TM Broadcast International 15, November 2014

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Staff Editor Javier de Martín Editor in chief Jesús Carrillo Key account manager Cristina Feduchi Eva Barreras Creative Direction Mercedes González




06 EnGamaDos

The psychology of colours

36 Miller

El Clasico production

Camera Support

equipment keeps a firm grip inside the fiery furies of the Ambryn Volcano TM Broadcast International #15 October 2014

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

Published in Spain


OB Factory

equips three compact, versatile OB units with Riedel

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EVS collaborates with Mediapro for cutting-edge

Editorial staff Administration Margarita Quevedo


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Cellular uplinking: where are we?

EURO MEDIA 2014 Tour de France an innovation-packed 101st edition


It recently appeared the news that the audiovisual business in 2017 will be about 47 billion dollars. We live in the era of the contents and therefore technology will be always be necessary for creation and distribution. A sign of how this market is positioned is the consolidation and growth of technology fairs worldwide. Currently, the two most important fairs in the world such NAB and IBC are growing, but so do local fairs. BVE, SATIS, NAT EXPO, CCW, or BITAMSHOW (organized in Spain by TM Broadcast) are consolidated as fairs that complement the major events. Although the broadcast is in an era of change and evolution, we note that the course is firm. A few years ago there were some technological and financial fears, that now has disappeared, and an accurate sign

of the

consolidation are technology fairs. There is only one way for the next few years, keep growing.

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CIFAP installs NETIA Radio-Assist™ radio automation system to support highly competitive training program NETIA announced that it has granted CIFAP, a division of France's largest training group, an educator license that allows the company to train audiovisual professionals in the use of the Radio-Assist™ digital audio automation software suite. CIFAP has also purchased and installed NETIA's Radio-Assist 8.2 and integrated it into a studio designed specifically for teaching skills that are critical to working in radio. "Our goal is to provide highly competitive training in the field of radio production and broadcasting, and our ability to teach on NETIA software helps us to maintain a very high standard," said Marie Kieffer, director of training at CIFAP. "Here in France, many of the largest radio broadcast groups are NETIA users, so it was very logical that we would integrate Radio-Assist into our training facilities. Our course

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participants find that while the software is easy to learn and use, it offers a wide array of features that give users a wealth of opportunities in creating quality audio content." CIFAP is a leading trainer in audiovisual, radio, music, Web, and live performance. More than 200 audiovisual companies depend on the school to train their employees and keep them at the forefront of current media and entertainment technologies. Amongst these are some of the largest broadcasters in France, including TF1, Canal+, France TV Group, ARTE France, Radio France, Lagardère International, M6, Disney, RFI, and RFO. The school is also one of the few French training centers to offer a state-recognized diploma for radio journalism. The NETIA installation at CIFAP includes one sound server, a

database and back office system, an Air-DDO broadcast module, and seven Radio-Assist workstations. Because CIFAP attendees work with the latest version of RadioAssist, they leave their training ready for the professional marketplace. Those who earn a NETIA training certificate at CIFAP also gain a competitive advantage in finding work in the industry. "The skills taught by CIFAP are fundamental to the media industry, and we're pleased that the training center gives its attendees the opportunity to train on the systems, such as Radio-Assist, that they are likely to use once they enter the professional workforce," said Amaury Orbaïceta-Leoz, sales manager at NETIA. "We look forward to building our relationship with CIFAP as it continues to expand its training facilities and capabilities."




Bexel implements pioneering new workflow with Grass Valley’s LDX XtremeSpeed Cameras and K2 Dyno Replay System Grass Valley, a Belden Brand, expands camera sales to Bexel with 10 LDXXtremeSpeed (LDX XS)6X ultra-slow-motion cameras as well as eight K2 Dyno Replay Systems. Currently, Bexel has 15 LDX XS cameras and six K2 Dyno systems on rental at the MLB Playoffs, as well as NFL and NCAA football games. The new camera and server system will provide Bexel’s clients with a new, sophisticated ultra-slowmotion workflow with improved replay for sharper imagery and more engaging replay highlights, especially during live sports productions. “The LDX camera series provides overall flexibility in format, setup and functionality to meet our market demands,” said Tom Dickinson, chief technology officer at Bexel. “But the LDX XS breaks new ground when coupled with the K2 Dyno. It’s an extremely efficient replay system with the K2 Dyno controller, as two LDX XS cameras can work in 6X replay in one single K2 Dyno, reducing the overall cost of the system while increasing functionality. These systems can provide 1X, 3X and 6X workflows in 1080i and 720p and 1X and 3X workflows for 1080p broadcasts, so our clients have the production format flexibility they need.” The LDX XS cameras work in tandem with the K2 Dyno replay system with its AnySpeeddynamic playback technology that provides smooth playback at any speed from zero to 200 percent and all speed transitions for ultra-slow-motion playout. For fast turnaround time with productions, Bexel’s clients don’t have to wait for the LDX XS to transfer clips from an internal storage device, as the footage is available immediately. Grass Valley’s future-ready XCU XtremeSpeed XF Fibertransmission

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system supports the large real-time bandwidth required by the LDX XS cameras without any compromises. The rack-mounted XCU cradle is fully compatible with the 3G transmission XCUs, which makes the XCU chassis easily transportable between trucks, studios and flypacks. “In order to meet the needs of today’s rapidly changing broadcast landscape, innovation is more important than ever. Which is why

we designed our LDX XS camera with features that have never been seen before in the industry, such as its ability to integrate seamlessly into live workflows with speeds higher than 3X,” said Stephen Stubelt, vice president of sales, North America, Grass Valley. “We’re thrilled that Bexel is taking advantage of the benefits of the LDX XS and K2 Dyno so it can continue delivering highquality solutions to its growing clientele.”




Zenterio implements Broadpeak Technologies for improved QoS and reduced channel switching time Broadpeak announced that its quality of experience (QoE) agent has been integrated with Zenterio OS for interactive TV. The two companies have worked together to bring to market new solutions to meet IPTV operator's expectations: fast channel-change time, high video quality, and detailed analytics. Leveraging Zenterio OS and Broadpeak's fast channel change, live packet loss recovery, and detailed audience measurement technologies, IPTV operators can improve quality of service (QoS) and QoE. "Thanks to Zenterio's swift integration of our QoE agent, we were able to quickly bring a solution to the market for improving the quality of experience of IPTV services, allowing operators to meet their viewers' expectations," said Jacques Le Mancq, CEO, Broadpeak. Zenterio OS enables TV operators to design and deliver new and

advanced interactive services such as Internet TV, interactive advertising, multiscreen, and applications across a variety of devices. Its flexible platform standardizes features and eliminates barriers from multiple operating systems and complicated infrastructures, so that operators can independently choose services, hardware, middleware, and backend solutions. Broadpeak dramatically improves channel change times for IPTV services, whether the stream is being sent via RTP or UDP. Broadpeak technology also eliminates visual problems such as macro-blocks, frozen, or black frames via a highly efficient packet loss recovery mechanism. Together, these network optimization technologies enable operators to increase service quality and customer satisfaction.

In addition, Broadpeak's fast channel change technology allows operators to compile analytics on viewers' consumption habits. Using this data, operators can find out what the most popular channels are, how long live content is watched, when the peak times are occurring, etc. This allows operators to anticipate peaks in video consumption. Likewise, Broadpeak's packet loss recovery technology can be used to gather statistics about QoS issues, enabling operators to detect where problems are occurring in the networks and improve QoS. "Zenterio and Broadpeak are both committed to helping operators provide the best possible television experience," said Robin Rutili, CEO, Zenterio. "Through this partnership, we've created a best-of-breed solution designed to transform the quality of IPTV services."

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East Shore Sound uses Riedel Gear to enhance production of 'A Capitol Fourth' Extravaganza Riedel Communications announced that East Shore Sound used Riedel equipment to provide multiple layers of communications for "A Capitol Fourth — America's National Independence Day Celebration." The July Fourth spectacular was produced by Capital Concerts for broadcasting live on PBS and NPR member stations worldwide, as well as on the American Forces Network. Riedel's Artist digital matrix intercom, Acrobat digital partyline, and new iOS virtual keypanel app supported the production team and talent for both the stage show and the live television broadcast. "Each year the show gets a little more complex, yet the communication solution has remained the same. This year we were able to work with the event producers and take a giant leap forward with the technology we provided to the show," said Bill Saltzer, owner of East Shore Sound. "We chose to deploy an all-digital Riedel solution because it has a proven track record in the industry and allows for a great degree of flexibility, with user-friendly keypanels and beltpacks that can keep up with the ever-expanding needs of the event." For more than a decade, communications solutions provider East Shore Sound has supplied equipment and personnel to "A Capitol Fourth," which each year features performances including the National Symphony Orchestra's rendition of Tchaikovsky's "1812 Overture" with accompanying fireworks and live cannon blasts. More than half a million people gathered on the National Mall for this year's concert, and millions more watched on television. Broadcast live from the West Lawn of the U.S. Capitol, the extravaganza relied upon a production crew of more than 400 TMBi - 10

and took advantage of 20 cameras positioned around the city. To support this year's concert, East Shore Sound employed an alldigital Riedel solution in place of the event's traditional two-wire analog system. The company deployed a Riedel Artist 128 frame on the stage to handle the analog interface to the existing intercom system in the onsite mobile production truck. This frame also provided a four-wire interface to seven wireless intercom systems and two wireless IFB transmitters, distribution to Riedel C3 beltpacks via two CU44 Plus Digital Partyline systems, and connection to nine keypanels used around the stage. A smaller Artist 64 frame located at the front-of-house position distributed signals to another 12 beltpacks via partyline systems and several additional keypanels, and an additional partyline system was positioned at the Grant Memorial across the street and behind the main stage to provide communication during a

performance by the U.S. Army Band. To address a last-minute need for communications with the remote camera operator at the Lincoln Memorial, East Shore Sound used a Riedel RiFace universal radio interface to establish reliable connectivity to the operator's traditional 4-watt portable radio. The Riedel Artist and Acrobat systems gave East Shore Sound much greater versatility in creating and accessing intercom channels, significantly improved the quality of intercom audio, and dramatically reduced the amount of copper cabling needed. East Shore Sound also took advantage of the Riedel iOS virtual keypanel app to monitor several different channels while not being tied to a wired keypanel. "The audio quality on the virtual keypanel was superb and the ability to work wire-free was fantastic," added Saltzer. "As a complement to existing types of wireless communication, Riedel's new iOS app is a great addition to our toolbox."




New Ross Video EMEA headquarters opens at Pinewood Studios Production technology experts Ross Video proudly announce the opening of the company’s latest facility, based at the legendary Pinewood Studios to the west of London. Operating as the headquarters of Ross Video’s EMEA team, the office is located on the site of the film studio’s historical props department. As well as providing office space, the new Ross EMEA HQ will include a full studio demonstration suite allowing the team to showcase the entire Ross product range, including the new Acuity switcher, Ross

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Robotics, virtual openGear solutions.



“I’m absolutely delighted that we’re moving into Pinewood Studios,” comments David Dowling, Ross Video Director of Sales for EMEA. “The studio lot continues to attract the world’s biggest movie franchises, such as Bond and Star Wars, and is home to an extremely vibrant broadcast community. This move underlines our ambition to expand our presence across EMEA and our commitment to provide Ross customers with the best regional sales and technical support.”

“2014 has been such an exciting year for Ross,” David Ross, CEO of Ross Video adds. “We started the year celebrating our 40th birthday and that sense of celebration has stayed with us as we have continued to innovate across all our product lines and invest in technology, new facilities and, most importantly, our people. Pinewood is a fantastic location for our EMEA HQ; we’ll be showing off the best Ross Video has to offer and welcoming customers and partners with the kind of hospitality that make Ross such unique company to deal with."



New TriCaster Mini™ NewTek™ unveiled TriCaster Mini™, the ultra-portable system allows anyone who doesn’t speak or understand the technical language of video production or broadcasting to transform an ordinary presentation into engaging multimedia content that looks like network-style TV in a matter of minutes. Marketers, corporate employees, small business managers, community administrators, educators, trainers, non-profit and worship service volunteers, and entertainers who are interested in delivering their messages like seasoned television professionals can now use TriCaster Mini to assemble visually sophisticated multimedia presentations––and stream them live, publish to social media or upload to a website from the office, an event, or any location with an Internet connection. The tiny, sleek design, support for virtually any camera, and comprehensive toolset make TriCaster Mini easy to carry in one hand, setup, create and share content. “With TriCaster Mini, we have built a product that gives anyone wishing to use video to communicate with others the ability to create content that looks like professionally made television achieved in minutes where traditionally it took hours or days. Our goal is to dispel the myth that it’s too technologically difficult or expensive to produce engaging multimedia content, and we’ve achieved that with TriCaster Mini,” said Dr. Andrew Cross, president and chief technical officer for NewTek. “Video is the fastest growing and most compelling communication medium in history, and to stay relevant, people in all areas are finding it increasingly important to conduct video interviews, webcasts, and presentations that mix slides, video clips, graphics and more. No other system in the world makes it as easy for anyone to get started than TriCaster Mini.”


Envivio Puts Halo™ over full Apple product line Envivio announced the availability of version 4.0 of its Halo network media processor (NMP) video solution product, which supports all Apple devices, such as Apple TV, iPhone 6 and 6 Plus, and the just announced iPad Mini 3, and iPad Air 2.

Envivio now supports all of the latest multi-screen video streaming formats, such as Adobe HDS, Apple HLS, MPEG-DASH, Microsoft Smooth Streaming, with H.264 and HEVC video support, and new content protection schemes.

“Our mission is to support the launch of new products faster and better than anyone else, and to add functionalities contributing to a superb user experience,” said Envivio’s VPProducts and Solutions Boris Felts.

Processing performances have also improved by 40 percent to diminish the hardware footprint inside the network. “This alone was the number one reason the second largest U.S. cable operator selected Envivio,” Felts added.

Felts added, “For video service providers, video delivery is about efficiently providing the best user experience to any and all consumer devices as soon as they are available on the market. Envivio differentiates by offering video solutions that support all video streaming formats and all Digital Right Management (DRM) systems, and works closely with device manufacturers.”

Specific Enhancements in Halo Version 4.0 With




Today, Halo is the most efficient combined packager origin server available in the market. Furthermore, Halo version 4.0 improves the TV Anytime workflows by performing video encryption for video protection and interfacing with all of the complex CDNs and DRM systems, including Microsoft PlayReady, Adobe Access, and Google Widevine, making it simple for operators to support new consumer devices as they are introduced to the marketplace, as it does for BSkyB, Comcast, and Telstra.

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NBA’s Portland Trail Blazers expand EVS live production capacity to 30 channels The Portland Trail Blazers of the National Basketball Association (NBA) have expanded its EVS live video production workflow with an XT3 media server, bringing their live-channel capacity for game broadcasts and other programming to 30, it was announced today. An EVS XStore NAS dedicated media storage system has also been added to the already extensive EVS-driven workflow. When we built the control room for Trail Blazers Broadcasting six years ago, a single XT server was enough for our needs,” said Mike Janes, Director of Engineering at the Trail Blazers and their 20,000-seat home arena Moda Center. “The studio capability has evolved as we’ve added more camera angles; increased our speed; innovated through high-definition production; and automated even further. Now we’re able to provide complete pre- and post-show content to our broadcast partners as well as for big screens and monitors inside the arena.” With built-in proxies, live multi-angle review and industry-first 12 live recording channel support, the new XT3 server gives the organization more power and capacity. XStore functions as flexible nearline storage, allowing craft editors to put clips into shared storage and make them immediately available in any format. The new solutions join existing XT servers, multiple IPDirector media asset management suites, XT Access gateway software, XFile3 for transfer and archiving needs, and MPlay for intuitive remote control system for clips and graphics playout. “The Trail Blazers are committed to using the latest technology to bring the very best quality content to fans,” said James Stellpflug, VP, sports products at EVS. “They’re really functioning as a state-of-the-art media organization and we’re happy to help provide them the most compelling content across multiple platforms.”

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Artel Video Systems at CCW 2014 Technology Demonstrations JPEG 2000 Compression With its low latency, costeffectiveness, and unmatched compression quality, JPEG 2000 is rapidly becoming the industry standard compression format for transporting HD-SDI over bandwidth-limited network infrastructures. In addition, new interoperability standards for formatting JPEG 2000 streams over IP increases the flexibility of JPEG 2000 for media transport. At CCW 2014, Artel will demonstrate its cost-effective, easy-todeploy, and industry-standard JPEG 2000 compression solution. Broadcast Video-Over-IP With the advent of reliable IP networks and the development of industry transport standards such as SMPTE 2022, broadcast-quality videoover-IP is now a reality. At CCW 2014, Artel will showcase its complete set of cost-effective, reliable solutions for transporting HD-SDI, SD-SDI, and DVB-ASI over IP networks. Integrated Signal Routing Artel will also demonstrate DigiLink's innovative, integrated signal routing capabilities. The ability to route video and Ethernet signals simply, reliably, and in real time within a media transport chassis eliminates the need for external video routers and Ethernet switches. DigiLink's innovative design routes and switches media in its native format eliminating unnecessary costs and complexities, while increasing reliability and quality of service.




ChyronHego products at CAPER 2014 Lyric PRO 8.8 Graphics Creation Software At CAPER 2014, ChyronHego will preview new functionality within its upcoming Lyric PRO version 8.8, scheduled for release by the end of the year. The latest innovations include new scene and application parameters useful for data visualization; Advance Data Object, offering a multitude of external data sources that enable access to any data, anywhere; a new Data Processor tool for efficiently evaluating and modifying data, such as a live weather feed, before it is rendered graphically; a new Connection Manager allowing you to control any external device through network or serial communications; and a new Intelligent Interface Manager that allows unlimited serial or network connections in a multitude of encodings.

BlueNet™ — Streamlined, End-to-End Graphics Workflow BlueNet tightly integrates the world's most advanced graphics creation, collaboration, management, and playout systems. Broadcasters of all types and sizes depend on BlueNet every day to minimize the cycle time from creation to air, ensuring the highest production values in the shortest time — every time.

Paint — Bringing Game Play to Life ChyronHego's Paint is a sports production analysis

tool designed specifically for the needs of sports broadcasters. Its power lies within its sheer simplicity of use and its feature-rich toolset that can be used by anybody on a sports production team, whether behind the camera or in front of it. Paint is used to analyze game play visually by graphically enhancing and highlighting video via a variety of telestration tools. Within a typical hour of a game, dozens of telestrated clips can either be created live or stored at the ready for near-live replays or postmatch analysis.

Virtual Placement — Powerful Virtual Graphics Virtual Placement from ChyronHego is a tool that turns the complex art of placing virtual graphics within live video into a quick and simple process. Without requiring specialized camera encoders or lengthy calibration processes, virtual graphics can be placed into a scene within minutes of setup and ready for use in a multitude of applications. Virtual Placement can be used in many different live broadcast scenarios, from augmenting physical studio sets with virtual objects or live broadcast graphics and video feeds, to much larger scenes such as sports arenas, race tracks, or landscapes.

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Miller Fluid Heads (Europe) LTD. takes charge with its Cineline 70 fluid head at SATIS 2014 Miller Fluid Heads (Europe) Ltd is set to showcase its advanced Cineline 70 Fluid Head to the French audiovisual communications market at SATIS 2014 (Stand D17). Purpose-built for film and digital production cinematographers, the Cineline 70 is for those who desire to stay on the cusp of the changing camera support technology landscape. “At the moment, the French market is investing cautiously, with many hoping to attain the best value for their purchases,” says Mike Lippmann, European Manager, Miller Fluid Heads (Europe) Ltd. “Miller, with its rich 60-year history, robust product range and proven commitment to excellence, currently offers cost-effective solutions for interested operators looking to make

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a long-term investment in top-notch camera support equipment. We look forward to connecting with forwardthinking industry professionals at SATIS and sharing our technological solutions.” The Cineline 70 Fluid Head is ideal for use on feature films, documentaries and high-end television commercial productions that require heavy payload, frequent re-rigging and a diverse range of lenses and cameras. It is set to accommodate industry-leading camera mountings, including Arri, Sony, RED, and Canon, and also features an Arri-compatible sideloading camera platform, along with an easy-to-fit 1225 Mitchell Base Adaptor (optional) to suit traditional Mitchell Flat Base tripods. With a lightweight design, the

heavy-duty Cineline 70 offers advanced precision fluid drag control with ultra-soft starts, smooth stops and perfect diagonal drag transition. For easy setup or changes in between takes, its counterbalance system with “all-inone-location” rear-mounted controls easily allow users to capture the big picture. In addition to providing these industry standard benefits, the Cineline 70 Fluid Head also features an extended sliding range to promote quick and seamless rebalancing of the rig when lenses and accessories are changed resulting in weight distribution shifts. Constructed of corrosion resistant alloy, the Cineline 70 Fluid Head offers dual side mounts for monitors and accessories, as well as an assistant’s box front mount.



BCE has produced new commercials for Lalux Assurances


International Festival of Carthage to use Lawo’s new mc²36 audio console

As one of the leading insurers in Luxembourg, LALUX ASSURANCES has produced many commercials with BCE, this time the company wanted to produce 2 new clips, but with a viral twist. Keeping the filming method of the first episode promoting “easy-protect” in 2011, BCE produced the clips using the first POV (first person point of view), it means that the viewer sees through the eyes of the protagonist. The new scenario and idea, by Thomas Neunreither (Is it true what they say about Luxembourg / La bourse de Luxembourg Anniversary) with the viral web campaign led the production team to imagine a new filming helmet. Fully engineered by BCE, the helmet embarks a Blackmagic Pocket Cinema Camera in front of the helmet with Zeiss Cinemizerglasses directly connected to the camerawhich allows the cameraman to see exactly what the viewer will see. This innovative system weights less than two kilos and allows immersive productions.

The renowned International Festival of Carthage is acelebration of classical music jazz, folk, theater, film and ballet that takes place every year in the ancient city of Carthage in Tunisia. Since 1964, the event has been staged in the antique theater of Carthage. The next festival event, taking place in the months of July and August 2015, is to be supported by the new Lawo mc²36 mixing console. Lawo’s Tunisian partner Pro Audio and Light(PAL)– the company responsible for light and sound systems for this festival inrecent years–closed the deal on a 40fader mc²36 for the festival’s FOH position at IBC 2014. This will see aflightcase version of the RAVENNA/AES67-enabled consoleand two stageboxes deliveredin spring 2015, when the preparations for the Festival of Carthage reach their peak.

The second part of the advertising campaign is centered on the viral twist. Wonderlandmovies, a Germany based company, created a system that allows the viewers to upload their photo and name and make it appear directly on the actors face and special spaces for the text in the video clips. Connecting to the website, the viewers can create their own video and send it to their friends using email or social networks. "It was great to work again with LALUX ASSURANCES and the LALUX easy-protect products, the partnership with Wonderlandmovies made a real difference for the final project. In less than three months the campaign was produced and the viral mechanism developed,"comments Xavier Thillen, Head of Production and Postproduction at BCE.

“My guys at home in Tunisia followed the launch of the mc²36 at IBC remotely via the Lawo webpage and YouTube, and told me not to return home without buying one,” said PAL General Manager Sami Sidhom, at the show. “They’re as exitedas kids!” “We have long admired Lawo audio quality, and with the mc²36 itfinally became accessible to us,” he continues. “It’s aLawo in a small footprint – compact, reliable and powerful, and all based on solid German engineering.” The Lawo mc²36 is an all-in-one mixing desk, with a comprehensive feature set that covers broadcast, theater, house of worship, live and install applications. Along with uncompromised sound quality and Lawograde mic preampsand full-range connectivity, including RAVENNA/AES67, it offers unprecedented value for money.

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DiGiCo predominates at Tivoli Vredenburg provide a solution that provided consistency of sound quality, reliability and ease of use in each room. “The engineers at both Vredenburg and Tivoli venues had worked with DiGiCo consoles for a while before the merger,” says Allert Aalders, who was a Tivoli sound engineer since 1998 and continues the role at the new venue. “The flexibility of the platform and the fact that most of our crew were already familiar with them played a big part in the decision.” “The former Vredenburg Theatre engineers were already used to working with DiGiCo’s SD9 and SD11 consoles,” adds TM Audio’s Jaap Pronk. “As the Tivoli engineers also had experience with using an SD8 for monitoring, it made sense to continue with familiar consoles that we knew would fulfil the venue’s criteria.” Consequently Ronda, which is situated on the second floor and hosts mostly pop concerts, features an SD5 with SD 192 rack at Front of House, and an SD8 with D2 Rack at monitors; Pandora, a multi-format ‘crossover’ room used for dance parties, fashion shows, concerts and the like has an SD8-24 at monitors; Hertz, which is a more intimate space for chamber music, standup comedy, theatre, etc, has SD9s at Front of House; as does Cloud Nine, a jazz venue also used for VIP concerts and club nights, with the option for the Hertz SD9 to also be used as a monitor desk for Cloud Nine. Finally, an SD11i with D-Rack is mixing small live acts in the Cloud Nine foyer, and can also be used as a mobile music system.

A merger of former venues Tivoli and Vredenburg, both successful in their own rights for the past 30 years, Tivoli Vredenburg has been constructed around the existing Vredenburg theatre and concert hall, now known as the Grote Zaal or Great Hall, which remains in its original form. The new building houses four additional rooms, Ronda, Pandora, Hertz and Cloud Nine, each of which plays host to different types of musical styles, with each designed by a different architect. Combining such disparate designs could have made the overall ve-nue feel disconnected, but a cleverly thought out, cathedrallike foyer brings them neatly together. To deliver a complete audio package for this premier facility, Tivoli Vredenburg turned to TM Audio Ho-lland BV and Audiopro Nederland, who joined forces to

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Jaap hosted two training days for the venue’s engineers, with more scheduled to run at a later date, ensuring smooth operation from Tivoli Vredenburg’s opening night. “The consoles can be moved around the venues to provide maximum flexibility,” says Jaap. “Additionally, all the rooms work with formats that have been placed in the consoles’ ‘Template’ menus for inexperienced guest engineers and all trained engineers can help the guest engineers out, which is working very well.” All DiGiCo SD systems are now working at 24bit/96kHz the old style MADI racks having recently been updated to new D-Racks. All outputs on the racks are now equipped with AES/EBU output cards, connected to the digital inputs of the amps, which results in a full digital audio flow. The 32 channel DRacks, 48 channel D2 Racks and the SD-Racks now all perform at 96kHz.



Broadpeak expands international development to Brazil, appoints Hubert Legrix de la Salle as Sales Director


Wohler names Dayan Sivalingam Director of Engineering for company's RadiantGrid business line Wohler Technologies announced that Dayan Sivalingam has been appointed as the company's director of engineering for the RadiantGrid™ business line. In this new role, Sivalingam will be responsible for managing and growing Wohler's file-based solutions engineering team, working with product management and sales to further refine and execute the company's file-based strategy and helping to guide the company's evolution into new markets. "Dayan's experience in the domain of media processing will bring further speed and agility to our RadiantGrid business in shaping our next generation of products," said Steve Farmer, director of engineering at Wohler. "Over his career he has distinguished himself as both a talented software engineer and an effective leader, and we are confident that we will benefit greatly from both of these strengths."

Broadpeak announced that it has appointed Hubert Legrix de la Salle as sales director of Brazil, increasing the company's international sales presence. Based in São Paulo, Hubert Legrix de la Salle will be responsible for leading the company's Brazilian sales efforts and driving additional revenue opportunities throughout the country. "Expanding our global sales presence in the region is critical, especially in Brazil which is a very dynamic video market," said Jacques Le Mancq, CEO, Broadpeak. "Hubert brings a wealth of experience and a proven track record for growing our partnerships with Brazilian customers."

Prior to joining Wohler, Sivalingam served as engineering manager for software development, new media, at Harmonic, where he was responsible for managing the development team for the company's flagship file-based transcoding and workflow management products. Earlier, he served as the senior software engineer for the Rhozet business unit within Harmonic. Sivalingam earned his bachelor of science in electrical and electronics engineering from PSG College of Technology in Coimbatore, India, and his masters in electrical and computer engineering from the University of Illinois in Chicago. He is now based in Hayward, California and reports directly to Farmer.

Hubert Legrix de la Salle has more than 15 years of sales, product marketing, and engineering experience in the telecommunication industry. Prior to joining Broadpeak, he most recently served as sales director for Latin America at Witbe and sales director VoIP Latin America at Technicolor. "Broadpeak has a very strong portfolio of carrier class CDN technology products that is in very high demand in Brazil. I am excited to build our São Paulo office and implement the commitment of Broadpeak to this country," said Hubert Legrix de la Salle.

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Cuescript names Mavi Grup Iletisim as its distributor in Turkey CueScript is pleased to announce that it has signed a distributor agreement with Mavi Grup Iletisim. Effective immediately, Mavi Grup Iletisim assumes distribution rights for all CueScript products in Turkey. The addition of Mavi Grup Iletisim will build upon CueScript’s global reach, providing customers in this region access to the company’s growing portfolio of prompting products. Founded in 2001, Mavi Grup Iletisim is the broadcast subsidiary for Atempo Group of Companies, which was established in 1985 and serves the ProAV and Broadcast markets as an exclusive distributor to over 50 worldwide industry brands. A strong provider of technical support, Mavi Grup Iletisim continues to add to its product portfolio to meet the needs of its end-users. In 2013, Mavi Grup Iletisim opened two subsidiary offices in Azerbaijan (Baku) and Turkmenistan (Ashgabad). We began to work with CueScript at this year’s IBC show and we are very happy to continue this relationship with them,” says Onur Erulken, Project Engineer at Mavi Grup Iletisim. “CueScript produces

very high quality products that are designed by a team with industry experience.” As CueScript’s exclusive Turkish distributor, Mavi Grup Iletisim provides fast product deliveries and serves as an extension to the company’s customer support. “We have forged a partnership with Mavi Grup Iletisim, which will build on their wide product range to help introduce CueScript’s range of prompters to the Broadcast and ProAV markets that Mavi Grup Iletisim along with Atempo has successfully served for many years,” says Brian Larter, Managing Director, CueScript. “It is a pleasure to be working with such a professional and experienced partner, as we broaden our global presence.” Mavi Grup Iletisim is the latest international distributor to sign on with CueScript, as the company continues it’s rapidly expanding presence around the globe. In the last few months, CueScript has signed agreements with Broadcast & Production Services (BPS) in the UK, Excelencia en Communicaciones y Tecnología in

Mexico, Techtel in the S.E. Asia region and Visual Technologies India (VTI), to perform similar duties. In addition, the company has had a presence at several major trade shows this year, including Broadcast India, NAB, BroadcastAsia and IBC. CueScript’s offerings include the CSM line of LED High Brightness HD-SDI Prompter Monitors (available in 15”, 17” and 19” models), geared towards a range of live and studio productions and its newly launched EMC line (available in 15” and 17” models) designed for education, middle market and corporate applications. In addition, the company recently added to its product portfolio its new line of prompting software, CueiT Premier, CueiT Production and CueiT News, as well as the CSSC1, a revolutionary patent pending prompting scroll control to be used with the new software.

Archimedia CMO Josef Marc to discuss 4K and UHD viewing at SMPTE 2014 Conference Archimedia Technology announced that Chief Marketing Officer Josef Marc will present a paper at the SMPTE 2014 Annual Technical Conference & Exhibition this month in Los Angeles. The presentation, titled "Viewing 4K and UHD in an HD World," is scheduled for Wednesday, Oct. 22, at 5:15 p.m. in Salon 2 at the Loews Hollywood Hotel. Marc will discuss the need to view 4K and UHD content in an as-yetincomplete 4K ecosystem. His

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presentation will address, in detail, the ways in which today's media professionals watch UHD/4K/8K video content on HD screens, and HD content on 4K/UHD screens. Marc brings his extensive background and expertise in media archives, asset management, mass digitization, and online video publishing systems to the discussion, which is part of a larger session called "UHDTV: Building The Plane In Flight."




Crystal Vision's dual channel distribution saves broadcast engineers money Crystal Vision's latest video distribution amplifiers have been designed to bring financial savings to those working with many channels in multi-standard big systems. With distribution amplifiers a fundamental part of any interface system, the dual channel modular 3GDA204R and 3GDA210R provide high quality distribution of 3Gb/s, HD or SD sources, with signal reclocking and excellent jitter performance as well as signal reporting. Two versions allow Crystal Vision to fulfil a wider range of distribution applications by offering different numbers of outputs. The 3GDA204R provides two outputs of each channel and is a neat single slot solution for those who need to double the outputs on a couple of

video feeds, saving engineers rack space by allowing 24 channels to fit in 2U. For those requiring five outputs of each channel, the 'double decker' 3GDA210R offers cost savings compared to using two of the company's single channel DAs and fits 12 channels in 2U. All outputs are DVB-ASI compatible. The ability of the 3GDA204R and 3GDA210R to reclock the signal makes them suitable for those engineers who are looking for excellent jitter performance on long cable inputs. With auto detection of input, they will recognise whether the standard is 3G/HD or SD and switch the output slew rate automatically, in addition to illuminating the appropriate LED. They will always choose an appropriate cable equaliser for the

signal type, ensuring an SD cable length in excess of 250m with Belden 8281 or equivalent, and up to 140m for HD and 80m for 3Gb/s with Belden 1694A – with no data errors. There is LED indication of input and power supplies present. The 3GDA204R and 3GDA210R are 100mm x 266mm modules which are housed in Crystal Vision's Indigo frames – available in 2U, 1U and desk top box sizes. Inputs and outputs are accessed using the RM75 or RM76 frame rear modules with the 3GDA204R and either the RM75 + RM34 or RM76 + RM34 with the 3GDA210R. The RM76 includes dual relay bypass protection on power failure or board removal, protecting both inputs to give that extra layer of security and prevent signal loss.

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The Walt Disney Company, Panasonic, Dolby Laboratories make Cornerstone donations to SMPTE® Centennial campaign Richard Friedel of Fox; Charles Jablonski of SMPTE; Peter Ludé of RealD; William Miller of Miltag Media Technology; Chuck Pagano (retired) of ESPN; Bob Ross of CBS; and Larry Thorpe of Canon.

The Society of Motion Picture and Television Engineers® (SMPTE®) announced that The Walt Disney Company, Panasonic, and Dolby Laboratories have made contributions totaling $1 million to the SMPTE Centennial Celebration Campaign's Next Century Fund. These gifts, formally recognized today at the SMPTE 2014 Annual Technical Conference & Exhibition, are the largest financial commitments in the Society's history. "It is our great pleasure to lend our support to SMPTE, both in terms of leadership and financial support, as the Society prepares for its Centennial Celebration," said Vince Roberts, executive vice president of Global Operations and chief technology officer, Disney/ABC Television Group. "For almost 100 years, SMPTE has played a critical role in advancing the art, science, and craft of the moving image and its sound. We are proud to partner with SMPTE as it continues its groundbreaking work in movingimagery education, engineering, and research." "We can't think of any organization more worthy of our support than SMPTE," said Kunihiko Miyagi, director, Professional AV Business Unit, Imaging Network Business Division in Panasonic Corporation's AVC Networks Company. "The ongoing role the Society plays in advancing standards and technical education for our industry is absolutely critical to our success, and to that of all SMPTE members. Panasonic salutes SMPTE as it enters its second century of advocacy and advancement for the

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field of moving imagery." "SMPTE has made a remarkable and long-standing commitment to education and to the development of standards that support ever-greater creative and technical achievements in the field of motion imaging and sound," said Pat Griffis, executive director of technology strategy, Office of the CTO, Dolby Laboratories. "The Society's centennial celebration is an ideal opportunity to recognize this work and its enormous influence on our industry." The SMPTE Centennial Campaign has been established in recognition of the Society's 100-year anniversary in 2016. The campaign is led by an advisory committee consisting of Wendy Aylsworth and Chuck Dages (retired) of Warner Bros.; Peter Fannon of Panasonic;

"Without question, SMPTE's next hundred years will be very different from the first. As our industry evolves, new developments are challenging every aspect of the media workflow — from technology tools to business models," said Barbara Lange, executive director of SMPTE. "With their generous gifts, The Walt Disney Company, Panasonic, and Dolby Laboratories are providing a tremendous boost to the Society's ongoing expansion and evolution across our three pillars of activity: standards development, membership development, and education programs." The Next Century Fund will support specific SMPTE standards activities that speed the development, adoption, use, and understanding of new industry standards, as well as creating tools such as a repository for test materials that is crucial for certifying new IP-based workflows. In the area of membership development, SMPTE's goals include international Section expansion as well as improving programming and networking for students. In education, the Society will focus on creating educational programs that support rapidly changing industry needs; establishing regular conference events throughout the world; and developing and deploying educational programs that serve all levels of membership.




Fox Brasil adopts digital production with Lawo video and audio equipment For the Brazil arm of Fox International Channels (Fox Brasil), coverage of this year’s World Cup tournament also signaled the move fromanalog to digital broadcast production. Temporarily deployed in the broadcaster’s studio at International Broadcast Center (IBC) in Rio de Janeiro, the Lawo audio consoles, routing system and video devices that made the move possible have in the meantime been relocated atFox Brasil’s permanent broadcast facility,also located in Rio. The Lawo equipment comprises a Nova73 HD, which serves as the central audio router, a48-fader mc²56 MKII console and two further mc²56 MKII consoles with 32 faders each. In addition, four V__pro8 video processing devices from Lawo’s video product line serve as embedder and de-embedder unitsat the heart of the broadcast center. The shift to digital was promptedby the need for greater flexibility, efficiency and reliability, which were crucial for coverage of the FIFA World Cup.The opportunity of using thenew Lawo systems purchased for their later installationin the broadcaster’s

permanent studio already in the broadcasts made from the IBC offered additional benefit, as Fox Brasil didn’t need to rent digital equipment during the tournament. The decision to adopt Lawo’s technologies followed consultation with various manufacturers and system houses, with the best solution offered by LineUp, Lawo’s partner in Brazil. Led by System Engineer Daniel Lopes, the LineUp team showed theircommitment already prior to the sports event, installing both the Lawo video and audio equipment in the IBC, and providing technical support during the World Cup. Fox Brasil used the Lawo installationsprovidingcomplete coverage for Fox International Channels – even though there was no time for testing prior to the IBC setup. The equipment – and the Fox team – performed flawlessly throughout. LineUp was also responsible for relocating the equipment to the Fox Brasil facilitiesafter the tournament. Renato Maluhy, Engineering Manager of Fox Brasil: “With our step to digital infrastructure we gained a new level of flexibility in the

use of available studios and SCRs, as well as in the efficient employment of our staff. There are no more bottlenecks, and we have state-of-the-art operation and easy handling from reliable equipment offering high performance and quality,’ he says. ”With the Lawo audio consoles, router and video processing units, we are now up to the standards of the international broadcast market.” “Being based on RAVENNA/AES67 standard, the Lawo equipmentis easily integrated into our IP infrastructure. This gives us a future-proof investment and represents a major step towards flexible and efficient content production, with all content being available within our organization,” says Luis Santos, Director of Engineering & Operations at Fox Brasil. “We will be able to extend our IP infrastructure without restructuring it, and we will reach a new level of savings in time, money and personnel expenses at OB productions through less cabling and by using IP structures,’ he concludes.

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Riedel products at CCW Expo 2014 STX-200 Professional Broadcast-Grade Interface The STX-200 professional broadcast-grade interface brings any Skype® user worldwide into the professional broadcast environment. Licensed by Microsoft®, the new Riedel product meets broadcasters' increasing need for a reliable single-box solution that enables them to bring live contributions from both reporters and viewers into live programming — all while avoiding typical problems such as consumer PCs running common Skype clients, scan and HDMI-to-SDI converters, or audio dropouts and menu pop-ups on the live feed. Serving as more than a stand-alone solution, Riedel's STX-200 integrates Skype into the intercom solution to enable even more powerful, flexible applications and workflows. The unit offers broadcastquality HD-SDI and balanced XLR audio I/Os and is packaged with professional Microsoft Skype TX software. The solution's broad feature set includes remote management and monitoring of Skype calls.

Tango TNG-200 Fully Networked Platform Based on AES67 and AVB The Tango TNG-200 represents Riedel's first fully networked platform based on the AES67 and AVB standards. With its own dedicated intercom application, the platform can be turned into a flexible, cutting-edge solution for a variety of communications scenarios. The unit itself is equipped with a high-resolution, full-color TFT display that ensures perfect readability at all times. Intuitive front-panel controls simplify the recall of presets and adjustment of audio levels. Along with powerful

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processing capabilities, the Tango TNG-200 features two integrated Riedel digital partylines, two AES67- and AVB-compatible ports, two Ethernet ports, one option slot, and redundant power supplies. The TNG-200 application transforms the platform into an efficient intercom system that users can tailor according to their needs, including their choice of matrix size starting with 40 x 80. The asymmetric 40 x 80 matrix size is another Riedel innovation, as it allows for a standard premiumquality stereo audio connection to Riedel panels.

RSP-2318 Smartpanel The new RSP-2318 Smartpanel offers features and capabilities that will enrich the user experience and change the way broadcasters and AV professionals communicate. The world's first smartpanel designed to serve as a powerful multifunctional user interface, the Riedel device boasts a unique feature set that includes three high-resolution, sunlight-readable, multitouch color displays; premium-quality stereo audio; a multilingual character set; and 18 keys in just 1 RU. These features make Riedel's new smartpanel a powerful user interface that can be further expanded through the use of apps. Riedel's first app for the RSP2318 turns the smartpanel into an innovative and smart intercom panel. AES67 and AVB connectivity are standard, with AES3 over CAT/coax optional. Additional features include exchangeable headset connectors for mono or stereo applications, an integrated power supply, individual volume controls for each key, two USB ports, two Ethernet connectors, GPIO, audio I/O, an option slot, a removable gooseneck microphone, an SD card slot, and an HDMI output.



Digigram Inks distribution agreement with Australia's Agile Broadcast


Tedial expands North American operations Tedial has named Ben Higley Shaver as Manager of Pre-Sales Engineering and Support for the North American operation. Jay Batista, Tedial’s General Manager, US operationsannounced the appointment noting that Ben will soon be joined by additional staff to accommodate the company’s growth in the region. Ben, a 20-year veteran of the broadcast, media and entertainment industry, will be responsible for ensuringcustomers receive the highest level of pre-and post sales support possiblefor Tedial’s world-class MAM and software solutions. According to Batista, “We are exceptionally pleased to have Ben join our organisation. North America is a prime market for our next-generation enterprise-level IT solutions and Ben’s in-depth industry experience coupled with his unprecedented technical and communications skills will be an advantage to our customers and fundamental to our growing success in this vast region. ”

Digigram announced a new distribution partnership with Australia's Agile Broadcast. As a new distributor for Digigram products, Agile Broadcast will not only serve as a direct outlet for Digigram sound cards, but also work closely with broadcasters and engineering partners to promote and deliver enterprise solutions for audio-overIP and video-over-IP applications. "Agile Broadcast and Digigram share common engineering goals, and both companies specialize in the delivery of leading-edge, end-to-end technical systems," said Adrian Harper, founder and director of Agile Broadcast. "Working together, Agile Broadcast and Digigram provide a fully integrated approach to content delivery and distribution solutions for radio and television broadcasters alike." Agile Broadcast specializes in providing technical solutions tailored to the needs of customers across the Australian broadcast industry. Through its industry experience and technical knowledge of station operations, the company offers clients advanced solutions in all areas of radio broadcast engineering, from consultancy and installations to repairs and maintenance.

Ben has earned a reputation as an expert in today’s modern IT centric broadcast technology, software and workflow integrations and implementation. He brings with him a varied background in wireless communications, including systems engineering work in RF, ATSC, media transformation and quality control. His career includes extensive experience in systems design, integration, technical project management, customer support and installation of broadcast and OTT/VoD facilities for major networks in North America. Prior to his appointment at Tedial he held positions in major corporations on a global scale, including Harris Broadcast Communications, AmberFin and Qualcomm.

"With extensive relationships across the industry, a proven track record, and exceptional technical expertise, Agile Broadcast is an ideal partner for Digigram," said Nancy Diaz Curiel, Digigram sales manager for the AsiaPacific region. "We very much look forward to working more closely with the company in providing advanced audio and video solutions to the Australian marketplace." TMBi - 25




Dallas Symphony Orchestra re-equips with Merging September 13th saw a major Gala concert given at the Meyerson Symphony Center. This was notable for two reasons; firstly it featured violinist Itzhak Perlman and the Dallas Symphony Orchestra; and it was the first concert to be recorded with the new recording equipment featuring Merging Technologies’ Horus and Hapi Networked Audio interfaces, two Merging silent PC chassis, and Pyramix 9 MassCore. The hall was filled to capacity and the event was simulcast to a nearby park where thousands were able to enjoy the music and video. The TV truck was fed audio via MADI from one of the Hapi converters and the sound in the park was rated as “excellent”. The orchestra, under its Music Director Jaap van Zweden is performing at very high levels these days and the DSO is rated as one of the top orchestras in the country. The whole recording chain at the Meyerson Symphony Center in Dallas was replaced this summer by the Dallas Symphony Orchestra. President and CEO Jonathan Martin along with resident recording engineers George Gilliam and Roy Cherryhomes identified the limitations of the current equipment and chose Merging Technologies as a partner to move their recording activities to the next level. George Gilliam takes up the story; “The microphones include Schoeps CCM and Pearl microphones hanging from the attic and canopy above the stage. We have one Horus in the attic for those mics,

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controller built by Rens Heijnis in the Netherlands, and five Avalon ‘Mixing Monitors’ plus subwoofer. Powered monitors by Focal and Klein + Hummel are also available for reference.”

plus three Hapi converters. They provide 56 channels of microphone preamps and converters capable of DSD/DXD performance. Two are installed at the stage for spot microphones, or special setups using mics on stands. The third Hapi is in the audio control room in the basement of the building. A fiber Gigabit Ethernet network was also added to connect all these points for the RAVENNA network. I couldn't be happier with the operational and sonic performance of the Horus/Hapi converters and microphone preamps. The equipment in the control room is straight-forward. We installed two Merging silent computers for primary and backup recorders and each one is running Pyramix MassCore software with Flux VST plug-ins for dynamics and EQ processing. A custom Argosy desk houses the PCs, two 24” LED monitors and four Avid/Euphonix Artist Series controllers which operate the Pyramix mixers. The main monitoring system includes a custom 5.1 surround monitor

Supply and installation of the equipment was undertaken by Audio DAWg from nearby Irving. CEO, Spunky Brunone has been selling Merging equipment for a number of years and when he started Audio DAWg, he particularly wanted to keep the line. “It's such a tightly integrated system. I really like the customizable mixing console, DSD capability, integrated CD burning, and the cool software plug-in tools that come with the system. I think besides all of those great things, Merging offering their RAVENNA/AES67 hardware truly makes this a great system. Having this kind of power all integrated by one vendor is outstanding. You know it's all going to work.” A few weeks on, George Gilliam had this to say: “We can pronounce the project finished and a resounding success. It fulfils all our goals, and the Merging hardware and software operate flawlessly. I still cannot believe the sound quality improvement in the audio control room, all due to the fine microphone preamps and converters in Hapi/Horus. These are the highest quality I've experienced. This is an incredible system that perfectly meets the needs for classical music recording and production. I can't imagine using anything else.”




Grass Valley unveils new Karrera K-Frame S-series video production center switcher for enhanced quality in live events The all-new Karrera K-Frame Sseries Video Production Center switcher from Grass Valley, a Belden Brand, features a new compact frame with internal power supply, new controller module with ImageStore and multiviewer capability, and the new triple mix/effects (M/E) module. The company will be highlighting the Karrera K-Frame S-series Video Production Center switcher at a number of global tradeshows in the next several weeks. This production switcher offers broadcasters a flexible, costeffective solution witheasy setup, streamlined workflows and highquality content to support nextgeneration formats and technologies. Karrera K-Frame Sseries is designed to address production needs in a full breadth of environments from mobile trucks to fixed facilitiessuch asstadiums, broadcast facilities, product

facilities, corporate environments, houses of worship and educational institutions. “We’re excited to introduce a new, mid-sized model that offers the same fast, efficient and creative capabilities that can be found in our traditional Kayenne and Karrera switchers,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “As an integral component of creating live television coverage of sports, entertainment and news from studio and mobile facilities, the new Karrera K-Frame S-series includes familiar controls and intuitive interfaces.” Together with the Kayenne family of solutions, the Karrera family comprises a series of 1080pcapable production switchers that provide outstanding operational efficiency and performance due to scalability, processing power, and flexibility. They feature a mix of more

keyers, digital image processing, scalers, M/Es, and I/O than other systems on the market, giving users more processing capabilities to improve production values. In addition, all Grass Valley K-Frame systems can be configured for UHD/4K productions with no change in hardware or software. The new Karrera K-Frame Sseries can easily be configured to match specific user requests. A single frame with its six M/E and 80x48 I/O maximum capabilitiescan be split to provide separate resources for multiple panels, and many advanced features, including DoubleTake and Source Rules, can be enabled by software licenses. “Upgrading is simplewith most options being software- rather than hardware-based,” added Cronk. “And they are extensible by providing interfaces and controls to cameras, routing switchers, and servers.”

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Vinten Radamec tops the winner’s podium at Sky F1 studio The studio, one of the six Sky Italia facilities based in Milan, has been installed with three of Vinten Radamec’s Quattro SE encoded pedestals alongside three of the company’s renowned Vector 750i pan and tilt heads, an ideal choice for large camera combinations where virtual or augmented reality is required. The project began in February in the studio which was originally used to cover the Winter Games in Sochi. One month after the Games ended, Vinten Radamec’s key distributor in Italy, Trans Audio Video (TAV), installed and integrated the systems. Sergio Brighel, TAV, said: “Sky Italia planned a major transformation for the studio which was to be dedicated to providing coverage of both the Moto GP and Formula One championships. It was a race against time to get the refurbishment completed and the new equipment installed before the start of the motor sports season.“ “The dedicated virtual and augmented reality studio is now up and running, enhancing Sky Italia’s programming and adding a further dimension to its outstanding sports coverage. The Vinten Radamec pedestals and heads have put in a seamless performance since the season commenced.“ The precision of the positional data, accuracy and fast homing procedure of the Vinten Radamec pedestals bring added efficiency and effectiveness to studio operations. The design of the large studio was based on the success of one of Sky Italia’s smaller Virtual Reality enabled studios that had previously been equipped with two of Vinten Radamec’s robotic FHR-35 heads. Sergio Brighel, TAV continued: “At 100 square metres, the small studio also had dedicated VR capabilities. However, due to the space

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limitations it was more static. Sky Italia took the decision to design a bigger, entirely VR studio that had space for the pedestals to move around on the floor, which would increase the creative element of its AR applications. In addition, this solution was effective in terms of having one device capable to serve different needs and different operational environments. This is the sixth Sky Italia studio

that has been equipped with Vinten Radamec’s innovative broadcast solutions by TAV. Karen Walker, product director, Vinten Radamec said: “TAV has had a great working partnership with Sky Milan for several years and this recent project demonstrates both the strength of their relationship and the high performance of our robotic solutions. We are delighted that our equipment is in action and helping to add a dynamic edge to the channel’s thrilling live programmes.”




SMPTE Technical Sessions and Exhibitions from IBC2014 During IBC2014, more than 50 SMPTE members were speakers during technical sessions, and more than 107 SMPTE sustaining members exhibited products and technologies. Based in a stand within the IBC Partnership Village, the Society's own participation included support for initiatives such as the popular Rising Stars program, which gave new entrants to the broadcast industry the opportunity to meet top industry experts across a series of specially staged sessions and events. The technical sessions featuring SMPTE members launched with a session on audience tracking and measurement, with Coalition for Innovative Media Measurement (CIMM) Managing Director Jane Clarke announcing that CIMM and SMPTE would begin drafting an open standard for binding identifiers to content.

SMPTE speakers included Hollywood Region Governor Clyde Smith, Fellows Lawrence Kaplan and Phil Tudor, and John Footen all took part in a session focusing on complete IP-based production. Fellow Mark Schubin joined with Robin Boldon and Peter Wilson to explore event cinema. Richard Welsh, governor for the Europe, the Middle East, Africa and Central and South America region, and Standards Director, Howard Lukk, put on a session on tri-focal camera systems featuring Johannes Steurer of ARRI. Finance Vice President Matthew Goldman presented on High-Efficiency Video Coding (HEVC). Ultra-high-definition television (UHDTV) proved to be a popular topic at IBC2014. The "Go With UHD-1, or Wait for UHD-2?" session produced by SMPTE featured former Standards Vice President

Hans Hoffmann of the European Broadcasting Union (EBU), Standards Vice President Alan Lambshead, U.K. Section Chair Chris Johns, and Chris Fetner, Andy Quested, and Jim Helman. During the session, the speakers discussed strategies for content creation and delivery to the home using both traditional and IP technologies and subsequently discussed standards and their roadmaps for the two phases of UHDTV. Fetner, who is director of global content partners operations at Netflix and the opening keynote speaker at the upcoming SMPTE 2014 Annual Technical Conference & Exhibition (SMPTE 2014), announced during the session that the SMPTE IMF standard is being adopted by Netflix as the format for creating content deliverables for its subscribers. In embracing the standard, Netflix positions itself to achieve economies of scale when streaming content to its 55 million subscribers around the world. The focus on cinema included a session on virtualized movie production, co-produced by Richard Welsh, who also joined the "EDCF Global D-Cinema Update" panel along with Angelo D'Alessio, governor for the Europe, Middle East, Africa, and Central and South America region; Fellows Jim Whittlesey and Andy Maltz; and Julian Pinn and Peter Wilson. During this session, much attention was paid to the SMPTE-DCP format. Understanding that this format provides a stable and futureproof standard for digital cinema playback, the industry is pushing for a rapid transition to SMPTE-DCP and the elimination of interim formats. Chaired by Pete LudĂŠ, immediate past president, a two-part session on laser projection systems included participation by Matt Cowan, who joined other presenters in examining the impact of laser projection technology on digital cinema. TMBi - 29

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EnGamaDos specialises in colour modification, even in a very subtle way, to complement what the viewer sees with what he feels. Its owners, Leo Stagno and Xavier Sánchez met on a big post production centre, where Xavier, who was at that time an inexperienced colourist, learn from its future partner the magic of the colour grading. At that time the digital tools began to exist. While the majority was unaware of how quickly the sector will adapt to the digital format, Xavier sensed that these drastic changes where more than a challenge, he knew they were an opportunity. He soon convinced Leo to make the great leap “I saw very clearly that the digital format was the future”, said Sánchez. “As soon as the industry began to react, we decided to create our own company with DaVinci Resolve as it base”. That is the beginning of EnGamaDos, a boutique of colour grading with the leading technology designed to take profit from the changes in the industry. Leo and Xavier, with a total of 25 years of experience, chose DaVinci Resolve of Blackmagic to obtain the necessary advantage and establish its place in the market. According to Sánchez, “Leo worked with DaVinci since the nineties, before buying part of Blackmagic. Despite of that fact, we did some tests with similar equipments, but they weren’t the same. DaVinci Resolve is more user-friendly than any other software and is very easy to use." The group of two people at EnGamaDos offers a unique approach to colour grading, with a combination of tactics from the past and new technologies which work perfectly. This way of using the past and the present fits perfectly with DaVinci Resolve and its new characteristics, together with the established and checked grading techniques, like the Resolve nodules. Invoicing by hour instead of by project, an old method not very

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used today, they offer high commercial value to their clients. This means that their days are completely full of projects. “Some days we start working at 8:00 am and we don’t go home until 10:00 pm. There are days when we don’t have time to eat", jokes Xavier. He thinks the work of TV commercials is very challenging, because the industry never stops. “We work each

day on commercials that were just shot the day before. It’s the never ending story.”

THE HELP OF GISELE BÜNDCHEN AND DAVINCI RESOLVE The uninterrupted work of the colourists of EnGamaDos produce

projects very pleasant to the eye, like for example, a series of advertisements for Farabella with the supermodel Gisele Bündchen. They are both very precise regarding the selection of colours, a quality which was helped them obtain projects of high profile, like big advertisement campaigns of national level. Each advertisement

that passes though their hands is customized with their own colour palette. If the colour of a spot reflects the emotion spectrum of its content, Leo and Xavier consider the job well done. To increase the festive atmosphere of a spot of a tuna fish with a Hip-Hop jingle, the group added warm pastel hues, similar to the visual style of the director Wes Anderson. For a spot of

Basement with Kate Moss, the group used a calm and relaxing colour palette and alternate it with a series of lively and active red and purple colours, in order to reflect the different collections of the fashion brand. When the group was contacted to create a colour grading of a series of advertisements of Falabella, they were prepared to do something especial. With Falabella’s clothes, Gisele catches the attention of the pedestrians while she walks through the city, with such a fabulous aspect that a female paparazzi literally melts. The vision for the spot required sexy, eye-catching and sumptuous colours, similar to where the spot was shot, Miami. “We used DaVinci Resolve to transcode the RAW files of the cameras, which were really big”, explains Leo. "As Resolve uses all the processing power of the GPU, we did it quickly and we were able to deliver the material ready for the edition with a slight correction of colour already included”. Leo emphasizes how nicely the work was done by using two lines of work, “Once the edition ended, we simply opened the files on Resolve, which searches and resynchronizes the segments of the original RAW files, enabling us to start with the colour grading with the metadata intact.” Likewise, Leo and Xavier like very much the qualifiers of Resolve, which allow the focusing of specifics areas to make precise adjustments of the colour grades and obtain the perfect appearance. Xavier explains, "Together with Power Windows, we have the capacity of isolating colours quickly and clearly thanks to an intuitive flux. The grades of Power Windows not only provide us with the traditional gradient, but also what is necessary to simulate light leaks on the lens, for example like what helps create a new atmosphere on each scene”. Well known by their talent for

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recreating iconic looks from the cinema, the clients constantly want to work with EnGamaDos in advertisement projects. "Resolve enable us to complete the popular look without any problems”, says Xavier. "With the tool of soft clip, we can reach the shine necessary for each scene without cutting the signal, recovering the light flashes and generating a wide and dynamic range for the material”. With Resolve, the group was able to highlight the shine of the scenes and maintain the same soft and seductive illumination which made real the image of Miami that the director of photography wanted to show.



WORKING TOGETHER The close relationship between EnGamaDos and its clients is another reason for the big success of this colour grading boutique. Thanks to the performance of Resolve on real time, the clients can be a part of the creative process and see immediate results by witnessing

the transformation of an idea into an amazing final product. "We work closely with our clients, we do the colour modifications on the project right next to them”, says Xavier. "The clients come with their project and in a few hours we complete our work. Our competitors don’t work in the same way we do. They spend one whole day to do what we do in a few hours”. Resolve has made possible the maximization of the EnGama-Dos’s work flow; it also strengthens their creativity while all eyes are watching them."To have the right software and hardware, as well as the knowledge to use them, give us confidence to work with the clients next to us”, adds Xavier. "We have more than 20 years of experience with clients in the DaVinci platforms. Real time playback, fast rendering and a good support for EDL/XML/-AAF formats make the work flow very fast and this pleases the clients, because there are no pauses between booking the hour, working with the material and the colour grading. Even the rendering and the transfer to the online version is very quick. When time is of the essence, a

delay means unsatisfied clients. Resolve resolves this potential problem".


EYE AND THE COLOUR PHYSICS The skills of Leo and Xavier are highlighted to their maximum when they receive materials that other less experimented eyes considered ideal for editing. Even the slightest change on colour can make a difference between a 99% perfect project and a 100% and the group of EnGamaDos always wants the total perfection. By invoicing by hour they can make the best of the time they have. However, if the group thinks a project needs more time, they are

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ready to finish it until its perfect, without restricting themselves to the original budget.

something tangible, visible and real. Moreover, this is their favourite line of work.

The company not only works to extend their clients’ budget, but also to offer them the creativity and inventiveness they have acquired during their years of live work, something which can’t be learned overnight. Their exceptional talent is based on the way they transform the abstract and difficult ideas to express of their clients into

"Our profession is more than colour grading”, affirms Sánchez. "We also work like psychoanalysts. We let our clients describe the sensations and fantasies related to their project and we interpret the colour and make them real." Their deep knowledge of the colour theories is the psychological factor that multiplies their success and

makes competitors turn pale. By using DaVinci Resolve, they have the ability to mix tones and colours in the same scene, like a painter will do in its palette and this way they direct the viewer’s eyes and senses to the key elements of each shot. They know very well the strong energy of colours to make the public fell several sensations at the same time on their subconscious; happiness, sadness, jubilation, pleasure, all can be transmitted thanks to colours.

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EVS has collaborated with Mediapro for cutting-edge live production for El Clásico. During the latest El Clásico football match between Real Madrid CF and FC Barcelona, the host broadcaster used 27 cameras, 4K technology and instant multi-angle review. The match was broadcast to over 400 million viewers in more than 100 countries. El Clásico is one of the most important football events of the year with the technical deployment and media interest equal to that of a Champions League final. Once again, Mediapro produced the international HD broadcast signal for TV rights-holders and international networks, including Canal+ Sweden, Canal+ Norway, OTE Greece, Belgacom, ESPN Sur and Fox Sports Italy. Canal+ Poland, ESPN Brasil and the beIN Sports networkalso had their own OB and DSNG vansat the Santiago Bernabeu stadium for customized services.In all, more than 100 cameras covered the game with a total of nine OB vans deployed on the TV compound. As the host broadcaster, Mediapro’s OB van 23 was equipped with a total of six EVS XT3

servers (each with up to eightHD/SD channels) that can record and replay 48 HD feeds simultaneously all connected via EVS’ exclusive live sharing 3G-Xnet network. Eight replay operators used the EVS Live Slow Motion remote control panels within the truck to capture and replay crucial parts of playfrom all camera angles. For the second time, Mediapro implemented EVS’ XT3 4K server to record two 4K cameras, both at a fixed position offering wide angles covering the entire pitch. Additionally, EVS Epsio Zoomwas used to provide replay in HD zooming taken from the 4K image to show details of each incident, goal and reaction without the risk of losing a single detail. This match also featured the new EVS MultiReview tool that enables advanced multi-view of up to 32 feeds at a time on a single screen with the ability to search/review all of them simultaneously. This providedthe director’s team the comfort and security of knowing that they always have the best angle captured. MultiReview also ingests the enriched feed coming from Epsio Zoom.

Dani Lozano, match director of El Clásico said,“Thanks to the unique features that the MultiReview offers, we were able to find unseen sequences and images from match flashpoints. By using this tool we could really improve the way highlights were presented and also create special stories. During the live coverage, MulitReview was used several times to obtain different angles of the action and the operator created a large playlist which included nice angles for postmatch analysis.” Mediapro also deployed two EVS XFly portable storage solutions to backup eight feeds from the servers and carry them to their production center in Barcelona. The feeds were then used to create a multi-camera edit of the game to present the story in a different way for GOL T channel. To make the entire workflow possible, EVS’ engineering team worked closely with the technical team at Mediapro to implement it within the OB van. Through this process, what is one of the most technically complex sport productions became easy and efficient for all of the production team.

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When two volcano enthusiasts and all-around daredevils, filmmaker Geoff Mackley and award-winning photographer Bradley Ambrose, decided to descend deep down into the crater of one of the world’s most active volcanoes, Ambrym volcano in the Malampa Province, they

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chose to face the fiery furies of molten lava with Miller Camera Support Equipment, a leader in the production of innovating camera support solutions, and its lightweight, durable Air Carbon Fibre System.

After trekking 12 kilometers, by foot, to reach the Ambrym volcano, the New Zealand natives set up a summit camp and quickly began rigging ropes to rappel themselves to the bottom of the volcano’s Marum crater. “The crater’s rim sits about 400 meters above the most

active lava lake in the world,” says Ambrose. “Shooting inside the Marum crater was a mission in itself. In order to set up the shot we desired, we had to abseil halfway down the crater, so keeping our equipment weight on the lighter side was a necessity. With the Air strapped underneath me, I was able to easily descend and shoot footage that may have been unattainable if I had been using larger and heavier broadcast equipment.”

Mark III DSLR, to complement the Air Carbon Fibre System and keep the weight of their equipment load to a minimum. “The main benefits to the Air can be summed up in three parts: its compactness, light weight and fluidity,” adds Ambrose. “The tripod is so sturdy that it even survived a volcanic eruption! When we were shooting in Indonesia, the Dukono volcano erupted while Geoff was on summit. When he returned to camp

properly the next day.” Perfect for traveling light without compromise, Miller’s Air Tripod Systems each consist of an Air Fluid Head, offering professionals authentic Miller fluid head pan and tilt technology, and a variant of the Solo 75 2-Stage Tripod, either carbon fibre or alloy. The Air Fluid Head, composed of magnesium alloy housing and precision components, comes with two positions of selectable counterbalance and a dual pan handle option. Both systems have the ability to support payloads ranging from two kilograms (4.4 pounds) to five kilograms (11 pounds). “Anyone worth their weight in this industry instantly recognizes Miller as a brand that delivers, even in the toughest environments,” Ambrose says. “It is the most important tool when shooting in the field. Each Miller tripod has its own personality, and the Air Tripod System is perfect for what we do. We travel to exotic locations with minimal equipment but still need to get the shots that larger productions seek and crave. Miller makes this happen for us.”

Over the course of one week, Mackley and Ambrose worked as a two-man crew, documenting every spurt of ash, lava and steam that they encountered. They chose to shoot with lighter cameras, including a Sony® NXCAM, Sony 4K Handycam and Canon EOS 5D

the next day, both he and the Air were completely covered in ash. Yet, despite the wear, the Air perfectly retained its fluid movement, and the legs contracted and expanded with ease. Not many tripods could survive through such harsh conditions and still function

Since the start of Mackley’s and Ambrose’s quest, traveling through the likes of Australia, China, Ethiopia, Rwanda and Siberia, to name a few, their harrowing journey has drawn attention worldwide. Most recently, their story has been featured on ABC Nightline in the United States and the BBC in a documentary entitled “Journey to Fire Mountain,” to be aired worldwide. In the upcoming weeks, their own completed documentary is slated to air on a well-known travel and adventure network.

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Riedel Communications announced that its Artist digital matrix intercom system and RockNet real-time audio network have been built into all three of the unique OB units completed by Montreal-based Rec4Box OB Factory in the past year. Equipped with state-of-the-art technology, these mobile units offer the broadcast market a flexible production system that scales costeffectively to meet the needs of live event productions. "In working with Riedel's Artist and RockNet systems, our customers all say they enjoy three things: the ease of use of both systems; their flexibility, which enables quick handling of various production needs and demands; and their outstanding audio quality," said Joel Fortin, senior vice president of operations at Rec4Box OB Factory. "All of these qualities are essential in a modern OB unit, and they are part of the reason that our OB units are gaining so much interest. The reliability of Riedel equipment and the powerful perks it provides in the mobile environment help to reduce the stress of fastpaced production projects." Rec4Box has developed a modern OB unit that exceeds the creative demands of production teams while addressing the realities of tighter budgets and production timelines. The unit was created to offer a compelling solution not only for broadcasters and the rental companies, but also for production houses, educational and training institutions, college and professional sports programs, reality TV productions, government institutions, entertainment productions, and

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any other users requiring daily use of a mobile production vehicle for a series or event. Designed in collaboration with directors, producers, and technicians, Rec4Box OB units offer a transformative working environment with modular and highly adaptable details, workstation ergonomics that promote outstanding comfort, and trendy interior design. The units' fiber optic connectivity allows users to deploy the trailer and prepare for a four- or five-camera production in less than two hours. They also minimize the complexity of wiring by letting crews mix all on-site communications and audio signals on one system. During a show, users can respond quickly to virtually any communications demand with the press of a button. Riedel's Artist system is a powerful distributed matrix platform (masterless and nonblocking) for intercoms and the distribution of digital audio, analog audio, control data, and VoIP signals. The fiber-based network backbone provides a decentralized infrastructure for live

audio and intercom applications, and this backbone pairs with intuitive setup and operation to facilitate fast, flexible configuration of the system with minimal cost and effort. "Rec4Box has broken the mold with its clever OB unit design, and buzz surrounding the company's trucks is spreading across North America," said Christopher

Street, general manager, North and Central America, at Riedel Communications. "Our Artist and RockNet solutions are ideal and flexible for many types of installations, including this one, and it's exciting to see our technology incorporated into units that make high quality and high performance available to a much broader range of users for a wide array of applications."

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By Ronen Artman

With the end of 2014 approaching, it’s time we had a look at where the end of 2014 sees us in terms of cellular uplinking developments and how the underlying technology has changed live and as-live acquisition forever. It will come as little surprise to you that as market leader in this space, this has been another hectic year, both in terms of customer deployments – not least the FIFA World Cup™ in Brazil – and also pushing forward into a truly solutions-based approach. Before we delve deeper, let’s take a quick look at a prime example of the way that this technology allows media outlets to think and act differently. A key use 2015 use case was the deployment of hundreds of LiveU units by India’s top broadcasters and online media to boost their live reporting of the Indian General Elections, said to be the world's biggest. LiveU units increased newsgathering capabilities for many of India’s broadcasters such as ANI, Network 18, Times Now, Aajtak, ETV Network, News Wire Services, GTPL, Bansal News, TV9, Jaya TV, Sun TV, Zee Network and others. Piyush Gupta, Operations Director and CTO - Broadcast, Network 18, said, “We needed to increase our coverage capabilities during the Elections. LiveU, our preferred vendor since the emergence of cellular bonding, responded

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immediately with the fast delivery of equipment. Supported by the local Lamhas team, we’ve been able to transmit live coverage of the campaign around the country

with ad hoc interviews and p r e s s conferences. Both LiveU and Lamhas have proved to be trusted partners at this critical time.” Customers can now select cellular uplinking technology fromsmartphone app to our flagship LU500. In combination with our ongoing cloud-enabled LiveU Central, the hub for video ingestion, we are now allowing customers to select products from across our range to create the solution they need, managed how they want it. We have also expanded our strategic collaboration with

Panasonic, which has seenus introduce an end-to-end solution enabling P2HD series camera recorders to connect directly to the LiveU Central platform and our cloud-based services for live transmission. Upcoming



P a n a s o n i c ’ s broadcasting c a m e r a recorders will support a direct connection with LiveU Central which allows broadcasters to acquire both live and recorded content from the field, preview it centrally or remotely, broadcast it live or

Vauxhall Astras with the LU500 and Xtender remote antenna technology. Each LU500 backpack unit can be connected wirelessly (up to 1,000 ft/300 meters) or via Ethernet to the Xtender that sits on top of each vehicle. And what about 2015? We continue to develop our solutions-based approach and at the heart of that lies the cloud. The power and reach of the cloud is spreading, both in technical and marketing terms. In fact, one could argue in marketing terms it has reached the point of being spread too thinly. Indeed it’s quite easy to point out that talk about the cloud has become, well, cloudy, with companies making exuberant claim and counterclaim. That was very clear at IBC 2014. What does the cloud mean in reality for the cellular uplinking market? “Internet of Things” is a phrase that has gained in usage recently and is defined by Wikipedia as “the interconnection of uniquely identifiable embedded computing devices within the existing Internet infrastructure”. While white goods being connected is the oft-cited example, clearly for media companies LiveU units in the field is another. As pioneers in the cellular uplinking space, cloud-enabled management and remote services have always been central to our thinking: how could they not be? And now the possible applications afforded by the level of connectivity, centrally managed, are numerous. For many customers, increasingly important to the LiveU user experience is LiveU Central. As many will know, the LiveU Central management platform allows full control and monitoring of the entire ecosystem and content via any browser-supported computer or tablet, from anywhere around the world.

in scheduled programming and distribute it to any location. Meanwhile in the UK, BT Sport choseour technology to create Europe’s first cellular newsgathering (CNG) fleet of vehicles. BT Sport has worked with us and Garland Partners to equip three

LiveU has continued to develop this approach and is now introducing a three-tiered solution: front-end content acquisition products; LiveU Central unified management platform, the hub for video ingestion; and now LiveU Central+, which delivers a range of powerful, valueadded premium cloud-based services. Watch this space, because over the next few months we will be announcing multiple cloud-enabled services that will push the sector forwards.

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Since Christopher Froome’s victory on the Champs Elysées on 21 July last year, France Télévisions, host broadcaster of the Tour de France on behalf of Amaury Sport Organisation (A.S.O) and Euro Media France (EMF), wireless technology services provider for France Télévisions have been working non-stop, together with A.S.O, in order to offer television audiences around the world numerous technical innovations. A F12 2000 lx sensitivity is what the new LDX cameras installed on the five video recording motorcycles were offered on the Tour. The close collaboration between Livetools Technology (a Euro Media France subsidiary) and Grass Valley resulted in the development of a new camera platform that offers both exceptional image quality and the highest degree of usability ever. Thanks to the ultra-compact CA developed by Livetools Technology (code name: Colibri), the camera operators benefit from the lightest,

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most compact and best-balanced camera on the market. Connected to the Livetools Technology HD-Runner III wireless camera transmitter, the motorcycle footage is capable of delivering signals in the 1080p50 production format. For many years the Tour de France sound was recorded in stereo. This year, long hours of R&D work carried out jointly by France Télévisions and Euro Media France resulted in the addition of a third audio channel for surround sound recording. The use of digital microphones with excellent directivity has not only ensured remarkably low coloration of off-axis sound but also localization accuracy

for the recordings without affecting the sound. This year motorcycles capturing sound on behalf of France Télévisions journalists and consultants has make full digital recordings. This has been made

possible thanks to the software development of the Livetools Technology transmitters that strike a balance between quality, resistance to latency and spectrum occupancy, which puts an end to analogue and its sound interferences for France Télévisions journalists and the Tour de France. In addition to the sound and video, Euro Media France together with UCI, and on behalf of France Télévision has set up a data collection network destined to render the entire peloton « connected ». Absolute positioning of all the cyclists, climatic conditions, and performance indicators. Euro Media France deploys each year all of its technical resources necessary for the coverage of the most famous cycling route for France Télévisions. Without counting the technical device of the departure and the

finish line, Euro Media have got on our terrestrial disposal: - 5 image motorbikes - 2 sound motorbikes - 3 intermediate receiver OBtrucks - 1 receiver OB on the finishing line This land-based device is accompanied by a complex airbased device, consisting of - 2 relay planes - 2 relay helicopters - 2 filming helicopters equipped with 2 gyro-stabilised cameras (Cineflex).



Also, the Union Cycliste Internationale has made a test of positioning technology in the past UCI Road World Championships in Ponferrada, Spain. The aim was to locate each rider at each second,

bringing information about the race. The UCI made this trial with Euro Media in the 2014 edition of the UCI Road World Championships. Action video cameras were mounted on a number of bikes in this year’s event. Shimano provided the equipment during the UCI Team Time Trial training, Women Elite and Men Elite. UCI President Brian Cookson said, “The UCI is committed to bringing technology and innovation to the broadcast and fan experience of our sport. This year, as a first, we have supported bringing cameras into the peloton, and the results have thrilled fans. I am delighted we will be bringing this for the first time into the World Championships. I am also very pleased that the UCI is stepping in to support the trials of new innovations that will benefit cycling as a whole, and real-time rider identification and location is an area which has great potential to bring races to life for spectators.”

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