absorbed by our microphone array. We will use the information collected to create a 3dimensional sound map of the acoustic space, enabling us to recreate that sonic space for audiences in the future,” says Dane Johansen. Recording engineer Kyle Pyke says, "Genelec signing on as one of our partners was a huge step forward for our project. Their monitors can be found in nearly every recording studio in the world, and knowing that we have an industry standard speaker to run our impulse response sweeps gives me confidence that we will capture the most accurate response from every hall." For the project, Genelec has sup-

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plied a pair of its 1037C, a three-way active monitoring system including loudspeaker drivers, speaker enclosure, multiple power amplifiers and active, low signal level crossovers. The unique Directivity Control

Waveguide™ (DCW) Technology used provides excellent stereo imaging and frequency balance even in difficult acoustic environments, making it well suited to Dane and Kyle’s requirements.


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Advantech Wireless UltraLinearTMGaN technology based HPA Systems successfully supportthe live transmission of sports tournament in Brazil Advantech Wireless announced today that it is successfully supporting the live transmissions of the sports tournament in Brazil with its 400W CBand and 200W Ku-Band SapphireBlu™ Series of UltraLinear™ GaN technology based High Power Amplifiers.

Guangdong TV Centre scores during Fifa World Cup productions with TSL products Guangdong TV Centre’s used TSL products audio monitoring range for loudness and quality. TSL has supplied SAM1-3GM studio audio monitoring units, the PAM PiCo Master 5.1 Surround/Loudness Compliance Meter and an entry-level MPA1-3G audio monitoring unit to ensure its compliance with regional and national standards. The TSL units are installed in key positions in the control room and rack room for confidence monitoring of multiple audio streams. “With live action feeds coming in from the 12 venues in Brazil covering the World Cup, mixed with on-site and local commentary, having reliable audio confidence monitoring through the MPA and SAM units and loudness compliance logging through the PAM PiCo is a must for this massive live event,” says Howard Hong, Principle Engineer for Suntec Broadcast Technology Ltd., the systems integration company handling the installation. “We chose TSL Products equipment because they offer rock solid performance, straightforward functionality and an abundance of features critical to the quality assurance and loudness mission.” SAM1-3GM will enable Guangdong TV operators to define individual channels as stereo, mono or 5.1 with instantaneous downmixing of surround sources for stereo compatibility monitoring for World Cup matches. Channels can be mixed together at the push of a button with individual level trims and channel balance/pan control and the resultant ‘mix’ output available as a line level analogue or AES feed, which can be used for cues and extended applications.

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Alex Pimentel, President at Casablanca Online states: “We have chosen the Advantech Wireless HPAs for their incredible performance and reliability combined with the smallest form factor and power consumption on the market. We are using Advantech Wireless product since 1999 and these products are still in perfect operational condition. However with the new requirements of HDTV and now UHDTV, we need more power per feed. We found in Advantech Wireless the reliable partner who delivers the best solution for our application in terms of performance, quality and deliveryof the product and overall cost of ownership. We started upgrading our fleet of DSNG vehiclesfor full HDTV transmission capability, including HPAs a year ago and were ready a month before the tournament started with all our vehiclesto transmit uninterrupted feeds to Brazil and countries around the world.”

“We are extremely proud to have been selected by Casablanca Online to support the live transmission of the world’s most important sport event of the year,” stated David Gelerman, CEO Advantech Wireless.“We found in Casablanca Online the real visionary partner who has committed long ago to undergo the major retrofit and completely rebuilt its DSNG vehiclesin all aspects required to support high quality HDTV feeds to meet the most demanding requirements of today’s contribution market. They have chosen the best technology from encoders to HPAs. We are proud that we are “inside” of the largest fleet of DSNG production vehicles in Latin America.”


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Thomson Video Networks highlights world-class video quality for contribution/distribution, OTT/IPTV Delivery, and Ad Insertion at BroadcastAsia2014 In a number of live demonstrations at BroadcastAsia2014, Thomson Video Networks will showcase compression technologies that deliver high encoding density for content ranging from low-res to 4K and including MPEG-2, H.264, and HEVC formats. On display will be the award-winning ViBE™ range of encoders for contribution and distribution. Contribution and Distribution for Fixed and Mobile Offerings Thomson Video Networks will feature members of its ViBE™ encoder family, including the ViBE EM4000 multi-channel HD/SD encoder, EM2000 SD encoder, and CP6000/6100 high-performance, multi-format live video contribution platforms. The ViBE EM4000 is the first encoder to offer a density of eight HD MPEG-4 AVC channels in a 1-RU chassis, with MPEG-2 and MPEG-4 AVC compression that delivers maximum bandwidth savings and video quality for pay TV operators. The ViBE CP6000 features an

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unprecedented eight HD channels per 1RU chassis, with a modular implementation of the optimal MPEG-4 contribution codecs for industry-leading compression performance in contribution applications. The CP6100 provides the same functionality in a compact half-rack platform. Premium Ad Insertion Solutions At BroadcastAsia2014, Thomson Video Networks will demonstrate an integration of its Sapphire MPEG stream server with Ideal Systems' SoftCast software suite for streamlined TV channel operation and management to provide a powerful and cost-effective turnkey playout and ad insertion solution. Sapphire is a unique channel-in-a-box system that provides all the functions needed to ingest, process, brand, and generate TV channels ready for air, and it 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 downlo-

adable 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. High-Performance OTT and IPTV Delivery Powered by Thomson Video Networks' MediaFlex v3.0 video operating system, the VS7000 provides live broadcast-quality encoding, innovative video preprocessing, and faster-than-real-time file transcoding with a 40 percent increase in channel density. This allows the ViBE VS7000 to process up to 448 SD channels or 80 HD channels in a single frame. Thomson Video Networks will also demonstrate both real-time and offline HEVC encoding on the ViBE VS7000 platform.


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Globecast provides multiple services for the D-Day 70th anniversary commemoration 2014 sees the 70th Anniversary of the D-Day landings and Globecast is pleased to announce that it provided both adhoc services as well as international coverage for the host broadcaster for June 6th. The Allied landings – one of the most significant events of WW2 – were commemorated on June 6th in France. Across Normandie there’s a huge range of additional events that have been organised to ensure that the events of 70 years ago live long in the memory. Globecast supplied the international host broadcaster signal and all the main pool signals from the main commemoration sites. It also had three stand-up positions for ad-hoc clients who wanted to cover the event, including complete transmission services as required. Marie-Noelle Janaszkiewicz, Senior Sales Engineer at Globecast, says, “The 70th anniversary of the D-Day landings is clearly a very important event and one that reverberates around the world. We are honoured to have contributed to bringing it to as wide an audience as possible.

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Riedel Networks expands reach of European MPLS network through new agreement with Viatel

Duncan Wild with DiGiCo Monitor engineer Duncan Wild has steadily been building up an inventory of equipment that he knows will give him reliability, flexibility and, of course, great audio quality. One of his first purchases was a DiGiCo digital mixing console. “Like a lot of engineers, I’ve been developing a rental side to what I do,” says Duncan. “I had a few Senneheiser mics and various bits of outboard, and over time you think, ‘actually, if I had this bit of kit it would be really useful’. A couple of years ago I was on a particular tour and I thought just that, so I bought a DiGiCo SD8 24 because it was what I needed and I knew there was enough work out there for it.” Since then, Duncan has added to his inventory with an SD11, which he used on the European leg of Rebecca Ferguson’s tour. He is now deploying his SD8 with Sophie Ellis Bextor. “Buying the SD11 was a little bit of a ‘I quite fancy one of those’,” he admits. “But I knew I had enough other equipment to send two systems out at the same time. I’ve also bought some back line trunks and other stuff that goes around a band. I’m not trying to be a backline company, I just like to get the things that make the job easier to do for everybody. But I’ll only use my kit if it’s right for everyone concerned. If I needed to use something like an SD7 because the set up was larger, then I would go ahead and use it.” Duncan has found that the compact nature of his equipment makes it extremely useable and the backup he gets from DiGiCo gives him the confidence to know his clients will always be happy. “My main point of contact at DiGiCo is Tim Shaxson. I get fantastic support from him and from DiGiCo in general,” Duncan smiles. “If ever I need to speak to the tech support guys I can get straight through and they’re always super helpful with any questions I have. “DiGiCo gives me great service, which means I can give my customers great service. That’s a nice little bit of karma going on.”

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Riedel Networks announced a new agreement with Viatel that will enable the upgrade and expansion of Riedel Networks' European MPLS network. Viatel provides high-capacity services to strategic point-of-presence (POP) locations across Europe. Representing a continuation of the two companies' successful partnership, this latest agreement enables Riedel Networks' further expansion into Amsterdam. "Viatel is an important network partner for Riedel Networks, and we are very happy with the company's reliable performance in the delivery and operation of network services," said Michael Martens, managing director at Riedel Networks. "It is valuable to us that Viatel owns the infrastructure and maintains full end-to-end control, and this fact made the decision to expand further with this partner an easy choice." Riedel Networks uses Viatel infrastructure as the basis for the services it delivers to its own customer base. The Viatel advanced fiber optic backbone network connects eight countries, 35 cities, and more than 120 European data centers, and it has metro fiber reach into the major carrier houses, data centers, and main Internet exchanges. With data centers in Dublin, London, Amsterdam, Paris, and Brussels, Viatel owns more than 8,500 km of fiber network infrastructure, which it has equipped with high-capacity optical DWDM technology and multi-service platforms. "We are very conscious of how important it is to our customers that we provide them with a hassle-free delivery experience and keep our commitments regarding timelines and network performance," said Kerstin Dinklage, senior vice president of business development at Viatel. "We are glad that we can grow with our customers and support Riedel Networks with its growth and expansion. We look forward to continuing our successful business relationship."


IDC's TITAN 3 Contribution Encoder hits the street at Oklahoma City Memorial Marathon, ships worldwide in record time

International Datacasting Corporation announce that it has shipped the new TITAN 3 Contribution Encoder to customers in North America, Europe, and Asia. This milestone has been achieved less than two months after the product launch announcement at the National Association of Broadcasters show. IDC designed the TITAN 3 with extremely low latency - or encoding delay - of only 150ms, which enables broadcasters to be first to air with breaking news, and to conduct the most natural live interviews from remote locations. Broadcast professionals are already taking advantage of its advanced features for live events such as the 14th annual Oklahoma City Memorial Marathon. With available 4:2:2 10-bit encoding in High Definition, and support for 150 ms latency to a wide range of decoder platforms, TITAN 3 raises the standard for video contribution. TITAN Encoders are built from the ground up for the demanding conditions of outside broadcasting, featuring rugged construction to achieve superior reliability. The TITAN 3 retains the familiar, easy to use front panel which allows quick setup for mission critical operations, and is able to achieve signal onair from power up in less than 60 seconds. "Audiences everywhere are becoming more demanding, and challenging applications such as live news and sports require the best possible image quality as well as very low latency performance", said Doug Lowther, President and CEO of IDC. "IDC is proud to support leading edge broadcasters worldwide who are already showing strong interest in our latest groundbreaking video product".


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Giant Pirates Entertainment speeds post-production of reality TV series with Forscene Forbidden Technologies announced that Culver City, Californiabased production company Giant Pirates Entertainment has adopted Forscene into its post-production workflow in order to hasten editing of "The Feed," a new reality-based television series that will air on the FYI network (formerly Bio). Forscene gives Giant Pirates the ability to start editing field packages immediately via the cloud rather than having to wait for hard drives to ship across the country, eliminating lag time that could throw the multisite production off schedule. The production required footage from New York field recordings to be sent to Los Angeles for very quick turnarounds as edited packages for use in studio shoots. Forscene enabled Giant Pirates' post-production teams to view footage and start creating sequences in Los Angeles within hours of the shoot in New York, helping to keep the production running efficiently. "Having the ability to work with footage via Forscene so soon after it

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has been shot is a new and welcome experience for our post team," said Tracy Tong, supervising producer on "The Feed." "When QSR Systems, our Avid vendor and rental company for this production, recommended Forscene, we were wary. We had never used any kind of cloud-based workflow before, so we had some concerns about compatibility with the Avid codec, upload times, and ease of use. It turns out we had no reason to worry." Forscene allows Giant Pirates' Los Angeles editors to view footage within hours of the media cards being handed to the New York assistant editor. As soon as the media is saved to Giant Pirate's media drives, a proxy copy is automatically created and uploaded to the Forscene cloud. At that point, the story team in Los Angeles can watch, log, and string out the footage — days before the shipped media can be ingested and grouped in the Los Angeles post-production offices. Once the story timelines are completed in Forscene, the sequences can be

exported and are relinked to the original source for the editors to begin working in Avid. In terms of ease of use, Giant Pirates users had no problems learning to tap into all of the Forscene functions. "Anyone with a general understanding of Avid or Final Cut can quickly learn how to work with Forscene. Even someone with no experience on Avid could easily pick it up with a quick half-hour training session, or by watching the Forscene YouTube videos," Tong said. "Forbidden and QSR technical support were nothing short of amazing throughout the process. It was a nice touch to have a support chat built into the program for our AEs and producers if they couldn't figure something out." "With short shooting schedules and the need for carefully packaged stories that convey a sense of things happening in real time, reality TV shows are perfect candidates for Forscene," said Greg Hirst, business development director, Forbidden.


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Blueshape to introduce a new pro battery system for Phantom Flex4k digital cinema camera GRANITE batteries such as BV270HD, BV190HD and BV100HD are perfectly matched mechanically and electrically for this camera and this battery adapter."

Pietro Vignali, CEO of BLUESHAPE, said “We are proud to introduce our V-plate adapter MVPHF for the Phantom Flex4K. This precision product has been specifically designed to mount sturdily to the camera rear and to perfectly withstand the high power demands of this leading technology camera, providing an interface to our range of high power batteries. Our V-plate has been thoroughly tested and approved by

Vision Research themselves during trials conducted earlier this year. The plate is easily fitted to the camera by just 4 screws.” "The high current demand of this camera requires batteries capable of operating continuously at over 130W. Only batteries like our GRANITE HD series are capable of offering such a performance over their lifetime. The higher drain of our

DiGiCo gets the Latin vibe with Calle 13 Puerto Rico’s Calle 13 is one of Latin America’s most successful bands, having won 19 Latin Grammy Awards and two US Grammy Awards. Calle 13 has a devoted following and its current tour, which travels to South, Central and North America, as well as Europe and Asia, is filling stadiums, arenas and theatres everywhere it goes. Two DiGiCo SD8-24s are along for the ride.

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Toni Lucatorto, Cinema Product Manager at Vision Research said "For the Phantom Flex4K to achieve its exceptional performance it requires a constant supply of high current from the connected battery, so the performance of the battery adapter plate and battery will be need to be exceptional too. During the testing that we carried out other VPlates failed due to arcing caused by the high current discharge with resulting damage to the battery contacts. BLUESHAPE has designed and manufactured a battery plate to accommodate these demands and the result is extremely high quality and something we can all be proud of. I am excited about this new BLUESHAPE adapter and recommend it in combination with their high performance batteries for our new Phantom Flex4k camera."


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Harmonic at Broadcast Asia 2014 Harmonic will make its APAC announcement of the new Harmonic VOS™ platform, a software-based, fully virtualized platform that unifies the entire media processing chain from ingest to delivery. The company will also showcase its recent developments to the Spectrum™ ChannelPort™ media server product line and the ProView™ 8100 IRD (integrated receiver-decoder). Harmonic Products at BroadcastAsia2014 Harmonic VOS™ Harmonic VOS™ is the company's new software-enabled platform for deploying a complete, virtualized media processing architecture. VOS unifies the entire media processing chain from ingest to delivery, providing operators with incre-

ased operational flexibility, scalability, and efficiency. Operating in IT data center environments, VOS can scale up or down to accommodate peaks in demand based on capacity and functional requirements across all video services. Spectrum™ ChannelPort™ Harmonic will feature enhancements to the Spectrum™ media server product line, including the Spectrum ChannelPort™ integrated channel playout system. ChannelPort's impressive performance includes high-density playout of four SD/HD channels per RU, dual DVE capabilities, and compatibility with the industry's leading automation

systems. ProView 8100™ Making its Southeast Asian debut at BroadcastAsia2014, the ProView™ 8100 IRD (integrated receiver-decoder) provides simultaneous HD-SDI and SD-SDI output with high-quality HD-to-SD downconversion, allowing operators to use the same device to feed both the HD and SD production chains. Built-in frame-rate conversion brings additional benefits, especially for multinational program distributors, as it enables content shot at 50 Hz to be distributed at 60 Hz or vice versa.


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TSL products’ Soundfield Microphones deliver the excitement of basketball and pro football games to the viewing audience

Top audio engineer Jonathan Freed, a freelance network mixer, is relying on the SoundField DSF-B Digital Broadcast System from TSL Products, the manufacturer of audio monitoring, surround sound microphones and processing, tally/studiocontrol systems and power management solutions, to capture the action and atmosphere of this year’s pro football and basketball games across the U.S. Freed frequently employs the SoundField DSF-B Digital Broadcast System to capture surround sound in both expansive, outdoor stadiums filled with 60,000 to 80,000 sports fans and enclosed arenas featuring 20,000 enthusiasts. The SoundField DSF-B Digital Broadcast System offers Freed easy setup, flexible operation, reliable performance and excellent sound quality. “The SoundField DSF-B Digital Broadcast System allows me to hone in on the crowd sounds of the field or court and control the ambience to ensure that the audio of

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the cheering fans doesn’t overpower the audio of the sports commentators and the live action,” Freed says. “Furthermore, it is very convenient for me to be able to change the directional parameters from my workspace in the OB truck when working in the field, to guarantee that the audio space matches my vision of what the arena or stadium should sound like in that perspective. The SoundField DSF-B Digital Broadcast System delivers that capability perfectly.” Due to the flexibility and ease of setup that embodies SoundField products, Freed is able to position the DSF-2 Microphone in one location within a stadium or arena, running two AES lines from the microphone down to the OB truck. Since the mic is capturing audio from a single point, as opposed to a multimic setup, audio quality is consistent within the different locations from broadcast-to-broadcast and configuration is achieved quickly and efficiently.

The SoundField DSF-B Digital Broadcast System, consisting of a DSF-2 surround microphone, DSF-2 controller and DSF-3 processor, can generate multi-channel audio from a single point source. The microphone itself is made up of four high-quality, precision-aligned condenser elements to capture a 360-degree sonic panorama. The resulting, proprietary B-Format audio stream allows Freed to dial in the directional orientation of the signal, using the DSF-2 controller to maximize the surround ambient field that supports all other audio content, without physically moving the microphone. The DSF-3 Digital Surround Processor allows Freed to take B-Format signals and decode them into any current surround format, delivering a phase coherent signal that won’t suffer from the upmix/downmix process.


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Lawo at FIFA World Cup produce the television and radio broadcasts for the 2002 FIFA World Cup.

During the DTV Audio Group’s annual meeting at the NAB Show, JeffreyStrößner, director ofLawo’s global eventsdivision, provided a preview of the broadcast audio infrastructurethat has been put into place for the 2014 FIFA World Cup Brazil.The month-long soccer competition, between eight groups of

four teams, kicks off on June 12 in Sao Paulo when Croatia faces off against the host nation. Strößner’s presentation was made possible withpermission from HBS (Host Broadcast Services), which is based in Switzerland with planning headquarters in France. The organization was originally established to

“We are lucky to have HBS as a partner since they always strive for the best result in broadcast,” said Strößner. “They are eager and keen to use new technologies, which for us, as a manufacturer providing technologies, is great.” Lawo has been involved in global events, including the Olympics, since 2006, beginning with the World Cup in Germany. “We don’t just provide equipment,” he said, “we also act as a partner for consultation, design and planning.”


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die paten purchases Pablo Rio, completes Daimler corporate film in record time Berlin-based production and post production facility, die paten, has purchased a Quantel Pablo Rio color and finishing system. “The general trend in post production is that customers want their finished work in less and less time,” said die paten CEO, Kay Lottermoser. “At the same time they demand higher image quality and more creative results. The times when you viewed the footage, made a shot list, edited it and then produced graphics, text and animations before applying color correction then finishing and mastering are gone forever. The future of post production is everything in one box; with our Pablo Rio, that is just what we have to offer. “That’s why Pablo Rio enabled us to turn around this fantastic project

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for Daimler in record time. With Pablo Rio we were able very quickly to color correct, apply DVE for resizing etc, stabilize a picture, track or insert a CG animation – all without ever having to resort to another system. Pablo Rio’s philosophy is to provide full access to all functions with the absolute minimum number of operating steps; everything you need is there at your fingertips just when you need it,” Lottermoser continued. The film was shot in Germany, Los Angeles, Shanghai, Rio de Janeiro and Namibia with Sony F55 cameras. Throughout post production, die paten took advantage of Quantel’s soft mount capability to enable work to begin the moment the SSD drives arrived back in Berlin. “Everything happens in realtime with Pablo Rio –

the pictures never stutter, but always run smoothly, even if they are only controlled via USB3. I have never seen such good performance on any other system – only Quantel can do that!” reports Lottermoser. “It’s also a known fact that other systems have problems decoding XAVC – not so Quantel.” “die paten is known for the high quality of the work it produces, and this latest job for Daimler is another great example of their creativity,” said Quantel Sales Director, Martin Mulligan. “Pablo Rio has become the benchmark where quality and speed are essential, and it’s great to see users such as die paten taking full advantage of Pablo Rio’s complete color and finishing capabilities.”


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Ukraine's 1+1 Media Group upgrades HD OB Vans with Calrec audio consoles 1+1 Media Group has installed Calrec digital audio consoles in two of its HD outside broadcast (OB) vans. The installations are part of an upgrade to meet Union of European Football Associations (UEFA) technical requirements for 5.1 sound production and Dolby E encoding. "The Calrec consoles give us a reliable way to handle two live feeds of 5.1 sound at once, which is not only a UEFA requirement but something we simply couldn't do with our other consoles," said Aleksey Marko, head of procurement for 1+1 Media Group. "Previously we had to use two OB vans in order to meet the requirement, but now we can accomplish the same thing with a single console in a single van, which saves money and leaves the second van free to cover other events. We get this significant capability from

small-footprint consoles that fit neatly into the limited space inside the vans." One of 1+1 Media's OB vans houses an Artemis Light console equipped with 40 multilayer faders, along with Calrec's Bluefin2 high-density signal processing technology and Hydra2 plug-and-play audio routing capability. A similar Artemis Light console in the second OB van has 48 faders. The vans cover football, basketball, boxing, and both live and recorded entertainment shows. Each console can produce two programs of digital 5.1 sound that are ready for UEFA-mandated Dolby E encoding. The Artemis Light consoles satisfied 1+1 Media's main technical requirement for high capacity in a small space. In addition, unlike the vans' previous audio consoles, the

Artemis Light desks minimize the mic and line noise and hums that are prevalent in the strong electromagnetic environments around stadiums and live-show stages. "1+1 Media Group is the first Calrec customer in Ukraine and, because of its size and number of media holdings, is a major source of programming for the Ukrainian people," said Michael Reddick, Calrec's European sales manager. "Calrec technology will help this media giant streamline its OB operation and cover more ground, which we anticipate will influence other broadcasters in the market." Both sales were completed in partnership with Calrec's Ukraine distributor, Engineer Service, a company that also owns two Calrec consoles installed in its OB vans available for hire.

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First pan-African news channel on air with Stingray channel in a box from Pebble Beach Systems Africa 24 is a 24-hours-a-day, 7days-a-week television news network which aims to provide editorially independent, balanced and realistic coverage of the African continent. As the most watched French-language African channel, it broadcasts to a core audience of viewers from Sub-Saharan Africa, and is also available via satellite to subscribers in the Middle East, North Africa and beyond. The network was launched in 2009 and expansion plans include offering further language variants including English, Arabic, Spanish and Portuguese. Stingray leverages Pebble Beach Systems’ best of breed automation and integrated channel technology to deliver a full HD ingest and playout channel-in-a-box solution for systems of up to 6 channels. In addition to hosting clip-based channels, it is designed to handle complex reactive channels featuring live content, late-breaking changes and dynamic schedules. Thanks to its client-server architecture, multiple channels can be controlled from a

single operator position, and user privileges and access to specific functionality can be set on a per channel basis. Africa 24’s single channel fully redundant Stingray system was supplied by Pebble Beach Systems’ partner in France, Soft4TV, and was installed in May, with operator training completed early in June. It integrates into the broadcaster’s existing technical infrastructure, offering automatic media movement from the current media SAN. Stingray’s native 2D Flash graphics playout capability is deployed to deliver graphics which are dynamically updated when breaking stories arrive, and Stingray’s audio and DVE functionality are used to generate transitions between news segments.

Pablo Rio and Genetic Engineering 2 set to provide 4K 60p color and finishing at FIFA World Cup™ in Brazil Quantel has supplied a Genetic Engineering 2 (GE2) system for Sony’s 4K installation at the HBS production facility at the forthcoming FIFA World Cup™ in Brazil. Sony is delivery partner to FIFA (Fédération Internationale de Football Association) and host broadcaster HBS for the 2014 FIFA World Cup™. The Quantel GE2 system, which includes two Pablo Rio 4KO color correction and finishing systems sharing storage and workflow via a GenePool, will be used for the production of fast-turnaround 4K highlights packages. These will be distributed to broadcasters and Sony Stores worldwide as well as being

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Yacine Barro, the Executive Director of Africa24 confirms, “When the service providers for our backup channel moved location, we elected to migrate the management of both main and backup channels to our own technology in-house. We are a new broadcaster and are still growing, so a key priority was to find a solution that could evolve with us. We evaluated all the big name channel-in-a-box solutions, and Stingray was the most open and scalable, offering the greatest potential to add more channels and language variants.” Pebble Beach Systems Managing Director Peter Hajittofi comments, “Stingray is based on proven 64-bit architecture and leverages our bestof-breed Marina enterprise automation and Dolphin integrated channel device, so Africa 24’s mix of live and clip-based programming, with frequent late-breaking changes to the schedule, really plays to the strengths of this channel-in-a-box solution.”

displayed on 4K super-screens in fan parks around Brazil. The Quantel system will also be used for the post production of the Official FIFA World Cup™ film in 4K Ultra HD. The Quantel system will work with 4K 60p XAVC media recorded on either the Sony PMW-F55 cameras being used by FIFA Film crews throughout the competition or the Sony Servers used for the 4K Live Production of three matches played at the Maracana Stadium in Rio de Janeiro (one in the round of 16, one quarter final and the final itself). All XAVC media will be instantly available for viewing and editing on the Pablo Rio color and finishing systems thanks to their ability to begin work immediately with soft-mounted media without transcoding or importing. The Quantel system will also record live 4K 60p via Quad 3G SDI, which can be edited even while recording. The Pablo Rios will be equipped with Fraunhofer IIS’s integrated easyDCP toolset for production of cinema deliverables.


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LiveU brings the glitz and glamour of Major AIDS Charity Event Life Ball in Austria Live Online LiveU has announced that its LU500 technology has been deployed to provide exciting online coverage of the 22nd Life Ball AIDS charity event. This glittering event took place on May 31st in the Vienna City Hall on the Vienna Ringstraße. Now in its 22nd year, Life Ball is a major charity event, supported by companies across a wide range of sectors, with its own Life Ball 2014 song – sung by Candice Glover, who won American Idol in 2013 and performances from a range of international artists and DJs. Bill Clinton, Janet Jackson, Donatella Versace and Sharon Stone will be attending along with many others. Austrian national broadcaster ORF provided live broadcast coverage of the event, with interviews with the major stars from the Hall, with the same feed also used for live streaming. The feed was encoded using an LU500 unit from LiveU, supplied by its Austrian partner ETAS High Tech Hardware Systems GmbH. The live stream was then sent to a cloud-based server also supplied by LiveU and on to streaming service Ustream. The LU500 weighs around 1 kg (2.2 lbs), with this small-sized unit powered by LiveU’s new multi-processor video encoding engine and fourth-generation patented bonding algorithms providing previously unseen levels of signal robustness in an easy-to-carry unit. Ronen Artman, LiveU’s VP Marketing, said, “We’re very pleased to be involved with such a prestigious charity event, which helps raise awareness and brings attention to the ongoing battle with Aids and also brings a great deal of glamorous pleasure to a lot of people. We are glad that our technology is being used to bring this event to the online community.” LiveU owns the patent for cellular bonding for remote news gathering in the US and other countries. All LiveU products are based on this fourth-generation patented technology.

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JUN

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2014

Netia iSnippet mobile audio editing tool for Radio-Assist™ available on iTunes® App Store NETIA has announced that the company's iSnippet audio editing tool for iPhone® and iPad® devices is now available on the iTunes® App Store. Sharing the same look and ergonomic principles as the Snippet desktop interface available within NETIA's acclaimed Radio-Assist™ radio automation software suite, iSnippet allows iOS device users not only to edit and index media from their mobile devices, but also to record and export ready-tobroadcast assets from the in-studio Radio-Assist database. "Used along with Radio-Assist, iSnippet facilitates mobile access to both content and production tools, in turn enabling more collaborative and more efficient creation of rich, relevant news and entertainment content," said Isabelle Sost, communications and field marketing director at NETIA. "For broadcast operations

iSnippet now can edit audio for inclusion in news stories, or review and read scripts for upcoming segments.

of any size, this streamlining of endto-end multimedia production and publication workflows, along with seamless linking of internal and external resources, is proving to be a key competitive advantage." As an all-in-one remote audio-editing solution, iSnippet gives field reporters and others valuable RadioAssist audio-editing capabilities — familiar from the desktop — on their portable devices. No longer cut off from in-studio resources such as scripts and recorded content, as well as the tools with which to edit that content, the field reporter using

GatesAir emphasizes transport and delivery for OverThe-Air Networks at BroadcastAsia2014 At BroadcastAsia2014, GatesAir will showcase how over-the-air broadcasters can leverage IP-based, high-efficiency transmission solutions to cost-effectively launch and monetize next-generation, multichannel digital services. The company will exhibit at Stand 5B3-03 in the Marina Bay Sands, Singapore, June 1720. Following the March transformation of Harris Broadcast, GatesAir will make its debut at BroadcastAsia2014, showcasing its high-efficiency Maxiva™ and Flexiva™ TV and radio solutions covering all over-the-air standards and power requirements across TV and radio networks of all sizes. The company will also feature its latest breakthroughs in signal transport, including support for AES192 over IP; and advanced, IP-based distribution architectures for

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Supporting AAC, ALAC, and LPCM audio formats, iSnippet allows users to record, edit, and export their audio files to the studio. During recording, the user may adjust the recording volume, insert markers, and activate screen locking. Edit capabilities include vertical and horizontal zoom, playout of audio from inside or outside markers, insertion of audio from the app's cutting bin, and file insertion. The edited files themselves may be sent raw or as a master file (MP2/AAC/ALAC/AIFF/WAVE) to an FTP server, or directly to the Radio-Assist database along with an index file. iSnippet also enables field reporters and journalists to import audio files from applications including Luci and Report-IT.

DAB radio networks (EDI and ETI). GatesAir will demonstrate how over-the-air broadcasters can reduce operating costs as they transition to digital, while laying the foundation for bandwidthefficient architectures that accelerate the deployment of revenue-generating, multichannel broadcast services. Rich Redmond, chief product officer, GatesAir, notes that TV and radio broadcasters across the AsiaPacific region are specifically seeking ways to leverage the opportunities associated with the transition to DVB-T/T2 television and digital radio – notably DRM and DAB+ - while keeping operating costs low. GatesAir will also showcase new IP Link™ codec features that enhance how broadcasters can costeffectively move audio between one or more points, including flexible studio-to-transmitter, remote broadcast and internet delivery architectures. New built-in Intraplex® SynchroCast™ technology for the IP Link enables precision-timed on-air program delay for content delivery across large single-frequency networks. This is ideal for broadcasters and network operators covering large areas and difficult terrains, where many low-power transmitters cover widespread populations.


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Lawo leads The Pirates of the Caribbean into Strasbourg The Zenith de Strasbourg recently played host to a cine-concert of the first film of Disney’s hit Pirates of the Caribbean series, The Curse of The Black Pearl. The film was screened in front of 6000 people to the accompaniment of the Strasbourg Philharmonic Orchestra complete with a 24-strong choir who brought Klaus Badelt’s magnificent soundtrack to life. The Zenith de Strasbourg, which is the biggest indoor arena in France was packed to the rafters for this spectacular one-off event. Strasbourg-based rental company, Lagoona, were brought in to supply the PA system, and Lagoona in turn, called on digital audio networking specialists, Espace Concept, to supply and manage the FoH console, microphones and networking. For the very first time, Espace Concept used an mc256 console from Lawo. The suggestion came directly from Lawo’s Hervé de Caro to whom Espace Concept’s Alain Roy turned for advice as to how best to network his trusted Eclipse GT consoles from Innovason to enable him to record 124 channels. “Hervé suggested that we use an mc256 from Lawo instead as everything could then be managed from just one control surface,” explained Roy. “It seemed like the ideal opportunity, so I agreed.” The resulting system comprised a 32-fader mc256 with a 16fader extension, connected via fibre optic cable to two Lawo DALLIS interface boxes on stage which provided 72 mic inputs and 16 monitor outputs, plus two InnovasonDioMadiES MADI-to-EtherSound converters for the 60 digital microphones connected to the console via EtherSound over fibre. In order to provide Alain Roy, who mixed and recorded the entire event, with a console on which he would feel completely comfortable and at ease, de Caro and the Lawo team then set about configuring the mc²56 to meet all Alain’s require-

ments “Alain is one of France’s foremost experts in digital technology and digital networking for live shows, ” said de Caro. “Given that this was the first time he’d even seen an mc256, let alone used one, we felt that the best approach was to simply set up the mc256 with all those features Alain is familiar with from the Eclipse. By the time we’d finished, Alain had his SmartFad functionality for VCA allocation and control; Broadway mode for seamless switching between live sound and playback; Virtual Soundcheck for fine-tuning the mix without the musicians having to be present; a digital multitrack recorder with now 128 channels instead of 64, and all with full visualisation and control from the central touchscreen of the console. Furthermore, we set up the Pandora functionality for creating a natural stereo image for all the audience.” Roy, for his part, was more than impressed: “Eclipse is special precisely because it is so configurable and you can create whatever you want based on the requirements of the show or the desires of the operator. What completely took my breath away with the mc256 was that the console is every bit as configu-

rable, but it takes place at a completely different level – within the operating system of the console itself – which ultimately gives you even more options and even more flexibility.” “I only started using the console on the Friday morning once it was installed in the Zenith,” he continued. “I hadn’t really taken part at all in the setup/configuration phase other than to say what I wanted, and frankly I wasn’t looking forward to it! But once I actually got down to work, within no time at all, I had completely forgotten that I was using a brand new console – it was unbelievably transparent to use, it sounded fantastic and I loved the extra power and redundancy. All the functionality that I had asked for was right there and plenty more besides, and everything just worked perfectly. Often, it feels as if a new console is an obstacle between you and the sound until you get used to it and learn how to get the best out of it. In this case, it was as if the console simply ‘disappeared’ right from the outset - I didn’t think about it once, I just got on with my job of producing the best possible sound. Prettyamazing, really”.

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2014

Harmonic to demonstrate new VOS™ Virtualized Video Solution on Moonshot at HP Discover Las Vegas 2014 event At the HP Discover Las Vegas 2014 event taking place June 10-12, Harmonic (NASDAQ: HLIT) , will demonstrate new virtualized media processing technology set to transform video production and delivery. The demonstration will feature the Harmonic VOS™, a powerful, extensible software platform and architecture, showcasing how it can enable virtualized media processing software, such as Harmonic's new Electra™ XVM integrated software package, to support a complete workflow from input of source video to output of transcoded, branded video with logos for multiscreen delivery. Leveraging VOS on an HP Moonshot system, video content providers and service providers will be able to significantly reduce operational costs, as well as space, power, and cooling requirements, for broadcast and multiscreen delivery. Harmonic VOS will enable completely virtualized media processing from a single software platform, encompassing historically discrete functions from ingest to playout, graphics, branding, compression, packaging, and delivery for broadcast and multiscreen applications. By bringing all media processing functions into one simplified, unified platform and workflow, VOS will provide video content providers and service providers with increased operational flexibility, scalability, and efficiency when coupled with the HP Moonshot system. Utilizing HP Moonshot, video content providers and service providers can host an entire cluster of Electra XVM virtualized media processors.

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Brazil’s TV Serra Dourada turns to Grass Valley for flexible camera solution

Grass Valley announced that it is providing Brazil’s TV Serra Dourada, located in Goiânia, with a new camera setup that includes seven LDX Flex advanced imaging cameras and seven Elite XCU (eXchangeable Control Unit) base stations with triax transmission as part of the station’s new HD news production workflow. TV Serra Dourada broadcasts news, weather and other timely information across Goiânia to millions of viewers. In choosing a new camera system, the station wanted a solution that was flexible, allowed for creative movement, and one that met its budgetary requirements with the ability to be upgraded over time. “We were simply looking for the most cost-effective and usable camera technology on the market, which is undoubtedly the LDX Flex coupled with the XCU,” remarked Sebastião Claudino, engineering manager, TV Serra Dourada. “The cameras have a low cost of ownership and they deliver superior image quality and performance. Plus, with the removable XCU base stations, we can minimize operational costs and streamline reconfiguration for each production. And when we're ready to upgrade, our cameras will be ready too.”

The LDX Flex is the entrylevel offering in Grass Valley’s LDX Series of advanced imaging cameras that also includes the LDX Première, LDX Elite and LDX WorldCam. The LDX Flex offers single format 1080i or 720p acquisition, delivers the same high-quality images and performance and uses the same accessories as its LDX counterparts. A simple and easy upgrade advances it to the next camera in the range, on either a temporary 7-day time frame or perpetually. The unique cradle system of the XCU base station can be pre-mounted and pre-wired in the rack, eliminating cabling errors when base stations are moved, while providing ondemand resources for fastpaced productions like TV Serra Dourada’s news production. “Our LDX range has been well received by broadcasters around the world because it is simply the best camera platform available,” said Alberto Santana, channel sales manager, Brazil, Grass Valley. “We designed the LDX Flex to combine business flexibility, operational excellence and outstanding image performance so that broadcasters like TV Serra Dourada can cover any type of production and stay within their budget.”


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Camera Corps captures Isle of Man TT excitement for North One Television Over 25 cameras and solid-state recorders from Camera Corps captured the excitement of 2014 Isle of Man Tourist Trophy motorcycle races during the two-week event from Saturday May 24 to Friday June 6. Working in close partnership with North One Television for ITV 4, Camera Corps provided a wide range of specialized equipment including forward and rear-facing motorcycle-mounted cameras, approach and recede kerb-cams and various high-level wide-angle cameras around the course. Multiple HD on-board mini cams also provided driver's-eye views of Mark Higgins' record-breaking lap of the course in a Subaru WRX STi. "It is a tough assignment but one which you all carried off superbly. Thanks once again for your graft, creativity and team work – it’s the key to the continued success of this project." says North One Television CEO Neil Duncanson. "The TT is one of the most challenging and exciting events in the annual sports calendar," adds Barry Parker, Commercial Manager of Camera Corps. "The races are run over a 37.5 mile Snaefell Mountain Course through winding mountain paths with tight bends, bumps and

jumps, in a series of six motor-cycle races and two sidecar races. "The Camera Corps special cameras team also worked alongside North One Television and the TT organisers prior to this event to develop guidelines covering the attachment of cameras and recorders to the bikes. This included sending dummy units in advance to all the teams as well as making preevent team visits, which are greatly appreciated and prevent any surprises on site especially when time is a premium. It also allows us to refresh the relationship with riders and teams. "The bikes get smaller with every passing year which encourages us to continue our own technical and operational innovation. With finite resources you have to be selective. We aim to cover the top ten riders in each race which vary in length from a single 37 mile lap for electric bikes to six laps for the Senior TT which was won this year by Michael Dunlop. "Roadside cameras were positioned each morning within range of a mobile phone link to allow textbased switch-on and switch-off. This was a useful safeguard given the length of the course and the long

duration of the event. Factors such as bad weather, accidents or animals straying onto the track can all affect the day’s schedule. "As the course is closed to all nonrace traffic for most of each day, a car was sent round behind each race to bring all the recorded files back to the onsite production hub. There they were ingested to main edit control room so the footage could be edited by the North One Television team. A 60 minute domestic programme was created each day for ITV and another for international channels. These were then distributed via a digital satellite uplink The ITV4 broadcast was at 9 pm on each night of the TT series, also available on ITV Player. "Three production meetings were held during each day of the event to ensure that the crew and the kit were deployed to maximum advantage and the best stories were captured over the two weeks of racing. This was followed by a post-event review with the whole production and operations team, a vital element of the TT each year to ensure we learn from the experience and innovate for future events."

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FIFA TV and his host broadcasting service provider HBS delivers full production at the 12 venues in each of the host cities in Brazil. The International Broadcast Centre is located in Rio de Janeiro. FIFA´s goal this year is to deliver the first truly multimedia World Cup, where viewers can have access to a huge range of content on laptops, mobile, phones or tablets. Also FIFA TV and his official partner Sony will produce three matches in 4K Ultra HD. The matches coverage is directed by a “Dream Team” of eight of the best football directors in the industry using a 34 camera set up as standard at all 64 matches. FIFA TV is also deploying a dedicated camera crew to cover each of the 32 teams taking part in the FIFA World Cup, along with nine crews to explore Brazilian Culture during the competition and two crews at the IBC. This will create approximately 5.000 hours worth of content for Media Rights Licensees to use in their own broadcasts. FIFA´s total staffing for television during operation the event had reached 3.018 people from 48 countries.

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MULTIMEDIA SERVICES Major social media platforms are integrated into the apps and the web player. People will be able to interact with each other, as well as to access to editorial content from the MRL´s. The apps are available to IOS and Android (phone and tablets), and the broadband player is available for users consuming content in a browser. Multimedia live matches are a combination of the main match coverage with embedded data delivery as a live stream or file for catch-up services. The offered feeds are: main match, two for players (one of each team), two team feeds and a tactical feed. The additional VOD is a wide selection of content that is produced specifically for multimedia usage with corresponding graphics and commentary for the Second Screen

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Experience. VOD package includes highlights, analysis, updates, interviews‌ Multiangle content bring the variety of different angles to the user as an interactive experience. For all major incidents of a match, the best angles will be selected by an operator, located in the IBC with access to the majority of the camera angles available at the venue. The 22 players on the pitch, the ball and the referees are constantly tracked. This data is also accessible between matches via two raw data feeds in an interactive user interface. A fact is that during the first 10


Production

days of the world cup, approximetly 32 Terabytes of traffic passed through Media Services and IT Solution Networks.

ULTRA HD

MATCHES

PRODUCTION FIFA TV in cooperation with Sony will produce three matches in Rio de Janeiro in 4K Ultra HD. FIFA has had worldwide interest for 4K and is offering a world feed service with the possibility of broadcast 4K content. And FIFA is also looking to deliver this contents into cinemas. The 4K production involves also HBS (FIFA TV service provider), Brazilian satellite service Globosat, Telegenic, and EVS. Also Japanese television NHK in partnership with FIFA is testing 8K visual technology in 9 matches. This technology creates an image 16 times the quality of HDTV, using 33 million pixels, and deploys a lifelike 22.2 channel 3D sound system.

• Number of Cameras in Standard Camera Plan 34 • Number of FIFA World Cup™ ‘Dream Team’ Match Directors 8 • Number of different feeds 20 • Unilateral cameras positions per match Up to 70 • Total hours of coverage (including ENG teams) 5,000 approx. • Total number of cameras 300 + • Crane cameras 24 • Cable-Cam systems 12 • Aerial camera flying hours 500 + • Dedicated Match Day -1 teams and Infotainment teams 12 • Number of ENG Crews (FIFA TV Team Crews / FIFA Story Crews / IBC Crews) 43 (32 / 9 / 2) • IBC production staff 280 • Field production staff 150 + • Number of beauty shot locations in Rio de Janeiro 2 • Edit suites (regular production/multimedia) 36 (18/16) • FIFA TV - Sony 4k production 3 matches in Rio (50, 58, 64) 12 cameras for • live broadcast • FIFA TV - NHK 8k production 9 matches (6, 14, 22, 33, 49, 53, 60, 61, 64) 5 cameras

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Telco • Number of venues permanently connected 12 • File transfer services across all venues 12 • Additional file transfer injection points across Brazil 26

Multimedia • Number of MRL agencies taking multimedia content 30 • Number of countries reached by MRLs taking multimedia content 80 + • Number of multimedia service orders 100 +

Venues • • • •

Number of venues 12 Staff at venues 1,875 Total number of commentary positions 1,210 Commentary positions with Com-Cam 6-20 per venue • Total number of commentary units 840 • Total number of TV Studios 34 • Total number of Presentation Studios 5

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THE IBC The International Broadcast Centre is the major hub for all broadcast media coverage. Is located at the Riocentro Complex in the west of Rio de Janeiro. Spanning 55.000 m2 the IBC receives live match feeds from the FIFA TV production of all the World Cup games in 12 host cities across Brazil and deliver those feeds to all FIFA´s Media Rights Licensees. There are 17 TV studios hanging up to 400 square metres and several work spaces. It will take seven weeks to dismantle the facility after the final match.


INTERVIEW WITH DIRECTOR OF FIFA TV, NICLAS ERICSON Which are the main differences in live production between this FIFA World CUp and the last one? We have made several innovations in the FIFA World Cup broadcast production, including more cameras, more content and services for broadcasters and new technologies such as 4K. We also see the 2014 FIFA World Cup™ as the first ever truly multimedia FIFA World Cup. We have also expanded our “Match Day -1” coverage, giving our broadcast clients even more content the day before the match. How many matches are going to be produce in 4K or UHD? FIFA TV is producing three matches in 4K Ultra HD, and several will be test produced in 8K. We believe we give audiences around the world the very best in viewing experience during the FIFA World Cup™. With Ultra HD technology, such as 4K, we are exploring imagery that is truly at the cutting edge of TV production. We are proud to be able to innovate in this way to improve the viewing experience for football fans around

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Niclas Ericson


the world. The new technologies also include ground breaking standars in sound quality, bringing the viewer almost into the stadium. How are the different stadiums connected for media sharing? FIFA is using a telecommunications network to connect all stadia to the International Broadcast Centre in Rio de Janeiro. This is also a great legacy of the FIFA World Cup in a host territory, as the network can be used for other purposes for many years to come.

Logistics • Accredited event time staff 2,900 + • Accreditations (12,200 MRL accreditations, around 15,000 including HB) 15,000 • Supplementary Access Devices (SADs) 52,000 • Crew uniform items 50,000 • Hotel room nights 80,000 • International flights 3,000 • Domestic flights 1,400 • Car rental days 11,500 • Bus rental days 1,000 • Charter flights 46 • People / tons of equipment per charter flight 110 / 5 tons • Air freight 150 tons • Sea containers 100 • Pallets with cameras, tripods and lenses 200 • Meal vouchers distributed 43,000

MARK GRINYER, SONY HEAD OF BUSINESS DEVELOPMENT - 3D, 4K & SPORT What is the contribution of Sony? Sony has been selected by Host Broadcast Services (HBS) as its

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official delivery partner for the FIFA World Cup in Brazil. HBS has overall responsibility for the delivery of the event, including the production of the competition, as designated host broadcast service provider and has chosen Sony for the provision of all Venue Production Facilities for the tournament. With HBS and together with its carefully selected strategic partners, Sony is responsible for delivering every single minute of the 2,500 hours of match footage that will be shot at the 2014 FIFA World Cup™, having conducted stringent tests on each of the 288 Sony cameras that will be used at the stadia. In addition to the technology provided, Sony and HBS are also supplying technical facilities staff, who will work closely with the production teams throughout the tournament to deli-

International Broadcast Centre (IBC) • Raw indoor space 55,000 m2 • Constructed space for multilateral areas 8,305 m2 • Constructed space for unilateral areas 13,225 m2 • Production Centre 2,620 m2 • ENG Centre 352 m2 • TV Studios 17 • Largest TV Studio 400 m2 • Largest unilateral area (ARD/ZDF) 2,250 m2 • Smallest unilateral area 22 m2 • Satellite Farm 6,000 m2 • Installed capacity of air conditioning system 1,311 TR

ver fantastic HD footage for each match, as well as stunning 4K images for three specific games. Sony also enjoys the highest status level of FIFA sponsorship, that of “Official FIFA Partner” and is one of 6 such companies. As an official partner, Sony will conduct wide-ranging global marketing activities such as advertising, promotions, and events. What kind of equipment is going to be deployed? The technology being used to capture the HD footage at the tournament includes 224 Sony HDC camera chains, 64 Super Slo-motion camera chains, 36 Sony switchers and 820 Sony Professional monitors. Each match will have 37 Standard Camera Plans, including Aerial and Cablecam, 2 Ultramotion

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Camera Plan

1. Main camera 2. Main camera Close Up 3. Main camera back up 4. 16m high left 5. 16m high right 6. Tactical camera 7. High behind goal right 8. Crane pitch level left 9. Crane pitch level right 10. Reverse centre left 11. Reverse cetre right 12. Playercam left 13. Playercam right 14. Beauty cam 15. Cablecam 16. Aerial helicopter camera 17. Centre line pitch level 18. Reverse corner left, super slow motion 19. Reverse corner right, super slow motion 20. 6m left, super slow

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21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34.

motion 6m right, super slow motion Low behind goal left, super slow motion Low behind goal right, super slow motion Reverse centre pitch level, super slow motion Reverse centre high, super slow motion Steadicam left Steadicam right Ultra motion far side left Ultra motion far side right In goal left In goal right Box camera left Box camera right Tunnel cam

cameras and dedicated cameras for interviews. HBS has built 12 bespoke HD production containers – each one including the same amount of equipment as three OB trucks – with one for each tournament venue. The 4K matches will be captured using twelve Sony PMW-F55s, the same cameras which were tested during the live 4K trials at the Confederations Cup in June last year, and these cameras will be used within HBS/Sony’s 4K Live Production System. This complete solution includes the PMW-F55, a multi-port 4K / HD video server, a multi-format switcher capable of real-time 4K signal processing, and crucially, the XAVC video format. An additional fifty people will work on every match being shot in 4K, working in their own 4K production facilities.


The 2014 FIFA World Cup in Brazil is the most content rich tournament to date. Thanks to Brazil’s sheer geographical size, it is also one of the most complex from a logistical standpoint as shifting production crews over large distances is costly, time-consuming and logistically challenging. HBS has been responsible for pioneering the project and coordinating the production of what represents the world’s largest sporting event. In another year of firsts, 2014 also represents the first time the FIFA World Cup has been filmed in 4K, with three matches being shot in Ultra High Definition. This will be the first time a 4K sports production has been done on this scale, and pushes the boundaries for live sports broadcasting.

1. 2. 3. 4. 5.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Main camera Main close up Pitch level Bench left Pitch level Bench right 16m high left 16m high right 6m left 6m right Near side goal left Near side goal right High behind goal right Reverse Mid High

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Main camera Main close up Pitch level Bench left Pitch level Bench right 16m high left 16m high right 6m left 6m right Near side goal left Near side goal right High behind goal right Reverse Mid High

4K UHD camera

Has something made exclusively for this event?

Main camera Main close up Pitch level left corner Pitch level right corner High behind goal right

8K

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TEST AREA

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Text: Alvaro Bernal

TEST AREA

WHICH ONE DO YOU NEED? The image of the Super 35 with the ability of making photos is what Canon has achieved with these two models. They both have the same Super 35 sensor with HD resolution. These are cameras which can be used with low light and in a quick way because the purpose is the content. There are no technical complexities and they have excellent ergonomics. They are perfect for producers which enjoy generating content but dislike the nightmare of menus, codecs and formats.

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Now that we are writing this article, there are many people who want to buy a camera and are doubting between HD or 4K and a big or small sensor. For better or for worse, the perfect camera for all purposes doesn’t exist. It doesn’t mean it existed before, what I want to say is some time ago the price of a “normal” camera was so high that wherever you wanted it or not, you had to use that camera for everything. Now the offer is very wide and the type and the content aesthetic define the camera. Regarding the dilemma of HD or 4K, what you need to know is the consumption of content from some time now is very demanded on small screens. Therefore, is not so important the resolution you use to record. Even the television, the one we see at home, will continue broadcasting


TEST AREA

T HE

RESULT IS EXCELLENT IF YOU KNOW WHEN TO USE EACH ONE AND IN FACT , THERE ARE SO MANY PROGRAMS ON TV THAT WORK ON THE SAME WAY , IS NOT NECESSARY TO INSIST MORE ON THIS CONCEPT .

on HD resolution for some time. If your content, the one you produce, will be used for these purposes, maybe HD is your alternative. It’s obvious we all want more and 4k is very tempting because it offers “4 times the HD resolution”. However, the cost of the equipment and the edition will not be worth what you are going to get paid for the projects. On the other hand, if you clearly know that what you are recording must endure, the option is 4K. Another aspect is your clients should know what they are buying and they should pay for it. Regarding the sensor, you should know that almost everyone is more comfortable and likes more the aesthetic of the Super 35. More or less this is the sensor presented several years ago by the Canon 5D MarkII. Although we are talking about a photography 35 sensor, what I really want to transmit is the appearance of cinema it always had. Once I have explained this, right now

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we don’t have cameras with a “cinema” sensor and the functions of a conventional video. Those cameras will be on the market one day, but nowadays the cameras with Super 35 doesn’t offer enough long zooms with constant openings, or at least in the range of 1,6 – 3,5, like the video cameras. The facts are, on a same projects, you might need those zooms, need to work quickly and

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want the aesthetic of 35 when is possible. This is way I always recommend a camera pack of 35 and video camera. The result is excellent if you know when to use each one and in fact, there are so many programs on TV that work on the same way, is not necessary to insist more on this concept.

The Canon C100 could be perfectly defined as the camera of the Super 35 of the pack. We have already mentioned it has the same sensor as the C300. In fact, these two cameras are very similar, but we will explain their differences. They also have a similar body, they almost have the same appearance and excellent ergonomics. Moreover, they have a balanced weight. They


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can be used as a photo camera, you only have to put the camera in front of your face, the eye on the viewfinder, the hand on the perfect adjustable grip and handle the iris which is in the same place it would be on a photo camera as well as the focus. The ND filters (physical place) on the side enable you to handle them without moving the eye from the viewfinder and without losing stability by moving your hand, it’s amazing! The C100 weights (without the optical lens) 1.8 kilos, including the fix screen, the grip and the handle. The C300 with the same conditions weights one more kilo. I have worked with both cameras a complete

working day and you notice the difference in weight. What really causes the difference in weight is the lens. I worked with the C100 and a stabilized Canon 35mm F2 lens and with the C300 I used the 24-105 F4 lens. In the first case, everything is so easy that it even seems the camera is an extension of your hand. After working with it I couldn’t understand how we could work with other cameras, because it has perfect ergonomics and this can only be designed by someone who knows our job. This kind of explanation: “they are cameras which should be used with a tripod or gantry” come as a shock for me. I have

never used a gantry which wasn’t a hassle because they have a considerable weight and not very good ergonomics. Sometimes we use cameras with bad designs as traditional cinema cameras. We insist on knowing the technical language and the times of the cinema in a market which only demands appropriate content and that has put us in our place. This place is people with a decent job and not artists who are the centre of the universe. When I used the C100 with that compact lens with an effective IS I said “now they have done it correctly”. What I see is what my eyes can see. If I only could have one camera, right

T HE C300

WITH THE ABOVE MEN TIONED LENS , THE 24-105 F4, OFFERS THE SAME ERGONOMICS BUT WEIGHTS MORE . I T IS CLEARLY SEEN AS A CAMERA OF HIGHER STATUS .

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now I would choose this camera and this lens. The good thing is that when you read this article, there would already be new things. This market, like many others, works this way. The C300 with the above mentioned lens, the 24-105 F4, offers the same ergonomics but weights more. It is clearly seen as a camera of higher status. The fact is it costs double the price

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of the other one. The ND filters can be handled with two switches which is very useful. You can see the filters in an instant, is a piece of cake! The viewfinder is obviously better. But let’s not talk about numbers, please. I have seen viewfinders with less resolution that offer a better performance than others with better resolution. What really counts is the technological moment in a specific period of time. We have to think like an old man in


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M AYBE

THE RENT HOUSES ARE THE ONES WHICH HAVE MORE DOUBTS WHEN DECIDING WHICH ONE TO CHOOSE . R EGARDING THE LENS IS IMPORTANT TO SAY THERE IS A WIDE RANGE , BUT NOT ALL OF THEM HAVE C ANON ’ S AUTOFOCUS SYSTEM .

love with life who doesn’t want to lose a second with things which aren’t useful. Which one offers a better image and who much it costs is what should matter. This is what I use to decide. For example for me, after having problems with a 5D, with my short-slightness and emerging tired eyesight the viewfinder of the C100 is what I need because it balances out compared to what I save with it. However I can’t deny the C300 offers a better, bigger and clearer image. With the screens happens the same thing, the C300 has 4 inches of resolution compared to the 3.5 of the C100. In the elder sister the screen can be placed in different places thanks to its anchor and you can even decide not to carry it if the shooting is clearly focused towards “photography”, it’s also useful if, for example you want to carry less weight or protect the screen. The challenge of the manufacturers is to include bigger screens without losing ergonomics. I know it’s difficult, but that is their job, to improve the products and make them better and more useful. Smartphones have highlighted this aspect of the cameras. We will have to wait to see cameras with useful and practical WiFi but right now is nothing more than a good intention. The half of an inch and the decent resolution enable us to see the work in the C300 with a lot more confidence. Obviously these screens and viewfinders offer the usual information, peaking and image magnified system which work while we are recording. The switch distribution in both cameras is excellent. Each function of usual use has a switch with a good size. Furthermore, it has other customizable switches. Regarding ergonomics I can only say it’s time someone solves the issue of sustaining this “not so new generation” of camcorders with big sensors.

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Regarding the audio, I will only say both cameras include in the price a handle with XLR professional connections and the controls you expect. The handle can be quickly removed and put back in place. This is useful when placing, for example the camera in the small travelling hand “gimbal” steady stabilization system. In this case reducing the weight and volume is recommended. Some years ago RED opened an interesting debate. Cameras have three parts: sensor, lens and storage. Depending on what you invest on each part, the image you obtain would be different. This is known by all the brands. Regarding the lens there is not much to say about Canon. The fact is you can work with cinema lenses, with exquisite details, bokeh, definition (good but not with electronic result), small vignetting, etc… They can be of Canon or any other brand (from 3,000 Euros onwards on each fixed lens), the lens of photography of the “L” series will make you feel an amazing difference compared to recording video with DSLRs. Even with the stabilized fixed lens 35 F2 (medium range) due to comfort and result, the image it offers is very appropriate. In the C300 you can also have a PL lens mount. Maybe the rent houses are the ones which have more doubts when deciding which one to choose. Regarding the lens is

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important to say there is a wide range, but not all of them have Canon’s autofocus system, which is offered as an option and that I will explain later. Our content after passing through the lens has to face the sensor and all the internal systems each brand includes to make the most of it. The same happens with Sony, they offer the same sensor on different cameras and from that point the doubts begin to appear. Some time ago I stopped being interested on technical numbers, especially when I saw the performance with low light of RED and BlackMagic. What I do is I

shoot some shots with low light and low contrast. In those conditions the worst of every camera can be seen. Then I check the image and evaluate if what I obtained is cheaper on another brand. Many times we have to shoot with low light and low contrast conditions. They are more than we imagine. This sensor performs well with low light. The image noise like in all the cameras is a reality and it has an aggressive presence. I have treated the image with noise with the “neat video” plug-in and the result is very interesting. To know on what conditions you camera shows it worst part and to know how to

solve these aspects during a shooting or an edition it was really matters, not if the camera has a native ISO of 850 or a sensibility of F10 to 2,000 Lux. I have seen these numbers during many years and the result is very different with the pass of time. I believe in the next years we will see very sensible cameras. This will open a new era when shooting general scenes without illumination and using diaphragms of at least F4. We will be able to forget the cheesy images of F 1.4 that maybe can give a nicer impression on a close up, but in the general scenes doesn’t look good. The resolution, without mentioning the obvious fact of the HD cameras, offers a clearer image in the C300 than in the C100 despite the fact they use the same lens and the cause is the recording codec. The C100 offers AVCHD quality and the C300 offers a MPEG2 to 50 megabits 422. In both cases is of 8 bits. With the C300 I was able to frame again some scenes, not more than 10% in order to simulate slow zooms and the result was fantastic. In a HD TV of 50 inches they can be seen perfectly and the dynamic range especially stands out. Nowadays, a sensor with this size with HD resolution is the answer to the negative light conditions. It’s not a coincidence to see in many TV productions the C300 because they are looking for a powerful finish which can be achieved quickly. When we talk about the codec of the C100 we can’t forget the external recorders on SSD disks. With 600 Euros we can record the “clean” signal from a HDMI port, for example ProRes 422 to 50 megabits (false 10 bits), this way we will have the same conditions as with the C300. DAF, autofocus, this is something we have been expecting on this type of cameras with a big sensor. If you are one of the people with prejudices who call themselves “cinema professionals and not video profes-

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IF

YOU ARE THINKING ABOUT THE CRISIS AND DO NOT BELIEVE ON THE ECO NOMIC RECOVERY , YOU CAN RENOUNCE TO THE LUXURIES OF THE C300 AND COM PLETE IN THE FUTURE YOUR C100 WITH AN ATOMOS N INJA IN ORDER TO ENJOY OF A FIRST - CLASS CODEC .

sional” you are not going to like what I am going to say. The DAF has managed to make me smile when the right conditions are on place. First of all, we have to explain you have to pay for this option and it’s available for the C100 and C300. The moment I select the autofocus zone, it covers the 20% of the central viewfinder. What is not on the selected area will not be affected by the autofocus. At first, I thought this was a small area. If you want to put an object on the side with this type of autofocus is impossible. If this is the case, you should try to focus

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yourself without the application. The DAF system is very simple, you just have to press a perfectly placed switch, near the thumb of the right hand and it will be activated. Then you will see an area slightly highlighted in the centre of the viewfinder. Even if it’s activated, you can use the focus ring of the lens. If you press again the autofocus it turns off automatically. You can choose when to activate the autofocus and change from autofocus to manual focus at your convenience. When you see how the DAF works, you will see the softness of changing the autofocus

without any electronic effect, you want to know when it works. Does it always work? No, when two elements that could be the autofocus appear on the screen the system doubts, but it doesn’t happen many times. I think in the future this system will be placed on the same location as the release, next to the iris system, for example and we will be able to move the autofocus area without moving the hands from the camera. You should try the DAF. Maybe Canon would offer the possibly of moving the 20% central zone or increasing its size. We will


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be waiting. Finally, the most difficult part has come: deciding between one and other. If you have a big budget you don’t have to renounce to a solid codec, a splendid viewfinder, a big-

ger screen, electric activated filters, etc. The producers which produce the content that will sell well choose the C300. However, if you are thinking about the crisis and do not believe on the economic recovery, you can renounce to the luxuries of the C300 and complete in the future your C100 with an Atomos Ninja in order to enjoy of a first-class codec. If you choose

the C100 test it with the mentioned stabilized 35mm F2 and the traditional and also stabilized 24-105 F4. As the camera works really well with low light, this lens will be very useful. If you choose the C300 I am sure you have access to the “L” range, but if you can test with a Cinema Prime or Zeiss lens you will be very pleased.

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A NEW AUDIO ERA HAS COME Test bench made by Pablo Martínez

In this new issue of TM BROADCAST we are going to analyze two equipments used for audio processing. They are two models of the same family but very different. He have also been able to test the new bet of JÜNGER in this increasingly competitive market, which at last has the attention it deserves from the professionals of this area and the final users. In any television production the main aspect has always been the video, but the audio linked to it is the decisive factor that is going to be the difference regarding quality. The acknowledgement of this fact by all the professionals who work on the TV area is essential in order to offer quality products. My personal experience has always been associated with the fact of finding a balance between these two aspects to offer a product with a good technical level of quality. I have known the JÜNGER products for two years now and I have already done several implementations using its systems. If you use the equipments of JÜNGER is because you want to offer a good quality on the signal processing, that by the way, few manufacturers offer. The last installation I did was the integration of an audio level editor in the final process of production. This was an installation with a lot of problems, but after searching and testing many products I found and implemented one of the systems made by JÜNGER with the fantastic “Level Magic™”. It’s an audio processing algorithm which generates balance in all the transmission chain, even if you have sources with different sound level, without affecting the quality of the final signal. It can certify the use of the compressor, fader and amplifier are not audible, at the same time it maintains the same sound level prearranged within the limits you need. TMBi - 55


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V*AP Voice Audio Processor - 1RU compact 19" processing device with front side info display - Dual power supply second power supply for redundancy - Front panel info display for signal activity, IP address, QR code, status alert - Hidden touch button to change info display content

- External sync IN 75Ohm input (Word Clock, AES, Black Burst, Tri-Level) - Sync OUT 75Ohm Word Clock output - Software Features

- Remote Panel optional X*AP RM1 panel

- 2 main processing channels chain of processing blocks, mono / stereo operation

- Optional mic inputs optional dual high end mic preamp module with phantom power

- AUX program path extra 2Ch input for a program signal

- Optional AES42 input optional module for digital mic / line input

- External compressor link up to four D*AP4 VAPs may be linked for round table set ups

- Balanced AES input AES line input for desk inserts or program input for voice over application

- Input stage mute, gain, polarity, HPF, LPF

- Balanced AES output processed mic signals or voice over program output - One interface slot I/O expansion slot for one option board - 3G / HD / SD SDI module option board with SDI de-embedder / embedder and relay bypass - 4x AES I/O module option board with 4x AES3id I/Os and relay bypass - 4Ch analog I/O module option board with 4 analog line I/Os and relay bypass - RJ45 network connector 100BaseT full duplex Ethernet interface - USB B connector built in USB < > serial adapter to access the device service port - 8 GPI/Os 8 balanced inputs, 8 relay closure

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on 25pin Sub-D - Aux power supply isolated 5V supply for external wiring

- M/S matrix encode, stereo width, decode - De-esser frequency, range, type, Q - Filter spectral signature & 5x full parametric EQs - Dynamics expander, upward compressor, downward compressor, soft limiter - Leveler automatic level control - Voice over stereo or mono voice over extra program input, pan - Output stage true peak limiter, mute, attenuation - Monitor output extra feed from the DSP to monitor DSP processing blocks - SNMP agent SNMP v1, see D*AP4 VAP-MIB - Remote control l-s-b EmBER plus protocol for VSM integration, 3rd party API


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For those of you who don’t know JÜNGER , let me explain you this company was created in Berlin in 1990 and its specialization is the manufacturing of audio processors in constant evolution and innovation. It has been awarded several international prizes and its systems are present in many broadcasters and production centers both of radio and television. The equipments I am going to analyze now are very similar regar-

IT’ S

ding aesthetic, but very different on what is inside of them. A digital audio processor may seem something normal, however inside it we find a system which enables us to combine all the necessary elements so that our production can stand out among the others. The other equipment is a vocal processor.From my point of view, is the star of the family, thanks to its new algorithm which integrates something that I will explain later. With this equipment

AN AUDIO PROCESSING ALGORITHM WHICH GENERATES BALANCE IN ALL THE TRANSMISSION CHAIN , EVEN IF YOU HAVE SOURCES WITH DIFFERENT SOUND LEVEL , WITHOUT AFFECTING THE QUALITY OF THE FINAL SIGNAL .

you can achieve amazing results regarding the maintanance of the same audio identity in all you productions. Last but not least, we will see the remote screen used byt the family JÜNGER AUDIO A*P, a system which will enable you to control several parameters and other available presets.

IT’S

POTENTIAL

For this test bench I did all the practical tests by integrating the equipments in a production studio, except for the “V*AP Voice Audio Processor”, because due to its nature I was interested in testing it on the soundtrack studio. In this case I didn’t use it on a mobile unit because I was interested in analyzing its behaviour on several programs. Despite this, I recommend you to analyze closely the

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D*APA8 MAP Hardware features - D*AP8 unit 1RU / 19" compact 8 channel processing unit - X*AP RM1 1RU detachable remote panel, powered by Power Over Ethernet (POE)

peak limiter control algorithm for speaker protection - Speaker alignment delay, level and frequency response compensation, speaker identification

- Dolby decoder built in optional Dolby E / D / D plus decoder

- Bas management for subwoofer and satellite speaker installations

- Dolby encoder built in optional Dolby E or D / D plus encoder

- Solo- / In Place / Defeat individual speaker control

- Dolby metadata I/O two 9-pin Sub-D connectors (RS485)

- Mute / DIM mutes / dims all speaker channels

- 4x AES3id I/O + SRC on board AES I/Os with relay bypass and SRCs (selectable) per input

- Delay, gain, polarity for input signal correction

- Two interface slots expansion slots for optional I/O boards : - 3-G/HD/SD-SDI, 4x AES I/O, 4Ch analog I/O, 8Ch analog (speaker) out - RJ45 POE front connector to connect the X*AP RM1 remote panel directly - RJ45 network connector 100BaseT full duplex Ethernet interface - USB connector built in USB < > serial adapter to access the service port - 8x GPI/O balanced inputs and relay contacts on a 25pin Sub-D - Aux power supply isolated 5V supply for external GPI/O wiring - External sync IN BNC input (Word Clock, AES, Black Burst, Tri-Level) - Sync OUT BNC Word Clock output Software features - TP limiter Junger Audio true

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- Downmix separate downmix circuits for program and AUX feed - Dolby metadata generator generates RDD6 compliant metadata - Dolby metadata emulation shows the effect of metadata for decoded (D-E, D-D, D-D plus) - or PCM signals - BLITS generator EBU Tech 3304 / BLITS channel identification - BLITS analyzer automatic track configuration for the monitoring section - Loudness measurement ITUBS.1770-1/ -2/ -3, EBU R128 - Loudness / level display X*AP RM1 display, J*AM Junger Application Manager - SNMP agent SNMP v1 get (no set) and configurable traps (see MAP-MIB) - Remote control protocol l-s-b EmBER+ protocol for VSM integration, 3rd party API

“D*APA8 MAP” if you need to implement an audio processor on a mobile unit, because this processor could be the key to do live events with quality and excellent processing options. It includes many parameters you can modify which the majority of processors integrated on the mixing boards don’t have. We have to take into account the tests I did were based on a customized interpretation in order to make the most of the audio produced on several programs and also to make a reliable comparison with the initial situation we have in our facilities. D*APA8 MAP + X*AP RM1: To do this test, as I have mentioned before, I installed the system in a production studio which is used almost 10/7 due to the live programs and recordings done there. I used the remote control to simplify the functions of the audio technician when selecting the presets defined on each program. I set up the presets myself trough the web interface of the Jünger application. I did this process using as reference the values of each program we broadcasted (of the equipments I normally use to control the signal of each one) and configuring the presets of work. Once I generated the work basis with this processor, we did some modifications, which due to the limitations of the equipments we had, would have been almost impossible if we hadn’t combined two equipments. You know the rule: the bigger the equipment, the more opportunities of error it has. The result of the basis was the one we expected, we detected a great difference on the measurements of the wave form generated on the presets when the equipment modified the signal. It was much more fluid and without any type of cuts or strong variations in comparison with the initial signal. It had better body and colour. The access from the remote simplified the changes on the basic parameters, as well as the access to the system. As I have said previously, it


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is a good equipment to bear in mind if we want to modify the audio of our productions, both on facilities and live events. V*AP Voice Audio Processor: In this case I did two test taking into account the basis of the equipment, thanks to its audio filter based on the algorithm of Jünger Spectral SignatureTM. First, I integrated the system in the production studio together with the “D*APA8 MAP”, by controlling the two equipments through the remote “AP RM1”. The system configuration was different to the one I did trough the web interface. In this case I did a cascade system configuration and the “V*AP” was the end of the studio chain. The first thing we did was to check the possible delays when we placed the two processors. Then, after measuring the reference signal and pro-

WE

DETECTED A GREAT DIFFERENCE ON THE MEASURE MENTS OF THE WAVE FORM GENE RATED ON THE PRESETS WHEN THE EQUIPMENT MODI FIED THE SIGNAL . I T WAS MUCH MORE FLUID AND WITHOUT ANY TYPE OF CUTS OR STRONG VARIA TIONS IN COMPARI SON WITH THE INI TIAL SIGNAL .

cessing the two equipments with their cascade signal on the output, we measured a delay of 3,4 ms. It was a very small measurement in the whole process of the video and audio signal if we think about all the process done by the signal. After checking this, I focused on making the most of it with the “Spectral

SignatureTM”, the algorithm used to do the comparison, as well as the process done by the equalizer on the sample audio. On a real time situation this is perfect. My work samples when using AES signals are of not more than 2,8 ms of difference between signals, something very complicated if we take into

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X*AP RM1 Hardware features - 1RU remote panel detachable panel with case, powered by POE (Power Over Ethernet) - Rotary encoder high resolution encoder for parameter settings, volume control - (turn&push) etc. with push function, e.g. for confirmation of settings - 8 Function Keys F-Keys - function assigned by the application - Hot-Keys – function assigned by the user - MENU button for menu control - ESC button for menu navigation - PAGE button may swap displays - METER control button selection of the display of the LED bar graphs - BYPASS button initiates a bypass function of the attached base unit - OLED display graphical display - 8 LED bar graphs 16 segment multicolor bar graph display - Status LED shows the device summary status provided by the attached device - Power 1/2 LED status of the two power supplies of a attached base unit - BYPASS LED shows the active bypass status of the attached base unit - RJ45 POE connector RJ45 rear connector for Power Over Ethernet connection - USB-B connector built in USB < > serial adapter to access the service port Software features - Web server http connection with the device for setup and firmware update - SNMP agent SNMP v1 get (no set) and configurable traps (see TAP-MIB) - EmBER protocol communication layer for connection with a base unit or 3rd party applications

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account the complex logic of the process. The web interface is intuitive, as well as the software “application manager” on the task of supervising the audio sources. You can easily recover the presets and what has been assigned from the X*AP RM1 . It’s a very complete application, although in my case I have used it in second place because I have worked through the web interface with the two equipments. Once I did the test on the production studio I placed it on the soundtrack studio to do four different samples of the main announcers in order to evaluate the work done by the “Spectral SignatureTM”. The subsequent process of the initial sample gave as a result of a special evenness on the announcer voices. Only with the use of the “V*AP” and without any other component the result was a good colour, evenness and spectral “pattern”. The dynamic correction was excellent and as a result the sound was consistent and balanced in all the programmed voices.


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O NCE I

DID THE TEST ON THE PRODUCTION STUDIO I PLACED IT ON THE SOUNDTRACK STUDIO TO DO FOUR DIFFERENT SAMPLES OF THE MAIN ANNOUNCERS IN ORDER TO EVALUATE THE WORK DONE BY THE “S PECTRAL S IGNATURE TM”

WHAT

WE MISS

good inversion if we want excellent quality in our products. I encourage

you to download the manuals of these equipments to analyze first hand their possibilities, because if I had to explain all its functions we would use several magazines. This test bench is a small example of what they can do. As always I would like to thank IB3TV for letting us use their facilities, as well as Marc Judor of Jünger for letting us use the equipments to do this test bench.

From my point of view, there is nothing to miss; the limit is set by the audio technician or the Chief technician when configuring the equipments. There are a lot of possibilities and it satisfies completely the quality and construction standards (intuitive management, multiple formats accepted, exceptional signal process, and redundant power source.)

CONCLUSION I insist on improving the audio quality in our productions, because is the difference point between a standard production and a quality production. These equipments, thanks to the great development of the processing algorithms of Jünger, are one of the best alternatives on the market and without a doubt is a

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TM Broadcast International 11, July 2014  

In this issue we talk with Niclas Ericson, Director of FIFA TV, and you can read an extensive review about the World Cup 2014 broadcast team...

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