Staff Editor Javier de Martín editor@tmbroadcast.com Editor in chief Jesús Carrillo director@tmbroadcast.com Key account manager Cristina Feduchi international@tmbroadcast.com Eva Barreras eva.barreras@tmbroadcast.com Creative Direction Mercedes González design@tmbroadcast.com Editorial staff press@tmbroadcast.com Administration Margarita Quevedo administration@tmbroadcast.com
Summary
04
Editorial
06
PAN SHOT
The best of 2014 A TM Broadcast International Editor’s choice
52
26
DirectOut
equips the largest OB trailer ever built for CTV Outside Broadcasts
New Video Streaming Concepts at
Radio Days Live Linear Streaming TM Broadcast International #17 January 2015
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
The TV Everywhere Accelerator
54 56
Editorial
Another year ends in this seething industry and looking forward to 2015 that promises to be very interesting. Last year has been marked as 2013, by the positioning of large companies against changes in our market. Once they are settled, 2015 it will be the year we’ll
see
interesting developments from manufacturers. The changes comes from three different points. First, equipment’s are asked to do more with less cost, and they must be open solutions. Furthermore,
the
UHD
market
becomes
established apparently unlike what happened with 3D Stereoscopic. Finally, the incorporation of IP technology in all layers of the broadcast market. Clearly it will be an exciting 2015. Stay tune with TM Broadcast International.
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2014
Riedel gear supports live productions from Red Bull eSports Studio for streaming to millions Riedel Communications announced that its MediorNet realtime network, RockNet audio system, and Artist digital matrix intercom system are being used in the Red Bull eSports studio at Red Bull Media House's North American Headquarters in Santa Monica, California. The Riedel gear is enabling the production of events, as well as the live streams watched by millions of fans. "Riedel products have continually provided Red Bull Media House with the flexibility, performance, and audio and video quality we require for the production of premium sports events and live broadcasts, and they have proved to be a perfect fit for Red Bull eSports studio," said Scott Gillies, director of production & technology, at Red Bull Media House North America. "The robust functionality of both the MediorNet and Artist systems actually simplifies production while enabling us to put on a sophisticated and exciting show for the millions of fans tuning in from all around the world." For example, one eSports
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broadcast format that's produced out of the Red Bull eSports studio pits two video gaming teams of five players against one another. As they play, MediorNet Modular frames take in a total of 20 HDMI POV video signals from the gaming consoles, convert them into HDSDI, and carry them to the control room. The POV cameras focus on the faces and hands of all 10 players, with additional HD-SDI cameras positioned on the game commentators. These inputs are combined with the primary gameplay feeds to produce a complete eSports broadcast. An additional MediorNet Compact Frame is used for complementary shots from other parts of the competition. Additionally, each player in this example wears a headset that provides game audio and a link to other team members. The Artist system supports these communications, as well as the intercom and on-air audio signals of the commentators. Because the Artist system works with 48-kHz digital audio, it is also being used to create a downmix of game audio
for each team, as well as for the audio mixing console. Combining individual game audio with the team communications, the Artist creates 10 individual mixes for each of the 10 players. A single four-core fiber cable, equipped with OpticalCON QUAD connectors, handles all signals. "Once again, Red Bull turned to Riedel to help further their innovation in the field of eSports, and we're proud to continue to play a role in this space," said Sascha Kneider, head of technical services, North America, for Riedel. "This installation is a textbook example of a system that integrates the three main product lines from Riedel. By using MediorNet as the backbone for video, RockNet for audio, and Artist intercom for communications, we can create a lot of synergies. The benefits of this approach are obvious: the customer does not have to buy three different systems that may or may not work well together, every signal is available at every node in the system, and changes are just a matter of a mouse click."
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ChyronHego products at BVE 2015 At BVE 2015, ChyronHego will highlight family of graphics creation, workflow, and playout solutions. On display will be the latest innovations in streamlining weather graphics creation; creating and placing virtual graphics; creating stunning and feature-rich interactive touch-screen presentations; and tools for sports production analysis and player tracking.
Lyric PRO 8.8 Graphics Creation Software 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 control over 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™ — Accelerating Graphics Workflows BlueNet™, ChyronHego's end-toend graphics workflow solution, is based on lessons learned from the combined company's experience working side-by-side with broadcasters in the production and playout of live graphics. BlueNet's comprehensive broadcast graphics workflow tightly integrates the world's most advanced graphics creation, collaboration, management, and playout systems.
Metacast® — Professional Weather Graphics As a stand-alone system within a broadcasting operation or as a production tool in an integrated
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24/7 newsroom environment, Metacast provides users with a complete graphics toolset for weather-driven news stories. The Metacast platform extends clients' weather production needs and offers an outstanding multiplatform solution for the creation of digital weather and news map content. In addition, Metacast users get around-the-clock production support and maintenance upgrades.
Virtual Placement — Powerful Virtual Graphics Without requiring specialized camera encoders or a lengthy calibration process, 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 enhancing much larger scenes such as sports arenas, race tracks, or landscapes. The aim is simply to place virtual elements into a live scene to make them look real and in harmony with the environment into which they are projected.
GS2 Multi-Touch — Visually Stunning Touch Screens Based on a real-time broadcast graphics engine optimized to handle the specific challenges posed by on-air interactivity, GS2 Multi-Touch offers a multilayered development and delivery platform with unrivalled potential. GS2 MultiTouch empowers broadcasters to tell the story in a highly intuitive and natural manner while enabling them to interact with the content directly and confidently.
TRACAB™ Player Tracking Demo Reel The TRACAB™ System from ChyronHego it uses advanced patented image-processing technology to identify the position and speed of all moving objects within arena-based sports, and does so uniquely in true real-time. The resultant live data on highly accurate X, Y, and Z coordinates is supplied 25 times every second for each and every viewable object, whether the object is a player, referee, or even the ball.
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Ross video makes changes to its board of Directors
NETIA strengthens global presence with sales manager appointments in Western Europe and Middle East/Africa management solutions their operations demand. We expect Mathieu will continue to excel in his new territory," said Thierry Gandilhon, general manager of NETIA. "Given her success working with our European clients and her impressive technical expertise, we are equally confident that Séverine will transition smoothly into her new position as sales manager for Western Europe."
Ross Video announces the retirement of Brian Baldry from its board of directors and the appointment of Lorraine Mastersmith. “We would like to thank Brian Baldry for his many years of service to Ross, helping to guide us through 18 consecutive years of continuous growth,” said David Ross, CEO of Ross Video. “Brian has made many valuable contributions to our organization and we have enjoyed his depth of industry experience, level headed approach and insightful observations.” Brian Baldry, prior to joining Ross’ board in 1996 had a long career in the broadcast industry serving with the Canadian Broadcasting Corporation as Senior Director of Engineering. Lorraine Mastersmith has joined Ross Video’s board and will serve as the corporate secretary. Lorraine is a partner in the Business Law Group at Perley-Robertson Hill & McDougal LLP in Ottawa, Canada where her practice focuses on corporate finance and securities. In addition to her experience in private practice, Lorraine spent many years as in-house legal counsel for two major Ottawa headquartered multinational technology companies.
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Poussin joined NETIA in May 2014, having most recently served as a sales engineer for DCI, where he specialized in prospecting and growing major accounts, as well as development and sales of information infrastructure solutions. He previously held sales and engineering roles for technology industry leaders such as HP France, Dell France, and StorageTek.
NETIA announced that Mathieu Poussin has been appointed to the new role of sales manager for the Middle East and Africa, and that Séverine Olivier will shift into his former position to serve as NETIA's sales manager for Western Europe. With these new appointments, NETIA reinforces both its global sales force and its ability to deliver its software solutions worldwide.
Olivier joined NETIA in 2012 and most recently was head of project management in NETIA's Operations Division, where she handled deployment of the company's solutions throughout Europe. She earlier founded and served as head of R&D at Zenvia, a company dedicated to using artificial intelligence technology to simulate human behavior, and she is the author of a patent related to this technology.
"In his time here at NETIA so far, Mathieu has made the most of his background in both IT and media storage, leveraging this experience to bring our customers the infrastructure and media
Poussin will continue to be based in Paris at the Globecast/NETIA offices. Olivier is based in Claret at NETIA's head office in the South of France.
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Vitec Group acquires SmallHD The Vitec Group announced that it has acquired SmallHD, the North Carolina company known for its high-quality, high-definition, oncamera field monitors used by videographers, cinematographers, camera assistants and other creative professionals across the filmmaking world. SmallHD will be incorporated into the Vitec Group’s Videocom division, complementing its existing brands.
that their pioneering drive matches our own. The acquisition enables us to offer another set of professional and innovative solutions for the production workflow, and takes us a step closer to fully addressing the needs of this expanding and exciting market.”
“With the rapid increase of independent filmmakers and videographers, the need for quality, high-performing, end-to-end solutions has never been stronger,” said Vitec Videocom CEO Matt Danilowicz. “There is definite synergy between SmallHD and Vitec Videocom, especially given
“We are looking forward to joining the Vitec Group of companies,” said Wes Phillips, founder and CEO of SmallHD. “It’s exciting for SmallHD to be included among the great brands that they represent. We have aspirations to continue to build outstanding monitors, and Vitec not only
encourages that entrepreneurial spirit but offers the support and expertise we need to move forward.” SmallHD joins the Vitec Videocom line-up of brands that serves its users in broadcast, cinematography and professional content creation. Other Vitec Videocom brands include Anton/Bauer, Autoscript, Autocue, Camera Corps, Bexel, Litepanels, OConnor, Petrol Bags, Sachtler, Teradek, The Camera Store, Vinten and Vinten Radamec.
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Visiware launches Enriched E-Commerce advertising with Rue de Commerce
Visiware and Rue de Commerce announced the launch of a new interactive advertising format. Visiware’s Sync2Ad platform delivers enriched advertising to television viewers and radio listeners through synched ads on mobile devices. Using the Sync2Ad platform from Visiware, the Rue de Commerce experience is one of the first true synched secondscreen ad engagements. Using the Visiware Sync2Ad platform, Rue de Commerce users who have downloaded a compatible app – including the Rue de Commerce app – can engage with rich animation and graphic content which are synchronized using sound from ads running on radio or television. In the latest Samsung Note 4 smartphone TV ad, the spot makes viewers want to learn more about the product and, with a single click, Rue de Commerce offers additional product
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information instantly, including test benches, promotions, games, and more. “Our collaboration with Rue de Commerce enables us to deliver our Sync2Ad technology into a dynamic e-commerce environment, across all channels. The solution is an answer to the needs generated by new television and mobile usage behaviors,” said Laurant Weill, executive chairman of Visiware. “Our alliance with Rue de Commerce represents a step forward in the e-commerce marketplace.” According to GfK’s Connected Consumer research (September, 2014), 64% of TV viewers use a second screen while watching television. Of these dual screeners, 38% would like advertising to be better targeted and 24% would like to be able to purchase products directly from their devices. Smartphones and tablets have
radically changed TV consumption and online purchasing behaviors. Marketing had to accompany this revolution in order to enhance and better inform the consumer, eventually linking brand, retailer and consumer. This link has now been created with Visiware’s Sync2Ad technology. “This partnership, with Visiware, is a logical milestone in Rue de Commerce’s pioneering spirit. For more than 15 years, we have consistently sought to renew the way people think about our clients’ e-commerce experiences, and our work with Visiware enhances our reach and engagement with our audience,” said Albert Malaquin, CEO of Rue de Commerce. “Innovation is what we are all about, and we are particularly proud to be the first on the market to offer this technology to our consumers.”
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McGill University’s Schulich School students tackle loudness control with RTW TM3 Touchmonitor RTW is pleased to announce that the sound recording department at McGill University’s prestigious Schulich School of Music now uses the company’s TM3 TouchMonitor audio meter to instruct students in the art of loudness control. Recording engineer and inventor George Massenburg, an adjunct professor of recording arts and sciences at McGill, the largest university-based school for professional music training and music research in Canada, sees loudness normalization as the next major trend to hit the music industry. He points out that Apple iTunes, for example, already features controls for normalizing the sound across one’s library of songs (“Sound Check”). “Normalization for music is spreading, and we want to educate students to take advantage of this trend the best way they can,” he says. “We want them to be able to make good mixes so they can work going forward.” The RTW TM3 is one way sound recording at The Schulich School of Music is helping his students prepare for this future. With its easy-to-use 4.3-inch touchscreen and large number of graphical and numerical instruments showing single-channel and summingloudness bargraphs, PPM, true peak, SPL, loudness range (LRA) and correlation. “Another benefit of having the TM3 readily accessible is when the students are working with multiple projects at once,” explains Massenburg. “To give the students references when they’re learning how to mix, we’ll have them do a new mix but refer to another piece of work. It may not even be the same song—it may be something else, but to reference that on an equal playing field—meaning equal
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loudness—they’ve got to measure the loudness of that external file. So it’s very useful to have the meter right there. It’s not software. It doesn’t come and go with the project. It’s a part of the setup.” That setup is located in the Schulich School’s Studio A, where the RTW TM3 is part of a range of solutions the students use to conduct mixes. These include Euphonix MC mixers, Merging Technologies Pyramix, Avid Pro Tools, ATC, Genelec and JBL loudspeakers and monitoring systems, among others. “The TM3 helps the students adjust the loudness of a mix until it’s roughly in the ballpark of their reference mix,” adds Massenburg. “Then they can move ahead with making better mixing decisions. We find that elements that are punchier, such as a snappier snare
or kick drum, really don’t affect the loudness as much as a constant, dense mid-to-upper frequency range, so students don’t have to squash their mixes to make them stand out. It leads to more dynamic mixes. It’s a tool that we think is going to be more and more important to students and practitioners [as loudness normalization becomes more prevalent in the music industry].” Massenburg says his students find it easy to work with the TM3. “It’s very clear. We have it pre-set so that 85dB SPL is the target playback level, and -24dBFS is the target recording level. Since its relative between their work and an outside work, we can just kind of stay in that one setup. It’s nice that it’s flexible, but we don’t want it to change too much, so everyone is already up to speed on how it is set up.”
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Barco Silex’ FIPScompliant DRBG IP integrated in innovative short-range wireless ICs of Dialog Semiconductors Barco Silex announced that Dialog Semiconductor successfully integrated the Barco Silex BA431 IP core into its short range wireless communication ASIC. This core is a FIPS-140-2-certified deterministic random bit generator (DRGB) combined with a True Random Generator (TRNG) designed to enable secure cryptography. Today’s short-range wireless applications transmit an exponentially increasing amount of data and voice. For many of these applications, it is crucial to have a reliable security against eavesdropping or data manipulation. But the reliability of such a cryptographic module depends on its ability to generate random bits that are unpredictable even to the strongest adversary. “To meet this need, we designed a true random number generator, as an IP block for ASIC and FPGA solutions,” said Sébastien Rabou, Crypto IP Product Manager at Barco Silex. “Our BA431 block is a purely digital solution. This solution combined with our DRBG has been validated with the NIST800-22 test suite on silicon and is FIPS-140-2 certified, and is considered as an extra quality insurance to our customers”. Dialog’s short-range wireless ICs are used in devices ranging from DECT phones and wireless headsets to game controllers. They are among the most efficient in the industry, ensuring e.g. a markedly long battery life. To help expand their offering, Dialog designed a new IC, for which they chose to integrate the Barco Silex DRGB solution. In addition to being state-of-the-art, Barco Silex’ offer is an off-the-shelf solution with easy interfaces; a solution that has been silicon-proven in various solutions.
2014
Sonnet introduces new family of optical Thunderbolt™ cables Sonnet Technologies introduced a new line of optical Thunderbolt™ cables designed to connect computers and devices over longer distances in a wide variety of production environments. With support for both 20Gbps Thunderbolt 2 and 10Gbps Thunderbolt connections, the Sonnet Optical Thunderbolt Cables are thin, lightweight, and durable, with performance equivalent to copper Thunderbolt cables at distances of up to 60 meters. The Sonnet Optical Thunderbolt Cables are ideal for use in situations requiring the computer to be segregated from other equipment without a loss in functionality or datatransfer speed. One example is when a computer and other peripherals must be remotely located in a secure equipment room, with the cable running out to a desktop with a Thunderbolt dock that supports a display, mouse, keyboard, and other peripheral devices. Another example might be an audio production workflow that requires a particularly quiet operating environment. The longer optical Thunderbolt cable allows devices with fans to be located in another room and out of earshot. "Thunderbolt technology has been an amazing enabler of high-performance device and display connectivity with any computer that has a Thunderbolt port," said Robert Farnsworth, CEO of Sonnet Technologies. "Optical Thunderbolt cables literally extend those benefits over very long distances, a capability that is essential for many of our customers." Available in 5.5-, 10-, 30-, and 60meter lengths, the Sonnet Optical Thunderbolt Cables feature Optical™ Cable technology by Corning. They provide dualchannel, bidirectional connectivity for 10Gbps Thunderbolt devices, or 20Gbps bidirectional support when used with a Thunderbolt 2 host and Thunderbolt 2 devices. The cables are hot-swappable, and each can carry both data and video.
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Game Creek Video ups its game with eight new Grass Valley Kayenne K-Frame 3G switchers for mobile production trucks For more than 20 years, Game Creek Video of Hudson, NH, has built a loyal following by providing the best technology in the industry for mobile video capture and broadcasting in the sports and event markets. At the center of those modern mobile solutions are 1080p 3G-capable Kayenne KFrame video production centers from Grass Valley, a Belden Brand. Game Creek Video currently operates a fleet of nearly three dozen mobile production trucks, and has just ordered a total of eight new Kayenne K-Frame switchers for its next set of mobile production projects. In addition, some of the new K-Frame switchers will be installed on existing mobile units as Game Creek continues to upgrade its fleet. The company provides production services for many highprofile sporting events, such as college football and basketball, professional football and basketball,
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auto racing, baseball and more. “We have been using Grass Valley equipment for our most critical switching functions from the very beginning,” explains Pat Sullivan, president of Game Creek Video, “so it was an easy decision to stay with what we know works so well. We’ve had a great relationship between our two companies and our investments have always exceeded our expectations in performance, reliability and value.” The agreement calls for eight new switchers to be installed over the next four years and includes all the necessary training as well as five years of full technical support. Game Creek Video will leverage the new equipment to continue to grow its live production business as it maintains a presence at virtually every major televised sports and political event in the United States. “Viewers expect high-quality,
cutting-edge video when they tune in to a live event, and our role is to ensure they get just that,” added Sullivan. “Technology advances are exciting, but they also make our process even more critical. We can’t afford to cut corners—we have to make sure we have the best technology available. Grass Valley gives us that confidence.” “It’s been so much fun to see Game Creek Video grow and succeed over the years,” said Steve Ronneberg, senior vice president of sales and marketing, Grass Valley. “This next phase of investment will play a key role in helping them meet the needs of current customers and attract new customers, especially as the industry moves toward UHD and 4K capabilities. Our solutions are designed to ensure they will be Future Ready—securing current investments to optimize tomorrow’s business opportunities.
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Camera Corps captures rumble in the jungle Camera Corps has once again supplied its speciality cameras, controllers and expertise to the production of the latest season of “I’m a Celebrity… Get Me Out of Here”. Contracted by Gearhouse Broadcast, who supply all of the broadcast technical infrastructure for the show, Camera Corps’ equipment and expertise has been engaged since 2008. Camera Corps supplied almost 80 cameras to the production, including a number of its Q-Ball remote-controlled pan and tilt camera systems with high quality built-in optical lenses. Other speciality cameras supplied included Minishot remote heads, HD Mini Zoom cameras with infrared mode, Hitachi DK-H32, and Toshiba IK-HR1s and IK-HD1 mini cameras. The company also provided weatherproof housing for all of the cameras, as well as bespoke mounting brackets, and control systems, such as joysticks and RCP control panels. The cameras were used to film the celebrities in camp 24 hours a day during their stint in the jungle, as well as during the Bushtucker Trials, and were controlled from the production gallery located over 800 metres away. Camera Corps technicians were on site for two weeks to complete the rigging of the cameras, and a further week for rehearsals. Once filming began, the technicians remained on site, maintaining the cameras and carrying out additional rigging for the trials and other challenges as required. David Sisson, Camera Corps senior technician, says: “It is not a normal job. The jungle is incredibly hot and humid and one of the challenges is the weather. Whereas the cameras can cope with the rain, it is the storms and lightning that can cause issues. That’s why it’s crucial for us to be on site so
that we can ensure all of the cameras are working 24/7, so that airing of the show can take place. “We’ve been working on the production for the last several years and, as a result, we know what to expect and how to deal with any issues that occur.” The show, now in its 14th season, was filmed on location in a tropical rain forest in New South Wales, Australia. The first episode aired on 16 November on ITV, the finale and announcement of king of the jungle, Carl Fogarty took place on 7 December.
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Riedel appoints Robert Pennington as U.S. Sales Manager, Broadcast , for East Coast Riedel Communications has named Robert Pennington to serve as its U.S. sales manager, broadcast, for the East Coast. In this new role, Pennington will assist customers in selecting and implementing Riedel's broad product portfolio of networked communications and signal transport solutions. "With unusually rich experience across broadcast production, networked communications, systems integration, and the broadcast and pro AV technology supply business, Bob is equipped to approach each customer and application with valuable insight," said Christopher Street, general manager, North and Central America, at Riedel Communications. "For more than 25 years, he has been immersed in the East Coast media industry, and his exceptional knowledge and experience in this area will be immensely valuable as we continue to introduce innovative new communications and signal-transport solutions to North American customers." Pennington began his professional career as a broadcast television news producer at WCIV-TV in Charleston, South Carolina, and at WTOV-TV in Steubenville, Ohio. While with WCIV-TV he also served as camera operator, video editor, and microwave and satellite remote live truck operator. Pennington later served as program director for MDTV at West Virginia University, where he helped to design and supervise a multisite telemedicine program and worked to help standardize the university's classroom technologies. Subsequent roles with systems integration firms and resellers included that of branch manager and account executive at Seneca Communications and account executive at Video Central South. He later served as sales manager and product specialist at Anton/Bauer, commercial products manager for Sima Products, and in business development and sales roles at Texolve Digital. Pennington is based in Connecticut and reports directly to Street.
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Wohler hires Rodney Hampton as Senior Sales Executive, Time Technology, for the RadiantGrid business line Wohler Technologies announced the appointment of Rodney Hampton as senior sales executive, time technology, for Wohler's RadiantGrid line of file-based media transformation solutions. In this role at Wohler, Hampton will focus on growing sales of the company's time technology product and developing the sales distribution channel, extending awareness and adoption of quality media-centric time-reduction and time-manipulation solutions within the North American marketplace. "We are excited to have an experienced sales specialist such as Rodney join the RadiantGrid team," said Craig Newbury, vice president of sales for Wohler's RadiantGrid business line. "Interest in the Tachyon Wormhole automated retiming solution continues to grow rapidly, and Rodney's experience with past media retiming solutions gives him perfect insight into how best to deliver solutions that will take our customers into the future. Supported by the rest of the team here, Rodney will offer a valuable nextgeneration solution to a market that he has served for many years." Hampton brings more than 25 years of high-tech experience to his new role with Wohler. Over a span of more than 15 years, he managed the sale of time technology to major broadcast and cable networks including, Discovery, NBC, ABC, and CNN. Prior to joining Wohler, Hampton was director of sales and manufacturing at Prime Image, where he managed sales and vendor relationships for the company's Time Tailor video time reduction product. Earlier in his career, he was the strategic planner of product introduction at Micro Power Systems, spearheading the CMOS bipolar chip set that has been deployed in radar systems for the B-1 bomber program. Hampton holds certifications through the Center for Manufacturing Education and American Management Association software development through micro MRP. Hampton is based at Wohler's San Francisco Bay Area headquarters and reports directly to Newbury.
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Maxcom Telecomunicaciones improves OTT Multiscreen offering with Broadpeak Solutions Maxcom Telecomunicaciones has chosen Broadpeak solutions to improve its OTT multiscreen service offering. Utilizing a combination of Broadpeak's CDN manager, streaming server, and video delivery analytics solutions, Maxcom Telecomunicaciones can cost-effectively deliver more live and VOD channels to subscribers while providing a superior quality of service (QoS). "In order to expand our service offering, we needed flexible, scalable CDN solutions that offer easy integration with our existing service platform and guarantee quality," said Miguel Ceballos, VP operations at Maxcom Telecomunicaciones. "Broadpeak's systems not only support a wide range of video formats, device types, and third-party equipment, they are also very scalable, providing us with a future-proof solution. Partnering with Broadpeak, we will be able to provide our customers with a highquality TV viewing experience that includes more live channels and video-on-demand, than ever before." Broadpeak's BkS300 and BkS400
servers offer broad format support (e.g., Apple® HLS, Microsoft® Smooth Streaming, Adobe® HDS, and MPEG-DASH), enabling Maxcom Telecomunicaciones to deliver HLS live and VOD content to any screen. Leveraging HTTP adaptive bit rate technology, the servers guarantee that viewers receive the best possible video quality. The operator has also deployed Broadpeak's CDN Mediator BkM100, a unified content delivery network manager, to effectively manage load balancing and failover tasks. Based on an open architecture, the BkM100 offers seamless integration with service platforms and content
Grass Valley names Andrew Thornton VP, Asia Pacific Grass Valley, a Belden Brand, announced the appointment of Andrew Thornton to the position of VP Asia Pacific, effective immediately. Withnearly 35 years of experience in the broadcast industry,Thornton will assume responsibility for all aspects of Grass Valley’s sales activities and growth in the Asia Pacific region. Thornton joins Grass Valley from Harmonic, where he served for four years as the company’s vice president for the Asia Pacific region and took part in
management systems, making it easy for Maxcom Telecomunicaciones to integrate into the network. In addition, Broadpeak's BkA100 video delivery analytics software solution aggregates data from various components of the video delivery chain, providing Maxcom Telecomunicaciones with meaningful information about video consumption and service quality in a variety of formats. Using the BkA100, Maxcom Telecomunicaciones personnel are able to receive daily reports about content, sessions, VOD and live services, alarm information, and more.
in the acquisition of Omneon, where Thornton was previously employed. Before joining Omneon, Thornton served as the vice president of Asia Pacific operations at Avid Technology, the news and production systems company. He began his career at Sony Broadcast and Professional,where he worked in a variety ofsales and management roles during his 10-year post. Thornton is a graduate of Bradford University in the United Kingdom, where he earned an MBA and a BS in Managerial Sciences. He is currently based in the company’s Hong Kong office and reports to Steve Ronneberg, senior vice.
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Roundabout Entertainment, Hollywood, gears for 4K with LEADER LV5490 Roundabout Entertainment has invested in a LEADER LV5490 SD/HD/4K waveform monitor in response to accelerating interest in ultra-high-definition content creation. "Given the rapid fall in price of UHD home video displays and the stunning quality they deliver, 4K is now the logical resolution for any new production project," comments Stuart Clark, Roundabout's technical manager. "4K cameras have become very affordable. Because it transcodes to clean HD, shooting in 4K is the best possible way to ensure a long commercial life for new productions. "Expanding our 4K services required a high quality test instrument that we could apply across our entire field of operation. LEADER's LV5490 is the ideal tool for today's SD/HD/UHD world, allowing careful evaluation of video and audio content in practically any signal standard. It also enables us to make very precise checks of the transcodes to ensure a clean signal throughput from start to finish. Equipped with eight input connectors, the LEADER LV5490 accepts up to two 4K signals simultaneously. Two sets of HDSDI dual link signal can be
displayed at the same time. In SDI mode, up to four signals can be displayed simultaneously. In 4K video format mode, 3G-SDI dual link or quad link are supported. Up to four 3G-SDI dual link 4K video inputs or up to two 3G-SDI quad link 4K video inputs can be displayed (selectable). The LV5490 can be operated in a very wide selection of test and measurement roles. These include waveform, vector and picture monitoring, SDI signal data analysis, cyclic-redundancy-check error, embedded-audio error, event log, data dump and timing display. Leader's CINELITEÂŽ II toolset also comes as a standard feature, allowing easy assessment of relative exposure and overall luminance. Waveform, vector and picture display can be viewed simultaneously on the LV5490 screen. Simultaneous display and overlay display of multiple SDI inputs is possible. Size and location of individual channel displays can be adjusted using a USBconnected pointing device. In addition to its video test and measurement capabilities, the LEADER LV5490 incorporates a versatile selection of audio monitoring and analysis tools. These include 4 x 4 channels of SDI audio de-embedding, lissajous display, surround sound display and volumetric display. Up to 16 channels of deembedded SDI audio can be output as discrete AES3 feeds. Additional features of the LV5490 include video frame capture, instrumentation screen capture, timecode display, tally light and ID display. Eye pattern
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display, jitter waveform display and Dolby decoding can be ordered as optional facilities. A rack mounting adapter is also available. The LV5490 is equipped to handle the video signals via twosample interleave as well as square division. In square-division signal mode, the entire image is split into four quadrants and each quadrant is transmitted in turn as a subimage. In the case of two-sampleinterleave, two consecutive pixels are transmitted at a time. The first pair goes to sub-image 1 and the second pair to sub-image 2. The first pair of the next line then goes to sub-image 3, the first pair of the next line going to sub-image 4, and so on. Each sub-image is transmitted separately to the monitor. This type of two-sample interleave is the approved standard for 4K. An additional feature of the LV5490 is Focus Assist, a LEADER innovation that allows easy checking of low-contrast content and fine image detail. Other capabilities include a CIE 1931 color space chart generator. The LV5490 can show 4K signals in the standard's full ITU Recommendation BT.2020 color space. LV5490 operators can adjust the size of up to four displays on the screen to suit specific tasks. This allows easy magnification and inspection of detail on the instrument's 9 inch 1920 x 1080 HD LCD display screen instead of being limited to fixed size quadrants. Fully portable, the LV5490 has a footprint of just 223 millimeters wide by 360 mm deep and a height of 189 mm.
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NUGEN Audio at the 2015 NAMM Show At the 2015 NAMM Show in cooperation with Music Marketing (booth 6242, hall A), NUGEN Audio will introduce MasterCheck, the first modern loudness tool for the music industry, as well as a significant update of Visualizer, the company's industry-leading audio analysis tool. For more than a decade, NUGEN Audio has been serving the needs of music producers in over 50 countries, from the hobbyist to some of the biggest Grammy award-winning names in the industry.
With MasterCheck, audio engineers can employ a single plug-in to apply loudness matching and dynamic content analysis, using techniques such as peak-toloudness ratio (PLR) to compare multiple sources. The advanced side-chain loudness matching can also be used to audition signal paths, without the "improvement" of increased loudness, to understand precisely how various effects, such as compression, can change the sound with no influence from the loudness enhancement.
MasterCheck
Visualizer Audio Analysis Suite Version 2
MasterCheck is the first musicindustry-specific audio plug-in designed to facilitate mix and mastering for the modern world of loudness normalized playout. iTunesÂŽ, SpotifyÂŽ, and DAB Radio all now use loudness normalization, and MasterCheck reveals how the consumer will hear audio on these and other music platforms by using internationally recognized loudness, dynamics, and true-peak standards. Ideal for every aspect of music production including recording, mixing, mastering, compilation, archive, and restoration, MasterCheck can also be used for producing podcasts at optimal loudness levels for dialog clarity within the listener environment.
Version 2 of Visualizer significantly expands the capabilities of NUGEN Audio's leading audio analysis suite designed for high-end music professionals. Ideal for music mixing and mastering, as well as audio post-production, Visualizer provides comprehensive audio analysis for recording, mixing, and mastering in a single plug-in. A standardized reference set of professional tools is designed to help audio engineers work faster, avoid mistakes, repeat past successes, and understand the success of others. Based on customer feedback, Visualizer now features numerous
user interface enhancements including a fully resizable interface, a multiview feature that enables engineers to compare multiple sources with a single plug-in, and a "difference" view showing the difference between two input signals. Visualizer is available in a version supporting Avid Pro Tools | HDX, as well as a stand-alone application version.
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Grass Valley brings reliability and high quality to JRTV’s broadcast infrastructure The Jordan Radio and Television Corporation (JRTV) is a Jordan public broadcaster that simulcasts three programs on terrestrial and satellite and functions as the primary broadcaster for Jordan in the Middle East, reaching millions with breaking news. The station delivers a 24-hour Arabic broadcast coupled with an English-language service for 21 hours a day and a French-language service for 13 hours a day. In an effort to improve its overall broadcast infrastructure and dependability, JRTV has turned to Grass Valley, a Belden Brand, for new routing, production switching and server technologies. The broadcaster has purchased a solution that includes five 3G-ready K2 Summit transmission client media servers and a master control suite that includes a router and multiviewer controlled by a new Jupiter routing switcher control solution. The installation was managed by systems integrator AVC Al-Waseet, located in Amman,
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Jordan, and his partner, Hannu Pro of Latvia. “We’re a full-time operation with live news being broadcasted in several different languages, so the reliability and performance of our technology is crucial to the success of our station. Grass Valley helped us put together a unique combination of products that give us the confidence to distribute news around the clock without worrying about failure. The power, speed and overall dependability of their product lines is truly unmatched,” said Khalaf AlKhawaldeh, director of engineering, JRTV. At its core, the K2 Summit transmission client is built for mission-critical operations by delivering 24/7/365 reliability with two bidirectional channels and two playout channels, upgradable to three. Jupiter routing control combines hardware and software that gives JRTV full management of all its devices with the simple
touch of a button on the Jupiter network. Jupiter interfaces with the master control switcher to give JRTV a range of flexibility, including the ability for up to eight on-air keys and four audio voiceovers, as well as support for a multitude of audio channels and branding sources. “The need for more flexible and higher-quality broadcast systems is continually on the rise, especially in the Middle East where the market is seeing considerable growth,” commented Said Bacho, senior vice president, sales, EMEA, Grass Valley. “We’re delighted to work with JRTV to improve their services with technologies that are reliable and perform to an exceptional standard. In this ever-changing broadcast landscape, it’s important that our customers are on the leading edge with their solutions, and our deal with JRTV is a perfect example of how we execute that plan.”
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Ross Video releases streamline media asset and order management Ross Video announced that Streamline, their new media asset management solution for graphics, is now available for general release. “I am so incredibly proud of what our talented team here has accomplished in developing Streamline,” said Shawn Snider, Marketing Product Manager for Ross Video. “I am especially excited for our customers and early adopters as we’ve crafted a beautiful and easy-to-use solution that dramatically simplifies asset management for graphics, and provides a powerful set of tools for any broadcaster to better manage their workflows.” Streamline is the next generation of asset management. Built on top of the Ross Video web technology platform, Streamline is a web-based
software product that integrates seamlessly with the Ross XPression graphics system, and allows users to attach assets to graphic templates via a simple drag and drop workflow. The software also offers a rich variety of asset metadata allowing users to easily organize and search their graphics, greatly reducing the effort required to find and reuse content between productions. Robust reporting tools in Streamline provide up-to-thesecond data visualization of any metrics in the workflow process. Insights can be used to better allocate resources to the areas of greatest overall benefit to the organization. Streamline reporting allows monitoring of details like order types, deadlines, ordering trends, most ordered asset types, cycle times and more.
Streamline also provides the ability to manage and prioritize graphics production through its order management system. The system offers placeholder workflows for graphics that, when fulfilled by the art department, are automatically delivered by Streamline into the XPression template and ready to air. “Asset management is a central hub in production workflow today,” said Jeff Moore, Executive VP of Sales and Marketing at Ross Video. “Given our diverse product portfolio, investing in a revolutionary asset management system with strong workflow and integration between Ross’ many product lines is going to be a huge benefit for our customers. The name ‘Streamline’ is a natural fit for what we’re striving to accomplish in this space.”
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2014
Budding cinematographer wins big with Miller camera support equipment’s AIR tripod system at the 2014 24/7 Youth Film Festival
The 24/7 Youth Film Festival, which encourages young people of ages 12 to 24 to tell their stories through filmmaking, is a fast-paced competition that requires participants to make a seven-minute short film in 24 hours. The film must include special items, dialogue and locations, stipulations that are only made known to the teams at the beginning of the 24 hours. “We were so stoked,” says the 19-yearold. “24/7 is such a fast-paced film festival, so every second was crucial and it was important that we didn’t waste any time fiddling with the equipment to set up the perfect shot. We actually worked with a Miller tripod on the production of Stew and were so impressed with its light weight and flexibility. So, the fact that we’ve now won one is so surreal!” Produced in partnership with a few of Morton’s classmates—Thomas Aslanian, Polina Pashkov, Samuel Allen, Sebastian Reategui, Cadhla Roberts, Claire Stokes and Ellen Wiltshire—from the University of Technology (UTS) in Sydney, Stew is a film that focuses on an altruistic woman who hands out free dinner to homeless people. But, along her journey, audiences become surprised as they discover the horrifying solution she cooked up to get people off the streets. The film was awarded Best Cinematography, Best Script, Best Sound, People’s Choice, as well as Best Leading Actor for the film’s leading lady, Claire Stokes.
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Studiotech launch fast deploy Studio Mobile NLE Studiotech Belgium has designed and launched a new product, the Studio Mobile NLE, a complete flyaway Non Linear Editing system, with the prime objective of making field activities for editors and operators speedy, simple and reliable. The Mobile NLE Studio offers all the power of a mobile editing system. Easy to set up, use and store, it is readily portable to ensure coverage of any event at express speed by providing quality results and powerful graphics. Field production is a reality for most news editors and in many cases, they make do with a laptop that operates outside their editorial offices. Working conditions, often difficult and unsatisfactory, frequently forces them to use add-on equipment involving connections that are sometimes basic and unreliable. “The integrated Avid Media Composer editing solution is the preferred choice of professional editors in film and television. Fully integrated in a portable version, Media Composer lets you manage large volumes of media. It is compatible with most professional formats used in the video world. The Mobile NLE Studio takes full advantage of the new features of Media Composer and enables faster installation thanks to optimisation of the timeline, easy editing in multicam and full audio and voiceover control” said Rudolf Mecs, Managing Director of Studiotech Belgium, and enthusiastic promoter of this type of field solution. The complete system includes Avid Media Composer, a Laptop (HP 17'' Zbook or similar, as required by customer), Avid Mojo DX data acquisition card, monitoring screen, video patch for I/O connections, and a microphone for voice-overs. It complies with international airline regulations, is quickly operational with very easy, accessible inputs and outputs, and is a lightweight system, cheaper to transport than traditional tower or rack work stations. The compact unit is assembled in an easily portable but robust transport case and is designed for fast and easy set up, essential for NLE mobile studio use that may include tough field conditions. The new unit has recently been trialled very succesfully in Senegal for the Sommet de la Francophonie.
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Televisión Canaria migrates to All-Disk Archive with DAC’s ALTO-II Televisión Canaria, the broadcasting authority for Spain’s Canary Islands, has migrated its entire archive from LTO tape to an ALTO all-disk storage system from Disk Archive Corporation. Initially configured with 1600TB of storage, the ALTO replaces Televisión Canaria’s previous archive installation based on a Robotic Tape Library and a third-party Archive Management system. Two ALTO-II systems with four EX-60 expansion chassis and a dual ALTO Filer, the system’s Virtual File System interface were provided by Datos Media Technologies SA to Televisión Canarias for the new installation based at the Videoreport Canarias headquarters. The ALTO storage is integrated with the broadcaster’s traffic, playout and newsroom systems through an in-house developed Media Management system. Clips are copied and transcoded using software developed by Videoreport Canarias, and each subsystem of the MAM exchanges material from the ALTO in the required format. Access to the audiovisual files is via a network folder accessed from any point in the network, making it easy for the broadcaster to implement open-ended future developments. “ALTO is a great alternative for mass storage; it is a versatile and scalable technology that’s simple to use,” said Vicente Tetuani, System Manager for Videoreport Canarias. “ALTO breaks the bonds of tape-based data systems and minimizes maintenance costs. The scalability of the system and the fact that it is based on standard commodity disks gives us the flexibility to predict and manage the growth of the archive with secure user-selectable replication for backups and disaster recovery.” ALTO-II is a scalable, flexible and highly secure alternative to a Data Tape Library for media storage, offering faster access for many more users with a low capital outlay and very low total cost of ownership. ALTO takes advantage of recent developments in disk drive technology and new strategies for data protection to offer unique performance and economic benefits for applications including media acquisition, production and distribution, archives and content libraries. “We have many years experience working on the integration of MAM systems, and for this particular project, the archive migration was incredibly comfortable, transparent, and extremely fast,” said David Martinez, COO of Datos Media Technologies SA. “The ALTO system was installed and configured in three days, with the migration beginning the next day. Within two weeks we had already migrated 120TB of content and created the corresponding protection replicas.”
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It has been a year of many innovations in the audiovisual market. Brands and manufacturers are developing products that do more and more things at a lower cost. We are also witnessing the broadcast world fusion with traditional IP Internet, with new technologies incorporating the telco market. Therefore, from this year TM Broadcast make an editorial selection of what we consider are the most important equipment and technologies we have seen throughout the year. We sincerely hope you enjoy the best of 2014.
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Adder Technology 4K KVM The take up of 4K/UHD within the broadcast sector is happening at pace — driven by viewer demand, television manufacturers and a host of other factors. While there are challenges in transmitting 4K/UHD content to viewers, broadcasters and content owners are quickly overcoming these obstacles. Transmitting 4K/UHD requires four times as much bandwidth as HD and as 4K screens receive 16GB of data per second some level of compression is required. This can be accomplished using lossless compression that guarantees no difference in quality, as well as lossy compression where a minimal amount of data is lost. The key to success here is making sure that the data is used optimally and the link used for transport is used to capacity. Over standard copper wiring, 4K/UHD can be transmitted up to 100 metres before a repeater is needed. When transmitting 4K over SDI there are significant limitations; it can run over 100 metres of 6G coaxial cable, whereas 12G SDI will only go up to 30 to 40 metres. In addition, SDI requires the use of a bespoke infrastructure which is costly and often presents its own challenges. IP, on the other hand, overcomes any distance limitations and adds other benefits such as cost-effectiveness and reliability. As a result, IP is ideal for transmitting 4K/UHD signal as it can be transported over any
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John Halksworth
distance. Adder, the IP-based high performance KVM (keyboard, video and mouse) specialist, has a range of switching and extension products that bring added functionality, flexibility and scalability to outside broadcast, the studio control room and post production.
One such product — the ADDERLink XD522 DisplayPort extender has 4K capabilities, featuring plug-and-play functionality, extension up to 150 metres, USB 2.0 high-speed port and high resolution 4K support.
AJA Videosystems Ergonomic and lightweight in design with unmatched connectivity, CION is capable of shooting at 4K/UltraHD and 2K/HD resolutions. In-camera recording directly to the Apple ProRes family of codecs, including 12bit ProRes 444, enables incredible image quality capture to cost-effective AJA Pak SSD media at up to 4K/60p, and offers compatibility with a wide range of post production applications. CION also outputs AJA Raw HFR at up to 4K/120p.
CION Features: • Sensor: 4K APS-C sized CMOS sensor with an electronic global shutter. 12-stops of dynamic range. • Recording Formats and Resolutions: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, ProRes 422 (LT) and Apple ProRes (Proxy); 4K (4096x2160), UltraHD (3840x2160), 2K (2048x1080), HD (1920x1080). 2K and HD are hardware scaled from the full 4K sensor for high-quality oversampled images and retention of field-of-view.
• Media: Record to AJA Pak SSD media available in 256GB and 512GB capacities. Transfer via Thunderbolt™ or USB3 with optional AJA Pak Dock; Complete 10-bit and 12-bit workflow from HD to 4K. • Raw Support: Output AJA Raw via 3G-SDI at up to 4K 120 fps or via Thunderbolt™ at up to 4K 30 fps. • Lens Mount: Industry standard PL mount • Connectors: 4 x 3G-SDI/HD-SDI outputs (4K/UltraHD/2K/HD), 2 x 3G/HD-SDI monitor outputs with overlay support, 1 x HDMI output offering support for 4K and UltraHD or scaled 2K/HD, 1 x HDMI output for 2K/HD, 2 x mic/line/48v XLR analog audio inputs , 2 x LANC control ports, 1 x LTC input connector, 1 x Reference connector, 1 x USB connector, 1 x 10/100/1000 Ethernet LAN connection, 1 x Mini TRS headphone jack , 1 x 4pin XLR power connector, 1 x input power connector for attaching third-party battery plates, 1 x P-TAP output power connector, 1x Thunderbolt™
CION connector. • Optical Low Pass Filter and IR cut filter: An integrated OLPF (Optical Low Pass Filter) reduces unwanted moiré effects while still retaining vital image detail. The infrared (IR) cut filter produces high quality colors within the image by blocking unwanted light wavelengths. • Back Focus Adjustment: The mechanical calibration� of the distance between lens and sensor allows finely tuned adjustments to ensure �the sharpest image quality possible. • Industrial design: Lightweight magnesium chassis, built-in confidence monitor, standard playback controls and connectors placed to optimize functionality. Integrated “cheese plates” fitted to both the top and the bottom of the chassis provide easy mounting of accessories. All CION accessory connection points use open standards, including 15mm rods, 1/4-20 and 3/8-16 threaded holes, and M6 hirth-tooth rosettes.
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Anton/Bauer New Digital Battery and Performance Charger Series
Anton/Bauer’s Digital Battery Series is the first battery line designed specifically to power digital production for the Professional Broadcast, Cine, and Pro-video sectors. The Performance Charger Series utilizes new technology to deliver the fastest possible charging sequence, while exceeding the high-efficiency standards required by today’s rigorous shooting schedules. Both the batteries and chargers are available in Gold Mount and now VMount options, a first for Anton/Bauer, whose proprietary Gold MountŽ system revolutionized battery mounts. The Digital Battery utilizes constant calibration to deliver a truly accurate power status and
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features a new, easy to read fuel gauge. When the battery is attached to a load, such as a camera or a light, it will conveniently report the remaining run-time in hours and minutes, allowing the user to effortlessly track usage. If the load varies, the run-time will update accordingly. When the battery is not attached to a load, it reflects the state of the battery charge as a percentage of capacity. The Performance Charger Series supports the Digital Battery and features a new, efficient charging algorithm for multi-chemistry, simultaneous charging. The new algorithm ensures rapid charging of up to four batteries at a time, all while conserving energy, eliminating waste, and reducing cost of
ownership. Software constantly monitors the charging process and discharge curves to ensure that each battery is charged to its peak performance. The Performance Charger series is nearly 40% more efficient than traditional chargers, rendering large power supplies virtually obsolete. The ergonomic chargers are easy to carry, and the batteries are easily removed from the charger, enabling smooth operation in the field. The Performance Charger series automatically detects which battery has the strongest charge and prioritizes it, ensuring that a fully charged battery is always available in the shortest amount of time possible.
AVT DAB Tunnel Break-in Rebroadcast System In September 2014, AVT has announced that the company increases its DAB product portfolio with the MAGIC TBR — a tunnel break-in rebroadcast system for DAB+. By default the MAGIC TBR works as repeater to ensure the DAB+ provisioning within the tunnel. The DAB Ensemble is received by an antenna outside the tunnel, is filtered digitally and processed. Via the tunnel antenna the signal is re-broadcasted. However, the MAGIC TBR also allows tunnel operators to replace audio programmes with announcements to provide information and instructions in case
of an emergency. This is a highly important feature since it is requested by the EU Tunnel Directive 2004/54/EC and will become mandatory for tunnels exceeding a certain length. In case of a necessary voice break-in all Audio subchannels are automatically replaced by the emergency signal. Due to a new European patent pending procedure, developed by the Ingenieurbüro Mulka, only one Audio Encoder is required despite different Audio bit rates. The complete Multiplex is fully replicated and replaced framesynchronously. From the view of a DAB Radio a continuous signal is
received in terms of data rate, sampling frequency, error protection, but also CIF Counter, time etc. In this way it is guaranteed that the DAB receiver does not lose the synchronisation or even re-scans the DAB band. MAGIC TBR is implemented on a signal processor based hardware platform which is assembled in an optimised way and achieves best values in terms of power consumption and reliability. It is developed in co-operation with the Ingenieurbüro Mulka and will be available in the second quarter 2015.
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Blackmagic Design Blackmagic URSA Digital Film Camera
Blackmagic URSA is a true professional digital film camera with a 4K sensor, global shutter and a wide 12 stops of dynamic range. The wide dynamic range is superior to regular video cameras or even high end broadcast cameras and results in dramatically better images that look like true digital film. The large Super 35 size sensor allows for creative shallow depth of field shooting and high resolution Ultra HD, 12 bit lossless compressed Cinema DNG RAW and Apple ProRes™ allow for easy post production workflow with minimum storage requirements.
Blackmagic URSA PL and URSA EF Key Features • Large high resolution 4K Super 35 mm sized sensor with superior handing of image detail. • Professional global shutter for smooth pans and image motion. • Wide 12 stops of dynamic range allows capture of increased details
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for feature film look. • Compatible with extremely high quality PL or EF mount lenses. • User upgradable design allows customers to upgrade and change the sensor and lens mount. • Built in dual CFast 2.0 card recorders allow unlimited duration recording in high quality. • Open file formats compatible with popular NLE software, such as Apple ProRes and compressed CinemaDNG 12 bit RAW. No custom file formats. • Support for ProRes HQ, ProRes 422, ProRes LT, ProRes Proxy recording at resolutions up to Ultra HD. • Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 6GSDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, 6G-SDI
monitoring input, headphone jack, LANC remote control and standard 4 pin 12V DC power connection. • Built in stereo microphones for recording sound. • 3 separate built in LCD monitors for camera settings and metadata entry. Large 10 inch screen folds out for full resolution HD monitoring with wide viewing angle and high brightness. • Supports Ultra HD and 1080 HD resolution capture in 23.98, 24, 25, 29.97, 30 up to 60 fps. • Features liquid cooling system allowing higher frame rates when future sensors support this feature. • Supports quick release tripod mounts and adding V-Mount and Anton/Bauer mount battery plates. • Includes full copy of DaVinci Resolve software color grading and editing software.
Bridge Technologies VB288 OBJECTIVE QoE CONTENT EXTRACTOR exceptional.
The VB288 delivers visual content extraction, status displays and alerts, and graphic displays of monitoring and analysis data to a virtual videowall display viewed through any web browser. Powered by a standard high-specification server, the VB288 displays large numbers of HD H.264 and H.265 4K channels — even after encryption — in multiple browser windows for QoE verification. Users can customize the display within
minutes with any combination of content extraction and other graphical analysis displays. In addition to showing content extraction displays and alarms for QoE verification of multicast and unicast channel streams over IP, the VB288 also supports display of HLS and MPEG-DASH to provide the same verification of OTT streams. The ability to provide visual analysis of OTT and traditional multicasts in one and the same device is
The VB288 is a server-based system for confidence verification and monitoring of QoE, allowing technical personnel to view each channel as transmitted, monitoring from any point within the transmission chain. This visual confirmation of the content gives technical staff an instant view of any errors signaled by systemgenerated alerts, and allows them to oversee large numbers of channels simultaneously, in a compact display area. The display can be reconfigured flexibly across multiple browser windows. The VB288 has the power to display large numbers of HD quality H.264 and H.265 4K channels simultaneously, with integrated graphical alerts based on Objective QoE tests. Display elements that can be incorporated into the layout include Bridge Technologies’ patented graphical timelines, loudness monitoring meters, geotagged monitoring by map display, and other elements such as timezone clocks. This means that the VB288 can be used to provide a complete range of realtime monitoring and analysis information configured in any combination of graphical displays.
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Evertz LIVE-X The LIVE-X architecture is specifically designed to meet the high demand for content creators and distributors to cost effectively create, package and deliver an exponentially growing number of assets to an ever increasing number of delivery platforms and consumer devices. The LIVE-X architecture pulls together key elements from Evertz's MEDIATOR-X, ORT-RENDER-X and
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3480TXE products areas to deliver a revolutionary solution for high throughput and short turn-around VOD asset generation and delivery. The LIVE-X architecture utilizes highly automated workflows, hyper accelerated rendering/transcoding technologies and Evertz SDVN 10GbE networks, to deliver increased operational efficiency and reduced time to market. For linear channels, the LIVE-X
architecture also provides an automated process for faster than real-time channel origination with automated QC eliminating the need for costly and time consuming "look ahead channels". With speeds of more than six times real-time and highly parallelized non-linear workflows, Evertz's LIVE-X architecture delivers a game-changing solution at a critical time in the market place.
EVS C-Cast Xplore
C-Cast Xplore is a web application which gives authorized users remote access to EVS XT3 live production servers. Studios, archivists and editors can tap directly into the server network in the outside broadcast unit for instant access to any camera, and transfer footage to any location: • Studio production teams — select customized content for repurposed delivery to second screen devices, using images from any camera and any angle to enhance and enrich the end-user experience. • Multimedia distribution packaging —select customized content for further repurposing to second screen devices, using images from any camera and any angle to enhance and enrich the end-user
experience • Archives — select and transfer action to be archived as it is happening for instant access by all • Access and review content (lo-res) available in the XT3 servers through a simple web browser from any location • Unique multi-camera interface makes selecting angles easy • Puts the content into the familiar, comfortable environment of the studio and the edit suite • Instant access and selection for repurposing, re-packaging and second-screen companion apps • Archivists can log and make content available as it is happening
Sports and live events record multiple camera channels onto the EVS server networks, as part of the outside broadcast production operation. Now, with C-Cast Xplore, that content is available, as it happens, to producers, editors and archivists — anywhere. Additional content and comment can be created from the comfort of the studio — lowering production costs. Using an intuitive browser interface, anyone who needs content can find it quickly and easily. Part of the EVS C-Cast connected content platform, Xplore manages content transfers quickly and securely, without the need to disturb the live production staff on location.
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Fujifilm 4K Cine zoom lens “FUJINON ZK12×25” covering 25mm—300mm focal length The ZK12x25 offers the industryleading zoom ratio of 12x to cover the most frequently-used 25mm wide angle to 300mm on the telephoto end. With its optical performance supporting 4K cameras, the lens delivers premium image quality across a versatile range of shooting scenes. The ZK12×25 features high-precision large-diameter aspheric elements, designed with Fujifilm’s proprietary cutting-edge optical simulation technology. The use of the “three moving zoom group*3” system, which minimizes aberration fluctuation during zooming, controls image distortion across the zoom range while delivering edge-to-edge sharpness to enable video production at premium image
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quality. The ZK12x25 can accommodate an optional detachable drive unit for electric motor zooming, focusing and iris. Mounting the drive unit enables the remote control of zooming, focusing and iris (aperture) adjustment. The availability of the Zoom Rate Demand*4 and Focus Position Demand*4 controls means the lens offers the operability equivalent to conventional television camera lenses, making it ideal for shooting movies, commercials, dramas or live TV productions.
Main specifications： - Model name: ZK12×25
- Zoom ratio: 12x - T-No.: T 3.5 (25mm-273mm) T 3.85(300mm) - Minimum object distance (M.O.D): 1.2m (4’) - Object Dimensions (at the M.O.D) [Horizontal × Vertical]: 25mm 937mm x 527mm 300mm 77mm x 43mm - Angular field of view [Horizontal × Vertical] 16:9 aspect ratio *8:25mm 57°32’ x 34°19’ 300mm 5°14’ x 2°57’
- Camera specifications: 35mm PL Mount camera
- Approx. size. (φ× Length) φ136mm x 401mm
- Focal length: 25mm - 300mm
- Approx. Weight: 8.4kg
Genelec Smart Active Monitoring Range
During the last eight years, Genelec has created a line of highly successful Smart Active Monitoring (SAM™) products designed to adapt automatically and accurately to the acoustic environment. Genelec launched a new generation of SAM systems by introducing two new compact two-way monitors, the 8320 and 8330, and a new subwoofer, the 7350, along with an entirely new and highly intuitive Genelec Loudspeaker Manager software, GLM™ 2.0, complemented with a new measurement microphone and network adapter unit. The 8320 and 8330 monitors feature Genelec’s Minimum Diffraction Enclosure (MDE™),
made of recycled die-cast aluminium as well as the advanced Directivity Control Waveguide (DCW™) technology. While the 8320 and 8330 monitors and the 7350 subwoofer are small in stature, they are outstanding in performance and are part of the highly integrated software and hardware solutions developed by Genelec R&D team. With their floating point digital signal processing engines and Genelecdesigned Class D amplifiers, these SAM systems will make you appreciate the forward thinking that makes Genelec the leading benchmark in audio monitoring for broadcast, post-production, and music facilities.
Genelec’s SAM technology is an indispensable tool when dealing with the challenging reality of small room acoustics. SAM technology automatically optimises and aligns each monitor and subwoofer for relative levels, time of flight, subwoofer crossover phase as well as individual room response compensations. So, even if the monitors or the production projects move between rooms, you can expect that SAM technology will achieve the highest consistency in monitoring by always providing a neutral sound stage imaging with low distortion.
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Grass Valley LDX 4K/UHD The LDX 4K/UHD system camera is based on standard 2/3″ lenses and a new high-bandwidth digital fiber transmission solution to capture live events without the compromises associated with digital cinema optics. The LDX 4K/UHD system camera is the first 4K/UHD camera on the market that is developed specifically for sports and large-event live productions. In addition to the new camera, many existing Grass Valley products are ready to support 4K/UHD workflows today such as switching, routing, editing, replay, multiviewer and monitoring technologies. Grass Valley’s 4K/UHD-ready solutions include: • K2 Dyno Replay System with 4K/UHD pan/zoom directly controlled from K2 Dyno touchscreen application • Kayenne and Karrera Video Production Center switchers with K-Frame that are 3G ready with full 1080p 50/60 support scalable to 4K/UHD • NVISION 8500 Series routers that deliver frame-accurate 4K/UHD routing and are central
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to preparing for the additional bandwidth required by 4K/UHD production • EDIUS 7.4 multiformat nonlinear editing software, which can handle both 4K/UHD and 8K content
• Kaleido-Modular-X, a flexible and scalable multiviewer that is natively capable of handling 4K/UHD quad-link sources and seamlessly recombining them into a pixel-perfect image
Harmonic
Ellipse® 3000 Contribution Encoders Harmonic’s Ellipse® 3000 family of contribution encoders optimize the production and delivery of highvalue video services for digital satellite newsgathering (DSNG) and live sports broadcasting applications, providing operators with superior video quality, the highest level of function integration, and ease of use in an economical, compact package. The innovative product family includes the Ellipse 3102, a powerful contribution encoder specifically designed for fixed contribution over IP or telco networks, and the Ellipse 3202, the first DSNG encoder with an integrated broadcast satellite modulator that supports both the new DVB Carrier ID (DVB-CID) standard for reducing interference
between satellite signals and the new DVB-S2X specification for improving performance of DVB-S2 satellite digital broadcasting. The Ellipse 3202 was recently used by several leading satellite operators including Eutelsat, Intelsat, RR Media, and SES to test the DVBCID standard, helping to make new standard become a reality for the satellite industry. The Ellipse 3102 and Ellipse 3202 offer a range of advanced capabilities, including dual power supplies and support for all SD and HD MPEG-2 and MPEG-4 AVC codecs at 4:2:0 or 4:2:2 chroma subsampling and 8 or 10 bits. Fully firmware upgradeable, the encoders offer a smooth and cost-effective migration path from MPEG-2 SD
4:2:0 8-bit to AVC HD 4:2:2 10-bit compression schemes. In addition, the encoders feature 3G SDI inputs to support the compression of 4:2:2 10-bit 1080p60 content for contribution applications where pristine video quality is essential. Options for remultiplexing and cascading allow the devices to operate on a stand-alone basis with no need for external multiplexers or PSI generators. Featuring a compact 1 RU footprint, rugged design, and plug-and-play deployment, the Ellipse 3000 encoders are the perfect fit for DSNG vehicles, teleports, and flyaway packages operating on the C, Ku or Ka bands, simplifying installation and use.
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Imagine Communications VersioCloud This pioneering solution allows media companies to manage video operations and channel playout from the cloud, enabling them to accelerate new channel launches and extend their brands and content with more freedom, visibility, and control than ever before. “Today’s video consumer has an increasing array of alternatives from linear TV and Over-the-Top sources, pressuring media companies to take aggressive action to maintain market share and keep viewers engaged with their content,” said Charlie Vogt, CEO of Imagine Communications. “VersioCloud’s disruptive new technology is the ultimate competitive advantage because it simplifies the creation and management of channels, advancing the monetization of content into new demographic or geographic markets. While other offerings are burdened by hardware CODECsor GPUs, VersioCloud is the industry’s only solution that is
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100% software running on commercial off-the-shelf (COTS) IT platforms.” With VersioCloud, all of the traditional integrated channel playout functions are now cloudenabled, including branding, graphics, automation, and server capabilities. Also available as part of the cloud playout solution, Imagine Communications’ newly announced Magellan™ SDN Orchestrator software control system and Selenio™ processing and compression solutions allow the transparent management of hybrid SDI, ASI, and IP content, providing a seamless on-ramp and off-ramp between IP and legacy baseband transport to advance the transition to IP. Playout in the Cloud, enabled by VersioCloud, profoundly improves the interactions between content providers, distributors and networks, affiliates, and video consumers by
redefining the technology required to originate, store, deliver and monetize video content. The combination of cloud-based playout and hybrid transport enhances all parts of the broadcast business including improved visibility to optimize advertising playout, efficient methods of disaster recovery, fast channel creation to accommodate seasonal or one-time events, the expansion of brands and content into new markets and new geographies without requiring expensive brick-and-mortar facilities, and a pay-as-you-go Platform as a Service (PaaS) model to greatly lower the cost and time barrier to traditional methods of establishing linear and OTT channels. By integrating VersioCloud with Imagine Communications’ Zenium™ workflow manager, media companies can easily design Playout in the Cloud workflows to suit their particular needs.
Lawo mc²36 RAVENNA mixing console
The mc²36 audio console is an all-in-one mixing desk, with a comprehensive feature set that covers broadcast, theater, house of worship, live and install applications. The compact size of the console belies its power. Apowerful DSP micro-core with internal 512x512 port audio matrix, and integrated I/O make it ideally suitedto permanent installations with limited space,as well asto rental companies looking to optimize transportation. As it is natively equipped with RAVENNA/AES67 technology, the
mc²36 integrates seamlessly into IP infrastructures. And for operational security, the console not only has redundant power-supplies but also DSP redundancy. In terms of connectivity, the console’s interfaces include 32 mic/line inputs, 32 line outputs, eight digital AES3 inputs, eight digital AES3 outputs, eight GPIO ports, one MADI (SFP) port, three RAVENNA/AES67 channels, and a headphone jack. In addition to the onboard I/O, a MADI tie-line connection and three
RAVENNA/AES67 Audio-over-IP ports provide future-proof connectivity for up to 384 external inputs and outputs, offering a total capacity of 496 physical inputs and outputs. The mc²36 is also fully prepared for intelligent networking with other mc²36/mc²56/mc²66 consoles, and can be operated in combination with Lawo Nova audio routers, giving instant access to thousands of audio channels. Lawo mc² consoles provide intelligent mechanisms (including user-rights management) to allow input sharing between consoles.
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LiveU LU500 As cellular uplinking has grown as a sector, creating a powerful new acquisition model for media companies across the spectrum, so the demand for ultimate resilience has grown. LiveU’s flagship LU500 is a powerful and flexible response to that demand. It takes the company’s expertise and packages it in a form factor that is driving the market to the next level. This small-sized unit with up to 13 network links, including eight internal bonded connections, is powered by LiveU’s new multiprocessor video encoding engine and fourth-generation patented bonding algorithms. Weighing
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around 1 kg (2.2 lbs), the LU500 offers the ultimate combination of high-performance and portability. The world of newsgathering and sports coverage has changed and responsiveness and speed of content delivery are key battlegrounds for media companies fighting for market share. With boot time under a minute, and proprietary antenna modules for increased performance, the LU500 is a key tool for journalists broadcasting rapidly changing events and requiring immediate turnaround. For extra-resiliency in challenging conditions, the unit can be
connected to the LiveU Xtender external antenna and to satellite equipment to create a hybrid cellular/satellite solution. The LU500 also supports additional modems via external USB ports and can be controlled by a single operator in the field using an intuitive touch-screen interface or controlled remotely from any computer using the LiveU Central management platform. In addition to direct camera connectivity, the LU500 also supports inputs from a variety of field editing and switching devices, enabling multi-camera production and real-time field editing.
Miller Fuid Heads Cineline 70 Introduced to the market this year, the Cineline 70 is purposebuilt for film and digital production cinematographers who desire a new dimension in professional camera support. The robust 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 fluid head offers advanced precision fluid drag control with ultra soft starts and smooth stops and perfect diagonal drag transition. For easy setup changes during and in between takes its counter balance systems with “all-in-one-location” rearmounted 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.
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NewTek TalkShow The turnkey TalkShow system builds upon Skype TX software from Microsoft for initiating, receiving, monitoring and managing video calls, with a exclusive set of live production tools. With TalkShow, users have access to customizable settings for fully color correcting live video calls (including features for automatic color balancing) as well as SDI-embedded audio, and compressor/limiter, equalization, and adjustable head-room controls for further improving audio quality. These tools allow producers to deliver enhanced video/audio experiences that are critical when producing credible, high-quality broadcast programming and are
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simply not possible with standard desktop video messaging products. Furthermore, the SDI input connected to the program out of the video mixer provides a real time view of the final program to the caller. Additionally, producers using TalkShow with TriCaster multicamera video production systems will be able to route Skype video calls directly to and from a TriCaster over a network connection without tying up an additional HD-SDI input. TalkShow enables broadcasters to manage all aspects of a live Skype video call in the control room like any other video
source, and adjust the visual and audio quality of each call. The integrated hardware and software solution offers dual channel Ethernet connectivity, two channels (1 in, 1 out) of HD-SDI I/O that includes reference signal, professional XLR audio support, Tally support and more. The 1RU system allows producers to easily incorporate TalkShow into any live production or studio. It used to take a lot of coordination, expense, and equipment to capture these conversations live with satellite feeds or it took piecing together a home grown, desktop chat solution that left everyone wondering whether the call would hold up.
Orban Optimod-FM 8600
OPTIMOD-FM 8600 is Orban's flagship processor. There are four versions of Optimod-FM 8600. Model 8600HD and 8600S HD is the full FM and Digital Radio version and the analog FM-only versions are 8600FM and 8600S FM. The only difference between the regular 8600 and 8600S is the rack space they use. The 8600S is only 1U high which makes it ideal for sites where rack space is limited Featuring versatile five-band and two-band processing for both analog FM transmission and digital media, the 8600 provides the industry's
most consistent sound, track-totrack and source-to-source. This consistency allows you to create a sonic signature for your station with the assurance that your signature will stay locked in, uniquely branding your sound. The 8600 provides stereo enhancement, equalization, AGC, multiband compression, low-IM peak limiting, stereo encoding, and composite limiting – everything that even the most competitive major market station needs to stand out on the dial. More than 20 excellent sounding, format specific factory
presets get you started. The factory presets are fully competent "out of the box, user can customize them with easy one-knob LESS-MORE control in Basic Control, with 50 parameters Intermediate control or with more than 120 in the Advanced controls, whose versatility will satisfy even the most finicky on-air sound designer. The 8600 offers 8500style processing too. This allows broadcasters to run favorite 8500 presets if they wish.
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Riedel Communications Tango
Tango supports AES67 and AVB standards and is Riedel’s first fully networked and expandable platform. It will accommodate current and future standards in broadcast, theater, and live-event environments and can perform in a variety of communications scenarios. Tango’s own dedicated intercom application, “My First Riedel” is a powerful entry level application, which turns the Tango platform into an efficient intercom system that users can
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tailor according to their needs, offering a matrix size of 40 x 80. Riedel’s Tango TNG-200 is equipped with a high-resolution, full-color thin-film-transistor display that ensures perfect readability at all times. The unit’s intuitive frontpanel controls simplify the recall of presets and adjustment of audio levels. 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 system is 1.5 RU high and features a shallow mounting depth and low-noise design. It is fully compatible with all of Riedel’s current and legacy intercom panels, including the company’s new RSP-2318 Smartpanel.
Ross Video Technologies Acuity The culmination of 40-years’ production switcher design experience, Acuity combines seemingly limitless production power with aesthetic beauty and unprecedented connectivity. Acuity is an innovative, futuristic large production switcher platform that not only delivers fast, efficient and error-free production, but also is ergonomically perfect and stunningly beautiful. When coupled with Ross Video’s DashBoard system
manager, the custom PanelBuilder or the industry leading OverDrive APC system, Acuity delivers production-control speed and efficiency as well as flawless program creation, every time, all the time. Acuity’s control panel, which is fully modular and can be custom configured to suit operator needs, was designed from the ground up after considerable consultation with customers, partners and prospective
users to determine the ideal ergonomics and perfect feature set. Innovative manufacturing techniques were used to construct control surfaces that considerably enhance overall operation and ease of use–and take production switchers to a whole new level. A true interconnected communications hub for the entire system, Acuity is the foundation for the production room of the future.
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Sennheiser Digital 9000
Digital 9000 is a digital wireless system that can transmit completely uncompressed audio, artefact-free and with superb dynamics. Targeting broadcasting professionals, (musical) theatres and high-profile live audio events, Digital 9000 sets a new benchmark in digital wireless transmission. The system, which includes the EM 9046 receiver, SKM 9000 handheld and SK 9000 bodypack transmitters, and a comprehensive suite of accessories, has been meticulously designed for the highest channel counts in today’s increasingly dense frequency environment. The ground-breaking digital wireless system is fitted with two transmission modes to suit any need and environment. The High Definition (HD) mode will transmit entirely uncompressed, artefact-free
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audio, as if a high-quality cabled microphone were used. The Long Range (LR) mode has been designed for difficult transmission environments with many sources of interference. It ensures maximum range with a proprietary Sennheiser digital audio codec. The system does not generate any intermodulation products — the high linearity of the entire system, from transmitters to antennas and receivers, and a special transmitter design make laborious intermodulation calculation a thing of the past. Transmission frequencies can simply be set in an equally spaced grid. A large display with clearly laid out controls is at the heart of the EM 9046 receiver. Three display modes ensure that the RF or sound engineer has an optimum overview
of important parameters in live situations and can change settings quickly via an intuitive, icon-based menu. Channels can be monitored via the headphone output, either individually or any number can be listened to combined. The modular EM 9046 receiver is a mainframe that accommodates up to eight receivers internally. The receiver system covers the UHF range from 470 to 798 MHz (328 MHz bandwidth). To easily integrate the system into an existing infrastructure, the user can choose between transformer-balanced analogue or digital AES3 audio output modules, or a mix of both. System set-up is facilitated by a built-in graphical spectrum analyser to scan the RF landscape, and an RF level recorder for checking reception and optimising antenna positions.
Sony 4K BVM-X300 OLED Monitor The BVM-X300 30-inch* 4K OLED master monitor is the flagship model in Sony’s professional monitor line-up. This high performance TRIMASTER EL™ OLED monitor includes unparalleled black performance, color reproduction, quick pixel response, and industry-leading wide viewing angles. In addition, the BVM-X300 supports High Dynamic Range mode and a wide color gamut conforming to DCI-P3 and most of the ITU-R BT.2020 standard*. By unleashing these superb features and qualities, this master monitor makes an ideal tool for a wide range of applications
such as colour grading and QC (quality control) in the 4K production workflow. In addition to the intrinsic highcontrast performance of the TRIMASTER EL™ OLED panel, this monitor provides High Dynamic Range mode. Peak brightness can be reproduced more realistically with colours that are typically saturated in a conventional standard dynamic range. This mode can brilliantly express sparkling town lights and stars in the night sky. The BVM-X300 offers industryleading wide colour gamuts. It
complies with the DCI-P3 colour gamut and supports the ITU-R BT.2020 colour space (not full), which is an international standard for high-resolution video formats. Furthermore, it supports SGAMUT3.cine and S-GAMUT3. This master monitor supports both 2 Sample Interleave (2SI) and Square Division signals. It also supports HD signals including 3GSDI single link for 1920 x 1080/50p 60p, YCbCr 4:2:2 10-bit, and 3G-SDI dual link for 1920 x 1080/50p 60p, 4:4:4 12/10-bit.
Stryme GENESIX VideoServer
The GENESIX VideoServer is a flexible and reliable multichannel ingest, graphic and playout solution for SD and/or HD. Thanks to its versatility, the GENESIX VideoServer can be used almost anywhere in the broadcasting environment. As a VTR replacement (1 GENESIX VideoServer can replace up to 4 VTRs), as a studio playout for news productions or as a multichannel 24/7 playout automation in a playout farm. Its features, such as studio playout, playout automation,
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automated insertions of overlay graphics, CG, GPI and Router support, VDCP, traffic management and automated gap-filling ensure a reliable operation and easy integration into existing infrastructures and processes. The GENESIX VideoServer supports all industry-standard codecs and formats. Its client/server architecture, as well as a simultaneous up or downscaling guarantee maximum flexibility. The integrated ingest function allows
automated recording via scheduled ingest, loop recording, and manual recording of video footage by means of batch capturing or crash recording to be carried out with maximum efficiency. To meet the specific request of the market, STRYME works constantly on the adaption of its client’s needs and developed a newsroom playout — NewsEdit, as well a multichannel playlist — ABRoll.
Wohler AMP2-E16V-M Is a modular 16-channel audio/video workstation with a complete suite of tools for analyzing and managing audio quality, level and loudness, metadata, Dolby D, E, and DD+ decoding and more. BENEFITS: ◾Full 16 channels of simultaneous, mixed-format audio metering and management ◾Customize two large high resolution LCD screens to display application specific audio/video data ◾32 presets enable complete reconfiguration of the entire unit with a single button press ◾Added support for SMPTE2020 metadata handling, audio delay and loudness monitoring ◾Mix, sum and route program audio live without the need for separate audio console ◾Save and copy system presets to other units via Ethernet/Serial connection to PC FEATURES: ◾Monitor, mix, route and fully
manage SDI embedded audio, AES, analog or even TOSLINK sources ◾Ability for re-embedded audio in SDI output ◾Dual LCD screens with autodetecting 3G/HD/SD-SDI video ◾16 Hot Keys enable one touch access to critical functions ◾Fully-customizable level meters including scale, color, range, thresholds, and more ◾Single screen view of 16 channel meters/clusters, phase indication, loudness, Dolby D, E, and DD+ presence and hot key assignments ◾Menu lockout function and redundant power supplies for secure transmission chain operation (optional) ◾"Super-Pair" feature offers additional channel pair (17, 18) to monitor additional two intercom or PL intercom channels MODULAR CARDS: ◾3G/HD/SD-SDI CARD: 16 channel 3G/HD/SD-SDI dual input Audio/Video module with 8 de-
muxed AES output pairs from SDI (PN 829024) ◾AES INPUT CARD: 8 Pair (16channel) AES audio input module (PN 829001) ◾AES OUTPUT CARD: 8 Pair (16channel) AES audio output module (PN 829002) ◾ANALOG I/O & TOSLINK CARD: 8-Channel analog inputs on DB25; 8 channel analog outputs on DB-25. Also includes optical TOSLINK input (PN 829021) ◾DOLBY DECODER CARD: Field upgrade for non-Dolby units. AMP2-16V models support 1 Dolby D/E/DD+ daughter card (PN 829014) ◾AVB Input Card: Monitor two 8channel AVB streams via 100 BaseT Ethernet port (PN 829009)
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CTV, part of the Euro Media Group, is now one of the largest and most well-respected independent OB companies in Europe. Based in High Wycombe in the UK, CTV has just taken delivery of what has been described by specialist UK coachbuilders, A. Smith Gt. Bentley Ltd. (ASGB) as “probably the largest Outside Broadcast trailer ever built.” The expandable 84m2 full HD OB vehicle was manufactured by ASGB in collaboration with ProjectBuilders, a division of Belgian broadcast and production company VIDEOHOUSE. The truck comes complete with a significant complement of DirectOut equipment including 25 KYRA
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MADI monitoring and line checking devices which were specially designed for CTV. According to CTV’s Paul Francis, DirectOut are CTV’s first port of call for all their MADI broadcast solutions, and so when it came to specifying equipment for their new vehicle, CTV got in touch. “DirectOut actually ended up designing a new product based on our requirements which has since been publically released,” recalled Francis. At CTV’s request, DirectOut added a headphone output on the front panel, incorporated PFT technology (Power Fail Through ensuring that signal transmission via the BNC MADI port is maintained in case of
power loss), enabled channel selection on the front panel to be locked as a precaution against accidental changes, and reduced the unit depth from 25cm to 20cm. “We particularly appreciated the opportunity to be involved in the later design stages of the KYRA MADI monitor as it ensured that we received the equipment most appropriate to our project.” In addition to the 25 KYRA units, DirectOut also supplied two M.1k2 MADI routers along with some extra I/O modules and an ANDIAMO AD/DA converter. “DirectOut equipment forms the primary monitoring and routing system in this OB truck,” stated
Francis. “Signals between the audio desk, VTR/DDR, stage boxes and monitoring are all routed using DirectOut M.1k2 router. As for the KYRA devices, they have made the operator and client monitoring much simpler and more flexible. By using the technique of constructing and routing MADI streams in this way we have reduced audio installation cable in this truck by over 80%, which is a huge achievement.”
CTV In 1986, CTV has developed into one of the largest and wellrespected independent OB Companies in Europe. CTV maintain a refreshing and dynamic approach to Outside Broadcasting that is endorsed by our most valued client base of blue chip broadcasters and high profile production companies. CTV is built upon a highly motivated team of television
professionals who have established a wealth of experience and knowhow over many decades. Thy work all the way as a technical partner offering cost-effective solutions as their clients programme demands, is not only the latest technology in HD and SD OB fleet. CTV works with the worlds’ leading broadcasters and programme makers, these include: 2 way Traffic, ABC, BBC, CBC, CBS Sports, Channel 4, Done and Dusted, E! Entertainment, Endemol, ESPN, European Tour Productions, Five, Fox Sports, HBO Sports, ITV, Initial, Living, Matchroom Sports, MTV, NBC Sports, Sky One, Sky Sports, Turner Sports, TVNZ, TWI, Whizz Kid DirectOut GmbH was founded in 2008 by a team of professional sound engineers headed up by Stephan Flock, an award-winning classical music sound engineer with over 20 years’ experience in digital audio signal processing design.
DIRECTOUT The company specializes in developing essential pro audio connectivity, networking and bridging solutions for broadcast, studio, live and installed sound applications. Unique in that all members of the DirectOut development team are still active professional sound engineers, the company is thus fully focused on real-world demands and problem solving. The product range, marketed under the brand of DirectOut Technologies®, offers solutions that build bridges between different audio worlds and make systems and formats more flexible. Audio formats supported include MADI, AES67 and RAVENNA. Headquartered in Mittweida, Germany, DirectOut products are distributed worldwide.
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More than 9,000 visitors attended the Radio Days event held by German public broadcasters’ association ARD between 5-9 November at the Center for Art and Media Technologies (ZKM) in Karlsruhe, Germany. The audience was presented with a program that included live radio dramas and interviews, alongside the presentation ceremony for the renowned German Radio Drama Award (Deutscher Hörspielpreis). In addition to being aired on radio, the events from Radio Days (Hörspieltage) were broadcast via live audio and video streams on the Internet, and also recorded for later download from the broadcasting stations’ media centers. The quality standards that the public broadcasters set themselves for streaming productions like this are close to those of their regular productions – but the available budgets for their production are lower. Historically, this would have presented some serious problems but new technical concepts promise a solution to the dilemma, as a test setup at state broadcaster SWR proved during Radio Days. The events comprising Radio Days took place in different venues within the ZKM facilities. For example, the Deutscher Hörspielpreis awards ceremony was staged in the large hall, while interviews were conducted in a lounge that was set up specifically for the purpose. There were four cameras in use, whose signals had to be sent to the control room, together with audio and communications signals. Sascha
Schwoll and Wolfgang Goetz (both from broadcasters within ARD) devised a method to achieve this efficiently and in a flexible way. Central to the concept were several Lawo V__link 4 Video-over-IP processors and crystal mixing cores. “With a Lawo V__link4 in every venue, I exchanged all types of signals in and from each venue. The V__link4 was housed in a small stagebox in the venues, together with a crystal core that collected the microphone signals,” explains Schwoll. “We had video with four camera feeds from each venue, plus a program monitoring signal for the camera operators, and audio including the intercom signals and GPIO control signals for the tallies.” The signals were all collected by the V__link4 and sent to the control room via a single 10-Gbit/s Ethernet connection. “In the conventional way of working, we would have used quite a lot of cables”, says Schwoll. “That would have had us questioning whether the program monitor was really necessary. And for the intercom signals, we would have to set up dedicated intercom units. At Radio Days, this was done by using the crystal console that we have on site to convert the mic signals and to embed the GPI/Os. The intercom is controlled by the InterCom Tool that is integrated in the crystal. We took the audio signal from the camera operators, embedded them into the video signals – and we were done”. In the control room the signals were received by two further V__link4 units, and sent into a V__pro8. This pro8 functioned as a pre-positioned video matrix, since the video mixer can only handle four video signals. Besides the flexibility, additional benefits became evident when using the Lawo equipment, and these helped to further reduce costs. For example, the quad split out of the V__pro8 was streamed via WLAN to iPads that were
mounted in the camera tripods. In this way, every camera operator had a perfect overview of the current pictures, and everybody could create pictures accordingly. “When creating video streams for smaller productions like this, we simply have different workflows – faster and slimmer than at bigger and more complex productions with OB trucks. When doing a big production, it is common to have rehearsals and every camera operator has his clipboard with the camera schedules on them. So they know exactly, ‘OK, in Scene 1 I film the long shot, and in Scene 2 I do the close-up’. When doing a small streaming production, the lead times are much shorter. Basically, we went into this production without detailed rehearsals or camera schedules. The Quadsplit output that comes with the V__pro8 is really a useful feature. and kept us from having to invest in additional infrastructure.” The approach to Radio Days used a test setup that was designed to extend the broadcasters’ experience of this kind of production. After a couple of days in use, the responses were very positive. Sascha Schwoll: “The results are really unbelievable – especially taking into account how little effort we had to use to create this output. Before, results like this would not have been possible – or only by using a lot more resources. Especially during festivals like this one – one hour streaming here, another hour of streaming there, and after that the interview from the interview lounge… and all that with only one team and one set of equipment. So with this system we really get a great scalability at a very good rate. We can deliver a level of quality that compares with our colleagues in the big OB trucks, and that helps us to widen our production portfolio from the huge production to the slim and flexible smaller productions at the low end. TMBi - 55
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Txt: Keith Wymbs
Time-shifted services such as catch-up TV, start-over TV and nPVR enrich live TV experiences, can be adapted for multiscreen viewing and offer new ways to package live content alongside targeted advertising. Increasingly, consumers expect their video anywhere, on any device and want to view that content with DVR controls like time delay, pause or repeat. Pay TV operators can add value to live broadcasts by creating VOD assets in real time. Though customer satisfaction and loyalty are important objectives for operators, so too is monetization. Live-to-VOD capabilities offer new ways to package live content alongside targeted advertising. To keep a competitive edge, content providers also need to be able to easily prepare their technology infrastructures for live linear streaming at the lowest possible total cost of ownership. That strategy starts with a continuously upgradeable video processing and delivery infrastructure that can bring premium live-streamed content to
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viewers no matter what device they’re using or where they are. Fixed-function hardware might offer good performance initially, but can be quickly surpassed by more cost-effective and highly-adaptive options. A software-defined video processing platform provides far greater flexibility and scalability, while extending the useful life of infrastructures as the industry evolves. By leveraging the most powerful general purpose programmable processors, the power and efficiency of a software platform can follow the same rate of performance and cost enhancements as standard IT infrastructure.
SOFTWARE-DEFINED VIDEO ENABLES LIVETO -VOD The flexibility of a softwaredefined video processing approach allows content providers to offer premium live content while extracting unmined value from that same content. They can enhance core live linear streaming services
with catch-up TV functionality and multiscreen delivery. By integrating ad insertion capabilities, operators can even generate additional revenues through targeted advertising. By supporting third party integrations, a software platform can allow DRM, ad-servers, and other video functions to be fully integrated into a unified system. Modular software-based platforms can also support a multitude of optional add-ons including video processing specific to device profiles, just-in-time packaging, or audio transcoding. Live-to-VOD features such as nPVR and catchup TV can also be supported through modular software components. Other possibilities could include video analytics, content protection systems and adservers. When built upon a software platform, a live-to-VOD system can quickly scale up through ground or cloud-based video processing. As processing and storage capacities of cloud infrastructures improve, video processing can benefit from increased performance while
legacy hardware can be repurposed for less capacity-hungry applications.
OVERCOMING LIVE-TOVOD MULTISCREEN CHALLENGES Live-to-VOD services can be adapted to second screen devices such as PCs, smartphones and tablets. However, formatting live-toVOD content to fit second screen devices is not as straightforward as simply playing back content on a TV set. A live-to-VOD service needs to be able to repackage content, using recorded catch-up TV or nPVR content as mezzanine files, to a wide variety of devices supported by the pay TV operator. The system needs to be both scalable and flexible to support edge servers and
third party CDNs. With premium pay TV content, it is also important that live-to-VOD services incorporate DRM technology to protect valuable content regardless of the device used for playback. Whether it’s catch-up, start-over, nPVR, or pause TV, each live-toVOD service implementation must also take into account the different types of screens and networks in use. Bandwidth, storage, monetization and security concerns can lead to complications that are quickly multiplied by the myriad viewer devices and scenarios involved. By relying on a software-based approach rather than fixed-function hardware, live-to-VOD systems can be more easily upgraded to embrace new standards and features as they emerge. By also including a just-in-time (JIT) packager that can adapt video streams to network and device
parameters in real time, pay TV operators can be prepared for whatever comes next.
A NEW VIDEO DELIVERY PLATFORM FOR A DVANCING L IVE TO -VOD: E LEMENTAL DELTA Leading cable and satellite operators are already using software-defined video processing to enable multiscreen TV and timeshifting features. As the price to performance ratios of off-the-shelf hardware continue to improve and private cloud IT capabilities mature, the business case for shifting traditional video encoding and multiplexing to software-defined video systems is now compelling. Elemental’s video processing and
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multiscreen delivery solutions are all built with a software-based approach. This allows for the rapid addition of new live-to-VOD features and support for new types of devices as they are introduced to the market. For example, the ElementalÂŽ Delta video delivery platform supports multiscreen delivery of advanced live-to-VOD services such as catch-up TV, start-over TV, and nPVR. The IP video delivery solution lowers storage, bandwidth and transit costs and helps content providers mitigate distribution expense by taking ownership of greater portions of the delivery infrastructure. Already adopted in more than 10 countries, Delta combines just-intime (JIT) packaging, origin services, intelligent caching, dynamic ad insertion and replacement, and end-to-end
encrypted content protection functions in a single platform. The platform reduces multiscreen system complexity with the ability to transform any input into any output for high-quality, secure video delivery. The IP video delivery solution lowers storage, bandwidth and transit costs and helps content providers mitigate distribution expense by taking ownership of greater portions of the delivery infrastructure. Elemental Delta enables video providers to leverage a single multiscreen delivery workflow for every connected device, eliminating the management of multiple CDNs and network topologies. Unlike generalized multiscreen delivery services, Delta provides on-the-fly support for all major adaptive streaming protocols, compression formats, and multiple
digital rights management (DRM) systems within a single framework. Among supported protocols are HDS, HLS, Smooth Streaming and the MPEG-DASH standard, which supports on-demand, live and timeshift applications and services. Delta also handles H.264 delivery and the high-efficiency video coding (HEVC/H.265) codec needed for next-generation video delivery. To secure content, the platform combines embedded encryption and decryption capabilities with JIT DRM wrapping, enables protected assets to be stored and moved efficiently through the network and applies DRM in real time upon delivery. Elemental Delta has builtin failover and redundancy, whether on the ground or in the cloud.
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