Editor Javier de Martín email@example.com Editor in chief Jesús Carrillo firstname.lastname@example.org Key account manager Cristina Feduchi email@example.com Creative Direction Mercedes González firstname.lastname@example.org Editorial staff email@example.com Administration Laura de Diego Marga Quevedo firstname.lastname@example.org
NAB 2015 News & Higlights
Betty Cantor-Jackson A sound pioneer
Signals of Network Operation AVB vs. SMPTE 2022
TM Broadcast International #21 May 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 first trade fair to be held in Spain on Production and distribution of audiovisual content
Editorial This has been a NAB in which there have been no big surprises, we have seen upgrades and new products catalog in line with what professionals had asked for. If we had to highlight something is the amount of drones showed at Las Vegas Convention Centre. The most important announcement was perhaps the purchase of Orad by Avid, another operation to add to the list of great companies coming together to become stronger and fill gaps. The question is whether this transaction has not done too late, but that is something that time will respond. Moreover, we feel that technological developments have adapted their speed to actual demand. We know that NHK has broadcasted 8K tests, but broadcasting in HD still the king. However 4K is succeeding in acquisition and post production, due to the huge technical and creative possibilities. Brands are bringing interesting products, with agile and clear workflows. Nowadays there are 4K technologies to produce an agile and cost effective way, we have seen in this show a lot of interesting low end products. Now this must be incorporated into Live Production environments. Sports are the trendsetters and UHD fits perfectly with them. The advantages for better HD are so great that justifies the investment. Another trend is that IP is somewhat slower than previously thought in professional applications. We are not referring to streaming because is clear that it works. It is strictly necessary to clarify which will be the standards. We do not know if it is useful in live production yet, remains to be seen how it can be incorporated. Baseband video still offers many advantages like connectivity, immediacy and strength, which hardly could be replaced.
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PA N S H O T
Grass Valley sees widespread adoption of its 4K Acquisition Solutions Grass Valley, a Belden Brand, announced that a number of industry leaders have committed to the new Grass Valley LDX 86 Universe switchable 4K/extremespeed HD camera to greatly enhance their storytelling capabilities. Following on the heels of last year’s extremely successful 6X extreme-speed camera introduction, the LDX 86 Universe allows either 6X HD acquisition or 4K acquisition from the same camera, and is also available as an upgrade to existing LDX 86 XtremeSpeed cameras.
“The only area Grass Valley focuses on more than producing high-quality, innovative products is providing the highest level of service and loyalty to our clients,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “We are pleased that a wide range of industry leaders have committed to joining us by upgrading to our new LDX 4K/6X switchable camera. The LDX 86 Universe will help our customers stay ahead of the competition with the most advanced imaging possible.”
For rental houses, this will give them one camera platform that can provide content acquisition in multiple formats; for stadium owners, it will offer even more compelling content display options; and for OB vans, it will expand their capabilities with a multiformat camera that can deliver extremeslow motion or 4K images to best fit the storytelling needs of the event.
A growing list of Grass Valley’s industry-leading customers has already committed to the LDX 86 Universe, including OB truck operators Mobile TV Group (MTVG), Lyon Video and NEP Broadcasting; rental houses Bexel, Video Equipment Rentals (VER) and Fletcher Sports; and professional sporting venues for the Oakland Athletics and Cleveland
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Cavaliers. The first true 4K camera with B4 lens technology, the LDX 86 Universe represents a quantum leap in 4K sports production. Now broadcasters can shoot sports productions in 4K with no differences in depth of field, zoom range or sensitivity compared to HD cameras, retaining all the shotframing capability and creativity they are accustomed to with HD. This combined with the fact that the LDX 86 Universe can also be used in any camera position where a normal HD, high-speed 3X or extreme-speed 6X camera is required, makes the LDX 86 Universe the most versatile camera for any sports production. With one camera, now broadcast rights holders, OB van companies and rental houses can be Future-Ready, applying technology once limited to “specialty positions” to more and more camera angles.
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VIDELIO-Events + Utram innovates with Riedel for French Reality TV Show Riedel Communications announced VIDELIO-Events + Utram have set up a solution using Riedel MediorNet for "La Maison du Bluff," a French reality TV program produced by Kawa Production. The idea of using the MediorNet solution was immediately appealing to Frederic Redondo, director of Pole TV & Sport for VIDELIOEvents + Utram, and Eric Montet, chief technical officer at Kawa Production, as a way to optimize the production. Long cabling distances and the need for different zones to collect signals required the installation of optical links. Since the solution could not be limited by a point-topoint approach, a ring topology was used to connect the video control room to various points inside and
outside the villa. In addition to saving set-up time, this topology would also enable the necessary integrated redundancies. Therefore, VIDELIO-Events + Utram wanted a flexible cabling solution that could support ring, star, or daisy-chain topologies according to changing production requirements. MediorNet's ability to manage the real-time transport of all the signals including cameras, video, audio, data, sync, and intercom was crucial. The mobility of the external production zones mandated a solution that was portable, easy to operate, and completely plug-andplay. Another benefit of using the MediorNet solution was its capacity to manage routing in a point-topoint as well as point-to-multipoint
fashion for each video or audio source on the network. In this way, the MediorNet operates as a powerful, decentralized router. Signal processing tools such as embedder/de-embedder, frame store/frame sync, test signal generator, and timecode generator are all built into the MediorNet system. The ability to create quadsplits and perform video format conversions also represented a major benefit for VIDELIO. VIDELIO-Events + Utram used Riedel's RockNet to enable audio transport over Cat5 cabling that also interfaced directly with the MediorNet system. The MediorNet backbone also carried signals from Riedel's Artist digital matrix intercom and keypanels as well as antenna signals for its Acrobat wireless intercom system. "The major difficulty with this project was the long distances between the heart of our infrastructure, i.e. the video control area, and the production zones inside and outside the villa," said Redondo. "The production company wanted the ability to shoot in different spots such as the swimming pool. This is why we designed the MediorNet racks on casters that also included our Sony HDCE-200 and HDC-2400 cameras connected through the network. It goes without saying that the MediorNet solution allowed us to significantly optimize our installation time as well as our production workflow over this vast production area."
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PA N S H O T
Infinity Set wins IABM Game Changer Award at NAB 2015
Spain’s Dorna Sports renews Replay Platform with Grass Valley, sets stage for future expansion
Brainstorm Multimedia is pleased to announce that its Infinity Set - the all-in-one virtual set and 3D graphics solution - has won the IABM Game Changer Award 2015 in the Post Production category. Brainstorm’s Infinity Set was selected by a judging panel of industry experts as a leading product showcased at NAB 2015 with ground-breaking and innovative technology which will change the way in which virtual set programs will be produced.
Dorna Sports has renewed its contract with Grass Valley, a Belden Brand, for an additional four years due to the flexibility and future expansion capabilities Grass Valley technology offers. Dorna has invested in 20 K2 Dyno replay systems to deliver instant replay and highlight generation with pan/zoom technology for SD/HD/3G and 4K, and three GV STRATUS video production and contentmanagement systems, for a full set of production tools in one application to produce highly creative content with an efficient and flexible workflow. This strategic partnership will allow Dorna to create more—and better—content for live production and support the ever-growing need for more sources and destinations in international sports production. “Grass Valley’s live production solutions are highly intuitive and deliver the workflow efficiency we need to create and share engaging content,” said Sergi Sendra Vives, director of TV production, Dorna Sports S.L. “As we look to increase our coverage of Moto GP competitions, we are confident in our decision to renew our replay platform with Grass Valley in order to exceed our viewers’ expectations now and in the future. A key factor in the renewal of Dorna’s contract with Grass Valley is the ability to increase coverage at Moto GP premium events around the globe with an enhanced replay system and unique contentmanagement tools. “By combining our powerful K2 Dyno with the unique workflow application of GV STRATUS in the live production environment, Grass Valley is able to help Dorna enhance their storytelling capabilities and plan for their future,” commented Said Bacho, senior vice president, EMEA, Grass Valley. “This renewal demonstrates the need for strategic partners as broadcast needs change, and we look forward to working alongside Dorna to meet their business goals.”
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The eye-catching theatre presentation on the Brainstorm booth wowed the crowds with ‘must see’ features such as the TeleTransporter, Brainstorm’s revolutionary ‘virtual traveler’ functionality giving users the unique ability to perform realtime insertions of live characters in a live event happening at a remote location. Equally impressive was Brainstorm’s patented TrackFree technology, combining tracked and trackless productions for maximum flexibility, creativity and visual impact, and with the capability to detect the exact location of the presenter and ensure the correct positioning of the talent within the 3D scene. Infinity Set’s patented 3D Presenter capability also stunned the crowds by generating a true 3D representation of the live presenter and as such casting virtual shadows and reflections over other real and 3D objects within the virtual environment. “We are always pushing the boundaries of the real-time 3D graphics and virtual studio sectors in the broadcast world. That’s why we’ve launched this latest version of Infinity Set which has revolutionary features unmatched by any competitor system. In particular, our TeleTransporter, TrackFree and 3D Presenter technologies were identified by the judges as the ‘game changing’ capabilities of the Infinity Set.”, says Brainstorm’s Product Manager, Thierry Gonzalo.
PA N S H O T
Teradek announces VidiU Pro Teradek, a Vitec Group brand, has introduced a new addition to the popular VidiU family of streaming devices, the VidiU Pro. With enhanced WiFi, built-in recording, several new streaming options and simplified workflows, including the groundbreaking LiveLink™ and ShareLink™, VidiU Pro offers webcasters an all-in-one streaming solution that won’t break the bank. VidiU Pro, like the original VidiU and the new VidiU Mini, streams to Teradek’s Live:Air iPad Production Suite and to any online video platform using RTMP. It further simplifies the process by integrating APIs from several new CDN partners such as DaCast, Ooyala, Akamai, and Azure, along with popular favorites Ustream, Livestream, YouTube Live, and Wowza. During mission critical broadcasts, Zixi’s streaming protocol can be used to ensure your stream reaches its destination reliably, despite challenging network conditions. For added peace of mind, VidiU Pro can also be remotely managed using Teradek’s Core platform so you can always keep an eye on the status
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of your stream. To make broadcasting online even easier than before, the VidiU Pro introduces Teradek’s exclusive new LiveLink technology. To set up, you simply use the companion app on your smartphone to frame your shot, sign in to any online video platform, and hit a single button to “Go Live”. The VidiU Pro receives all the pertinent information via Bluetooth, and then seamlessly connects to the Web using one of it’s own network interfaces, or via the smartphone’s 3G/4G/LTE data connection (depending on your preference). The details are all taken care of under the hood, with fewer steps and less complexity than ever before. If the throughput or reliability of the network connection at your event is inadequate, the new ShareLink feature combines the resources of up to four network interfaces together into a single robust link. ShareLink can mix and match network types, so you can combine your smartphone’s LTE network with your wired network, or even combine the uplink capability of 4 smartphones. “We took
everything we learned over the years from both our popular consumer products and our successful professional television broadcast products, we simplified it, shrunk it, and stuffed it all into the new VidiU Pro,” said Nicol Verheem, General Manager of Creative Solutions, Vitec Videocom. “Nothing comes close to this level of functionality and simplicity. Plus, we made it really affordable so that every webcaster can pick one up without sticker shock“. In addition to the new streaming options, the device has a new internal design, offering dual band 802.11 a/b/g/n/ac WiFi and a new network processor that offers faster data throughput over any network. Like its siblings, the VidiU Pro includes a high capacity Li-Ion battery with over 2 hours of untethered run time, an HDMI input, and Bluetooth connectivity for quick and simple stream configuration. As an added benefit, VidiU Pro also includes an SD card slot for onboard recording, allowing you to save H.264 video files while you stream to the Web.
PA N S H O T
Memnon launches archiving project with Indiana University Memnon has joined the Media Digitization and Preservation Initiative (MDPI) at Indiana University (IU), based in Bloomington, Indiana. The project will see more than 400,000 audio and video recordings digitised, preserved and made available for research. A recent comprehensive expert study has identified the media objects, currently stored on the campuses of IU, which are historically significant, carry enduring research value, and are particularly vulnerable because of rapidly deteriorating condition and format. These include more than 400,000 objects – audio, video, film and other media – on the Bloomington campus, and a further 100,000 objects at Indiana University-Purdue University
Indianapolis (IUPUI). More material is stored at other campuses. The large-scale project is funded for the next five years. Memnon will manage world-class digitisation facilities on site at the university. This includes specialist equipment to transcribe obsolescent audio and video formats, which are maintained as part of Memnon’s specialist archiving services. In establishing the MDPI, IU President Michael A. McRobbie said, “The goal of this initiative is extremely ambitious—it is, in short, to digitize, preserve and make universally available by IU’s Bicentenary all of the time-based media objects on all campuses of IU judged important by experts.” (1) For Memnon, CEO Michel Merten said, “All around the world we see
archives that could be lost because they have yet to start a comprehensive digitisation process. The materials are becoming fragile and worn, and the technology to replay them is harder to find and maintain. Indiana University has recognised this issue and started a timely programme to conserve this vast store of intellectual property, and we are delighted to be working with them.” Works that have been digitised under the MDPI project will be available via the Indiana University Media Preservation and Access Centre in partnership with IU libraries. The work is scheduled for completion in time for IU’s bicentennial celebrations in January 2020.
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Broadpeak simplifies video content delivery management with release 5.0 of BkM100 CDN Manager Broadpeak announced the release of version 5.0 of its BkM100 CDN Manager designed to simplify the delivery of pay-TV services to any screen, including TVs, PCs, smartphones, and tablets. Through the introduction of a new graphical user interface (GUI), the BkM100 CDN Manager V5.0 enables operators to monitor the complete CDN system accurately in order to perform capacity planning and to troubleshoot ingest, propagation, and delivery issues quickly for live and on-demand content. This allows operators to provide a superior quality of service (QoS) to subscribers. Broadpeak will show the new BkM100 CDN Manager at
TV Connect 2015, in London, April 28-30, at stand 119. "The complexity of video streaming systems increases in parallel with the multiplication of networks addressed, such as cable, IPTV, OTT, mobile, and the number of applications supported, including VOD, live TV, catch-up TV, and cloud-PVR," said Jacques Le Mancq, CEO of Broadpeak. "This makes it essential to have a high-performance, easy-to-use management system for organizing and centrally monitoring all of the components of the delivery system. The latest version of our BkM100 CDN Manager allows operators to manage and monitor all of the
modules and streaming equipment in the content delivery chain simplistically through a centralized user interface that requires little training, resulting in increased operational efficiencies as well as cost savings." After taking a look at the GUI on Broadpeak's BkM100 CDN Manager V5.0, operators can quickly assess the status of the entire CDN system. By helping operators pinpoint and resolve video delivery issues faster (i.e., identifying when configuration or load problems exist, when a streaming server component or a link is down, etc.), the BkM100 CDN Manager improves QoS for end users. Using the BkM100 CDN Manager, operators can manage a combination of streaming and cache video servers in the most intelligent manner possible. As opposed to providing operators with a simple cache solution like most traditional CDN management systems on the market, the BkM100 CDN Manager offers a smart caching strategy. Advanced caching mechanisms based on content popularity analysis allow operators to alleviate the requirements on storage space and delivery pipe size, leading to important cost savings. The BkM100 CDN Manager V5.0 includes additional bandwidth management capabilities that limit the number of simultaneous streams in a house or the bitrate of content on specific devices. Based on an open architecture, the BkM100 CDN Manager offers seamless integration with service platforms and content management systems, making it easy for cable, IPTV, and OTT operators to integrate into the network.
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PA N S H O T
Sky News partners with LiveU for UK General Election Coverage
LiveU has announced that Sky News has chosen LiveU as a key technology partner for the UK general election, to be held on May 7th. The deal has been overseen by LiveU’s UK partner Garland Partners Ltd. The broadcaster has described its forthcoming coverage as “the most ambitious and wide-ranging results service available and will ensure customers have the most up-todate information as it happens”. This will include a specially created studio at Sky News’ Osterley location. On 7th May Sky News will be live from over 270 declarations. The Sky News team will broadcast from key constituencies across the UK including Kay Burley from Witney, David Cameron’s seat, Anna Botting from Sheffield Hallam, Nick Clegg’s constituency, Andrew Wilson from Margate where Nigel Farage will be hoping to gain the Thanet South seat, Jeremy Thompson from Ed Miliband’s constituency in Doncaster, and Eamonn Holmes will be in Sunderland where the first result of the night is expected to be announced. Sky News will use multiple units from across LiveU’s range, including the small form-factor
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LU200, as well as its existing LU500 lightweight backpacks. LiveU units are managed and controlled by LiveU Central, the unified, cloud-based management platform, which enables fleets of units to be centrally controlled using geo-location capabilities alongside a host of other management options John Ryley, Head of Sky News, said: “This will be the most exciting campaign and election night for decades. Sky News has created compelling and innovative content across all platforms which will give Sky customers all the details they need from the campaign trail and on election night itself. Sky News will offer the latest news and analysis with clarity and speed but with a wealth of in depth digital
features that will allow customers to delve deeper into what this election means for the UK.” Samuel Wasserman, LiveU CEO, said, “We are proud that Sky News, one of the world’s leading news operations, has chosen LiveU as a key technology partner for the forthcoming UK general elections. Sky News continues to innovate and we are pleased to assist with that innovation. Our approach and highly resilient technology allows broadcasters and other media outlets to select products from across our range and unify its use with LiveU Central, our management platform. Newsgathering has changed forever with LiveU playing a major part in the transformation.”
PA N S H O T
Sound Devices keeps its cool in the bayou for Louisiana Film sound owner Mark Leblanc As a Production Sound Mixer and owner of Louisiana Film Sound, Mark LeBlanc’s credits include the 2013 Oscar®-nominated Beasts of the Southern Wild, GI Joe Retaliation, American Horror Story and the recently released Zipper. After 25 years in the industry, LeBlanc understands the importance of capturing pristine quality audio, and that’s why he relies on the 788T and 702T Portable Recorders and 664 Field Production Mixer from Sound Devices, specialists in audio and video products for broadcast and film production, for his recording needs. He also utilized several additional Sound Devices accessory products including its MM-1 Preamplifier, its CL-9 Linear Fader Controller for 788T and its CL-WIFI for 788T. LeBlanc has been using Sound Devices gear since 2007, when he first incorporated the 788T into his rig. “I decided to switch to a standalone recorder from my previous computer-based one, and selected the 788T over other options, based primarily on the features of the operating system,” he says. “I also really liked that I could access the menus and customize shortcuts from a standard USB keyboard. Since then, I’ve come to appreciate the extensive metadata information and the fact that you can go back at any time and edit.” His primary cart rig consists of Sound Devices 788T with its CL-9 controller and CL-WiFi accessories. Sound Devices 664 works perfectly for his car/boat insert work, and its extended battery life comes in handy on those long days in the field. Being able to move CF cards between the 664 and 788T is a real time saver for him. He sets up identical folder structures; this way he doesn’t have to spend time at the end of the day consolidating
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files. He also has a Sound Devices 702T on hand for those times when he needs to run out and grab sound effects. The rest of his kit consists of Lectrosonic wireless mics for the talent, Comtek and Sennheiser receivers for IFB with the AKG CK69 shotgun and Sennheiser MKH50 doing the heavy lifting for mics, along with Mozegear for timecode boxes and Denecke for slates. In addition, he uses an iPad Mini to connect to the CL-WiFi for metadata entry and a small USB keyboard to access the 14 keyboard shortcuts mapped to his most-used 788T functions, such as Scene Name, Track Name, Delete, False Take and Advance Scene Number. LeBlanc’s long-time boom operator, Matt Champagne, also uses Sound Devices MM-1 Preamp fed into Micron Wireless Transmitters, because it helps protect against overloading the transmitter input. Having recently turned to Sound Devices for the now-wrapped American Horror Story Freakshow, LeBlanc used his 788T to capture B-unit sound for the characters Bette and Dot, Siamese-twins
played masterfully by Sarah Paulson. Those familiar with the show know there are moments when the sisters communicate telepathically. For these situations, LeBlanc had to feed prerecorded dialog into an in-ear system so Paulson could more easily respond to the dialog of the opposite sister he was recording. LeBlanc relied on the internal routing of the 788T to create a mix-minus setup where Paulson heard only the pre-dub from the playback system, but not her live dialog, while at the same time everyone in production could hear both, all while ensuring that the pre-dub was not picked up in the recording. LeBlanc also incorporated the use of multiple Sound Devices recorders (788T and 664) into his kit when he mixed the movie Zipper, which was in competition at the 2015 Sundance Festival. Prior to production, he loaded both machines with identical track names, folders and roll information. This cross-compatibility really paid off, because he didn’t have to spend any extra time organizing files during production.
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Elemental named a “Cool Vendor” by Gartner Elemental Technologies announced it has been recognized by Gartner as a “Cool Vendor.” In an April 16, 2015 report entitled “Cool Vendors in Communications Service Provider Infrastructure, 2015,” Gartner analysts Akshay K. Sharma, Sylvain Fabre and Deborah Kish note as CSPs and large-scale enterprises move toward software-defined networking and further virtualization, new vendors appear offering solutions for video, along with vendors offering newer mobile backhaul and mobile core solutions. The Gartner report focuses on vendors that have an impact on the CSP networking marketplace from the perspective of various technologies and end-user needs, and points out that “softwaredefined video (SDV) is emerging as
a new area for CSPs to explore newer services” and to “look for solutions that support SDN-based control together with NFV-based service orchestration for mobile core functions, especially for newer video on-demand services. SDV may allow the provisioning and orchestration of other dynamic applications, such as video as a service.” In addition to listing innovative technology vendors in the CSP market, the report assesses these companies against the Gartner Nexus of Forces for cloud, mobile, information and social media technologies. “Being named a ‘Cool Vendor’ by Gartner is an honor and we believe a validation of the impact that Elemental’s SDV approach and solutions are having across the broadcast, pay TV and enterprise
video industries,” said Sam Blackman, CEO and co-founder of Elemental. “With the inherent advantage enabled by Elemental, more than 600 video enterprises have deployed our software-defined video solutions. We’ve become a critical element of video infrastructures for leaders like Comcast, Sky, Telefόnica and Telstra.” The information provided in the Gartner report is of value to all broadcast, pay TV and enterprise video service providers who are seeking to roll out new services and improve the flexibility and scalability of their infrastructures.
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2Wcom at CommunicAsia
“For CommunicAsia 2015, we’ve chosen to show some of our intelligent solutions for bringing future-proof versatility and cost saving to high-performance operation in FM-SFN networks, Audio over IP, and MPX over E1 and IP.” — Werner Drews, Managing Director of 2wcom
Products on Show at CommunicAsia 1. MM01 Audio over IP Contribution/Distribution Solution – 2wcom’s MM01 is a new compact multi-role solution for audio over IP contribution and distribution. Targeted primarily at studiotransmitter link applications, MM01 is designed for versatility, providing advanced redundancy capability and monitoring functions, with the ability to integrate into diverse infrastructures. The MM01’s audio synchronization, delivered to
microsecond accuracy, also makes it suitable for applications where precise timing is essential, such as SFN FM networks. Offering comprehensive support for today’s most widely-used audio codecs including AAC and eAPTX, the MM01 also supports dual streaming and Pro MPEG FEC – standardized mechanisms for overcoming IP limitations when they occur. 2. MPX over E1/IP Solution – Delivers CAPEX savings because less equipment is required - no stereo-generator or RDS encoder are needed at the FM-TX sites. The FM-MPX signal can be produced and distributed from one central location (Play-Out Center). The solution also creates cost savings in infrastructure because less space is needed at the transmission sites, and operational savings because less equipment results in less power consumption,
Atomos announce new Italian Case Design for Ninja & Samurai Blade Atomos put an enormous amount of thought, care and attention to the design and operating features of their products but also considerations are made that enable filmmakers to transport their gear not only safely but with a certain amount of style. Having already designed a custom case for the Shogun Atomos have now accepted a final concept from Italian case designers HPRC to create a purpose cut case for the Atomos Ninja Blade. "To be able to offer these super high quality, Italian design cases for free with our products is truly
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less heat dissipation, less in cooling down the sites year by year. 3. Single Frequency Network System Solution – Timing is a critical requirement for SFN networks because all transmitters broadcast on the same frequency. SFNs can be deployed in digital networks like DVB-T/T2 or for analog FM or AM broadcasting, but the challenge is always the same – ensure accurate synchronization between the transmitters. The solution provides precise accuracy in synchronization of FM cells with automatic adjustment of runtime differences caused by variable packet delays, jitter and satellite anomalies. Distribution can be by E1, IP or satellite, and any one of the feeds can be selected for backup purposes without affecting the synchronization. Adjustment of runtime differences, jitter etc. is automatic.
special, we now have a range of custom Atomos cases for Shogun, Ninja Blade and Samurai Blade." said Jeromy Young CEO of Atomos. Due to become available in June 2015 the improved Ninja Blade case has been designed from high performance resin for maximum durability and protection it also has pre-cut foam inserts which allow for accessories, all at no extra cost to the end user. Ninja Blade will ship in red and Samurai Blade in green. "We are really proud of this partnership between two brands that have always aimed to combine uniqueness and technology in their products. Our two companies are young and determined: that's why we can do anything but continue and strengthen this collaboration." said Davide Bertossi from HPRC.
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KEO films uses Forscene to accelerate remote production workflow for New Fact-Based Series Forbidden announced today that BAFTA, Royal Television Society, and Emmy Award-winning independent production company KEO films incorporated Forscene into the remote production workflow for "Bangkok Airport," its latest factual program prepared for the BBC. Forscene not only served as a remote-viewing and "second edit" solution, but also provided an efficient method of logging and translation. The resulting workflow let producers and editors in London and Glasgow, Scotland, review and edit content without delay, and at the same time collaborate with the camera crews in Thailand on the ongoing shoot.
but for this production, we needed a solution that would add — and guarantee — immediate viewing and project direction from nearly 6,000 miles away without drastically increasing the complexity of the whole system," said Germán Andrés Fares, media workflow manager, KEO films. "Forscene helped us manage a huge volume of material across thousands of miles and seven time zones with a unique workflow that saved invaluable time. In short, Forscene made the distance between the U.K. and Thailand seem like less of an issue in an otherwise complex and high-pressure filming schedule."
"At KEO films we already have safe and trusted media workflows,
The "Bangkok Airport" production had five teams of camera and
sound operators shooting continuously for more than three months in the Bangkok airport and beyond. They produced more than 15 hours of digital footage per day, all of which had to be backed up, verified, logged, and made accessible to the U.K. team via the cloud. While the production designers, story producers, and coordinators worked on location in Thailand throughout the shoot, the series producer, production manager, and other key members of the production team worked from London and Glasgow. The U.K. teams needed almost immediate access to each day's footage in order to edit, review, and direct the teams working in Bangkok.
PA N S H O T
Aerial film and broadcast companies Flying Pictures and Amis Productions officially announce their merger portfolio to include contracts with RAI cycling events including the Giro d’Italia, Formula E Racing, Volvo Ocean Race and the BBC Great Run series of distance events. The merger of the two companies will unify under one roof an extensive range of specialist personnel and expertise over the broadcast television and motion picture industries. The group holds one of largest inventories of gyrostabilised cameras in the world and can therefore offer a substantially enhanced portfolio of services to all clients.
James Hunter Smart has been appointed CEO of the new group, which will have offices in Chilbolton and London, UK. The new company will combine the best of the aerial film and television production worlds. The original Flying Pictures team has over 35 years of experience of aerial film production in the motion picture business - now with well over 400 movies under its belt including twelve James Bond films and the
complete Harry Potter series amongst a whole raft of blockbuster successes. Flying Pictures were also responsible for the Opening Ceremony of the London 2012 Olympic Games stunt which saw Her Majesty the Queen and James Bond parachute into the stadium. Amis Productions has specialised in live broadcast, winning an Emmy for its work on the 33rd America’s Cup, and has recently grown its
“We are absolutely thrilled to be joining the Flying Pictures brand. The established management and operational skills of Flying Pictures will allow us to concentrate on building our own individual talents to develop technology and services for our industry, whether it is for films, TV dramas or live sports broadcast”. Matthew Connor, Amis Productions “We are delighted to be joining forces with the Amis Production’s team, whose exceptional creative talent and technology innovation to date will represent the next generation of outstanding service to our industry”. James Hunter Smart, Flying Pictures.
MuxLab strengthens sales force in US and Canada MuxLab has announced the appointment of Chris Veros as US Sales Manager and Pascal Gaudreault as Canadian Sales Manager. Both come to Muxlab with extensive experience in Pro AV and Broadcast sales, training and customer service. They will oversee MuxLab’s sales activities in the US and Canada with additional customer support from corporate headquarters in Montreal. Mr. Daniel Assaraf, President of MuxLab, comments that “we are very excited to have Chris and Pascal on our sales team. Both come with many years of experience and vast knowledge in the Pro AV and Broadcast markets and each brings new sales strategies and fresh ideas to complement our existing global sales team. The addition of Chris and Pascal allows us to blend their personal and professional skills with new and existing customers to continue to build our distribution relationships in our strategic markets.”
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PA N S H O T
RTW presents Mastering Tools Plug-In at NAB 2015 TruePPM measurements. The RTW Masterclass Mastering Tools plug-in is part of the company’s continued efforts to provide access to high-quality audio metering and measurement to a wider range of customers. As such, it supports leading global loudness standards, including ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM Act. Other key features include numerical or bar graph-type readout, MagicLRA and correlator display, audio vectorscope, RTA (Real Time Analyzer), SSA (Surround Sound Analyzer) and multi-correlator. For added convenience, users can choose from up to six selectable window frame sizes and multiple instances. RTW presents its new Mastering Tools plug-in for loudness, level, audio analysis and mono-to-7.1 measurement. The second plug-in in RTW’s Masterclass PlugIns series of software-based metering solutions, the Mastering Tools are ideal for post production, TV, radio and cinema. Designed for simple, intuitive
operation by a broader user base, the new Mastering Tools plug-in brings extensive analysis and display functions for mastering, metering and loudness measurement for single- and up to eight-channel applications. Available as a standard-format plug-in for Windows and Mac OS platforms, it also offers a wide range of PPM scales, displays and
“The entire range of RTW’s Masterclass Software PlugIns is designed to be a very powerful tool for mastering, metering and loudness measurement in a convenient, easy-to-operate software package,” says Andreas Tweitmann, managing director, RTW. “The Mastering Tools plug-in will enhance workflow efficiency for studios of any size.”
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New features open up new possibilities for the Phantom Flex4K Vision Research announced a new wave of upgrades coming to its popular Phantom® Flex4K digital cinema camera. With the ability to record up to 1,000 frames-persecond (fps) at full 4K resolution, the possibilities for what this camera can capture are endless, and it has found a home among professionals in live sports broadcast, commercial and cinema applications. Upgrades to the Phantom Flex4K include: - Apple ProRes 422 HQ, as an alternative to the camera’s native raw workflow - Audio recording for sync-sound and higher frame rates - Double the memory, with up to 128GB of RAM, enabling longer high-speed capture “The Phantom Flex4K has quickly
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become the go-to camera for highspeed projects in the cinema industry” says Toni Lucatorto, Media Product Manager at Vision Research. “With the upgrades that we are announcing at NAB, we give Flex4K users even more flexibility in the way they can use the camera. No longer does it have to be considered purely as a specialty tool.” These new features benefit both high-speed and standard frame rate capture. With a RAM size of 128GB, the camera now can capture 10 seconds of real time at 4K/1000 fps. The additional RAM also enables more segments in a multi-cine workflow, often used to support continuous recording and playback in a live sports replay environment. High-speed 4K recording notoriously results in an extremely
large amount of data. A typical one-day shoot will end up with several TBs of raw files. The option to choose the ProRes 422 HQ codec in-camera now provides a high-quality 4K recording alternative that saves well over half of the required storage space and ultimately provides a faster, simplified workflow. Users now can leverage the audio capabilities of the camera, making the Flex4K the first highspeed camera with integrated audio. The audio is recorded as uncompressed .wav files at frame rates at or above 23.976 fps, and saved as separate files within the RAM or CineMag IV. The signal can be monitored via AES output or a headphone jack on top of the Phantom Flex4K, and users can take advantage of on-camera meters during recording and playback.
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Comigo Boosts TV Viewer engagement with New Games Center and WatchApps At TV Connect 2015, stand 19, Comigo will demonstrate new services for the pay-TV market designed to increase viewer engagement and boost operators' revenue streams. During the show, Comigo will launch its Games Center, an interactive gaming offering designed for the TV screen. Comigo will also show further expansion of its WatchApps family of interactive applications, allowing pay-TV operators to deliver an immersive and engaging experience to viewers, based on the content they are watching. "The theme at this year's TV Connect is monetizing TV Everywhere, and that is exactly what we intend to demonstrate," said Motty Lentzitzky, CEO, Comigo. "Comigo offers a multiscreen platform which enables pay-TV operators to differentiate their services and excite their subscribers, and as a result enjoy new revenue streams. We welcome operators who are looking to set up a new TV service, or upgrade their existing one, to get a sneak peek of our cutting-edge Games Center
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and WatchApps, which bring new levels of interactivity and engagement to the TV experience." The Games Center is an integral part of Comigo's home entertainment solution delivered via its HEVC/4K Androidâ„˘-based STB. Through the Games Center, operators can deliver a variety of interactive games to their subscribers, such as action, adventure, racing, strategy, and arcade, as well as multiplayer games, enabling viewers to socialize with friends. The games can be played either by using Comigo's Game Pad or the TV remote control. In addition, Comigo will demonstrate an upgraded version of its WatchApps, an advanced content-related engagement solution. Comigo's WatchApps are now delivered via a fresh-looking user interface, improving user navigation and engagement. WatchApps include: - Movie reviews - Access to shows' Facebook and Twitter profiles
- "What to Watch": Comigo's personal and social recommendation - "Who is Watching What?": allowing viewers to check what their friends are watching - E-commerce - Song detection - Sports stats - Most popular channels The Engagement solution enables pay-TV operators to quickly develop, control, and roll out interactive applications ('WatchApps'), based on the content the viewer is watching, whether live TV, VOD, or Internetbased content, in a simple and nonintrusive way, to every screen. The Engagement solution is based on: - Open SDK, designed to simplify the WatchApps development - An admin tool that allows the operator to fully control and manage the WatchApps - A presentation layer, which allows the viewer to access the relevant WatchApps and engage with content while watching it.
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Disney/ABC Television Group announces transition to an IP based “virtual master control” for linear broadcast operations After having successfully deployed its cloud-based WATCH services across the Disney/ABC Television Group of networks, the company is now transitioning its linear broadcast operations – global programming playout, delivery and network operations - to a unified IP cloud architecture using Imagine Communications, a global leader in video infrastructure, advertising systems and workflow management solutions serving media networks, broadcast stations, digital media, communication service provider and enterprise markets. This marks a significant evolution in Disney/ABC Television Group's broadcast operations, and establishes a foundation for how broadcast programming could be made, moved, managed, and monetized in the coming years.
to cloud-based playout provides a platform to accelerate the expansion of their acclaimed programming and gain freedom from dependencies on geographic content origination and physical playout facilities. We are focused on supporting Vince and his team’s cutting-edge vision with the advanced technologies and on-theground professional service experts to support a seamless transition to cloud playout across multiple deployment phases.”
"By leveraging evolving IP and Cloud technologies we are able to move beyond what's currently possible with traditional proprietary “Big Iron” broadcast infrastructures," said Vince Roberts, executive vice president, global operations and chief technology officer, Disney/ABC Television Group. "Imagine Communications' IP solutions enable us to automate and deliver workflow processes and technologies to a more agile and scalable environment. Our shared vision and close collaboration will enable Disney/ABC Television Group to take a uniquely innovative approach to the next generation of television and media distribution platforms."
Disney/ABC Television Group is deploying VersioCloud™, Imagine Communications’ advanced, fully IP-enabled, integrated playout in the cloud platform. Designed for a network origination ecosystem, this geo-dispersed platform aggregates national operations into a cohesive, resilient and unified entertainment delivery solution. VersioCloud advances the evolution of longstanding broadcast operations, including master control functionality. Software-based systems enable the integration of formerly discrete, hardware-based functions, expanding the productivity of master control room operations while optimizing workflow.
“We are thrilled to extend our relationship with the Disney/ABC Television Group on this groundbreaking project that represents the future of broadcast television,” said Charlie Vogt, chief executive officer, Imagine Communications. “Their transition
The VersioCloud solution is powered by Zenium™, Imagine Communications’ software-defined workflow management platform. Zenium’s modular and flexible architecture provides the capability to plug-in content augmentation functions for affiliate branding
platforms including triggers, live caption data, loudness control and externally generated crawls and tickers. A hierarchical programming model with an intuitive user interface enables associations to be made between programming blocks that move, track and trigger together, providing operational flexibility and simplification in executing complex and multi-region events. Imagine Communications’ professional service teams will support the transition and training, helping to ensure a seamless transfer for each production facility. With its industry defining WATCH ABC, WATCH ABC Family, WATCH Disney Channel, WATCH Disney XD and WATCH Disney Junior services, Disney/ABC Television Group became the first entertainment networks to provide authenticated users access to both live, 24/7 linear network streams as well as an extensive offering of advantaged window on demand episodes on desktops, connected TVs, smartphones and tablets. In the process, the company developed a proprietary cloudbased software solution that considers and automates complex business rules specific to the delivery of live and on-demand television feeds.
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PA N S H O T
Pico Digital to Acquire Key Assets of International Datacasting Pico Digital Inc. announced that it has entered into an agreement to acquire the broadcast products business from International Datacasting Corporation. The acquisition includes IDC's product portfolio, customers, and supplier relationships; following closing of the acquisition, the majority of IDC's employees are expected to join Pico Digital. "IDC has been at the forefront of innovation in the satellite industry for many years," said Ian Lerner, Chief Executive Officer of Pico Digital Inc. "We are very excited to add IDC's product portfolio to our line-up of market leading solutions." He added, "We are committed to building on our combined portfolio to create the most compelling and comprehensive offering for both
current and new customers." The combined business will benefit from an expanded global footprint, including offices in the United States, Canada, Mexico, Argentina, Bolivia, Panama, Taiwan, Japan and the Netherlands as well as a worldwide base of more than 500 customers. Pico Digital and IDC have highly complementary product portfolios, and together will provide the industry's leading solutions for data broadcasting, audio distribution, and digital cinema, as well as enjoying significantly increased scope as a video solutions provider. "Combining forces with Pico Digital is great news for IDC's customers, as they will immediately be offered a broader range of
Former President of Fox Television Studios Emiliano Calemzuk joins Rightstrade’s Advisory Board RightsTrade has announced that former President of Fox Television Studios and President of FOX International Channels Europe, Emiliano Calemzuk has joined the company’s advisory board. Calemzuk’s expertise in both production and distribution in the international television market is set to contribute keen insights into RightsTrade’s business strategy to further build the company’s client roster in
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solutions, supported by an even stronger worldwide team," stated Doug Lowther, President and CEO of IDC. "This acquisition will also enable the acceleration of the roadmap and planned deployment of IDC's flagship LASER™ solution, which is part of our long-term vision."
the television and digital media space. Calemzuk’s appointment comes at a significant time as the company recently unveiled its DealWizard - the entertainment industry’s first ever cloud-based solution for content owners, sales agents and distributors to securely share available distribution rights, and negotiate and e-sign licensing agreements. “We are thrilled to bring Emiliano onboard at this pivotal time in our company's growth. His remarkable record of leadership, and experience on the cutting edge of production and distribution of digital and television content is a huge asset to RightsTrade as we roll out a new generation of tools which speed up and simplify the entire licensing process from search to signature,” said RightsTrade CEO Steven Polster.
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Sonnet announces Avid®-Qualified DX Thunderbolt™ Adapter Sonnet Technologies announced the availability of the Sonnet DX Thunderbolt™ Adapter for Avid® Media Composer® Mojo® DX and Avid Nitris® DX. Formerly built by Sonnet and offered by Avid, the DX Thunderbolt Adapter is now marketed exclusively by Sonnet to users of Avid's Mojo DX digital video capture, editing, monitoring, and output system and Nitris DX high-performance SD and HD broadcast news editing system. With the DX Thunderbolt Adapter, media professionals can leverage these popular Avid solutions with Avid editing software on any Avidqualified, Thunderbolt-equipped computer. "There are many Sonnet products that have enabled the Avid user community to harness the power of Thunderbolt while preserving their investment in PCIe cards and
devices. The latest example is the DX Thunderbolt Adapter, which enables users to get amazing performance from their investment in Mojo DX and Nitris DX when upgrading to state-of-the-art platforms such as the new Mac Pro," said Greg LaPorte, vice president of sales and marketing, Sonnet Technologies. "With Sonnet now offering this product, we are making available a field-proven device that enhances Mojo DX and Nitris DX workflows and is qualified and supported by Avid." With the Sonnet DX Thunderbolt Adapter, media professionals can use Mojo DX or Nitris DX in conjunction with Avid editing software running on any Avidqualified computer equipped with Thunderbolt ports. The DX Thunderbolt Adapter delivers smooth, highly responsive
performance for two streams of uncompressed 10-bit HD video with eight audio streams. With ultralow latency and high sync accuracy, the adapter enables editing workflows that are faster and more efficient than ever. "Sonnet is well-known for providing Thunderbolt-equipped solutions — such as their xMac Pro Server and Echo Express III products — that streamline editing workflows both in the studio and on location, so it makes perfect sense to transition the DX Thunderbolt Adapter to them," said David Colantuoni, senior director of product management, creative tools and storage, at Avid. "We are happy that Sonnet can continue to offer this Avid-qualified product because it provides powerful expansion capabilities to our joint users."
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PA N S H O T
Thomson Video Networks at TV Connect Thomson Video Networks will present Behind Every Screen速, the company's approach for an allencompassing video delivery infrastructure that mixes onpremises and cloud-based resources to support broadcast and OTT streaming of SD, HD, and Ultra HD (UHD) content on every screen. Designed for traditional broadcasters, new media providers, and pay-TV operators, this compelling new architecture leverages Thomson Video Networks' compression solutions to provide encoding of high-value content and high-density compression of long-tail content. Behind Every Screen also includes a next-generation playout infrastructure for channel origination and content customization, such as linear TV channel playout, ad insertion, branding, and time-shifting. At TV Connect, Thomson Video Networks will showcase its Behind Every Screen速 approach for evolving broadcast operations seamlessly, cost-effectively, and profitably. Highlights will include: - MediaFlexSuite, a unified, servicedriven management solution that
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gives operators unique capabilities for monitoring, configuring, and dynamically changing their channel lineups for both broadcast and multi-screen services. - High-density compression of longtail content with the awardwinning ViBE速 XT1000 Xtream Transcoder, an all-new video transcoder for OTT, cable, and telco applications that enables media companies, video service providers, and broadcasters to launch new turnaround services rapidly and cost-effectively.
Virtualizing OTT and MultiScreen Applications for the Cloud At TV Connect, Thomson Video Networks will highlight the ViBE速 VS7000 multi-screen encoding system operating in virtualized mode to deliver all of the economic benefits of the cloud while ensuring the broadcast-grade performance required by today's media environments. Driven by the MediaFlexOS video operating system, the ViBE VS7000 is able to create a cluster of servers, manage automatic load balancing and
failover, and simplify integration of new software modules. From the operator's standpoint, the complete environment can be managed with a single product, drastically reducing operational expenses.
FUZE-1 Playout Infrastructure for Channel Origination and Manipulation Thomson Video Networks will present the FUZE-1 Playout System, a unique, versatile, and cost-effective solution that takes the channel-in-a-box concept to the next level. Focusing on channel origination and manipulation, FUZE-1 offers a rich set of features for playout applications, such as linear TV channel playout, ad insertion, branding, mosaic channel playout, time-shifting, disaster recovery, censorship, and EAS insertion. Based on the Thomson Video Networks MediaFlexOS video operating system, FUZE-1 features a best-of-breed, 1-RU IT server that combines advanced graphics, sophisticated built-in automation, and an integrated asset manager with premium software transcoding capabilities.
PA N S H O T
TV2U launches TARA TV in Europe TV2U announced the upcoming European launch of its TARA TV platform ahead of TV Connect 2015. The move follows growing demand from cable operators for TV2U’s managed content service, which has already experienced significant uptake across APAC and the US, and is launching in the UK and Germany with other regions to follow. As a managed cloud entertainment platform, TARA TV is a cost-effective way for operators to introduce an on-demand content service for the first time, or dramatically expand their existing service offering. TARA TV gives operators access to live TV, subscription-based and on-demand premium content sourced from Hollywood, Bollywood, and international studios. Uniquely, it also offers access to alternative and unique user-generated content tailored to each subscriber’s
individual tastes, plus music and games from TV2U’s global content network. As such, TARA TV is a one-stop-shop for a user’s online content needs, helping operators reduce the impact of cord cutting and drive subscriber loyalty. TARA TV is already wellestablished in Asia and TV2U has launched several high-profile deployments of the platform to date, including BV Sports around the Indonesian Super League. TARA TV has also been deployed in the US with cellular provider Nemont to offer its subscribers a highly tailored and personalised value-add service. Nemont takes advantage of TARA TV’s ability to combine live TV and video on demand with user-generated, genre-specific content – in this case, college football. “Unlike Netflix or any other VOD alternative, TARA TV offers a high
level of personalisation beyond the standard recommendation engine,” said Nick Fitzgerald, CEO at TV2U. “It’s all about giving the subscriber what they want, when and where they want it, and on any device they choose. With Europe a key strategic market for on demand content consumption, it was the next logical step for taking TARA TV global.” TARA TV can accelerate time to market for operators without multiscreen support, as TV2U’s global content service and unique compression technology can send content to any device, on any network, at any time, without buffering or delay. In addition to cable operators and mobile service providers, TV2U also has working relationships with set-top box manufacturers.
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The Biggest The National Association of Broadcasters announced preliminary registered attendance of 103,042 for the 2015 NAB Show, the world's largest annual convention covering filmed entertainment and the development, management and delivery of content across all mediums. The exhibition featured 1,789 companies spanning 1,015,000 net square feet of exhibit space. "This year's NAB Show demonstrates again the power and reach of the global NAB Show brand," said NAB Executive Vice President of Communications Dennis Wharton. "We're thilled with the feedback from attendees and exhibitors alike, and are proud to host the world's preeminent media, entertainment and technology event."
TOTAL REGISTERED ATTENDEES: 103,042
INTERNATIONAL ATTENDEES: 26,489
COUNTRIES REPRESENTED: 164 TOTAL NUMBER OF EXHIBITORS: 1,726 MORE THAN $20.7 BILLION IN PURCHASING POWER REPRESENTED ON SITE
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New v1.2 Firmware for CION™ Production Camera AJA Video Systems unveiled v1.2 firmware for its CION 4K/UltraHD and 2K/HD professional production camera today at the National Association of Broadcasters (NAB) Show 2015. The field-upgradeable software update brings CION users around the world additional image improvements, new features and several other enhancements. It is available for free download here: https://www.aja.com/en/products/cio n#support.
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CION v1.2 updates • White Balance —Improved white balance performance for over exposed image portions • Video Levels — Improved video levels with higher IRE values available for various EI, gamma and color correction combinations. • Gamma/Color correction — Additional gamma and color correction options for higher EI 800 and EI 1000 values.
• New LUT support —Internal video gamma LUT for external monitoring of the Expanded 1 or Disabled gamma selections when an external LUT device is not in use. • Auto White Balance Alarm — Notifies users if an image does not contain a sufficient value of white or grey to perform an appropriate white balance and reverts to the unity setting. • Time Lapse Function Indicator — Interval record (time lapse) indi-
cation for the superimposed monitoring overlay. • Expanded RGB output — SMPTE or full RGB range values can now be selected for the main SDI outputs. Ergonomic and lightweight with unparalleled 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 12-bit ProRes 444, enables incredible image quality capture to costeffective AJA Pak SSD media at up to 4K/60p, and offers compatibility with a wide range of post production applications. CION can also output AJA Raw at up to 4K 120fps via 4 x 3G-SDI or up to 4K 30fps via Thunderbolt™. “We're thrilled by the enthusiasm we’ve seen for CION from the community thus far and we’ve been blown away by the incredible images our users are creating; it’s fueling our team’s efforts to regularly bring users new features and improvements that will help solve common production problems,” says Nick Rashby, president, AJA Video Systems. “CION already offers so many great features at an incredible price point, and this software update is just another example of our commitment to make it even greater with the integration of some of our most popular userrequested features.”
Support for 4K 60fps AJA Raw on Atomos Shogun Recorder AJA Video Systems and Atomos announced that the Shogun portable recorder will support external
recording of AJA Raw files captured by the CION professional production camera. “Shogun is an established player in portable recorders, with support for many compressed codecs, and now it will offer CION customers an excellent solution for recording pristine AJA Raw,” said AJA President Nick Rashby. “We’re pleased to bring AJA customers an integrated workflow with CION and Shogun to easily record CION’s uncompressed 4K Raw format.” Atomos Shogun users will now be able to record CION’s AJA Raw at 4K and UltraHD resolutions, at up to 60fps. The AJA Raw format offers simple post production workflow options as it is processed into a common DNG file wrapper supported by major content creation, editing and finishing tools, including new ingest/playout support in AJAs 4K Desktop products.
New KONA and Io Software with AJA Control Room Updates The update includes a new capability for Io 4K that offers AJA Raw ingest to Cinema DNG files from AJA’s CION production camera, at up to 4K 60fps on Mac or Windows. KONA 4 will support AJA Raw capture from CION up to 4K 120fps on Windows. Additionally, 4K Avid DNxHR capture using KONA 4, KONA 3G, and Io 4K has been added to AJA Control Room and Avid Media Composer version 8.4, announced this week by Avid. “At this year’s NAB we’re opening up several new options for capture,” said Nick Rashby, President, AJA Video Systems. “AJA Raw
support is huge for many of our CION customers who already own and use KONA 4 or Io 4K devices in production, providing a cost effective and flexible approach for CION’s Raw workflows either onset or in the edit suite. The addition of Avid’s great new DNxHR codec offers more options for high quality 4K finishing in an efficient file size.”
Support for AJA Raw on Odyssey7Q+ Recorder Odyssey7Q+ monitor/recorder will support the CION digital cinema production camera’s AJA Raw file format. “Since AJA first announced CION, our customers have been very enthusiastic and were asking us to support it,” said Mike Schell, President, Convergent Design. “CION is a beautiful camera that produces pristine images. Along with our AJA RAW record capabilities, we can integrate with CION the Odyssey7Q+’s image analysis tools for focus, color and exposure, as well as its accurate OLED monitor. Together the CION and the Odyssey7Q+ make a complete professional image capture system.” “Since its introduction, CION has supported Raw output via Thunderbolt and SDI. In addition to CION’s in-camera ability to shoot ProRes, Odyssey7Q+ offers up a very light-weight, portable way to record our uncompressed AJA Raw format,” said Nick Rashby, President, AJA Video Systems. “Many of our customers shoot with different cameras, often on the same shoot, to optimally capture whatever best fits the job. We’re excited that they now have the option to record AJA Raw to a product that is probably already a part
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of their standard toolkit.”
path also allows for multiple HD signals to be carried across long distances.
The newly announced FiDO-4TST and FiDO-4R-ST enable quadchannel SDI to ST Fiber and ST Fiber to SDI, enabling Fiber transmission of 4K and UltraHD signals, and HA5-4K converts UltraHD/HD HDMI to 4x 3G-SDI.
• Convert 4K/UltraHD/HD 3G-SDI to/from Fiber Digital Optical
“AJA Mini-Converters are constantly working around the clock to hold together post, broadcast and production workflows,” said Nick Rashby, President, AJA Video Systems. “These products are the grease in the gears of any digital video environment, and with our new FiDO boxes and HA5-4K we’re making it simpler than ever before to streamline pipelines in multi-format environments.”
• Ideal for mobile broadcast, studio and venue infrastructures
FiDO-4T-ST and FiDO-4R-ST are quad-channel 3G-SDI to ST Fiber and ST Fiber to 3G-SDI MiniConverters carrying up to 4x 3GSDI signals on a single converter, with the ability to send signals from a 4K/UltraHD source, such as from the CION camera, up to 10 kilometers. Alternatively, the quad-signal
• Integrate UltraHD/HD HDMI devices into SDI workflows
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• Maximize distance with Fiber connectivity • Carry 4x HD signals up to 10 km over one optical cable
• Versatile and rugged; suitable for indoor or outdoor use • 20VDC power • 5-year warranty HA5-4K provides a simple and powerful path from UltraHD/HD HDMI to SDI, converting the signal to 4x 3G-SDI.
• 3G-SDI capability for high data rate signals • Configurable via AJA MiniConfig software for Mac and PC • Compact size fits easily in small spaces
• 2-channel HDMI embedded audio support • Audio output delay adjustment • 2-channel RCA analog audio output • 5-20VDC power • 5-year warranty AJA is also now offering CWDM (Course Wavelength Division Multiplexing) Fiber choices, allowing multiple channels of 3G-SDI to be carried on a single Fiber. The advantage of CWDM is that there are nine pairs of wavelengths, so up to 18x 3G SDI signals can be muxed for transmission across one Fiber cable, extending flexibility in the field for running long video signal paths. The CWDM modules plug into AJA’s existing SFP cages. AJA extends the CWDM technology into our FiDO stand-alone Fiber offerings with the introduction of the FiDO-2T-CWDM. AJA's FS1X and FS2 Frame Synchronizers can also now accept a full complement of CWDM Dual Transmitters, configurable in existing SFP cages, as options at time of order.
Dante™ Gains Momentum in Asia The adoption of Dante is continuing to widen with much of the new growth attributed to new OEMs in Asia. More than 400 Dante-enabled products are already available worldwide, taking advantage of Dante’s seamless interoperability, easy integration and ultra-low latency over standard IT networks.
enabled speakers. • Tendzone will be showing 3 new Dante products, the E-media Audio Module, the Cronus and the Solon Dante Plus. “We are seeing strong uptake of the Dante platform in Asia as manufacturers realize the need to have their products interoperate with the
hundreds of Dante-enabled products already in the marketplace,” states John Rechsteiner, Vice President of Global Sales and Support for Audinate. “Audinate has added significant new licensees in China, Japan and Korea over the last 6 months and we expect this trend to continue.”
At this year’s Pro Light & Sound in Guangzhou and InfoComm China several of the new, Asia based Dante partners will be showing products or announcing agreements with Audinate. New licensing announcements: • TOA Corporation- a global audio and security manufacturer headquartered in Japan will be adding Dante networking to future products. • The Longjoin Group, will be bringing Dante to their Musicrown line of products. • DMX Audio will include Dante in their DMX range. • SEED Electronic Guangzhou LTD will be integrating Dante into their MARANI Pro Audio brand products. New product announcements: • Taiden Industrial Company will be showing 3 new Dante conferencing products: HCS 4338n Series fully digital congress unit, HCS 8338 Series-New generation paperless multi-media congress terminal and the HCS 8300 Series, a fully digital congress main unit. • C-Mark will be launching a new line of Dante enabled DSP products and a new line of Dante
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Automatic Delay Correction Belar’s Automatic Delay Correction software provides a simple and cost-effective way to eliminate delay between digital and analog signals in the blending areas of HD Radio coverage. The software consistently measures the FM/HD time alignment, and precisely controls the roughly eight-second delay between HD and analog FM programming to ensure a pleasant listening experience. The demos will show how Belar’s software accomplishes this task without forcing its customers to push the audio through the modulation monitor. Instead, Belar’s Automatic Delay Correction feeds the adjustment back toward the front of the air chain, with corrections taking place in the audio processor, HD exporter, or standalone precision delay line. According to Belar CEO Mark Grant, recent innovations make the processor and exporter options particularly compelling. “High-end audio processors today from companies like Wheatstone, Omnia and Orban typically include a delay line, or can integrate one through software updates,” said Grant. “However, those with wellfunctioning older high-end processors, or other less feature-rich processors, typically do not have or cannot integrate a delay line. In these cases, companies like
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GatesAir and Nautel offer an especially valuable service via connectivity with their HD exporters.” Tim Anderson, manager, radio market and product development, GatesAir, unmasked how the inherent flaws in the HD Radio system architecture, network timing issues and synchronization cause continual drift or sudden shifts in otherwise perfectly aligned installations – and how the GatesAir/Belar integration automatically detects, correlates and corrects misalignments at regular intervals to improve the listener experience. “Using the latest Belar FMHD-1 modulation monitor and its Automatic Delay Correction software with GatesAir’s HDE-200 Exporter control protocol, the analog-to-digital diversity delay timing is constantly monitored and correlated to generate a correction message,” said Anderson. “That message is sent via Ethernet to the GatesAir HDE-200 Program Exporter’s internal diversity delay control, and the correction is applied and continually maintained within optimum specifications, assuring that the FM and HD audio streams are always synchronized.” On the processing side, Wheatstone demonstrated how corrective timing is able to take place in its AirAura, FM-55 and other audio processors without broadcasters having to insert yet another box into the air chain. Belar’s ADC algorithm is introduced into
the audio processors through Wheatstone’s network protocol Automatic Control Interface (ACI). Belar’s algorithm in the FMHD-1 continuously measures FM/HD time alignment and transmits closedloop diversity delay corrections back to the Wheatstone on-air processor through the ACI interface. “Every HD Radio broadcaster has a diversity delay in the program line, and many customers utilize the one built into our on-air processors,” said Jeff Keith, senior product design engineer at Wheatstone. “By not modifying the existing air chain, we can keep the signal path pure and simply tell the processor what the perfect diversity delay setting should be. Because all of our on-air processors already have the ACI protocol built in, a simple software upgrade opens up access to the HD diversity delay being controlled by the Belar FMHD-1.” Grant adds that, while not being demonstrated at the show, Belar also integrates 25-Seven’s Precision Delay and Orban audio processors. Belar is additionally working with Omnia to integrate Automatic Delay Correction into their latest-generation on-air processors.
BLACKMAGIC DESIGN DaVinci Resolve 12 DaVinci Resolve 12 features a new, modern interface with a lighter overall color scheme and new fonts that help reduce eye strain and make it easier to work for long sessions. The new interface is scalable and has been designed to look great on high DPI monitors, such as retina displays. New top down navigation speeds up layout selections and also gives users more flexibility to customize their workspace. The new multi-camera editing feature of DaVinci Resolve 12 lets editors cut programs from multiple sources in real time. DaVinci
Resolve 12 can synchronize camera angles based on timecode, audio waveforms, or in/out points. The source monitor displays a grid containing the camera angles and plays them all back in sync while the editor makes cuts to the audio and/or video. In addition to multi-camera editing, DaVinci Resolve 12 also features several enhancements to the core editing tools. All trim modes, multi-slip, slide, ripple and roll have been extended and editors can now select multiple points for dynamic trimming and asymmetric trimming
of clips, even if theyâ€™re on the same track. Timelines can be nested, edited together and expanded or collapsed in place to greatly simplify editing of large multi scene projects. New transition curves let editors create and edit custom curves for transition parameters and new on-screen controls let editors see and adjust motion paths directly in the timeline viewer. DaVinci Resolve 12 includes an entirely new, high performance audio engine that offers higher sampling rates and greatly improved realtime audio playback perfor-
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mance, including reverse playback and tape style slow motion scrubbing during dynamic JKL trimming. Both VST and AU audio plug-ins, along with their custom interfaces, are now supported and can be used on individual clips or entire tracks. Audio parameter adjustments can be recorded and now contain editable automation and full curve editor support. For the first time, editors will be able to export projects directly to ProTools via AAF for audio finishing. Media Management in DaVinci Resolve 12 has been redesigned to accommodate editorial workflows. Users can now manage projects and media using new copy, move, transcode, relink and consolidate tools. Whole projects, including
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media can be archived and restored with ease. Resolve 12 makes it easier to find media in large projects by letting users create smart bins that can display footage based on metadata tags. Users can now import media by simply dragging it in from the Finder or Windows Explorer, or by using new “Favorites” for one click access to commonly used media folders on disk. The core grading and color correction tools have also been improved with a new, easier to use curves interface, automatic color analysis and matching between two or more clips, an incredibly accurate 3D perspective tracker, and a new 3D keyer with improved matte finesse options. Colorists can now
define their own smart filters, convert any window to a bezier, collapse multiple nodes into compound nodes to simplify their view, ripple grades across multiple clips, and flatten pre and post-group grades into a clip’s individual grade. “DaVinci Resolve 12 is an incredible release that we think both editors and colorists are going to love,” said Grant Petty, CEO, Blackmagic Design. “We’ve built in the features customers have been asking for and, with the addition of multi-cam and some of the other great new editing features, we think that Resolve is perfect for both creative editing and finishing. It’s still the only system that lets customers switch from editing to grading with the click of a button, giving them
the fastest, highest quality no compromise workflow. Best of all, customers can install DaVinci Resolve Lite and use it on real projects for free. There is no monthly subscription, you don’t need to be connected to the cloud, and you don’t need to buy any proprietary hardware!”
Micro Cinema Camera The unique feature of this new camera is the built in expansion port that provides access to many of the camera’s unique functions via common remote control solutions such as radio model aircraft remote controls. The expansion port features PWM and S.Bus connections that are used on model aircraft remote control gear for connecting to servos to control the aircraft. These radio control receivers are low cost because they are consumer hobby products and they feature multiple “channels” that can be connected direct to the camera itself. This means these channels can be mapped to any camera or lens setting in the camera and then remote controlled via the radio controller. Customers can then remote control features such as iris, focus, audio levels, and start and stop recording all remotely. Because a standard easy to solder DB-HD15 connector is used, even simple wire cables and switches can be created for controlling the cameras. The expansion port also includes composite video out with overlays so the customer can use the same low cost video transmitters to get real time feedback from the camera for framing, confirming camera settings and to see the state of recording. Being able to start and stop recording and see confirmation of recording is vital in a camera that features a built in RAW recorder as then customers won’t fill the recording media with useless content and will only record the shots they need.
The expansion connector includes 4 PWM channels for using all brands of control gear, or custom wiring, as well as a single S.Bus connection which can accept up to 18 channels of control using the single cable. S.Bus is a more modern digital connection than PWM and allows more control channels. S.Bus is commonly found on Futaba and FrSky radio control equipment and S.Bus can also be used to design custom embedded controllers. Unlike regular cameras designed for hand held shooting the Blackmagic Micro Cinema Camera can be mounted in cars on walls and then controlled directly from buttons positioned on the front of the camera itself. This means customers don’t need to reach around the back of the camera to start recording, and the front mounted tally LED allows easy confirmation that the camera has started recording. The miniaturized design of the Blackmagic Micro Cinema Camera features a body that is not much larger than the Micro Four Thirds lens mount, making it as small as a camera with a professional lens can be. Its core is made out of a lightweight and strong magnesium alloy so it’s durable enough to use anywhere, from the ocean floor to the stratosphere or beyond.
“The Blackmagic Micro Cinema Camera is the smallest and most expandable digital film camera in the world,” said Grant Petty, CEO, Blackmagic Design. “For the first time, customers will be able to get incredible action and point of view shots that look better than anything they’ve ever seen before. The new expansion port allowing radio remote control is exciting because it opens up entirely new shooting possibilities that will let customers shoot things they’ve never been able to shoot before!”
Micro Studio Camera 4K The new Blackmagic Micro Studio Camera 4K can be used for both HD and Ultra HD production and features a built in color corrector, talkback, tally indicator, PTZ control output, B4 lens control output, and an extremely flexible MFT lens mount that is easily converted to other lens mounts via third party adapters. When used for regular HD, the extra sensor resolution completely eliminates any color loss from the sensor’s bayer pattern so customers get full bandwidth RGB HD color and superior sub pixel antialiasing for amazing, fine detail HD images that look better than most of the bigger, more expensive cameras used in studios today. The Blackmagic Micro Studio Camera 4K is engineered with a super tough magnesium alloy core in a body that’s not much larger than the lens mount itself. It’s compatible with affordable, high performance MFT lenses, or customers can add a B4 adapter to work with traditional broadcast lenses. The camera also features 6G-SDI output and a program return input that allows it to be controlled remotely from a switcher using Blackmagic’s SDI control protocol. This lets customers change camera settings, color balance,
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black levels, gamma, lens focus, iris, zoom and much more from any ATEM switcher.
attaching standard accessories that customers are accustomed to using with larger, full size cameras.
There’s also a flexible, new expansion port that features multiple control connections such as a PTZ serial output connection that can be used with motorized heads and a B4 data link output for controlling broadcast lenses.
“URSA Mini features a new 4.6K image sensor with an incredible 15 stops of dynamic range. That’s almost more dynamic range than the human eye can see, and far more than most traditional film!” said Grant Petty, CEO, Blackmagic Design. “Building on the phenomenal success of URSA, we’ve miniaturized the camera, included all of the essential tools filmmakers need, and still managed to make it light enough to use all day. URSA Mini puts true Super 35 digital film quality in the palm of your hand and is, quite simply, the most exciting camera I’ve ever seen!”
“The Micro Studio Camera 4K is the world’s smallest and most expandable professional studio camera,” said Grant Petty, CEO, Blackmagic Design. “We’re excited to see how customers are going to use it to create better looking, more compelling programs with more angles than ever before because they’ve now got an affordable studio camera that they can fit anywhere and that rivals much larger and more expensive cameras.”
URSA Mini Blackmagic URSA Mini is designed to be used on feature films, television shows, commercials, indies, documentaries, music videos and more. The quality of its 4.6K sensor with 15 stops of dynamic range lets customers capture epic cinematic shots, while its compact size is perfect for solo shoots or smaller crews. URSA Mini features multiple mounting points so it can be easily accessorized with high quality cinema lenses, rails, matte boxes and more. The optional Blackmagic URSA Mini Shoulder Kit, which features a quick release mounting plate so it can go from handheld to shoulder or to a tripod in seconds, and the Blackmagic URSA Viewfinder, make URSA Mini perfect for pickup and run shooting situations. Blackmagic URSA Mini can shoot up to 60 frames per second with rolling shutter for customers that need to work at higher frame rates. Images are saved using 12-bit lossless CinemaDNG RAW, or ProRes for easy post production workflows with minimum storage requirements. URSA Mini includes ¼” mounting points on the top and bottom of the camera for
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New High Performance 4.6K Digital Film Sensor This new sensor will be available in two new models of the Blackmagic URSA camera. The Blackmagic URSA 4.6K EF model will be available for $6,995 and the Blackmagic URSA 4.6K PL will be available for $7,495. Both 4.6K models will start initial limited availability shipments in June and ramp up into full volume late July and into August. Existing Blackmagic URSA customers can upgrade to the new 4.6K sensor for $1,995 for the EF lens mount and $2,495 for the PL lens mount. This “turret upgrade” will be available for customers to purchase and they can replace the turret on their URSA cameras to upgrade to this new higher performance image sensor. In addition, the current shipping 4K models of Blackmagic URSA EF and PL cameras will be reduced by $1,000 allowing customers to get into Blackmagic URSA at an even more affordable price. This also means that the difference in price between the 4K and the 4.6K Blackmagic URSA cameras is the same price as the 4.6K sensor upgrade. This lets customers purchase a lower cost 4K camera initially and then upgrade later to the 4.6K image sensor without a price
penalty. The new prices for the Blackmagic URSA 4K EF model will now be $4,995 and the Blackmagic URSA 4K PL will be $5,495. “When we introduced URSA in 2014, our goal was to build a camera that had everything customers needed built right into the camera itself, but also future proofed their investment by giving them the ability to upgrade to higher resolution and higher frame rate sensors in the future,” said Grant Petty, CEO, Blackmagic Design. “We’re excited to deliver on the promise of URSA’s revolutionary design and can’t wait to see what customers shoot with this incredible new sensor. It’s like getting a whole new Super 35 digital film camera just by upgrading the sensor!”
New DeckLink 4K Pro Blackmagic Design DeckLink 4K Pro is the newest member of the DeckLink family of PCIe video capture and playback cards. DeckLink 4K Pro features and incredibly fast design that lets customers capture and playback Ultra HD and 4K 4096 x 2160 video at up to 60 fra-
mes per second. That means customers can work with dual stream 3D as well as get simultaneous fill and key capture and playback, even when working with 4K content at 60 frames per second. The new DeckLink 4K Pro is designed for high end digital cinema work and features two full frame DCI 4K inputs and outputs. The card has four multi rate 12G-SDI connections, 2 in, 2 out, and a reference input. That means they automatically change speed to work with older equipment, making the DeckLink 4K Pro compatible with virtually every SD, HD, Ultra HD and 4K video format. DeckLink 4K Pro can be used to capture video in full 10-bit YUV color or 8-bit, 10-bit and 12-bit RGB color.
Video Assist The Blackmagic Video Assist is perfect for profesionals that need better monitoring and higher quality recording. Older cameras often feature custom and hard to use file or tape formats, while lower cost consumer cameras often have poor quality file formats and small screens, limiting their professional use. Blackmagic Video Assist solves this
problem because it works with every type of camera, from DSLR’s to older tape based camcorders, and even the latest digital film cameras. Blackmagic Video Assist can be mounted on cameras as a large monitor for the entire crew to see, it can be handed to the cinematographer or DOP for setting up shots, or set on a table in front of the director to review each take. Durable and lightweight, the Blackmagic Video Assist features a bright, 5 inch high resolution 1920 x 1080 HD monitor and touchscreen with a wide 135º viewing angle. Customers can record broadcast quality 10-bit 4:2:2 video onto fast, inexpensive and widely available SD cards in Apple ProRes and DNxHD file formats. The SD cards can be mounted directly on a computer for cloning and backup using the included DaVinci Resolve Lite and, because the files don’t have to be converted or transcoded, editing and color correction can begin immediately. The Blackmagic Video Assist includes 2 standard LP-E6 battery slots allowing hot swapping of batteries while in use, and it can be powered using the 12V DC input.
The built in touchscreen lets customers use simple swipe gestures to display camera information, change settings and evaluate audio and video levels. Blackmagic Video Assist features an elegant, semitransparent heads up display overlay that let’s customers keep their eyes on the shoot while changing formats, viewing the current input frame rate, histogram, audio meters, timecode and more.
ATEM 2 M/E Broadcast Studio 4K The all new ATEM 2 M/E Broadcast Studio 4K lets professionals create live, switched, high frame rate HD and Ultra HD programs at up to 60 frames per second. Featuring advanced 12GSDI technology, users can connect the latest 2160p60 cameras using a single, standard SDI cable. The multi rate 12G-SDI connections automatically switch to 6G-SDI, 3GSDI and HD-SDI so the switcher is compatible with existing HD equipment. The ATEM 2 M/E Broadcast Studio 4K can be used to master programs in 2160p60 while simultaneously outputting them in HD with realtime down conversion. It’s a future proof switcher that lets bro-
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bigger color space of Ultra HD, the ATEM 2 M/E Broadcast Studio 4K makes the fast paced action and incredible drama of live sports look dramatically better than even the highest end regular HD production. In addition to advanced 12G-SDI technology, the ATEM 2 M/E Broadcast Studio 4K features the highest quality professional broadcast connections. Every input is HD or Ultra HD switchable and they all have automatic frame re-synchronization so customers can take any source, even if they’re not referenced, and make clean switches. There are also two balanced XLR audio inputs and outputs for connecting mixers and other pro audio gear. The ATEM 2 M/E Broadcast Studio 4K has both an Ultra HD program output as well as a down converted HD program output, along with 6 auxiliary outputs for sending clean feeds out to giant screens, projectors, recorders or monitors. Dual Ultra HD multi view outputs let customers monitor program, preview and cameras on large screen Ultra HD displays.
adcasters start building a library of amazing Ultra HD content, even if they need to continue broadcasting 1080HD today. The ATEM 2 M/E Broadcast Studio 4K is designed for action filled sporting events and live con-
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certs. With Ultra HD production at 60 frames per second, viewers will see incredibly clear, detailed images where every single frame looks like a super sharp still photograph. When combined with the extra resolution, higher frame rate and
“Ever since we originally launched our redesigned ATEM switchers with 6G-SDI technology, high end broadcasters have asked us for a more powerful model that lets them do high frame rate Ultra HD specifically for fast action live events such as sports. The new ATEM 2 M/E Broadcast Studio 4K makes fast motion sporting events look amazing and has been designed to fill this need,” said Grant Petty, Blackmagic Design CEO. “Ultra HD at 60 frames per second is the broadcast standard of the future and ATEM delivers it now. The new ATEM 2 M/E Broadcast Studio 4K also has the flexibility to start working with this incredible new format while still delivering 1080 HD today!”
BLUEBELL OPTICOM Caddie-LB 4K Fibre Transport At the 2015 NAB Show, Bluebell Opticom launched the Caddie-LB 4K, specifically designed for OB and deployable applications. Caddie-LB 4K provides a single cable link between cameras and ENG/OB units. Features include four 3G/HD/SD-SDI video paths from the camera's on-air audio, intercom, and control data. Based on field-proven technology, the units offer a range of signals to the operator including program video, audio, comms, data, and genlock for camera control and synchronisation. All signals are multiplexed onto two fibres to ensure easy and quick system rigging. Units have already been successfully deployed at the 2014 Commonwealth Games and at prestigious concert venues for high-profile UHD tests.
ShaxX Broadcast Camera Interface The ShaxX System from Bluebell has been designed to provide power insertion to broadcast cameras fitted with standard SMPTE 304M hybrid connectors, thus allowing them to be remotely powered over the hybrid cable. For easier on-site deployment, complete camera chains can be multiplexed onto a single duplex singlemode fibre and powered locally, permitting broadcasters to utilise the ordinary singlemode optical fibre networks found within a stadium or available dark fibres. Utilising the popular BC Series footprint, we can also offer a complete wavelength management facility while providing all the camera and CCU communications, as well as power. In this way, up to 16 cameras can be easily deployed and connected
over a single cable.
BC364 Multiformat SFP Interface The BC364 is a compact rackbased multiformat converter for use with a wide range of broadcast video and audio signals. The BC364 provides a base unit that comprises input and output SFP cages. With different SFP converter modules, users can adapt the functionality of the unit to suit different applications. Signal input and output formats are defined by selecting appropriate standard SFPs that can perform optical and/or electrical format conversions. The BC364 card offers a range of options including distribution, format conversion, monitoring, and wavelength management including CWDM. Such a wide range of functionality enables the BC364 to act as a "toolkit" for systems engineers, as well as a high-quality converter for any fixed installation. Multiformat SFPs can convert to and from composite, HDMI, DVI, optical, and 3G-SDI. Units can also be used to regenerate optical signals from multimode to
singlemode, repeat optical signals, or re-map wavelengths within existing fibre systems.
BN366 4K Fibre Link The BN366 is designed for the cost-effective transport of 4K UHD signals over fibre. Based on fieldproven technology, the compact unit provides the transport of four 3G-SDI signals over a dual fibre link. The BN366 uses premiumgrade, broadcast-quality components to maintain the highest signal integrity and ensure transparent, error-free pathological signal performance. Units have already been successfully deployed to cover a series of major sporting events using the latest 4K Ultra-HDTV broadcast cameras. Alternatively, the BN366 provides a sturdy, compact conversion unit that allows the outputs from up to four cameras to be transmitted over fibre. Units are fully compatible with Bluebell's BC Series of modular cards and frames, so units in the field can be integrated into the main OB truck or studio control room.
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BLUEFISH444 SUPPORT FOR NEW FEATURES COMING TO ADOBE CREATIVE CLOUD Bluefish444 support for Adobe Creative Cloud for Windows and Mac OS X will bring compatibility to all Create, Epoch, Epoch | 4K Supernova, and the new Epoch | 4K Neutron video cards. This update will bring with it valuable improvements to performance and functionality such as; All new Mac OS X support, Capture of 4K SDI on Windows and Customized sequence render formats to work with inside Adobe Premiere® Pro CC. ● 4:2:2/4:4:4 YUV and RGB SDI Input and Output ● 4K/2K/HD/SD SDI Input and Output ● 16 Channels of SDI Embedded audio ● Custom sequence presets allowing compressed and lossless rendering at up to 4K resolutions
Adobe After Effects CC Bluefish444 will support the new release of Adobe After Effects® CC through the Adobe Mercury Transmit on both Windows and Mac OS X platforms. Improved performance of video and audio preview in 4K/2K/HD/SD video modes is central to the forthcoming release. ● 4:2:2/4:4:4 YUV and RGB SDI Output ● 4K/2K/HD/SD SDI Output ● Audio monitoring through ASIO 64 (windows) “Customers who use Adobe Creative Cloud with Bluefish444 SDI hardware expect their systems to perform day in day out in some of the most demanding situations. Our ongoing commitment to new features and improvements continue with the latest updates of Adobe Creative Cloud applications,” said Tom Lithgow, Product Manager,
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Bluefish444 “Our customers require second to none performance for all workflows from Standard Definition video right though to 4K SDI I/O and our hardware and plug-in support really is the complete SDI I/O solution.”
grading, and finishing workflows and a perfect match with Bluefish444 4K SDI/HDMI solutions,” comments Tom Lithgow, Product Manager at Bluefish444. “This software bundle offer with the Epoch | 4K Neutron is a great value and makes SCRATCH even more accessible to our global partners”.
SUPPORT FOR AVID MEDIA COMPOSER 8.3 Bluefish444 has added support for greater than HD video formats enabling advanced SDI/HDMI video output with Epoch | 4K Neutron Turbo, the Epoch | 4K Neutron range, and Epoch | 4K Supernova/S+ range of video cards: New Bluefish444 Open IO support for Avid Media Composer 8.3 includes: • 4K/2K/HD/SD Video Modes • 3G/1.5G/SD SDI Input and Output • 4K/2K/HD/SD HDMI Preview with Epoch | 4K Neutron • High Frame Rate 50/59/60fps support at 4K/2K/HD Thanks to the continued partnership with Avid, Bluefish444 is able to bring the finest quality SDI/HDMI video IO hardware to the industry standard Avid Media Composer 8.3 video editing platform, now with extended 4K UHD and 2K video modes. “We have worked with Avid over the past 4 years to bring the quality and reliability of Bluefish444 SDI/HDMI hardware to AVID’s video and audio editing software via the Avid Open IO program” comments Tom Lithgow Product Manager Bluefish444. “Many Avid Media Composer customers already rely on Bluefish444 hardware for SDI quality and stability and the latest addition of greater than HD formats to 8.3 opens the door to 4K, 2K and High Frame Rate workflows across SDI and HDMI”
SDI SUPPORT FOR AVID PRO TOOLS 12 Bluefish444 has developed support for Avid Pro Tools 12 enabling video output with Epoch | 4K Neutron, Epoch | Neutron and the Epoch | 4K Supernova range of video cards: SDI and HDMI video preview allows audio editing to be carried out with real time synchronised video on professional displays and projectors assisting in the production of Music Clips, Feature Films, and other Video/Audio productions. Thanks to the continued Open IO partnership with Avid, Bluefish444 is able to bring the finest quality SDI/HDMI video IO hardware to Avid’s industry standard video and audio editing platforms. “We have worked hard with Avid to bring the quality and reliability of Bluefish444 SDI/HDMI hardware to AVID software” comments Tom Lithgow Product Manager Bluefish444. “Avid customers can now remain on the Bluefish444 SDI/HDMI video hardware platform when moving between video and audio post production creating a more efficient workflow at the absolute highest quality.”
NEW EPOCH | 4K NEUTRON BUNDLE WITH ASSIMILATE SCRATCH v8 “ASSIMILATE’s SCRATCH is a fantastic, all-around tool for dailies,
“The digital cinema market has clearly embraced 4k acquisition and the 4k post-production workflow. And to see the output of 4k, they now require the most advanced and reliable video cards like those from Bluefish444 and realtime DI software like SCRATCH from Assimilate,” stated Jeff Edson, CEO at Assimilate. “We were at the forefront of the 4k revolution as the first vendor to provide a real-time digital workflow for the RED 4k camera. We also have a long-standing relationship with Bluefish444 to partner in solutions that give evergreater performance and value to this market. Our goal is to make the 4k workflow easily accessible to all creative professionals, no matter their budget constraints.” Epoch | 4K Neutron Key Features: The Epoch 4K Neutron adopts an all new form factor, allowing for integration into a wide range of chassis. The low profile, half-height form factor allows Epoch | 4K Neutron to be installed into low profile servers, small form factor (SFF) computers, and low-profile Thunderbolt expansion chassis. The full height shield option allows for integration in more traditional workstation computers and provides additional I/O requirements like AES/EBU, RS422 machine control, and domestic analogue audio monitoring. Epoch | 4K Neutron features support for 3G SDI I/O configurations, allowing 4K SDI workflows. An HDMI mini connector provides a lower cost 4K/2K/HD/SD HDMI
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monitoring preview, and allows for color critical monitoring on consumer HDMI displays supporting Deep Color. Epoch | 4K Neutron SCRATCH v8 Supported features: ● Cross platform Windows & Mac OSX support ● 4K 30p fps HDMI monitoring ● 8-bit / 10-bit /12-bit SDI monitoring ● 4K / 2K / HD / SD mastering and monitoring ● Stereoscopic SDI output ● 12-bit precision colour space conversions ● 8 channel AES Digital Audio I/O ● Stereo Analogue Audio Monitoring ● Thunderbolt 2 compatible via Bluefish444 qualified 3rd party expansion chassis partners. ● Epoch | 4K Neutron Turbo upgrade path allowing:○ 4K 48/50/59/60 fps SDI preview ○ Stereoscopic 2K/HD 60 fps 12-bit SDI preview
New Epoch | 4K Neutron Turbo The Epoch | 4K Neutron Turbo High Bandwidth SDI solution brings previously unachievable video formats to the Epoch | 4K Neutron range for the most demanding 4K/2K high bandwidth workflows and those that demand the absolute highest quality SDI and HDMI video solutions. Epoch | 4K Neutron Turbo Features: • Quad Link 3G SDI • 3G/1.5G/SD SDI Input or Output • 4K/2K/HD/SD HDMI Preview • 4K/UHD High Frame Rate 50/59/60fps SDI • Tri/Bi-level Genlock • 8 Channels AES/EBU audio input
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& output • 2 Channels Analogue audio monitoring output • RS422 Machine control • Auxiliary Genlock connection
Upgrade Path from Epoch | 4K Neutron Epoch | 4K Neutron Turbo is also available as a cost effective upgrade path from Epoch | 4K Neutron video cards. Existing Epoch | 4K Neutron customers who do not initially need the advanced 4K/2K video mode support can purchase the Epoch | 4K Neutron Turbo upgrade board anytime within 2 years of the purchase of their Epoch | 4K Neutron video card availing themselves of all the
advanced features of the Epoch | 4K Neutron Turbo. “Bluefish444 understands that not everyone needs the most advanced 4K/2K video modes Bluefish444 currently support, so we have developed a cost effective upgrade path for customers that have thus far held back from purchasing new video hardware for 4K workflows” comments Tom Lithgow Product Manager Bluefish444. “Epoch | 4K Neutron Turbo, and the Epoch | 4K Neutron upgrade path, gives our customers the confidence to make the purchase they need today knowing they can achieve the workflow that they need tomorrow with a simple and cost effective upgrade.”
CALREC New Compact I/O Expansion Units The new Fieldbox range of smallformat I/O units brings the advantages of Calrec’s Hydra2 stagebox to rugged environments and areas where rack space is at a premium. These 1U half-rack units are ideally suited for work in outside broadcast environments where I/O need to be spread over a large area, such as at a golf course. Fieldboxes can be located and distributed exactly where they are needed using just two high-capacity network cables for full redundancy. This setup allows for significant savings on rigging time and cabling costs, and it also reduces cable storage and transport. The locational flexibility goes even further, as the units can be powered not only by an AC feed, but also by an industry-standard battery pack. Minimizing the distance that analog cable mic level signals are carried reduces the noise and interference picked up, improving overall audio performance. “Fieldbox applications are not
limited to outside broadcast; they can benefit any fixed or temporary installation where a small number of analog inputs and/or outputs is required in a specific location, such as in small studios, voice-over booths, and control rooms for monitor feeds,” said Calrec Product Manager Peter Walker. “The Fieldbox functions just like any other Hydra2 I/O box, providing remote control over input settings that utilize Hydra2’s sophisticated sharing, protection, and access management system, along with active status monitoring and a backup Hydra2 network connection.” To add even further distribution flexibility to a Hydra2 network, Calrec has also developed the H2Hub. Like the Fieldbox, the H2Hub uses the same compact form factor to provide a hub or switch point for a Hydra2 network. A single connection from the router can then be switched via the H2Hub to multiple I/O units, or to multiple H2Hubs if further I/O distribution is required. The H2Hub’s connection and distribution options make them ideal for forming ad hoc
networks, especially when combined with Fieldboxes and other Calrec I/O infrastructure. “Most significantly, the Fieldbox has been designed to support future audio-over-IP connectivity for use with shared IP networks,” Walker adds. “AoIP is a hot topic at the moment, but committing to a single format at this time is a real risk for our client base. We have integrated into the Fieldbox design the functionality to insert an optional AoIP subcard. This will allow our clients to upgrade to an AoIP format in the future and still have access to all the protections built into the Calrec protocol. At this time we are talking with several manufacturers about this development and future-proofing our clients’ I/O investment.”
New Hyrdra2 Interface Provided Connectivity for DiGiCo DiGiCo consoles can now integrate onto the Hydra2 network via DiGiCo’s brand-new “anything in, anything out” Orange Box equipped
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with Calrec’s new Hydra2 interface card. The Orange Box takes a variety of DiGiCo Multichannel Interface (DMI) cards that easily convert audio from one transport protocol to another. Calrec has developed an interface card that allows third-party manufacturers to integrate Hyrda2 into their equipment. In this instance, the Calrec card sits on DiGiCo’s Hydra2 DMI card in the Orange Box and redundantly connects into a Hydra2 router via fiber or copper like any other Hydra2 I/O connection. A MADI DMI card also sits in the Orange Box, which in turn connects to any DiGiCo console. The dual MADI connection allows 112 channels of audio to pass from the Hydra2 network, but provides more than just a transport system, it also gives operators added control. The link provides the ability to share labelling and control input gain along with I/O switching for phantom power and phase. “It was evident that DiGiCo consoles are regularly used as feeder consoles to Calrec consoles in the main OBs at large sporting events, so it seemed perfect for our first collaboration to link our consoles together on the Hydra2 network,” said Dave Letson, Calrec’s vice president of sales. “This new development offers our customers the unique ability to have enhanced
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control that isn’t possible with the traditional MADI systems, and to save time and money by streamlining their workflows.” “This technical engagement with the Hydra2 network now provides our customers a clear advantage, expanding greater flexibility between Calrec and DiGiCo,” added Chris Fichera, vice president of Group One, DiGiCo’s exclusive U.S. distributor. Calrec is already talking to other manufacturers about future development that will allow them to integrate their equipment onto the Hydra2 network. That development continues Calrec’s agnostic interoperability drive of the past few years and offers a unique integration opportunity to third-party manufacturers of complementary products.
Henry Goodman and Dave Letson Into New Roles to Focus on Development, Support, and Sales At the 2015 NAB Show, Calrec announced the formation of two senior management roles, with Henry Goodman in the new role of director of support and market development and Dave Letson as vice president of sales. Goodman has been in the audio console industry for 35 years, with 27 years’ experience in sales. He
has developed strong relationships across the globe and will work closely with customers to identify how best to support their needs, both present and future. Working with both the sales and product management teams, Goodman brings his commercial strengths to the challenge of developing customer-lead products that will continue to fulfill the needs of Calrec’s customer base. Further to this, Goodman will concentrate on the proactive development of the customer support function to continue improving Calrec’s already exemplary customer service levels. Letson previously headed up Calrec America and is now the driving force behind global sales. Having spent the last four years establishing Calrec’s U.S. sales team in Los Angeles, he will now strengthen the team at the U.K. office in Hebden Bridge. “These new roles and areas of focus will strengthen Calrec’s market position and reputation as a global leader,” said Calrec CEO James Gordon. “Calrec is wellregarded for its customer collaboration and support, and Henry’s appointment will put even greater emphasis on this. Dave was the natural choice for the sales role, having spent the past four years building the very successful U.S. office. His record and reputation speak for themselves.”
New Lyric64 At the 2015 NAB Show, ChyronHego previewed Lyric64, an all-new version of the company’s flagship Lyric graphics creation and playout platform that has been reengineered for the 64-bit environment. Lyric64 features a completely new and highly customizable user interface that provides seamless usability and easy access to the
platform’s rich and extensive feature set. In addition, Lyric64 is resolution-agnostic with full support for graphics authoring and playout in nonstandard aspect ratios, such as on video walls, and in resolutions to 4K and beyond. Lyric64 will be released for purchase in the third quarter of 2015. ChyronHego’s Lyric is the world’s leading graphics creation and pla-
yout solution, with more than 9,000 systems installed in broadcast environments on every continent. Like its predecessor, Lyric64 offers a single powerful solution for graphics creation and playout including point-and-click access to external data sources using ChyronHego's Advanced Data Object technology. With this feature, Lyric64 users can enrich their on-air graphics with
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data from a multitude of sources, including ODBC, JSON feeds, AP wire feeds, and XML from the Internet, simply by pointing and clicking in the Advanced Data Object window. Lyric64 now provides navigation tools that enable the system to cycle through and automatically update selected data sets on a periodic basis. In addition to the Advanced Data Object usability enhancements, the all-new user interface in Lyric64 features docking panes that enable users to define interface elements by dragging and dropping them into position. Users can create tabbed windows and pre-build window configurations that can be instantly recalled for playing out a specific set of graphics. “Lyric64 is the result of an extensive development effort to evolve our flagship product to keep pace with customers’ ever-challenging graphics requirements,” said Johan Apel, president and CEO, ChyronHego. “With Lyric64, we’ve taken everything that’s great about Lyric and ported it to the 64-bit environment to give users more
power and versatility than ever before. In addition to new user interface features that bring all of Lyric’s rich functionality right to the surface and make them instantly accessible, Lyric64 positions ChyronHego and our customers perfectly for the coming world of 4K broadcasting.”
VistaCam ChyronHego developed VistaCam in close cooperation with a major sports broadcaster in the U.K., which was launching a new studio for its Monday night English Premier League football show. The broadcaster sought to provide a three-projector, panoramic backdrop behind the presenters’ desks featuring graphics and live video from football venues. However, signals obtained from wide-angle HD cameras located at the football pitch were appearing pixelated and out-of-focus when projected on the large video wall in the studio. Aware of ChyronHego’s innovations in panoramic video and image-based tracking systems, including its patented CogEye™ technology for stitching HD sources together, the
broadcaster approached ChyronHego to provide a solution. ChyronHego based the VistaCam solution on the Super-HD camera units used in the company’s acclaimed TRACAB optical player tracking systems. With TRACAB’s patented image processing technology, the compact HD cameras use stereo technology to ensure that the entire playing surface is constantly filmed from several angles. Using this technology, ChyronHego custom-designed and built a small, portable camera unit for VistaCam including four of the HD cameras. With the camera unit installed in the arena and transmitting the four HD video streams over a Gigabit Ethernet connection, the VistaCam presentation engine is able to stitch together the feeds to create a very high-resolution, near-180-degree video panorama. The VistaCam software includes an intuitive GUI for real-time color correction in the studio, and can be easily integrated with ChyronHego’s resolution-independent Lyric64 graphics creation and playout platform. This enables the system to deliver high-resolution video in virtually any size and dimension, an important capability for video walls that are often deployed in unusual widths and heights. “There are a few solutions available that can create panoramic video feeds, but they’re primarily used for coaching and game analysis. VistaCam is the first-ever broadcast-quality system to deliver panoramic video for studio presentations that addresses the pixelation and other quality issues that have plagued panoramic video walls in the past,” said Johan Apel, president and CEO, ChyronHego. “After developing the solution for our U.K. broadcast customer, we’ve been able to test it with several other clients and it is now being installed by several other sports broadcasters. With VistaCam, they’re able to provide coverage that is truly unique, giving home viewers the sense that they’re right on the pitch even when they’re in their living rooms.”
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CINEGY Capture PRO Version 10 Cinegy Capture PRO unifies the task of ingesting material and generating edit or web proxies through Cinegy’s centralized capture control services so that anyone in a workgroup can control the ingest process. Version 10 features multicam ingest, flexible recording, support for UHD formats and live previews with PPM and VANC indicators. A group-recording control panel in Cinegy Capture PRO enables it to be used as a multicam ingest tool for synchronous multichannel recording studios, OB vans and live events. Live cameras, VTR or IP streams can be combined in a single application. Cinegy Capture PRO Version 10 also makes ingest a flexible, yet reliable resource that can be shared with anyone requiring access. With extensive video format support and simultaneous ability to create multiple formats and proxy copies, Capture PRO replaces separate ingest and transcode machines. The built-in ability to encode video frames once before wrapping into MXF and FCPcompatible MOV files delivers new levels of flexibility to mixed-environ-
ment productions. Support for writing to local and network storage at the same time also helps users to cope with unexpected situations without losing material because the remote control client is free to connect and disconnect while recording carries on uninterrupted. Cinegy Capture PRO Version 10 will allow multiple versions such as AVID proxies, reduced quality distributables and downconverted files to be generated on-the-fly to a single process, which means that operators have access to exactly what they need the instant they have finished recording. However, if they can’t wait that long, a ‘split’ button on Cinegy Capture PRO Version 10 can separate the recording into sections without losing a single frame, which is essential for long or automated reality recording sessions. Cinegy Head of Product Management Lewis Kirkaldie said, “The idea behind Cinegy Capture PRO Version 10 is at once simple, and revolutionary. Single or multiple instances of Capture PRO can be installed as a self-starting service on a commodity server or standard PC
and be configured to work with specified video hardware or IP streams. Once started, each Cinegy Capture PRO service simply announces itself to the network, where it is controlled via a powerful Windows control application. That application includes the same embedded Cinegy technology for IP stream multicast that delivers broadcast-quality, real-time feedback streams for instantaneous review of what is being received. It couldn’t be simpler, or smarter.” Cinegy Capture PRO Version 10 also includes a scalable Cinegy Capture Control panel application that enables operators to build a hassle-free workspace that is best suited to their particular job. It provides simultaneous control of multiple Cinegy Capture PRO engines from multiple servers, with real-time previews of all streams with PPM and VANC indicators. Kirkaldie adds, “The Cinegy Capture Control panel that comes as part of Capture PRO really does provide all the benefits of remote working with absolutely no compromise on performance or functionality.”
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DB, as never before, is investing in new technologies, expanding sales network and strengthening brand reputation. The entrance of new specialists in sales and marketing department aims to give a boost to the companyâ€™s growth and the brand visibility. DB is a corporate group working in broadcasting and scientific applications. DB Group is composed of DB Elettronica, DB Science, EBS, D&M Broadcast and ETT. Every brand of the group is specialized in
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providing the most advanced solutions in its own field. The leading company in the group is DB Elettronica Telecomunicazioni S.p.A., founded in Italy in 1975. DB Elettronica is a world leader providing communication products, systems and services for Government and Private Customers. DB Group offers world-class solutions in turnkey systems, from Studio to Antennas, where investments in design and new technolo-
gies are critical to success. More than 85% of DBâ€™s production is sold overseas. With three division headquarters located in Northern Italy, facilities in Padua, Bologna, Rome, Miami, New Delhi and many worldwide sales and services locations, DB assures immediate delivery of products, systems, spare parts and instant service on every continent. At NAB 2015, DB presented Mozart WiFi Touch, an advanced Mobile Remote Control System for their transmitters.
DFT NEW WETGATE TECHNOLOGY FOR ITS LATEST SCANITY HDR SCANNER The new Wetgate technology is designed specifically for DFT’s Scanity HDR model providing a real-time organic solution for the ingest and management of difficult to solve historical film transfer issues – such as dust and scratch removal – surpassing prior transfer standards. The new Wetgate is ideal for archive owners who need a scanner that’s able to handle a range of problematic and historically-aged film issues. Simon Carter, DFT Sales Director, said, “We’ve responded to the needs of the archiving market by evolving our technology to address its requirements, first with
the Scanity HDR – announced at NAB 2014 – and again by developing our new Wetgate technology. By enabling many of the issues associated with historically-aged film to be addressed at the scanning stage, our customers have less work to do downstream, saving valuable time and money.” Scanity HDR now offers a host of new user friendly features, that serve a variety of film scanning applications, including – but not limited to: film archive scanning for mass digitisation; EDL/conform scanning; low resolution browsing for archive and restoration; shortform commercials; and 4K UHD ready and digital intermediate scanning. Key features include its patented
Black & White HDR function, a new triple exposure – executed once – in realtime 2K or 4K data ingest. This means the scanner speed remains constant, instead of having to slow down, creating significant time and cost benefits and allowing access to previously unseen details from the high and lowlights of the film faster than ever. DFT counts major archives worldwide among its customers, among them the National Library of Norway (NBR), National Film and Sound Archive of Australia (NFSA), Library and Archives Canada (LAC) and The Slovak Film Institute (SFÚ), the Film Institute Netherlands (EYE), National Audiovisual Archive of Finland (KAVA) and the Royal Thai Archive.
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S21 Customer Intelligence “With the S21, we wanted to rewrite the rulebook. To test the conclusions we previewed at Prolight+Sound without publishing or unlocking the full software potential, or even the intended release specifications,” says DiGiCo’s managing director, James Gordon. This different approach makes perfect sense when you take onboard that the core of S21 is DiGiCo’s Stealth Digital Processing. This FPGA based technology is the key that unlocks the flexibility that the R&D designers need to specify and deliver the ultimate console. This has been demonstrated to existing clients, as every console in the SD range has benefited from complimentary advancements in core processing and software since their launch. “We wanted to design an entry level console that retained all the features and values DiGiCo is
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known for in terms of quality, ergonomics and style, and one we could be truly proud of at a price point that allows even more audio engineers to join the DiGiCo family. In fact, that was the condition John Stadius put on his design team. It is also why the console has been hidden in development for close to three years,” confirms James. When you walk up to the console you can instantly tell it is a full member of the DiGiCo stable. The build quality and design takes on all DiGiCo’s core values such as aluminium extrusions, RGB switch encoders with HTL (Hidden Til Lit), Polycarbonate overlays and two large multi touch screens that allow the operator to get an unrivalled overview of what is at their finger tips. “The challenge we faced in R&D was providing a true pro ‘high-end’ console at the desired price point,” John Stadius adds. “The brief we got was very strict, we had to develop a console that gave the operator all the sensations they would get when stood behind the SD7. “This requirement really motivated the team and S21 is the result. The worksurface design speaks for itself, but in terms of audio, you
have the same FPGA algorithms as the SD7 and the Mic Pre design is lifted from the 192kHz SD-Rack. The audio statistics on this console are very much high end; it should surprise a lot of new to DiGiCo engineers. Oh, and its 96kHz with no processing limitations from day one like all the other DiGiCo consoles. As I said, no compromises were allowed!” Features: • 96kHz as standard • 24 mic line inputs • 12 analogue outs • 2 AES I/O (mono) • Word Clock I/O • 1 GPI and 1 GPO • DVI out (for an external monitor) • 2 DMI slots (up to 64 I/O slot) • 2 Ethernet connections for networking • 2 x 24 segment master / solo meters • Touch sensitive rotaries with integrated switch & HTL • 2 x multi-touch screens
• 21 x touch sensitive moving faders • 4 x layers of banks of 10 • Customisable bank and channel layout • Snapshots • Integrated USB2 Audio I/O • 46 busses: 16 x stereo (32), stereo Master (2), solo buses (2 stereo, 4 total), and 10 x 8 Matrix (8) • 40 x flexi-channels Mono/Stereo (equivalent of 80 DSP channels) • 16 x flexi buses Mono/Stereo (equivalent of 32 DSP busses) • 16 x assignable 32 band graphic EQs • 8 x FX engines (reverbs, delays, w/modulation and enhancer) • 4 x assignable DiGiTubes • 4 x assignable Multiband comps • 1 x compressor per channel and bus • 1 x gate per channel and bus (switchable to ducker, or compressor with side chain access) • User definable Macros • An extremely high power headphone amplifier • 1/4 inch and mini jack socket
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ESTRUCTURE New solutions Kosmos debuted at NAB 2015, the new platform for news production in collaborative work environments. Thanks to a seamless workflow, content sharing is improved with a centralized access to the resource. Kosmos makes work easier connecting all areas of multimedia newsroom. Journalists can navigate through a global content manager to select the materials they need, edit, add voice-over, text, graphics ... easily from a single application. For the area of Post-Production, Kosmos integrates with Sony Vegas, Adobe Premiere and Edius, that will complement the production of news. Kosmos has a robust archive solution that ensures access to all the historical content quickly and accurately. Users can configure the archive system on LTO-6 tapes or disks. Both technologies can coexist simultaneously and can, for example, configure disk storage for near-line and manage a robotic tape for off-line file. LuxorVS400, Ingest and Playout severs have been designed for broadcast automation and studio production. The incorporation of hardware acceleration new technology, without adding new equipment, makes LuxorVS 400 a cost effective solution on the market. • LuxorVS400 MCR allows TV channels to automate their broadcasting to run 365 days a year. N+1 redundancy ensures 24/7 operation. By rundown manager, operators will schedule the programming (daily, weekly ...), including commercials and live events. Each rundown allows mixing different video formats, even combine HD and SD in the same playlist. LuxorVS400 MCR performs
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Up/Down conversions to adjust the format of the content to different output destinations: broadcast, web, mobile… • LuxorVS400 Studio allows operator manage several input signals, multiple playlist of video and graphics, alternating different sources while being broadcasting. We can move, scale and change video opacity and the audio gain, in real time. Thanks to the built-in character generator, add text files, connect to databases, XML or RSS, it is fast and easy. A complete video mixer makes it easy to create transitions and DSK, supporting alpha channel, graphics, animations and flash. Besides, it connects with external devices to control prompters, GPI, or video matrix from other vendors. It was also presented LuxorAIO 3.0, the newest release of its MAM and Archive solution, with new builtin features. Content search has become more effective thanks to a powerful document search engine that allows the use of query operators. These operators widen the
options being able to perform phonetic searches, by proximity or range, include wildcard characters or even give more importance to one of the criteria. The system will perform the query on the entire metadata, and inside of text resources as PDF or Word. Automatic detection of the type of resource (image, audio, video, and document) is incorporated in this update, providing users with metadata manager, being faster the registration process content. New features include Documentation tool, essential in the departments responsible for accurately documenting the audiovisual material for searching and subsequent use. Allows you to document a story, shot by shot, adding descriptive text of what is happening in each scene. Mark an input point and an output point, enter the relevant text and modify its metadata if necessary. Also incorporates a system of SDI video recording for both HD and SD. Allows you recording all your historical archive from VTRs.
Live Servers With the introduction of the newest Multicam software engine for EVS’ iconic XT3 servers, customers can expect expanded flexibility with increased SuperMotion camera configurations (up to two SuperMotion 6X camera recordings with two additional recording and playout channels available); ingest and playout options with the XS server for studios; and audio channel/MADI support. Added to these capabilities is the XT3’s current format support for 4K/UHD, 1080p and proxy; 10 Gigabit Ethernet connectivity; up to 12 HD/SD live rec/play channels; and built-in technical support – making XT3 the choice for the future.
Live Production At NAB, the “LSM Cockpit” showcased how operators can pilot bestin-class tools within a unified LSM environment, including flexible multi-angle content access and control for quick highlight creation; new touch-based clip and playlist
control; on-the-fly virtual effects for augmenting the live replay; fast media archive/restore; and timesaving configurations. The EVS “Stadium Control Room demonstrated IPDirector content tools for maximizing game-day content production and delivery, featuring HD and 4K advancements including enhanced replays through zoom and integrated delivery to post-production editing tools.
Live Content Management Designed for live and fast turnaround production, the IPDirector live production software suite offers a wealth of new capabilities for unified linear and file ingest, manage-
ment, exchange and contribution based on advanced BPM and SOA foundations. These include webbased tools for collaboration and content exchange between venues and studio, automated clip management, metadata integration and archive management. For multicamera studio productions, IPDirector brings recording sessions to the post production stage efficiently, offering best-in-class integration with Adobe Premiere, Avid Media Composer, and Apple FCP-X, as well as single file exchange for 4K editing. It also integrates with the EVS line of XStore shared storage solutions for intelligently managing assets with optimal speed and guaranteed storage capacity. The Director’s Cut module is the ultimate time saver for “as live” shows, by collapsing the time from record to edit completion.
DYVI - IT based video switcher Ushering in the dawn of IT production technologies, DYVI enables flexible creative resources and layering while bringing high-end functions to familiar switcher-like operational interfaces. Scalable, professional-grade switching makes DYVI ideal for studios with multiple control rooms and multi-venue campuses. The distributed architecture enables cross-campus to crosscontinent distribution.
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New Liquid-Cooled Flexiva™ FLX Transmitter Flexiva FLX liquid-cooled systems are carefully engineered to remove heat from the RF plant in the most efficient possible manner. The modern design incorporates a heat-to-liquid transfer that is considerably more efficient than air-cooled processes, especially at higher power levels. The process eliminates the overhead of heating and then subsequently cools the air, moving transmitter heat to the outside via a liquid-to-air heat exchanger with redundant fan systems. Redundancy is a key design benefit across the entire liquid-cooled architecture. To obtain maximum efficiency, the system, in most installations, integrates low-noise pump modules within the transmitter to further reduce its already compact footprint. Two fully redundant cooling pumps operate in a closed-loop design, with auto-changeover capability in the event of a module failure to ensure proper and constant transmitter cooling. The pump and heat exchanger motors are speed-controlled to lower operating costs and provide optimum cooling performance over an array of weather conditions. “The introduction of our Flexiva FLX liquid-cooled FM transmitters exemplifies our continued investment in solving problems for our customers,” said Rich Redmond, chief product officer, GatesAir. “GatesAir is the only broadcast manufacturer with experience across FM, HD Radio™, and highpower liquid-cooling systems, and
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our expertise in efficient transmitter design ensures broadcasters will receive the lowest total cost of ownership possible today.” The innovative liquid-cooled design is among the groundbreaking attributes of GatesAir’s PowerSmart® 3D architecture, which overall reduces carbon footprint and operating costs by as much as 50 percent. When combined with PowerSmart 3D’s unique broadband amplification to enhance power density, broadcasters see the additional benefits of reduced transmitter footprints, weights and rack space requirements (up to 75 percent); as well as a modular, customer-friendly build that streamlines maintenance and spare parts management.
Expanded FM Band Solution for Brazilian Broadcasters GatesAir unveiled a new system tailored specifically to transition AM radio broadcasters in Brazil to a proposed expanded FM radio band. In an effort to overcome technical challenges of the AM band, the Brazilian government is working through a plan to transition AM radio broadcasters to the FM band, including expanded lower-frequency channels. At the 2015 NAB Show, GatesAir demonstrated FM over-the-air systems designed for broadcasting on frequencies between 76 and 88.1 MHz. The Flexiva FAX transmitter family includes a new, low-band FM high-power amplifier, which maintains exceptional signal quality
while broadcasting as much as 12 MHz lower than the traditional FM band. “With TV channel 5 and 6 spectrums transitioning from TV to radio service in Brazil, the launch of an expanded FM band appears imminent,” said Rich Redmond, chief product officer. “Through our Flexiva software-defined exciters and broadband transmitters, GatesAir has innovated a solution to address the challenge of broadcasting at up to 80kW on these channels, while accelerating the transition to meet government mandates and market demands as they come to fruition. Our customers can be assured that we’ll be ready with systems as receivers for the proposed expanded FM band hit the market. It’s another example of GatesAir’s worldwide leadership in helping broadcasters transition to new platforms, whether it’s multichannel digital or a unique situation such as what’s happening in Brazil.” GatesAir’s flexible transmission architecture simplifies frequency, filtering and amplification changes required to broadcast within the expanded FM band, without financially burdening the broadcaster. This assures that AM radio stations nationwide can continue to serve the public with news, entertainment and other programming without incurring high transitional costs. That value proposition connects with GatesAir’s message of high operational efficiency and low total cost of ownership for the over-theair broadcaster, without affecting reliability or program quality.
GRASS VALLEY This year, at the 2015 NAB Show, Grass Valley demonstrated its latest advances in 4K production workflows for better storytelling, replay solutions for more flexible coverage of live events, and IP-based infrastructure for more robust file management and transfer, along with cloud technologies for improved operational efficiency and much more. “It’s a very challenging time to be a broadcaster or media company right now,” said Marco Lopez, president, Grass Valley. “With all the advances in technology and the pressure to continually improve efficiency, it can be very hard to make investment decisions with confiden-
ce. That’s why we work with each customer individually to understand their goals and help them develop a plan with a set of solutions that will take them where they want to go with their business. NAB is a great place for us to have those conversations.”
4K/XS-HD Camera/Replay Chain This first-of-its-kind system brings 4K and extreme-speed storytelling into the mainstream, enabling any camera or replay position to be set up for regular HD, 4K or extremespeed acquisition/replay and requiring no additional positions or
equipment in order to achieve this flexibility. “Grass Valley is proud to be able to present this level of innovation that helps our customers tell better stories,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “The combination of our LDX 86 Universe/K2 Dyno Universe provides unprecedented levels of creative freedom without requiring enormous additional costs. What once was considered technology only for “specialty” positions, can now be applied to standard replay and camera chains. With the combination of LDX Universe and K2 Dyno
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Universe, HD camera and replay positions can now become extreme-speed or even 4K positions with access to any shot, from any angle during any production.” The LDX 86 Universe offers format flexibility with the same high sensitivity and dynamic range performance in all formats, with the same workflow speed. Utilizing Grass Valley’s proprietary XensiumFT CMOS, this new camera delivers superb picture quality in 4K and extreme-speed; even in difficult “real world” lighting conditions. The LDX 86 Universe can be used in any camera position where a 1X, 3X or 6X camera is required. This includes the ability to switch the camera from 4K 1X operation to HD 6X extreme-speed operation providing unprecedented coverage of multiple camera applications all from a single camera. As innovative as the LDX 86 Universe is, by itself, in 4K or 6X modes, it still would be a specialty camera in 4K or 6X modes for most productions. However, with the
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introduction of K2 Dyno Universe, the power of 4K or 6X acquisition becomes affordable for all camera angles and replay positions. Until now, 4K replay would require double the number of servers, double the rack space and double the number of replay-operators in comparison to HD; this made 4K productions impractical for most events. Now, 6X HD and 4K workflows for all camera and replay positions are possible, using the same number of replay operators and same amount of rack space. “Before LDX Universe and K2 Dyno Universe, broadcasters didn’t have the ability to unleash the incredible story-telling power of extreme-speed acquisition at every camera angle, nor was 4K acquisition and replay with an equivalent number of camera positions as in HD achievable, technically or economically,” added Cronk. “With LDX Universe and K2 Dyno Universe all of this has changed. Now broadcasters can own an acquisition/replay solution that sup-
ports HD, 4K or 6X acquisition without having to change workflows or go over-budget. This introduction serves to democratize extremespeed and 4K acquisition/replay.” The K2 Dyno Universe supports HD up to 6X and 4K operation, and offers two sizes, 4RU and 6RU, both fully 6X HD/4K switchable. Each configuration uses the new solid-state shared storage for exceptional performance. System scalability is delivered by connecting multiple systems together over blazing fast 10GigE ShareFlex connectivity. The introduction of the LDX 86 Universe builds upon the success of Grass Valley’s widely used LDX 86 high-speed camera systems, which include the LDX 86 HiSpeed 3X HD super-slow-motion and LDX XtremeSpeed 6X HD/3X 3G ultraslow-motion cameras. Other new additions to the LDX 86 Series include the multiformat LDX 86 WorldCam with HD content in 1080i/720p/1080PsF and 1080p with an upgrade path to 4K and the
hand. Due to its high sensitivity, less lighting is required. Plus, smaller iris settings can be achieved, increasing depth of field and the ability to hold tight focus easily.
LDX 86 4K camera with an upgrade path to the LDX Universe To fully support the 4K system, Grass Valley developed a new fiber transmission system, the XCU XF Universe, which utilizes the same XCU cradles as its single-speed range of XCU base stations. Because the XCU's unique cradle can be premounted and prewired in the rack, it can quickly and easily be transferred between OB vans, studios, or anywhere, which extends its usability. In addition, any existing position can be upgraded to the described level of functionality, by simply sliding an XCU Universe into the existing cradles in the field.
New Camera Alternative to LDX Series The Focus 70 Live camera represents a new entry level into the Grass Valley camera line, with highquality image performance for less demanding applications. Consisting of two different single HD format camera heads, with 1080i50/59.94
and 720p50/59.94 support, the camera offers a feature set optimized for many of the typical live studio and field applications, in combination with an easy-to-operate control solution. “There are many cases where customers don’t require a high level of format or system flexibility, so we’ve developed a product that meets both their needs and their price point,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “We are committed to addressing all market segments more effectively, and the Focus 70 Live camera delivers on Grass Valley’s promise for an outstanding, high-quality camera at an affordable price.” The Focus 70 Live is based on the LDX Series technology, using the same level of quality for the optical blocks, mechanics and three fully digital Xensium-FT CMOS imagers with global shutter. Standard B4 2/3-inch lens mounts can be used to accommodate HD lenses already purchased and on-
To fully support the new Focus 70 Live camera, Grass Valley developed a line of dedicated Focus transmission solutions. These solutions include adapters and base stations in all versions of triax connections available on the market. This includes an SMPTE hybrid fiber transmission system based on the Lemo SMPTE fiber connector. The Focus 70 Live camera is the perfect cost-effective solution for studio applications at regional broadcast stations, SNG vans and small outside-broadcast (OB) vans, staging applications, house of worship and university sports productions. While the camera can be used in most 1.5G HD or SD live applications, it is not compatible or interchangeable with the LDX Series cameras, nor the 3G or XF Fiber transmission solutions. Still, most of the LDX system accessories, such as the viewfinders and the C2IP camera control solution, are fully compatible with the new Focus 70 Live cameras.
iTX Integrated Playout Platform Version 2.6 This new broadcast engine delivers simulcast for greater scalability; is better adapted for live content with the most complete realtime processing algorithms; and provides enhanced automation of ingest for streamlined workflows, while lowering the cost of running
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television channels. “iTX remains the industry-leading solution for broadcast customers that require a high-performance playout system,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “Our commitment to iTX is stronger than ever with the introduction of our new broadcast engine that enables powerful features today and ensures our customers are Future Ready with both IP playout and 4K capabilities.” This latest version of iTX is tuned for live content, managing highly dynamic schedules and late-arriving media by supporting multiple video format playbacks without the need to transcode. Coupled with the ability to record and turn around live shows in the playout engine without additional ingest servers, iTX enables broadcasters to increase live content on channels without additional operational costs. iTX version 2.6 introduces a suite of new tools to help media flow. iTX Delivery Manager supports a wider number of asset-delivery partners including SGL, Masstech, Front Porch, Pathfire and Pitch Blue. iTX automates ingest of media and metadata, allowing automated asset renaming and segmentation based on individual station business rules that saves time and improves accuracy, which means operators are focused on tasks that increase revenue instead of repetitive tasks. Version 2.6 also streamlines playout of simulcast channels with independent graphics insertion using Grass Valley’s industry-lea-
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ding Vertigo XG inside iTX—seamlessly controlled from a single interface. This dramatically reduces hardware requirements while allowing channels to have truly independent branded SD/HD channels. “iTX safeguards revenue for thousands of channels every day from small stations to the largest facilities running in excess of 250 channels, further illustrating that iTX can expand with broadcasters’ needs,” said Cronk. “At NAB, we’ll demonstrate how iTX can help broadcasters embrace IP and 4K, ensuring they are Future Ready.”
K2 Central TX Supporting 100 Mbps Playout Bandwidth on Each of up to 20 Channels K2 Central TX shared storage solution provides exceptional performance, supporting 100 Mbps playout on each of up to 20 channels, at a competitive price. K2 Central TX makes it easy to migrate from legacy play-to-air storage and server systems, offering streamlined content delivery from camera to playout. “Grass Valley is excited to introduce into the market the first broadcast server system with 6TB drive technology,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “Combined with our K2 Summit 3G client, the new Grass Valley K2 Central TX delivers outstanding performance for multichannel server applications.” K2 Central TX’s 6TB drive technology combined with K2 Summit 3G means broadcasters can enjoy
greater storage capacity with support for all major automation and third-party storage providers—thereby ensuring a seamless switchover from legacy products. And with its client direct-connect model which eliminates the need for external switches and database management, K2 Central TX lowers the overall complexity of the integration, meaning a new multichannel server solution with shared storage can be installed quickly and efficiently. The integration of 10 GbE highspeed network connectivity and higher FTP throughput enables K2 Central TX to simplify the delivery of content into shared storage. The variety of codecs supported by K2 servers allows back-to-back playback of clips in a variety of formats without the need for transcoding, which further speeds up the process of content delivery and utilization in various destinations. In addition, K2 Central TX works with multiple editing clients including Grass Valley EDIUS, Apple Final Cut Pro, Adobe Premiere Pro CC and Avid Media Composer, which is supported through two 10 GigE connections to deliver services using FTP and CIFS. The new storage system comes with several layers of redundancy. RAID-1 data redundancy ensures disk failure will not result in dropped frames or loss of content. Client disconnection only affects channels associated with that client until the connection is re-established, and power supplies are hot-swappable, which means a power supply failure will not disrupt system operation.
IMAGINE COMMUNICATIONS Cisco and Imagine Communications has Demonstrated IP Transition Solutions for Media and Entertainment Industry at NAB 2015 Collaboration between the two companies is broad-reaching across critical aspects of broadcast and media operations. Imagine Communications’ Zenium™ workflow manager and VersioCloud™ platform have been certified to run on Cisco’s Unified Computing System™ (UCS). UCS is a nextgeneration data center platform that unites compute, network, storage access, and virtualization into a cohesive system designed to reduce total cost of ownership (TCO) and increase business agility. The agreement also provides media companies transitioning from baseband to IP infrastructures with the ability to manage Cisco’s Nexus IP switches with Imagine Communications’ Magellan™ Software-Defined Networking (SDN) Orchestrator. Both of these integrated solutions will be on display at the Cisco and Imagine Communications booths at NAB 2015. “We are excited to be collaborating with Imagine Communications and leading media customers, to seamlessly evolve legacy production infrastructures to next-gen IP and cloud platforms,” said Paul Bosco, vice president, market development, Cisco. “With VersioCloud running on Cisco UCS, we are able to effectively address rapidly growing and evolving media customer requirements with a world-class, highly agile, data center cloud platform." VersioCloud is the industry’s pre-
mier IP-enabled, playout in the cloud platform and the only integrated playout solution that is 100% software running on commercial offthe-shelf (COTS) IT platforms. With VersioCloud, all of the traditional integrated channel playout functions are now cloud-enabled, including automation, branding, graphics, master control, and file server
capabilities. The VersioCloud platform is powered by Zenium, an agile software engine for designing, deploying and managing extensible, customizable software-defined workflows. Bringing these advanced software services onto the Cisco UCS next-generation data center platform enables media companies to capitalize on Cisco’s
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IT market expertise and paves the way for increased innovation and business acceleration. “The Cisco UCS decouples scale from complexity and accelerates the delivery of new services simply, reliably and securely,” said Steve Reynolds, chief technology officer, Imagine Communications. “This collaboration brings Cisco’s leading IT infrastructure together with Imagine Communications’ advanced IP, software and cloud solutions to ensure that media companies realize maximum benefits from their next generation architecture investments. NAB presents a unique opportunity to showcase these leading solutions to global broadcasters, video service providers and content creators.” As media companies move from baseband to IP, they need to simultaneously address investment, workflow and operational challenges. Magellan SDN Orchestrator, Imagine Communications’ software control system for hybrid baseband and IP networks, ensures both the integrity of content today and the optimal benefit of investments now and into the future. Running Magellan SDN on Cisco’s Nexus IP switches ensures a seamless transition and gives media companies the assurance that their invest-
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ments will deliver maximum value with minimum risk going forward.
Imagine Communications Signs Purchase Agreement with Clark Media for Platinum IP3 Router Imagine Communications announced the sale – officially signed on the showroom floor of NAB 2015 – of a Platinum™ IP3 router to Clark Media, a provider of HD mobile trucks and broadcast equipment with offices in New York and Los Angeles.
Imagine Communications and Verizon Digital Media Services Come Together to Deliver Seamless, End-toEnd OTT Distribution Solution Imagine Communications and Verizon Digital Media Services are joining forces to help broadcasters and video service providers implement over-the-top (OTT) video streaming of linear content through an integrated, end-to-end, collaborative solution. The relationship aims to integrate and simplify workflows for broadcast and Internet playout systems. By combining Imagine Communications’ broadcast routing, playout and trafficking systems with Verizon’s video encoding,
management and content delivery network, online viewers can be assured of one of the highest quality viewing experiences on any screen, anytime, anywhere.
I HEVC Software Enhancements for SD, HD and UltraHD Delivery Imagine Communications unveiled software enhancements to its SelenioFlex™ Live and SelenioFlex™ File solutions. HEVC is designed to allow today’s networks to handle tomorrow’s increased UHD/4K bandwidth requirements.
Imagine Communications Introduces Selenio Uncompressed-Over-IP Gateway Card to Support Transition to Hybrid SDI-IP Networks The Selenio UCIP is another key enabler in Imagine Communications’ software-defined networking (SDN) framework that supports media companies through the hybrid transition from traditional baseband to IP-enabled networks and workflows, in addition to the company’s industry-leading Platinum routers and Magellan™ SDN Orchestrator.
I-MOVIX New X10 UHD RF Brings Wireless Ultra Motion X10 UHD RF extends the operational flexibility of the X10 technology by supporting wireless shooting in HD productions where being close to the action is important. For very high-frame rate ultra-slow motion in HD sports coverage, X10 UHD RF operates in USM (Ultra Slow Motion) mode to deliver instant replays of up to 3,000 FPS in 720p or up to 2,000 FPS in 1080i. The system is available with a choice of wireless camera back solutions, including Vislink’s Clip-
On 4 or L1700. Control can be from the OB (mobile) truck using the OCP and JOG remotes, or when a data channel is unavailable the camera operator can control the system in standalone mode to send replays to the truck over a single wireless link. “Vislink wireless camera solutions provide the ultimate flexibility for capturing live sporting events worldwide, including the World Cup, Olympics and the Super Bowl,” commented Ashley Dove, VP of Solutions at Vislink. “The untethered nature of camera back
RF transmission allows broadcasters to collect unique angles from the field and deliver them to the fans at home, for a more complete live event experience. The L1700 is lightweight, compact, and transmits in high-quality HD, making it the perfect complement to the I-MOVIX range of products.” “With its wireless capability the X10 UHD RF is clearly the most advanced ultra slow motion camera for HD sports broadcasting,” said Laurent Renard, CEO of I-MOVIX. “The ability to take the camera close to the action and into any
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corner of the arena gives production teams a new freedom to uncover detail and sporting drama that has never been seen before.” X10 UHD RF is the latest version of the X10 product line and combines the unique advanced features of the X10 technology with the ultra HD image resolution and the RF transmission capability. X10 UHD RF integrates the Vision Research’s Flex 4K high-speed camera, and is fully integrated with industry-leading production servers.
Fletcher Sports Brings 4K Action to Worldwide Audiences with I-MOVIX X10 UHD Chicago-based specialist camera supplier Fletcher Sports has deployed I-MOVIX X10 UHD cameras in Australia and New Zealand to bring live Cricket World Cup 4K coverage to theatre audiences in the host countries and in India. “The images are crisp, the replays are fantastic, and the X10 UHD slows down the action to a degree that can’t be achieved with any other camera”,
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said Dan Grainge, Vice President, Fletcher Chicago Inc. Shooting at 1000fps during daylight to capture the intricacies of fast-paced World Cup action, Fletcher Sports’ I-MOVIX systems are reconfigured to 300fps when the floodlights come on for the latter stages of day/night games. “The changing light conditions during these games aren’t a problem. The camera is so flexible that it takes literally a couple of seconds to go from day to night operation,” Grainge added. As the largest worldwide user of I-MOVIX systems, with over twenty installed, including eight of the latest X10 UHD 4K cameras, Fletcher Sports has been leading the wave of 4K coverage for sports such as NFL and golf. At the latest SuperBowl, Fletcher deployed five X10 UHD systems to shoot in 4K for the HD broadcast. The 4K shots were used to provide ‘4K Zoom’ – the much-prized ability to frame a wider slice of the scene, then zoom in after the action to show the point of interest for the HD broadcast,
without losing any resolution. Fletcher has also shot trial coverage of championship golf using IMOVIX X10 UHD RF wireless system, and this camera will be used to bring close up action to major international broadcaster’s golf coverage. X10 UHD RF extends the operational flexibility of the X10 system by supporting wireless shooting in HD productions where being close to the action is important. For very high-frame rate ultraslow motion in HD sports coverage, X10 UHD RF operates in USM (Ultra Slow Motion) mode to deliver instant replays of up to 3,000 FPS in 720p or up to 2,000 FPS in 1080i. X10 UHD RF is the latest version of the X10 product line and combines the unique advanced features of the X10 technology with the ultra HD image resolution and the RF transmission capability. Similarly to X10 UHD, the X10 UHD RF integrates the Vision Research’s Flex 4K high-speed camera, and can be configured fully integrated with industry-leading production servers.
INNOVATIVE EUROPE Innovative Europe has officially launched the award-winning Bild™ in Europe, a highly configurable multi-monitor solution that can mount two to 16 or more flat panel and touch screen monitors for enhanced productivity across any industry. Bild offers endless configurability, allowing the user to build, adjust, and adapt with ease to fit their specific applications. This multi-monitor solution features a quick and easy monitor install to attach or remove monitors at the face of the beam without having to spend time sliding monitors off and on the monitor mount, making Bild
an ideal solution for rapidly changing environments. Keeping with Innovative’s commitment to ergonomics and a healthy workplace, the Bild multimonitor mount features a heightadjustable column and angled mounting system which allows the user to adjust and fine tune for optimal work comfort. This configurable multi-monitor system was designed and engineered for maximum structural durability and aesthetic. Use of extruded aluminum ensures Bild will support two to 16+ monitors without droo-
ping or loss of stability. Like all of Innovative’s high quality products, Bild has been cycle tested to exceed BIFMA standards and is made up of 99% recyclable materials. “We are excited to be releasing the most configurable multiple monitor solution on the market,” said Joe Tolsolt, CEO of Innovative Office Products. “Whether you are installing the product or using it on an everyday basis, Bild offers each user a seamless interface while providing exceptional quality.”
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LIVEU New MultiPoint CloudBased IP Video Distribution Service LiveU unveiled at NAB its second-generation internal and cross-organizational IP video distribution service, LiveU MultiPoint. The cloud-based MultiPoint service is seamlessly integrated into LiveU’s unified management platform, LiveU Central, so broadcasters can share incoming live feeds simultaneously with multiple endpoints over the Internet from within the same interface they are accustomed to. The new service presents broadcasters with a highly cost-effective way of replacing most of their satellite operations to share content across groups with minimal delay, without the costs of satellite retransmission. LiveU MultiPoint offers broadcasters the following key advantages:
1.Distribution of video with minimal delay for up to 100 concurrent destinations via the LiveU cloud distribution server, without requiring additional bandwidth at the point of origin. 2.No additional hardware: any existing LiveU server running the latest software can begin receiving and transmitting MultiPoint feeds. 3.Easy management via single user interface: MultiPoint is fully integrated into the LiveU Central browser-based cloud management platform, where all other LiveU devices and applications are managed. 4.Any Internet connection: MultiPoint can send high-quality video regardless of the type of Internet connection available at the points of origin or destination. By using intelligent Adaptive Bitrate Distribution algorithms,
MultiPoint optimizes live video delivery to different classes of receivers, either over the public Internet or over an organization’s private fiber connectivity. 5.Send video from any source to any destination: any LiveU device or application can transmit either to a physical LiveU server for redistribution to other locations with minimal delay, or feed directly into the LiveU cloud distribution server to be shared in real-time with all destinations. In addition, by using a LiveU LU700 studio encoder or LU200, broadcasters can share any SDI source in the studio, not just those originating from a LiveU device or application. 6.Open Platform with APIs for managing broadcasters’ content acquisition and distribution. Samuel Wasserman, LiveU’s CEO, said, “MultiPoint enables broadcasters to distribute live video to a wider audience, optimizing their workflow and making the most of their content. It’s simple, fast and reliable, which is why we’re already seeing huge interest from global customers. MultiPoint is a key example of the value-added premium services we’re developing at LiveU to power broadcasters’ electronic newsgathering operations.” MultiPoint can be used with LiveU’s full-field acquisition portfolio, including the LU500 professional backpack, LU200 ultra-small unit, LU-Smart mobile apps and hybrid cellular/satellite vehicles. It will be available for full use by LiveU customers starting this month.
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NAUTEL models available Nautel’s signature Advanced User Interface is standard in the NX5 and NX10 and is locally or remotely accessible via a web browser. The AUI’s functionality includes built-in commercial grade instrumentation, full remote access; SNMP support; an instrument-grade spectrum analyzer and network analyzer; real-time MER (Modulation Error Ratio) measurement; comprehensive monitoring and control including event logging; email and SMS notifications; backup audio via streaming and USB playout; presets and enhanced support services including Nautel Phone Home.
Nautel Expands LPTV Transmitter Line with 1 kW Model
New NX Series Models
• 1.8 MHz direct digital modulation
Nautel has introduced two new NX Series AM transmitters, the NX5 and NX10. Operating at 5 and 10 kW of analog power, these two transmitters bring high efficiency (86% AC to RF) and a large suite of operational features to mid-power AM operations. As with other NX Series transmitters, the NX5 and NX10 offer these Nautel innovations: • AM precorrection with unmatched linearity
• 100% remote web access to the user interface • RF spectrum analyzer displays spectral performance • Smith chart displays complex antenna impedance under normal modulation in real time • MDCL is included for up to 30% additional power savings; 5 algorithms are selectable • Analog, HD Radio™ and DRM
Operating in the UHF spectrum (470 – 810 MHz), the award winning NT Series products provide an attractive platform for low power TV broadcasting, retransmission or gap-filler applications. Nautel’s low power UHF transmitters offer an advanced software defined modulator, amplifier, remote control and adaptive pre-correction in compact enclosures. Also included in the NT 500 and optional on the NT250 and NT150 is a market-leading enhanced adaptive pre-correction technology, OPTIPOWER®. It allows optimization of transmitter power efficiency and transmitter MER (Modulation Error Ratio) performance, as well as real-time spectrum analysis. The NT Series supports major digital transmission standards including DVB-T, DVB-T2, ATSC and IDSB-Tb. The NT series also includes the critical mask filter which is internal for the NT150 and NT250 and mounted externally in the NT500 and NT1.
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Nautel Limited has announced the development of Nautel HD Multiplex, a technology that will enable the placement of up to 15 audio streams or stations within 600 kHz of signal bandwidth or up to 9 audio streams in 400 kHz of signal bandwidth.
HD PowerBoost uses an intelligent peak to average power ratio – PAPR – to increase HD Radio™ power output while at the same time increasing efficiency.) The alldigital IBOC configuration is capable of carrying up to 3 times the standard IBOC content. The methodology also maintains backward compatibility with existing receivers by ensuring the standard sideband channel separation within the multiplexed signal.
The technology allows the combination of multiple independent IBOC exgine modulators into a single HD PowerBoost crest factor reduction engine, permitting 2 or more IBOC stations to be amplified using a single transmitter and subsequent antenna system. (Nautel’s
A transmitter operating in HD Multiplex mode could provide coverage comparable to a higher-powered hybrid analog/digital transmitter. Through modification of the established IBOC crest factor reduction, Nautel’s HD PowerBoost could operate on all of the independent
Nautel HD Multiplex Technology Promises Increased FM Band Capacity
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stations transmitted using HD Multiplex. “This technology opens up some exciting opportunities for broadcasters,” said Kevin Rodgers, Nautel President and CEO. “A station considering HD conversion could test the waters by leasing an audio stream on the multiplex. AM stations could be moved to the FM band, as proposed by some countries. Netcasters could place their most popular streams on an over-the-air signal. In many cases, this could provide new revenue for broadcasters through leases or ad insertion in the various streams. Further, small markets could have a broad variety of diverse formats served by a single low-cost station.”
NEWTEK – 3D STORM LiveCG Broadcast New Features Social Networks, Integration & Publication within Live productions LiveCG Broadcast, LiveXpert powerful multi-layer character generator, is a 1U turnkey system providing video makers with a wide range of tools to create and insert all kinds of graphics in their live video productions, from a user friendly interface and within a few mouse clicks. Made for all kind of productions, election results, sports scores, and television game shows, LiveCG Broadcast eases the creation and display of information in real-time during live production, such as fixed and animated titles and logos, crawled or rolled tickers, clocks, countdown, backgrounds and bitmap sequences, full animated graphics with transparency.The system can easily generate all graphics as well as dynamic broadcasting of data from external sources: RSS feeds, text files, and Excel spreadsheets.
Social Network Integration LiveCG Broadcast is part of the LiveXpert line of products, a powerful character generator with an integrated Social Hub tool that gives the ability, not only to send content into live production, but also to receive in real-time any type of social media content Today LiveCG Broadcast new features extend social network integration domain, joining Facebook®, Twitter®, Flickr®, or WhatsApp® the Social Hub now works with even more platforms, including Instagram®. Posts, pictures, SMS and now videos can be received from Facebook®, filtered on a dedicated workstation and sent into live production.
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Advanced Graphics LiveCG Broadcast is a powerful and innovative solution giving the ability to send all the graphics needed in a high-end professional television production directly to any video switcher. LiveCG Broadcast also features brand new tools: • Each graphic page can directly be launched from the “Main” menu. • A new dynamic object called “Table” can now be added into pages. Like a “Ticker”, it can be easily linked to an excel spreadsheet and it also allows to select which cell is to be displayed into this object. This action eases positioning pictures/logos and data into the page. • The “Text” object includes a new tool allowing linking a list of preentered texts to the object. Changing the text while live becomes easy, by just selecting the new text with the mouse. • LiveCG Broadcast now supports swf files with dynamic texts capa-
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bilities. A new tool in the Composer Page gives the ability to open the list of texts linked to the swf animation and select the desired content while live. Live CG Broadcast works with any video mixer and also integrates a direct IP interface to NewTek TriCaster and 3Play. LiveCG Broadcast IP, one the most convenient and affordable graphic solution on the market, directly connects to NewTek TriCaster or 3Play through the network, LiveCG Broadcast IP avoids using external video inputs for fill and key. LiveCG Broadcast SDI provides SDI in and out as well as Key out and genlock in to be integrated with any professional video switchers. LiveCG Broadcast SDI also supports NewTek AirSend protocol to directly connect with TriCaster and 3Play.
New 3Play Mini NewTek™ unveiled 3Play Mini at NAB. Lightweight portable device, 3Play Mini allows sports video producers to add professional quality
instant replay, slow motion, sophisticated transition effects and a wide range of other integrated production capabilities to their shows while optimizing space, location and costs. Anyone using HDMI cameras can produce multiple angle slow motion instant replays, edit highlights, roll stored video packages, create effects and transitions, publish to social media… 3Play Mini can make any event look larger and more professional on screen while feeding scoreboard. It can also be synched with a game clock and be used for official reviews. Andrew Cross, president and CTO at NewTek, declares "We created 3Play Mini for producers who are at the mercy of their equipment size, budget, and ability to react and move quickly to catch the action.” 3Play Mini can also be controlled with almost any touchscreen wireless mobile device or by an optional 3Play control surface. No other live sports production solution includes a complete range
of production tools in such a small, affordable package. 3Play Mini Highlights: • Extensive Replay and Review Capabilities—preview and playback any angle, or multiple angles of a recorded event to deliver the best viewing perspective for replay and official verification. • Comprehensive Media Publishing - instantly and simultaneously publish content to multiple destinations, including Facebook and Twitter for greater visibility and increased monetization opportunities, as well as YouTube and other websites, dedicated FTP servers, second and third screen platforms. • Beautiful Visuals - Include animated, warped visual transition effects for switching and in-program editing such as transitions between replays, stingers, and overlays; create custom animations with included tools, or import your own branded graphic elements to make the show your own. • Highlights Editing - Rapid, in-show editing and playlisting of NLE-ready assets with transitions, slow motions, nat sound and a sound track—play from system to scoreboards immediately, or export completed package and use in a post-game show. • Tablet Operation - Cue, set playback speed, and manage replays with highly responsive browserbased control you can use on a tablet, to put all game controls right into your hands over the network— in very small spaces. • Side-by-Side Playback Replay the action from two synchronized angles simultaneously, on a single output channel using the DSK overlay. Position, scale and crop the camera
angle assigned to the overlay for comprehensive, frame-by-frame analysis of the play under review. • Game Clock Overlay Synchronize the action to actual game time by dedicating a live camera to recording the game clock and assigning the angle to a DSK overlay. • Automatic Color Matching Overcome changing lighting conditions and camera variety in multi-camera sports productions with automatic color correction— and eliminate the need for manual adjustments or a dedicated shading station. • Flexible Output - Send your slow motion, replay and highlights sequences to switcher, streaming encoder, scoreboard—even social media platforms—so fans can engage from anywhere.
DELTA-stat IP Premiere Developer and editor of DELTAtouchTM and DELTA-stat IPTM sys-
tems, DELTACASTTM announced TriCaster production system and 3Play slow motion system integration is now compatible in production workflows using DELTA-stat IP and DELTA-touch. Showcased for the first time @NAB2015, DELTA-stat IP is a 2U turnkey solution for complete graphics management during sports live productions. The powerful system can generate 2D and 3D graphics for multisport live productions using NewTek TriCaster and 3Play. Scoring, statistics, graphics and animated analysis are sent to the TriCaster and 3play in real time, through an IP connection, without using video inputs. The system includes several interfaces dedicated to specific sports, basketball, rugby and soccer. DELTA-stat IP can be used in a mono-channel mode, delivering an SDI signal, or in double SDI channel mode to output Preview and Final. Today, DELTA-stat IP can be configured to send both channels simultaneously to TriCaster and 3Play, as streamed feeds. For ten years now, DELTACAST developed graphics solutions and highend products for the broadcast industry. "We are glad to be able to show DELTA-stat IP at this year NAB", says Bruno Lesté, LiveXpert product manager, "DELTACAST is a key player in the sports production industry. DELTAstat IP integration with NewTek systems, gives even more exposure opportunities to all sports, and the possibilities to broadcast or stream high quality content, using affordable and complete graphics solutions." Thanks to the implementation of NewTek AirSendTM protocol, DELTA-stat IP can be directly integrated with NewTek systems using a simple Ethernet connection.
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Q´LIGENT Q’ligent™ provides a complete product family for monitoring all critical aspects of media service delivery from RF signal and media stream parameters to in-depth content (video, audio, and metadata) verification. The Q’ligent portfolio includes four products; Vision, Point, Scan, Record. Vision is a software-based monitoring solution that brings intelligent architecture, intuitive display and limitless scalability for analyzing all aspects of media service delivery at any point in the distribution chain for terrestrial, cable, satellite or IPTV networks. With basic stream metrics analysis already on-board, Vision is easily expanded to RF monitoring for analog, OFDM and VSB signals, multiple base-band/ASI/IP inputs, regulatory compliance verification, audio and visual impairments detection, Quality of Experience analysis, compliance recording and online streaming with real time content transcoding. Vision is designed to capture, collect and analyze media quality parameters spanning countries, and even continents. This capability unveils a true picture of the media quality being delivered at any points desired, including the end consumer. As a 100% software solution Vision does not set any limits for a number or type of input channels, frequencies, streams or feeds supported at a time. It provides true “all-you-can process” functionality, only limited by the hosting hardware performance. Vision is also capable of operating in very “unfriendly” environments, even via 2G/3G/VSAT networks is enough for the backhaul. No data is lost, even in case of network disruptions or power outages.
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Benefits • Media service impairments detection - vendor-independent, fully automated solution monitoring quality of media service as it’s experienced by subscribers; audio and visual quality, signal and stream degradation monitoring in DTT, Cable, IPTV, OTT and SAT networks – simultaneously. • Multi-Channel monitoring - realtime and historic views of a multichannel media stream delivery presented for high density at a glance monitoring. • Root Cause Analysis - isolation of system level issues, QoS/QoE metrics monitoring from multiple inputs and layers for remote and on-site investigation, troubleshooting, trending and capture. • Regulatory and contractual com-
pliance– SLA conformance monitoring, loudness control, Closed Captions verification and compliance recording. • Last Mile monitoring – cost-effective way of reaching your end-customer’s service quality experience with light-weight software defined probes and low cost RF, STL and IP micro probes (uProbes) based on COTS “System on a Chip” hardware; • Actionable User Interface – flexible and customizable dashboards, KPIs and rich analysis toolset built-in. • End to End delivery assurance – shifting your monitoring to a media service quality paradigm, unveiling the true picture of your media distribution network performance – not just point stream analysis.
Quales.TV successfully exhibited at NAB Show 2015 held last April in Las Vegas with more than 80 generated new leads including clients, distributors and OEM integrators from all over the world: USA, Argentina, Venezuela, Australia, France amongst others. NAB Show 2015 meant a big push to Quales. TVâ€™s expansion program all around the world. The product exceeded all previous expectations, being acclaimed by all visitors and recognizing the valuable new features and com-
petitive pricing. Furthermore, OEMs from all around the world who could take a first look to the new API, emphasized on the ease of integration in MAMs and other CMSs.
with the international competitors.
For consolidation of the brand name and product, Quales.TV expects to be distributing in more than 50 countries and be integrated in at least 5 MAM third-party systems by the end of July 2015. As an example of this worldwide expansion, Quales.TV has also been promoted at some partnersâ€™ booths sharing advertising space
reward that incentives the commer-
Being recognized as a competitive QC system represents a big milestone for Quales and means a big cial work done so far. Quales.TV software can be evaluated for free by end users, distributors, or OEMs either using the online demo available at www.quales.tv or sending demo download requests to email@example.com
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RIEDEL COMMUNICATIONS Riedel Introduces MicroN 80G Media Distribution Network Riedel Communications announced at NAB the launch of MicroN – an 80G media distribution network device for the company’s MediorNet line of media transport and management solutions. Working seamlessly with the MediorNet MetroN core fiber router, MicroN is a high-density signal interface with a complete array of audio, video, and data inputs and outputs, including 24 SD/HD/3GSDI I/Os, two MADI optical digital audio ports, a Gigabit Ethernet port, two sync reference I/Os, and eight 10G SFP+ high-speed ports. MicroN is available as a fully networked MediorNet device, as well as in a point-to-point edition at a very competitive price point. “In just a single rack unit, the MicroN offers a highly versatile signal interface that can be used in productions of every size and complexity,” said Lars Höhmann, Skype & MediorNet product manager at Riedel Communications. “For the largest media networks built on our MediorNet transport devices, MicroN can serve as a breakout box for a MetroN router and extend connectivity beyond the fiber I/Os to any type of video and audio I/O required. Or, MicroN can simply work with a MetroN router, with other MicroN units, or in a standalone point-to-point configuration to provide an economical solution for small- to medium-sized productions. And, like the other members of the MediorNet family, MicroN has powerful built-in signal processing features that eliminate the need for many external devices.” In a compact 1RU form factor for
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rackmount applications, the MicroN offers full support for 10G highspeed video, 3G-SDI video, MADI audio, and Gigabit Ethernet. The system includes an integrated video, audio, and data router and sync reference I/Os, including black burst, tri-level, and word clock. Built-in video and audio processing capabilities include automatic format detection, a frame synchronizer and framestore on all video outputs, a 16-channel audio embedder/de-embedder, a test pattern generator, on-screen and system VITC displays, an integrated sample-rate converter, and audio/video delay lines. The MicroN is powered by a redundant, wide-range AC power supply and also features temperature monitoring and adaptive fan control. Interconnecting MicroN nodes in a meshed fashion leads to a very scalable, decentralized video routing application. This approach can be used as a replacement for small to medium sized routers and offers a very flexible system design, allowing users to extend the router capacity in both signal capacity and distributed system locations by adding MicroN nodes to the network. Operating in standalone mode, the MicroN can act as a 12x12 router and audio embedder/de-embedder with MADI SRC and delay, and also provides video frame sync and delay. In a point-to-point deployment, multiple paired MicroN units can provide all of these capabilities plus support for up to 12 bi-directional SDI I/Os, two MADI I/Os, and a Gigabit Ethernet link. Multiple MicroNs can be integrated as a central video router for redundant processing of up to 192x192 HD-SDI signals, and they can also be deployed in a distributed fashion as a decentralized video router.
Smartpanel Now Available With Choice of Intercom Apps RSP-2318 Smartpanel is now available with a choice of three
intercom apps, each with a range of connectivity options to meet specific user requirements. As the world’s first Smartpanel designed to serve as a powerful multifunctional user interface, the RSP-2318 offers features and capabilities that enrich the user experience and change the way broadcasters and A/V professionals communicate. The RSP-2318 Smartpanel itself includes three high-resolution, multitouch color displays; premiumquality stereo audio; a multilingual character set; and standard matrix connectivity via RAVENNA/AES67 or AVB in just 1 RU. The units are easily software upgradable should requirements change. These features make the Smartpanel a powerful user interface that can be further expanded through the use of apps. “Early customer feedback indicated that we needed to provide apps that would have different connectivity options to meet the needs of different users,” said Christian Diehl, product manager, Matrix Intercom at Riedel Communications. “With three editions of the intercom app for our Smartpanel, we can now provide exactly what our customers need and keep the costs low. With the
new app concept, we don’t expect customers to pay for features that they do not need. I am very excited about this new approach and the future apps we will provide for the Smartpanel.” With the “BASIC” app, users have 12 intercom keys and connectivity to RAVENNA/AES67 or AVB. The “PLUS” app also has 12 intercom keys and adds an analog audio port for 4-wire integration and three GPI/O’s. The “PRO” app has 18 intercom keys and two analog audio ports for 4-wire integration, three GPI/O’s, and the ability to connect an independent second headset. All three units can be expanded via an integrated options slot and are ready for add-ons as well as additional intercom and non-intercom apps. Riedel’s intercom app can be quickly and easily upgraded to the desired edition, without changing any hardware components. The RSP-2318 Smartpanel can be integrated into any existing Riedel installation. Support for new and legacy systems ensures smooth interoperability among all Riedel intercom systems, including the Artist, Tango, and Performer products.
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STX-200 Professional Skype Interface Now Shipping With New Applications, Extended Software Features, and AES67 Interfacing Riedel’s STX-200 broadcastgrade professional Skype interface brings any Skype user worldwide into professional broadcast workflows. The reliable, 1 RU, singlebox solution allows broadcasters to engage with both reporters and viewers in live programming and now comes with improved and easy-touse management and control software, as well as AES67 Interfacing. The updated Skype TX Control software provides customers with the ability to manage multiple Skype TX channels from a single user interface. Other parameters that the software manages include stream resolution, aspect ratios, FPS, logo overlays, and various audio options. Riedel’s STX-200 also offers unique device monitoring functions, such as temperature measurement and system status, that can be monitored by means of Simple Network Management Protocol (SNMP). “We have only scratched the surface of how this amazing device will be used to create new workflows for broadcasters and build community for organizations from small businesses to major sports leagues,” said Lars Höhmann, Skype & MediorNet product manager at Riedel Communications. “Just last month, Real Madrid used a Riedel-supplied STX-200 solution, including a MediorNet signal transport backbone and Artist intercoms, to facilitate a live two-way exchange between players and their fans from around the world.” Licensed by Microsoft, the STX200 offers broadcast-quality HDSDI and balanced XLR audio I/Os. Previously, users relied on consumer PCs running common Skype clients that then needed to be integrated with scan and HDMI-to-SDI
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converters to produce content suitable for air. Further, audio dropouts and menu pop-ups on the live feed are avoided with this dedicated solution. Broadcast-grade audio interfaces include a two-channel balanced analog audio XLR input and output, as well as SDI embedded audio. Other features include a Gigabit Ethernet connection, a user-interface connection via DisplayPort, USB ports for accessories, and GPI/Os.
Now Shipping Tango Networked Communications Platform “We introduced Tango at IBC2014 and the response was nothing short of amazing,” said Jake Dodson, director of product management at Riedel Communications. “Almost immediately, customers wanted to know when it would be available — and now that day has arrived. With Tango, we’re extending our intercom product line with a comms platform that is suited for small to mid-size installations at a price/per-
formance ratio unheard of in the industry. Tango allows our clients to use the network technology of their choice. Moving from hardware- to software-based solutions gives them this flexibility.” Riedel’s Tango TNG-200 together with the “My First Riedel” application is an asymmetric 40x80 matrix that is configured via Riedel’s new Pulse software. The device uses AVB or RAVENNA/AES67 as the main transport protocol for interfacing with Intercom panels and 3rd party devices. Tango also features two integrated Riedel Digital Partylines, two AES67 and AVBcompatible ports, two Ethernet ports, an option slot, and redundant power supplies. The platform is fully compatible with all of Riedel’s current and legacy intercom panels, including the company’s new RSP-2318 Smartpanel. Tango is equipped with a high-resolution, full-color, TFT display that ensures perfect readability at all times. The unit’s intuitive front-panel controls simplify the recall of presets and adjustment of audio.
Carbonite Black Carbonite Black brings expanded I/O and ME count to the Carbonite series, with a beautiful new control panel, 3 full MEs, 36 Inputs and 22 outputs – plus all of the superior features found in other Carbonite models such as MiniMEs, MultiScreen, 3G and UHD (4K) format support. “When we introduced Carbonite, it became an instant hit as it completely changed the price and performance model for 1 and 2 ME production switchers. Carbonite Black is designed to do the same thing, but for productions that require larger I/O or 3 MEs,” stated Nigel Spratling, Marketing Product Manager. “Carbonite Black not only looks fantastic, but has more production features and performance than any other product available at this price point. We know that customers will really like this product – and it’s what many of them have been asking us for.”
The 2RU Carbonite Black frame will be available with 2 or 3 MEs, and will accept all current signal formats as standard – including 3G/1080P 50/59.94 and UHD quad link with no reduction of resources whatsoever when processing these higher data rates. “With 3 MEs and 4 MiniMEs, this switcher effectively has 7 fully available MEs and a total of 23 keyers,” continued Nigel. “Until now, there has been nothing available that can offer this much production power at a mid-size price point, and Carbonite Black is yet another game changer from Ross.”
JPEG 2000 IP Transport Solutions Ross plans to offer a new line of openGear J2K products based on this technology as the new SFPs become available from Embrionix. These openGear modules will provide high quality, low latency video connections between locations connected via IP transport, provi-
ding a good solution for links from remote venues, between studios and across campuses. “These modules will provide a nice complement to our live production focus. They fill a need of many of our clients to move real time video over IP networks while maintaining quality and keeping latency low,” noted Eric Goodmurphy, Director of Infrastructure Products for Ross Video. “Since we already use SFP modules on our existing base-band uncompressed fiber portfolio, it is proving relatively easy to adapt these to IP by simply plugging in these new Embrionix SFPs and integrating software control.” The patented fiber Ross Lock feature will be maintained on these modules. Ross Lock provides a blind-mate fiber connection on the rear of the openGear frame, keeping active components off the rear and allowing quick hot-swap of modules from the front while ensuring signal integrity is preserved at
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the fiber connection. “We are excited to partner with Ross Video in the development of SDI to IP SFPs - such as J2K IP transport. We see a good synergy between the Embrionix SFPs and the popular openGear platform,” commented Renaud Lavoie, CEO of Embrionix. “Ross’ ability to quickly implement this technology is an example of the power of our modular SFP solutions.”
Inception Live “Many of our stadium clients are still using Excel spread sheets or other basic systems to plan and execute their game day productions. We realized that with a few feature additions that Inception, already in use by many of these clients to manage Social Media workflows, would make a great game day planning and management tool and offer significant advantages over the current way of doing things,” said Shawn Snider Marketing Product Manager for Inception, Streamline and
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EZPrompt. “Inception allows clients to fully plan their production while offering the flexibility to change quickly while keeping the entire crew in the loop.” Inception Live offers a browserbased environment in order to produce a game day line-up with complete flexibility of the layout, columns, and validation in the production grid. It is accessible universally, and offers a tablet-based interface that reflects changes made to scripts on the fly, as well as flexible printing options. Inception Live also offers seamless integration with XPression for graphics planning, and Streamline for asset management. Users can communicate on the fly with a builtin instant messaging platform, which lets everyone know of schedule changes or unplanned events – allowing them to respond accordingly.
Inception News Version 9 Inception v9 further expands upon the Ross browser-based
newsroom, offering an all-new instant messaging platform, and further improving customization with the addition of columns and validators that can be tailored to various environments for the specific needs and desires of your news environment. "We're breaking new ground and have designed a product that meets the needs of news in the 21st century. The features in Inception v9 have been driven by requests from our rapidly growing customer base,” said Shawn Snider, Marketing Product Manager for Inception. "We are delighted to be able to respond quickly to customer feature requests, and the new platform that Inception is built on permits us to do just that. With flexible workflows and social media built right into the core, Inception is an entirely browser-based, platform agnostic environment that users can access from both the newsroom and in the field." New to v9, Inception is introdu-
cing an integrated notification and instant messaging system, permitting users to quickly communicate directly within the newsroom. Users can quickly send one-on-one messages, engage in group chats and virtual meetings, or even share documents and photos right within the conversation. Furthermore, Inception brings context to content creation, with the ability for users working with running orders, assignments, playlists, or stories to instantly converse with anyone else viewing that content. This conversation is then permanently linked to the content, and will be archived alongside the story or rundown. Inception has also added the ability to completely customize the running order, assignment, and story grids, with users being able to add custom columns with various validation and presentation options
such as dropdown lists, checkboxes, and date and time fields, among others. This customization permits newsrooms to truly tailor the environment to their needs and existing workflows.
Streamline Asset Management â€œWhen we launched Streamline at IBC 2014, we wanted a product that interfaced exceptionally well with our XPression graphics system, and we achieved that,â€? said Shawn Snider, Marketing Product Manager for Inception, Streamline and EZPrompt. "Streamline's search, order management, and reporting tools for graphics workflow have been very well received. Now, Version 2.0 takes the next step with the addition of a wealth of new features designed specifically to extend Streamline into news clip
production." Streamline increases the speed and efficiency of teams by giving reporters and producers direct access to browse and search assets, and easily link them to story content in a simple drag and drop interface. Streamline provides new asset lifecycle management capabilities, with the ability to dynamically move assets from its database onto playout servers, switchers, graphics, or master control by simply linking an asset to a story in the newsroom. Once a production is completed, any expired assets from the playout devices once no longer required are automatically cleaned up by Streamline. This eliminates the labour intensive manual clean up required by many systems in use today.
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SCREEN SYSTEMS Live & News Subtitling
Real-time text input
WinCAPS Q-Live provides all that is needed to deliver high quality yet affordable live subtitling. With a comprehensive range of capability backed by one of the most experienced and knowledgeable teams in the industry, WinCAPS is used in some of the most demanding live subtitling operations around the world
Subtitles can be created â€œtruly liveâ€? using the best technology available in the chosen language. Speech recognition is normally the most cost-effective method (see over) although WinCAPS Q-Live also supports input from fast text writing systems, as well as standard PC keyboard input with shortforms for increased speed.
Subtitle any live programme with WinCAPS real-time speech, steno or single/dual keyboard input, manually cued scripts, prepared and timed captions in the same package
Automatic text segmentation
Live subtitling for any programme WinCAPS Q-Live enables subtitling of all forms of live and nearlive broadcasts. Scripted text and transcribed recordings can be seamlessly interleaved with realtime input to achieve the best quality and flexibility.
Re-use live subtitles and work with video Live subtitles are automatically captured (with timing) and can then be corrected or edited for re-use of the same item in a later edition or to provide an offline file for a broadcast repeat or website version. WinCAPS Q-Live also supports offline subtitling processes to assist with both re-working live subtitles in this way and to help prepare subtitles for the recorded segments of live programmes. For example, subtitles can be easily prepared for a video clip referenced within a news story - and exported to a standard PAC or STL file ready for automatic playout. This all helps provide for maximum efficiency and improved quality.
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Scripts are automatically divided into sensible subtitles based on the row limit and linguistic rules for the specific language. These can be user-tuned for best results.
All delivery styles Subtitles can be presented in word-by-word scrolling mode, or as traditional blocks with automatic subtitle display timing and queuing to ensure adequate reading time.
Scalable to any size of operation Multi-user team working is supported for major network live subtitling across different channels with the possibility of large volumes of late-breaking items. At the other end of the scale, a single WinCAPS Q-Live workstation can be connected to a remote broadcast inserter.
Direct newsroom feed Running orders and story scripts downloaded from the newsroom system help ensure accuracy and reduce the inevitable delay of subtitling a live programme. The WinCAPS Q-News utility keeps track of story text and runorder, automatically updating the subtitle file as changes are made and alerting the user to any conflicts between subtitler and journalist versions.
Speech recognition Speech recognition, using a trained “re-speaker”, is now often the tool of choice for fast high-quality live subtitles, replacing keyboard techniques because of the reduced costs and training times. WinCAPS Q-Live integrates with Dragon Naturally Speaking* (which is available for Dutch, English, French, German, Italian and Spanish) and adds further value by enforcing a house style, interpreting style control commands, smoothing the delivery rate and providing for keyboard intervention if required. Screen’s expertise and experience in this field can also help our customers successfully implement a new speechbased live subtitling operation, offering specialised training for a team of new speech subtitlers to start delivering professional services within two or three months.
VocabManager Saving time for respeakers The quality of subtitling using speech recognition is critically dependent on whether the vocabulary of the system is up-to-date with all the names of people, places and other things that are likely to occur in a topical programme. Researching this vocabulary has up until now been an onerous manual task, taking valuable time in a busy preparation schedule. Typically a respeaker or assistant has to trawl websites, newspapers and newsroom content to find new words, check whether they exist in the vocabulary list or not, and add them if required. VocabManager saves significant time by performing this search automatically; visiting websites to identify proper nouns and acronyms and other words that are not found in the user’s Dragon dictionary, then producing a filtered list of new vocabulary to update the speech engine. This innovation allows subtitlers to focus on training and using the new words, rather than finding them saving hours of advance preparation work.
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SGL SGL UNVEILS AVID® INTERPLAY® WEB SERVICES INTEGRATION WITH PARTIAL FILE RESTORE AT NAB 2015 SGL has announced its integration with Avid® Interplay® Web Services at NAB 2015. This latest integration between the two companies includes partial file restore, a unique feature of the Avid® Interplay® Web Services solution developed by SGL. Avid and SGL have a strong alliance that has provided customers around the world
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with a fully integrated MAM/PAM and archive solution. Whilst the fully implemented Avid Interplay | Archive provides a seamless user experience, smaller work groups may require a paired down version. SGL’s support for Avid® Interplay® Web Services means that customers can use the archive capabilities that they currently require, but can employ Avid Interplay | Archive at any time in the future without the need to re-archive any content. SGL is the only archive provider to enable partial file restore functionality as part of Avid® Interplay® Web
Services. This feature enables operators to easily select and restore elements of a clip directly from the archive in high resolution. Prior to this, partial file restore functionality could only be achieved using the full Avid Interplay | Archive system. Douglas Wynn, SGL’s VP Sales Americas, explains, “We’re delighted to announce this latest integration with Avid at NAB 2015, and to be able to provide customers with a cost-effective archive solution that allows partial file restore functionality.”
is serious about video production."
Designed for the entire production workflow, Episode has the quality, filters, formats, and power to handle the entire process from camera to edit and all the way to final delivery. Episode produces “true to the original” results for simple transcoding jobs as well as for more complex encoding jobs such as standards conversion.
New features in Episode 6.5 include:
"With Episode 6.5, we concentrated on closed captioning support as well as adding the newer formats such as HEVC, VP9, and AS-11," said Barbara DeHart, Vice President of Desktop Business at Telestream. "Our continued goal is to give customers remarkable output quality in the most flexible and streamlined way possible. With versions starting just under $600, Episode is accessible anyone who
Closed caption support Episode 6.5 enables caption insertion with encoding and passthrough options, and supports CEA608 and CEA-708 captioning standards as well as MCC and SCC caption formats. With federal regulations mandating captioning, this will enable postproduction workflows to handle embedded captions easily.
Support for virtually any video and audio file format Episode supports the widest range of formats in its class, allowing users to repurpose media for websites, mobile devices, television, archive, disk authoring and more. With version 6.5, Episode
adds support for formats including HEVC, XAVC, VP9, and MXF AS11.
Multi-bitrate streaming support Multi-bitrate streaming improves a viewer's experience by letting users deliver videos in the resolution and bit rate that best matches viewers’ connection speeds. With version 6.5, users will be able to easily encode and create packages for Apple HLS (HTTP Live Streaming), Microsoft Smooth Streaming, and MPEG-DASH with a click of a button.
Support for multi-track audio Featuring improved performance and stability, Episode 6.5 adds presets and filters to easily map multitrack audio channels -- rearrange
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audio tracks, change speaker assignments, and change audio formats and sample rates.
Image sequence support Image sequences are now available directly from the Episode UI, which provides an easy way to manage thousands of frames for 3D animation and compositing for visual effects. Users can step through the sequence frame by frame with the highest possible quality. It’s also possible to add multiple files from different sequences for multiple encode tasks. Available in three versions with incrementally increasing encoding speeds and format flexibility, Episode, Episode Pro, and Episode Engine are all supported on Mac and PC platforms. Because Episode’s transcode engine is completely multi-threaded, multiple jobs can be processed in parallel, utilizing all available power from modern multi-core workstations. Episode Pro enables two concurrent jobs, while Episode Engine supports an unlimited number of parallel jobs, across multiple machines.
Dynamic Ad Insertion Solution "Telestream VOD Producer DAI enables advertising sales to present fresh, relevant, demographically targeted ads within on-demand content over existing cable infrastructure, significantly increasing revenue," said Paul Turner, VP of Enterprise Product Management at Telestream. "The key to VOD Producer DAI is its ability to make the workflow much more hands-free and cost effective without requiring wholesale infrastructure replacement. Not only does it enable new ads to be inserted into VOD content, it also provides analytics and measurement tools that gauge the effectiveness of the ads for all stakeholders." Telestream’s VOD Producer DAI allows content production networks to simplify the creation of DAI provisioned CableLabs VOD content
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while integrating the entire DAI ecosystem of participants. The system assembles final output from audio, video, graphics and metadata components to produce and deliver content and metadata output that is fully DAI provisioned with network branding, Dynamic Ad Insertion requirements and Nielsen watermarking for viewership measurement. It creates content, that complies with all statutary and regulatory requirements and is fully compatible with existing cable infrastructure, so that new hardware is not required. The key to unlocking the potential of Dynamic Ad Insertion is Vantage’s ability to automatically assemble and deliver DAI-ready cable VOD media. Using Telestream’s VOD Producer DAI, CableLabs compliant VOD media can be assembled from EDLs or XMLs from standard editing and business management systems. National and local region-specific requirements can also be pre-defined and accommodated.
GPU Acceleration with New Lightspeed K80 Server The Lightspeed K80 Server, with the latest technologies from NVidia
and Intel, offers significant productivity improvements over the previous Lightspeed Servers. The combination of NVidia K80 GPU technology coupled with twin 12core CPUs provides cutting-edge speed. 2 TB of high-performance media storage is also included. The K80 server supports Vantage version 6.2 or later. Lightspeed Server provides highdensity transcoding and video processing in an efficient, 1 RU (rack unit) server with minimal space, electrical and thermal footprint requirements. As a part of the Vantage product family, Lightspeed Server can be used alone, clustered to increase capacity or added to an existing Vantage ecosystem. Exclusive Lightspeed® technology accelerates Telestream’s award-winning H.264 transcoding and video processing, including image scaling, deinterlacing, frame rate conversion, motion vector calculation, compositing and other compute-intensive tasks for Vantage products. Lightspeed K80 Server will be available mid-May from Telestream’s worldwide network of direct enterprise sales and resellers.
TELOS ALLIANCE Livewire Livewire™, the standards-based Audio-over-IP protocol that touched off the networked-studio revolution in 2003, is now Livewire+, with integrated AES67 compliance — giving the highly-successful networking system, which powers more than 5,500 broadcast facilities worldwide, “future-proof” AES compliance. “AoIP system interoperability is at the top of everyone’s wish list,” says Telos Alliance Marketing Manager Clark Novak. “Livewire+ is fully compliant with the AES67 specification, which means that anyone with Livewire+ studios can have the interoperability they want right now — no waiting!”
Livewire in your studios today, you can have Livewire+ in them tomorrow,” continues Novak. “Our latest no-charge software update for Axia xNode audio interfaces contains Livewire+. You can plug any AES67 device into a Livewire+ network and start exchanging audio now.” The technology that enables Livewire+ and AES67 to coexist within a common Ethernet switch fabric is possible, in part, from The Telos Alliance’s longstanding commitment to standards and interoperability. Rather than being content to comply only with today’s standards, Telos Alliance developers have gone several steps further, futureproofing Livewire+ by making it extensible — able to easily include compliance with future AoIP stan-
dards as they are ratified. “AES67 is a great start toward interoperability, but actually provides only a subset of the many functions that Livewire+ performs today,” says Novak. “Everyone knows Axia invented AoIP for broadcast, using established IP networking standards. What they may not know is that these standards had never been combined to support broadcast-level audio transport before. As a result, we had to synthesize crucial links between networking technologies.” Livewire’s innovations included command logic and PAD that “rode along” with audio streams, point-tomultipoint audio, audio sources with backfed audio channels, and the ability for sources to “advertise” their availability to all networked devices — capabilities essential for broadcast plants, but lacking in earlier networked audio systems.
Omnia New Processors Omnia.7
“The best part is, if you have
Until now, radio broadcasters have been forced to choose between the ultimate capabilities in processing power, and a cost-effective price point. Featuring technology from the Omnia.9 processor, the Omnia.7 breaks new ground in
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price versus performance. This 2 RU package includes Omnia’s exclusive “Undo” technology, which restores peaks and dynamic range to heavily mastered recordings. A psychoacoustic controlled distortion-masking clipper takes into account the perceptual characteristics of distortion and allows increased loudness without additional distortion. Finally, the complete set of tools introduced in the Omnia.9 such as oscilloscopes, FFT, RTA, and loudness metering are also available in Omnia.7 along with a full remote control interface. RDS generator, HD processing, and stream encoder with processing are available as options.
Voco 8 Whether it’s an active morning show or just a demanding DJ, microphone processing poses its own unique set of challenges.
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Multiple mics, multiple hosts, and multiple shows have made the typical “set and forget” approach to analog microphone processing less than ideal. The Voco 8 is a digital microphone processor capable of handing up to 8 microphones per unit. Full store and recall are available for host settings per channel, or show settings for the entire unit. Each of the channels offers a studio grade preamp, phantom power, and controls for phase, pad, and gain. The Sound4 processing engine features an advanced naturalsounding de-esser, a 3-band noise gate with ultra-fast attack that catches every syllable of even softspoken talent, a 3-band dynamics processor with Sound4’s “HQ192” algorithm, 4 bands of parametric EQ, and a brick wall final limiter. Outputs include AES (with AES sync input) and AES67-compliant Livewire™ AoIP.
Omnia.9sg Omnia.9sgIn some installations, the FM stereo generator needs to be installed in a location separate from the main audio processor. This could include discrete STL paths where the audio processor lives at the studios, or a satellite network where one audio processor feeds multiple sites. The Omnia.9sg features the same stereo generator technology from the Omnia.9 including a psychoacoustic distortion masking clipper, “Auto Pilot” which automatically switches off the stereo pilot during mono programming, allowing up to a 12 dB increase in signal to noise, and selectable SSB (single sideband) stereo encoding. Also included is the full suite of test tools from the Omnia.9 with access to both internal and external MPX signal analysis via NF Remote
VISLINK New live broadcast product range
nels in H.265, plus one additional HD channel in H.264.
The UltraCoder is the industry’s first HEVC/H.265 video compression hardware encoder, specifically designed for efficient 4K compression. The space-efficient, rackmounted unit lets users transmit at their current video quality using half the bandwidth, or double the video quality at the same bandwidth, delivering cost savings of up to 50% when used in conjunction with a satellite communication. For broadcasters not yet capturing video in 4K, the encoder also has the ability to encode up to four live HD chan-
FocalPoint is Vislink’s third-generation reverse camera control unit, now featuring support for multiple camera and operator control panel combinations. The bi-directional system includes a rack-mounted indoor unit, weatherproof outdoor UHF transmitter, and compact UHF data receiver which attaches directly to the camera. This system works with several Sony models and the Hitachi RU1500, and is compatible with Vislink’s existing Gigawave product line. The Reporter News Vehicle is
powered by Vislink’s NewStream technology and was built specifically to address growing demand from the industry for smaller profile, vehicle-based news gathering. The Reporter is equipped with Vislink’s NewStream IDU and Cellular ODU. The high-performance multi-channel cellular transmitter provides exceptional video transmission stability and quality, and when bonded with Ka or Ku band IP satellite the solution provides industry-leading versatility. The system provides bidirectional communication capabilities, is fully IP-video ready, and also includes broadcast workstation
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capabilities. “These strategic investments in our product range demonstrate Vislink’s commitment to satisfying its customer’s needs. By addressing key market requirements such as 4K compression ahead of time, Vislink is helping ensure its global user base stays at the forefront of what’s possible with wireless broadcast technology,” said Mike Payne, President of Vislink Americas and Vislink Global CTO.
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HEROCast for GoPro Vislink in conjunction with GoPro announced the launch of the HEROCast at NAB 2015, a miniature transmitter that allows GoPro HERO3+Black and HERO4 cameras to broadcast live, HD wireless video for the first time. Building on the partnership announced between Vislink and GoPro in January, the HEROCast is a result of joint development efforts to make GoPro’s product
range suitable for live broadcasting. Designed to bring viewers closer to the action than ever before, the HEROCast has already been successfully used to broadcast NHL games in February and the 2015 X Games in Aspen. The HEROCast lets broadcasters deliver new and unique perspectives from live events. The range of new camera positions that can be adopted with GoPro cameras that feature Vislink’s live HD wireless transmitter, will allow the viewer to gain many new live immersive experiences. Vislink’s wireless HD transmitter uses less energy than any other transmitter on the market, leading to smaller size, longer battery life and ‘cool’ operation. Designed with flexibility in mind, the HEROCast is specifically tailored to be compatible with existing GoPro equipment and can be positioned in multiple locations, including within the HERO BacPac housing for water resistant usage. “Vislink’s partnership with GoPro is the continuation of our ongoing goal to develop the most innovative and unique live broadcast products on the market,” said Simon Derry, CEO of Vislink Communication Systems. “With the explosion in demand for action content and higher quality video, today’s viewers demand the most immersive experience possible, which the HEROCast delivers. It brings to market a completely new way to watch live sports and special events – including from the unique perspective of the athlete.” The HEROCast is available in two options, providing users with the flexibility to choose the right form factor for their specific needs: 1. HEROCast standalone transmitter: mount the camera on your helmet or chest for a first-hand view of the action. 2. HEROCast BacPac integrated transmitter: using our three-way mount, the solution includes a transmitter and antenna for integral action viewing.
VITEC New Portable HEVC Encoding and Streaming With Hardware-Based MGW Ace VITEC announced the launch of the industry’s first entirely portable HEVC hardware encoder at the 2015 NAB Show. The MGW Ace takes the benefits of HEVC encoding out of server rooms and into the field by integrating high-quality, low-delay hardware codec into a professional appliance. Designed to bring efficient broadcast-quality 4:2:2 and 4:2:0 HD video to portable streaming applications, the VITEC MGW Ace is the first hardware encoder to use a real-time H.265 compression chip — eliminating the need for serverbased encoding. Featuring a small form factor and low power consumption, the market-changing solution provides a wide range of inputs, KLV/STANAG metadata processing for ISR applications, and a secondary hardware-based MPEG-
4 H.264 chip to generate H.264 services. The device also comes equipped with a network-efficient HEVC output to support any legacy system. Ideal for live news broadcasting from the field, point-to-point contribution of HD video, live streaming from sports venues, or distributing mission-critical military imagery, the MGW Ace encoder is specifically engineered to satisfy today’s demand for pristine real-time video — anywhere, anytime. Using the encoder’s cutting-edge HEVC compression and streaming capabilities, broadcasters, corporate IT and A/V teams, military forces, and government agencies are able to reduce operating expenses related to video streaming projects easily while managing increasing demands for video services and higher video quality across existing pipes. “Our new MGW Ace speaks to VITEC’s vision to be a leader within the video streaming industry,” said
Philippe Wetzel, founder and CEO of VITEC. “By developing an entirely hardware-based HEVC encoding and streaming appliance, we’ve made true portability possible without compromising dependability, efficiency, and high-quality video transmissions. Integrating our field-proven H.264 compression and streaming technologies with VITEC’s advanced HEVC compression hardware, the MGW Ace brings compact power and mobility to any off-premises HD streaming requirement.” “MGW Ace is a game-changing platform for today’s video streaming and IPTV applications,” said Eli Garten, vice president of product management for VITEC. “Small, power-efficient, and simple to use, the platform finally enables HEVC in any field or deployed on airborne platforms while dramatically reducing the bandwidth needed for producing high quality video and metadata services.”
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VITEC GROUP Camera Corps celebrates the success of Q3 at NAB with launch of new range The cost-effective compact camera and tracking package was developed in conjunction with experts working in production and feedback from high profile venues. The new range brings new camera angles to sport and entertainment productions, giving directors more choice and allowing operators to capture the ‘wow’ factor shots in demanding environments. The Q3 Mini-Zoom is a simple and powerful all-in-one camera with a 20:1 zoom and infrared, providing users with the best visual results in both outdoor and confined spaces. Genlock and a comprehensive on-screen display (OSD) are also included to ensure the cameras are always in sync and easy to control. The Q3 Mini camera Tracking System allows tracking rail cameras to be installed in positions that were not possible before since its compact design makes it unobtrusive and ideal for venues where space is at a premium. It can work either with third party cameras or in conjunction with Camera Corps’ popular Q3 robotic camera system to complement its performance. The track can be used as a groundbased solution, mounted a few metres up on lightweight stands, or inverted overhead on a truss, and is designed to move at speeds up to three metres per second. It is power efficient and user friendly, with operators able to quickly and easily rig it on site. It can also be completely powered and controlled over a single SMPTE 3K cable using the Camera Corps 'Simply SMPTE' boxes. “We work closely with production teams and operators across the
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industry to ensure that our product and technical specialists meet the exacting requirements of every customer. This is demonstrated in the new Q3 product range. There is a definite need in the market for this type of smooth action tracking system mini camera. The system is unobtrusive, easy to rig, and is ideal for repositioning and live onair tracking at major events, such as live sporting events and entertainment,” says Richard Satchell, Managing Director, Bexel Global Broadcast Solutions.
OConnor Introduces New O-Rig 15mm Rod Support System Universal HandHeld Support Rig Offers Flexibility Needed for Accessorized Digital Cinematography OConnor’s O-Rig is camera and lens agnostic, providing cinematographers maximum flexibility. Its new, proprietary universal baseplate enables quick and easy camera and lens changes. A height adaptor offers cover for all camera bodies, providing rotation of wide-angle filters, and increasing the lens coverage of OConnor’s O-Focus follow focus unit. Uniquely crafted to deliver superior ergonomic performance, the O-Rig also allows users to effortlessly move from shoulder mount to tripod and back again. “Whether our users need to bolt an increasing amount of equipment to their camera or they’re looking to maximize their rig for as many configurations as possible, the O-Rig can support them,” said Steven Turner, Product Manager for OConnor. “All of OConnor’s products are engineered to meet the demands of today’s challenging camera work, and now, more than
ever, flexibility is key. We believe cinematographers, operators, and rental facilities will be pleased to have such a robust and durable solution from a trusted brand.” The O-Rig system is housed in a robust Storm Case, fitted with custom-cut, high-density foam. Each kit includes: an award-winning OGrips handgrip system; an infinitely adjustable offset adaptor, which allows users to easily reposition camera viewfinders and provides comfort adjustments for shoulder pads; and a shoulder pad with hand-stitched leather construction and aluminum detailing, giving ver-
satile positioning of rods through pad for optimizing counterweight, camera balancing, and body ergonomics. Individual elements within the O-Rig kit will also be available, and are compatible with other
ASTRA 1x1 EP and 1x1 E Series Next Generation ASTRA 1x1 Series Also Expands with New Models Litepanels has announced the launch of several new additions to their highly acclaimed ASTRA line of LED panels. The expanded lineup now includes the ASTRA 1x1 EP series, the ASTRA 1x1 E series, and two additional models in the ASTRA 1x1 series, which debuted last year. Building on the legacy of the company’s original, trailblazing 1x1 fixture, the ASTRAs set a new standard for the form and function of professional LED panels. ASTRA 1x1 EP Series: Ideally suited for independent and field production, the ASTRA 1x1 EP panels offer a light output that is two times brighter than the company’s legacy 1x1 fixture. Featuring the Litepanels tradition of a one square foot form factor, the LED panels offer high CRI (Color Rendering Index). The new ASTRA 1x1 EP series includes both Daylight and tunable Bi-Color models.
15mm LWS accessories. While the new O-Rig system delivers robust quality and ease of use, it was also designed with an eye towards the future. “The O-Rig is the definition of future proofing,” added Turner. “As camera technology continues to evolve rapidly, cinematographers and operators cannot be locked in. They need adaptable solutions that allow them to change and grow, and the O-Rig delivers that versatility without comprising performance.”
Litepanels Unveils New
ASTRA 1x1 E Series: The ASTRA 1x1 E series offers entry-level access to Litepanels’ state-of-theart LED panels. Every design element has been meticulously crafted to deliver the form and function needed for the independent content creator. The new ASTRA 1x1 E series also includes Daylight and tunable Bi-Color models, and offers a light output that is comparable to earlier LED panels. With high CRI and a traditional form factor, the new series provides efficiency and versatility at an affordable price point. ASTRA 1x1 Series: To better complement studio operations, the ASTRA 1x1 series has been expanded to include ASTRA 1x1 Daylight and ASTRA 1x1 Tungsten fixtures. Joining the ASTRA 1x1 Bi-Color panel, these fixtures offer a light output that is four times brighter than Litepanels’ original 1x1. For studio installations, a full lineup of
accessories is available. In addition to studio use, the intensity levels in these battery-powered fixtures make the ASTRA 1x1s ideal for location shooting, especially in direct sunlight. “The response the filmmaking community had to the launch of the ASTRA 1x1 Bi-Color panel last year exceeded our expectations,” said Alan Ipakchian, product marketing manager for Litepanels. “The time, effort, research and development put into the ASTRA has produced a panel that once again revolutionizes the use of LED fixtures for the creation of professional content. We’ve created expansions to the line that offer a variety of intensity levels and price points, making the ASTRA available to everyone. Whatever your requirement, Litepanels has the perfect fixture to fit your needs and budget. And with the modular approach we’ve taken, your gear, accessories and lighting style can grow with you.” All of the ASTRA panels are designed with select premium quality surface mount LEDs that are paired with custom designed TIR (total internal reflection) optics. Both the new 1x1 EP and 1x1 E series offer a Bi-Color fixture, allowing users to adjust color from daylight to tungsten as needed. An internal microprocessor monitors the temperature and delivers smooth dimming from 100 percent to zero with no noticeable color shift, as well as ensuring a completely flicker-free performance at any frame rate or shutter angle. “At Litepanels, we’re always striving to deliver for filmmakers,” noted Ipakchian. “With the introduction of the new ASTRAs, Litepanels is bringing the most advanced LED technology available to content creators in all segments of the industry. Once people get their hands on these panels - which are sturdy, high-output fixtures packaged in a lightweight, flexible form factor – they’re not going to want to light without them.”
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Betty Cantor-Jackson is a legendary producer/sound engineer and a pioneer in the field as a woman in rock & roll production. Her history ranges from much of the Grateful Dead’s best years [1966-1981 + Studio work in mid-80’s], Rolling Stones at Altamont, Pink Floyd, Jefferson Airplane and most currently, the Chris Robinson Brotherhood. “I was in diapers when she was mixing and recording her first Grateful Dead shows in 1968. We have been co-workers for over 12 years and when I started Media One, I was honored she was willing to work with me at various events and conferences we do such as the SF MusicTech Summit. Now, almost 6 years later, we have built quite a good reputations as a highquality Audio/Visual production company with and without Betty’s help (I’ve worked in the industry myself over 25 years now too) and have a very impressive list clients we have worked with one way or another”, sais Dan McGonagle from Media One Audio/Visual. Media One A/V offers audio/visual production, event planning, and recording services for corporate, entertainment, and private events. We provide great gear, skilled professionals, and exceptional service to ensure your event’s complete success. Our talented engineers can also create an archive of any
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occasion via audio or video recording, or both. Additionally, we offer transfer and restoration for oldergeneration audio recordings from either Reel-to-Reel or Cassette. Whether your needs are specific to one part of the process or run the gamut from start to finish, Media One A/V is the right choice for you.
INTERVIEW WITH BETTY CANTOR JACKSON
great people. What the least thing you like? I like the least things out of tune, that’s what I hate. If you go back in time, would you change anything about your training and you carreer? Maybe I’ll do a little faster for myself, not stand back in some situations. A female doing it is never consider having any kind of kwoledge, and maybe being surer in some situation.
How do you get started to music?
Do you trust more in your ear or in technology?
I get started to music by going to the Avalon, I wanted to be a DJ, starting doing some things on the first FM underground stations in San Francisco. And then I wish started a live recording to help just for fun, and that was the beginning. Then I started recording with Gratefull Death, it was a 16 track recording. First in history. And in 69 I made multitrack for the Rolling Stones also for Gimme me Shellter.
I definitely trust mostly what I hear. What I listen is what I care about.
How dou you feel about having work with music legends? I feel great about to work with best musicians on the planet, the most famous names ever. They are also wonderful people and wonderful musicians. I love my job because I love music, I have worked with
What´s the biggest technical change you have ever seen? Biggest is digital, there´s no question about it. Everything was analog and now everything is digital. At all, we started to flow back to analog because it sounds much better. Digital to me is a dot to dot, it depends what you are doing with your data, what resolution are you using. But now there´s lot of things that computers can do in analog situations with actual developing. You can use a computer and make productions too much easier, is amazing for editing or mixing, perfect for production.
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Text: Vicente Pla Ferri The development and the cheapening of technology in the IT world have allowed the links PDH and SDH to be replaced by others based on IP. The bandwidths have started to increase while their prices have started to lower. Now the network technology is presented as a clear future candidate to replace the wiring based on the SDI family. Below, we will analyze the different standards and tendencies.
dards which are a possible alternative to the SDI wires:
During many years speaking of digital video in production environments has meant speaking of the SDI family:
Characteristics of uncompressed video transportation on the network
• Electric version (Picture 1) • Optic version: SMPTE 296-2006: Encapsulation of 3G-SDI over fiber. Nowadays, due to the convergence of IT and audiovisual technology, things have started to change and there are already two stan-
• SMPTE 2022-6: Transport of High Bit Rate Media Signals over IP Networks (HBRMT) • IEEE 802.1: Audio Video Bridging (AVB) The dream of being able to replace a great SDI matrix by switchers and routers is now possible.
These are some of the characteristics it should have:
1.Some of them are already available for SDI: a.Uncompressed video with no frame losses b.Low latency c.No owner
2.Others that improve them: a.A greater flexibility and nimbleness b.Transportation using an only wire for video, metadata, control and synchronisms. c.Switching between the main and redundant signal without cuts. d.Low cost thanks to the economy of scale. The world of networks has had historically some problems that create a great negative impact in achieving these requirements: • Loss of packets • Burst errors • Reception with incorrect packet order • Delay variation • The network efficiency can vary depending on its congestion through time.
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This is why all of these factors must always be considered when dealing with a design. Another very important factor is to decide whether we want our network audiovisual infrastructure to be based in standard electronics or instead use specific equipment (Picture 2).
work with audio and video and it does not need other external rules different from the standard to manage the quality of the service and the synchrony between signals. Let us analyze each one of them with detail.
SMPTE 2022 is based on IP (layer 3), while AVB is part of layer 2, this is, it does not allow the addressing through public networks. To carry AVB it is necessary to have specific AVB switchers. On the other hand, AVB is designed to
SMPTE 2022 It deals with the transmission of TV signals through IP networks. It started at the beginning of the century when the Pro-MPEG Forum worked in the ‘Code of Practice #3’
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(Pro-MPEG COP#3). It was designed to allow the problems of the loss of packets in the carrying of video signals by IP networks be corrected, without retransmission.
Evolution It was normalized in 2007 for the video transport over IP: • SMPTE 2022-1: “Forward Error Correction for Real-time Video/Audio Transport Over IP Networks”. It defines a protection of FEC errors for the transmission of video streaming over IP.
At the beginning only for MPEG-2 TS signals of constant bit rate: • SMPTE 2022-2: “Unidirectional Transport of Constant Bit Rate MPEG-2 Transport Streams on IP Networks”. It specifies how to encapsulate compressed video signals encapsulated in MPEG-2 TS in IP packets. The standard covers the transport layer (RTP and UDP), as well as aspects regarding timing and the sizes of the buffers. In 2010 they added the possibility of working with MPEG-2 TS with variable bit rates: • SMPTE 2022-3: “Unidirectional Transport of Variable Bit Rate MPEG-2 Transport Streams on IP Networks”. It defines the way of carrying MPEG-2 TS packets of variable bit rate over IP so that this is constant between PCR (piecewise constant) messages. • SMPTE 2022-4: “Unidirectional Transport of Non-Piecewise Constant Variable Bit Rate MPEG-2 Streams on IP Networks”. It is very similar to part 3, but without restrictions with respect to bit rates. Finally the parts that now interest us were added, the parts related to
Another very important factor is to decide whether we want our network audiovisual infrastructure to be based in standard electronics or on the contrary we want to use specific equipment
3 Gbits/s or more. • SMPTE 2022-6: “Transport of High Bit Rate Media Signals over IP Networks (HBRMT)”. It specifies the way of transmitting over IP uncompressed video signals. • SMPTE 2022-7: “Seamless Protection Switching of SMPTE ST 2022 IP Datagrams” It defines how to synchronize two signals that travel through different routes to make a switching between them with no cuts. They also suggested to use part 8 of the standard to encapsulate JPEG2000 in MPEG2-TS over IP, but finally this was done using the Video Services Forum (VSF).
SMPTE 2022-6: Transport of High Bit Rate Media Signals over IP Networks (HBRMT).
the transport of uncompressed video signals:
When we work with live video there are certain aspects to consider. The first of them would be how to manage the mapping of signals of an SDI environment over the payload of an IP datagram.
• SMPTE 2022-5: “Forward Error Correction for High Bit Rate Media Transport Over IP Networks”. It lengthens part 1 of the standard one up to signals of
SMPTE 2022-6 defines it for SDSDI, HD-SDI and 3G-SDI uncompressed signals over an IP interface. Therefore, we try to replace the traditional coaxial wiring that
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belongs to the SDI family by a star IP-based system (Picture 3). As we can see in the protocol stack used, the norm consists of transmitting a video through standard IP equipment. As it is common in high bit rate signals, the audiovisual signal is transmitted by UDP, and thus, the confirmation of delivery or the stream control is not guaranteed. However, with RTP there are mechanisms added for the jitter compensation and for the detection of paquets which come out of order due to introducing a small delay. If an error management were also necessary, we should introduce a FEC code using SMPTE 2022-5, which would produce a greater delay when it were bigger.
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Part 8 of the standard one was proposed to encapsulate JPEG2000 in MPEG2-TS over IP but finally it was approached from the Video Services Forum (VSF)
Some important aspects, such as the quality of the network service (QoS) and the synchrony of signals are not included in the norm.
Quality of Service (QoS). The design and the configuration of the network infrastructure will be fundamental to guarantee the quality of the service (QoS). In all the network of switched data there are some limitations that will affect the service unless the convenient actions are taken: low efficiency of the network electronics, loss of packets, delays, latency, jitter and a loss in the order of the delivered packets, among other limitations. In order to avoid this, we will have to correctly size our network, and define politics regarding service quality. Thanks to this our infrastructure will
bear the new video services.
Multicast Networks. One of the greatest advantages of the IP networks is the use of multicast groups. This way of distribution allows switchers and routers to distribute the signal of a group to whatever customer that has subscribed to it. The multicast technology allows it for an only type of signal to travel from a server computer to the network electronics, with the subsequent savings of bandwidth. Ideal will be to determine a multicast group for each of the signal sources. Thus, every customer can receive the signal by just subscribing to the pertinent group (Picture 4).
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The main problem we have to deal with when working in multicast is that for IP v4 public networks do not allow its use. Nevertheless, there are many advantages. Thanks to the network electronics we will be able to avoid the use of matrices, distributors, etc.
No cuts switching between signals Thanks to SMPTE 2022-7 we will be able to make a switching with no cuts between the main signal and a backup signal even though the arrival routes of both are different with respect to the delay introduced.
work with uncompressed videos An association was approved. that is looking IEEE 802.1: AUDIO forward to VIDEO BRIDGING achieve low (AVB) latency and Let us now deal with the other temporarily alternative offered by the market. Audio Video Bridging (AVB) is the synchronized group of technical norms created in network the Institute of Electrical and Engineers (IEEE) by connections using Electronics the Work Group “Audio Video Bridging” belonging to the open standards. Standards Committee IEEE 802.1. The role of AVB is to provide specifications which allow low latency streaming services to occur through IEEE 802.1 networks.
Synchronization between signals If in the SDI world synchronization has always been done using Black Burst signals or TriSync using a separate wire, in the world of networks Network Time Protocol (NTP) has been used historically. This protocol was designed for time synchronization between maschines, and its resolution reaches milliseconds. So, then what if we need more accuracy? In 2002 version 1 of the standard IEEE1588 was developed, also known as Precise Time Protocol (PTP). It consists of a multicast protocol (which made it useless for public networks) capable of offering
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an accuracy of 10 ns. Later, in 2008 version 2 of the standard appeared, with a resolution of approximately 30 ns, and it could also be transmitted via unicast (and so through public networks). Another advantage which differentiates it from NTP is that it is capable of avoiding the routing/switching queues if you have network electronics suitable for PTP (Picture 5). At the end of 2014, SMPTE 20592, which is a IEEE1588 profile that contains the required options to
To achieve this we developed the following specifications that were approved in 2011 (Picture 6): • IEEE 802.1AS: Timing and Synchronization for TimeSensitive Applications (gPTP), • IEEE 802.1Qat: Stream Reservation Protocol (SRP), • IEEE 802.1Qav: Forwarding and Queuing Enhancements for TimeSensitive Streams (FQTSS) • IEEE 802.1BA: Audio Video Bridging Systems
Later in 2012 the AVnu Alliance appears, an association that looks forward to achieve low latency networking temporarily synchronized with open standards. To this group belong technologies of the automotive, audiovisual, industrial and consumer electronics markets (Picture 7).
What is AVB? AVB is the attempt of replacing the physical complexity of the traditional SDI wiring, as well as the problems related to the first network audiovisual implementations, by a
group of open standard based solutions that allow the interoperability to work between different platforms (Picture 8). It was designed to contribute to the development of Ethernet and its family, so that it made possible the applications support in a real audio, video and control time. It is the common name for all standards created by the work group â€œIEEE 802.1 Audio Video Bridging Task Groupâ€?. Its work is based on three pillars: 1.High timing accuracy to enable:
a.The support of low jitter clocks b.Synchronization of several streams. 2.Bandwidth reserve: It allows an audiovisual application to inform the network devices of the resources it will need for its reserve. 3.Queuing and delivery norms: they make sure a stream is able to go through the network within the delays specified in the reserve.
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What is TSN? Time Sensitive Networking is the AVB development to spread the range, functionality and applications of the standard. TSN is the new name for the development of the norms created by AVB. It will offer backwards compatibility with AVB, but it will add new functionalities as part of the standard. Among these ones we have: 1.Tolerance to failures and redundancy 2.Improvement in timing and latency.
Operation: The AVB implementation is based on “small” extensions over MAC
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addresses and layer 2 standard based switchers (Picture 9). These “small” changes allow AVB and no AVB devices to communicate between them with 802 standard based frames. In this case, as we can see in the picture, just the AVB devices will be capable of: 1.Reserve the network resources which are necessary. 2.Synchronize streams. Norm IEEE 802 1BA describes the default setting of the AVB devices from a network, and explains how to determine if such devices support AVB. Every no-AVB device is identified with a label to avoid any error.
Web traffic has the same treatment as audiovisual traffic, thus, if the network is frequently used at home, it will cause a delay in the delivery of audio or video packages that will cause a small noticeable cut.
Synchronization The most important concept related to AVB is that all the network devices will receive the master synchronization. From there they work with their own internal clock that resynchronizes with the master one per second. With all the devices we decide automatically which clock is the most precise, and we give it the name of great master. Should an error or shutdown occur with the network of the great master, the system will decide by which one will be replaced. Once a device has been synchronized with the great master, it will
synchronize its playback to it. Later, it will add a display timestamp, so that if the same content is received by two different devices, these will present it at the same time (lets imagine for example two stereo speakers). As it happens with SMPTE-2022, the synchronization is based on the standard IEEE 1588 (PTP), but in this case the differences are important enough to justify a different standard: IEEE 802.1AS (also known as gPTP). The gPTP synchronization will only work if all switchers between source and target are AVB.
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Traffic management Nowadays, at most homes, except those that have hired voice over IP or IPTV, all data have the same level of priority. Web traffic has the same treatment as audiovisual traffic, thus, if the net is highly used at home, it will cause a delay of the delivery of audio or video packets that will cause a small perceptible cut. To avoid it, AVB allows the source device, intermediate switcher or switchers, and the target device or devices to speaks between them and preserve and bandwidth so that the communication is not affected by the network traffic. It exists a bandwidth preservation for the content play time. When the communication between devices has finished the bandwidth preserved is released. If in the process of negotiation between devices we detected that that there are not enough
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resources to preserve the bandwidth necessary, we communicate it to the sender and receiver of the content so that they take the actions needed to avoid the interruption of the service (lower resolution, sampling frequency, etc.). The IEEE 802,1Qav specification explains how to use the standard 801.Q (that specifies……….) for the AVB traffic management.
Admission Controls Even if a demanding traffic management system is used, it is only possible to deliver data packets, with low latency and low jitter, if network resources are available throughout the whole transmission chain. AVB implements a backup streaming protocol which is specified following 802.Qat “Stream Reservation Protocol (SRP)”. In SRP, content transmission elements are called ‘Talkers’ y recei-
vers are ‘Listeners’. Both are responsible for guaranteeing that the path is available and reserve the necessary resources. The process is as follows: 1.El ‘Talker’ sends a SRP message ‘Talker advertise’ with: a.Stream Identifier: i. MAC Address ii. ‘Talker’ Unique Identifier(16 bits) b.Requirements of Quality of Service (QoS): i. Type of traffic ii. Binary rate iii. Latency 2.Network devices receive the message and they verify if they have the required bandwidth in the output leading to ‘Listener’: a.Yes: Message is spread to the
following equipment. b.No: They answer to ‘Talker’ that it is not possible. 3.When a ‘Listener’ receives a ‘Talker Advertise’, it replies with a ‘Listener Ready’ message: a.It reports to ‘Talker’ about the total path latency.. b.The intermediate network devices reserve the necessary network resources so that this transmission can be fulfilled. 4.When ‘Talker’ receives ‘Listener Ready’ starts the transmission. Upper layers protocols A whole series of very useful protocols linked to AVB turn up: • IEEE 1722 “AVB Transport Protocol (AVB-TP): o It defines interoperating with several formats and encapsulations (Raw, MPEG-2 TS,
Firewire, etc) o Media Synchronicity mechanisms o Allocation of Multicast addresses • IEEE 1722.1 “Device Discovery, Enumeration, Connection Management and Control Protocol for 1722-Based Devices” • IEEE 1733 “layer 3 transport protocol for time-sensitive applications in local area networks” o It defines the way to encapsulate RTP over AVB. o RTP over AVB uses packages known as RTCP.
CONCLUSION IP Networks are beginning to become a cost-effective way for transporting non compressed operation signals within an audiovisual
infrastructure. We have analyzed features from today both most frequently used standards: • SMPTE 2022 which can be used through standard IP networks, but forces to define QoS policies and to use an external standard for synchronizing standards. • AVB, with smaller delays and able to manage QoS and synchronicity in a seamless way for the user through Layer 2 and by means of specific network electronics. Every manufacturer bets for one of these two standards, but technically from final user perspective it will be easier to implement: • AVB for local installations (LAN) • SMPTE 2022 for transport through public networks (WAN)
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The presentation of MAM TV was held on 24 April at the Eurobuilding Hotel in Madrid. This is the first international trade fair on production and distribution of audiovisual content that is to be held in Spain.
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Following the success of previous editions of Bitam Show, a forum on audiovisual market technologies, Daró Media Group has decided to organize for this year's edition MAM TV, a forum that will be held simultaneously at the same place. This is the first international forum on production and distribution of audiovisual content that is to be held in Spain. Two markets that move towards greater convergence and that will have a strategic meeting and development point in Spain on November 24th, 25th and 26th 2015. The presentation, sponsored by companies of the standing of Telefónica, EMC2, VAV and Quales, and partners such as Canon and FAPAE, was carried out by Javier de Martín, President of the Editorial Group, Jesús Carrillo, Director of TM Broadcast and Carlos González, member of the Advisory Committee of MAM TV. TMBi - 112
A TRADE FAIR FOCUSED ON NETWOR KING , ON USEFUL MEETING . I T ' S EASY TO ORGANIZE FOR EXHIBITORS . I T ' S AFFORDABLE FOR COMPANIES , AND IT ' S EASY FOR IT TO BE PROFITABLE Sponsors
“I T ' S
A PLACE WHERE BIG COMPANIES , MEDIUM - SIZED COMPANIES AND SME S FIND ALL THEY NEED A HAVE THE CHANCE TO ACCESS TO THREE FULL DAYS OF BUSI NESS OPPORTUNITIES . T HIS IS THE ESSENCE OF MAM
After a short review of the last successes obtained by the editorial and forum industry, they gradually analyzed the main keys of the two events that will be held this year.
The trade fair will be held at Pabellón de Congresos, Recinto ferial de la Casa de Campo. In it we will find these sectors, among others:
- National and international Audiovisual Producers
Held behind closed doors and upon invitation, the presentation was attended by the leading figures of the market. They also enjoyed a quick breakfast to exchange views and then continued with several conferences relating to different fields of our industry.
- Local and close televisions
Jesús Carrillo's speech focused on talent hunting and on the sudden change we see these days within the audiovisual world. Carlos González spoke about the different participating sectors and how they tend to converge with increasing frequency. Javier de Martín described the main lines of MAM TV that, in his own words:
- Management of digital media advertising company
"It's a forum focused on networking, on useful meeting. It's easy to organize for exhibitors and convenient for visitors. Lastly, it's an affordable forum for companies, and it's easy for it to be profitable. It's a place where big companies have the space they need, and medium-sized companies and SMEs have the chance to access to three full days of business opportunities. This is the essence of MAM TV".
- National and international public and private channels - Thematic channels - Media agencies - Freelance - Cable telecommunication operators - Voice and data telecommunication operators (fixed and/or mobile) - Streaming services companies - Intellectual property rights management companies - Companies specialized in marketing and advertising development for media storage devices - Companies dedicated to sports rights - Multiscreen platforms - Cinema and digital content exhibitors - Satellite operators
+ INFO Web Castellano: www.mamtvshow.es English: www.mamtvshow.com
- Integrator companies of telecommunication installations (cable, satellite, fibre-optic) - Administrations associated with the audiovisual sector - Audiovisual cluster - Companies specialized in content management in hotels, restaurants and transport - Film producers associations
+34 91 640 46 43
Email Spain: firstname.lastname@example.org International: email@example.com
If you belong to any of them, remember. In November you have an appointment with the sector.
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NEW EDITION OF CANNES'S AUDIOVISUAL CONTENT TRADE FAIR MIPTV 2015 was held last April, from 13th to 16th in Cannes (France). This forum is backed with a solid track record, and although it brings together participants from the five continents, it focuses on European broadcasters and content developers. TM Broadcast's team traveled all the way to Cannes and here's a summary of what we saw. Location was fantastic, just next to the sea. As in previous years, the organization was truly impeccable to the full extent of the word. And above all, there was a lot of business. This year MIPTV hosted more than 11,000 participants between exhibiting companies and visitants, 4,000 of which were buyers from over 100 countries. Figures don't reflect a huge growth as compared with last year's event, but there is not doubt that Cannes is an excellent
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scenario for companies to show their potential within the field of audiovisual content. As in previous editions, one of the things that calls the most attention of this forum is the low percentage of broad and eye catching stands you find. In Cannes business stands before the brand's image. Therefore, except for the exhibitors of the upper floors, where we do find large and elegant
spaces that correspond to several film producers, the rest of the forum consisted basically of small-sized stands with only tables and chairs to sit down and do business, really not much more is necessary for content buying. As we have already mentioned, although it's an international event, most of the participating companies are European. This year's edition did put the spotlight on the Nordic countries
under the event “Focus on the Nordics”. More than 20 of the top companies from Denmark, Finland, Norway and Sweden came together at MIPTV to share their content and participate in different conferences. But what struck us most was the strong presence of Asian producers and distributors, specially coming from Korea, China and Japan, with an extensive and varied offer, particularly of children animation series. With regards to Spanish participation, we visited a large stand where over 12 Spanish companies gathered under the name Audiovisual from Spain. The following companies were represented in Cannes thanks to the excellent organization of ICEX, coordinated by FAPAE (Confederation of Spanish Audiovisual Producers, in Spanish: Confederación de Productores Audiovisuales Españoles), to which we thank for their efforts to ensure that this magazine was actually able to cover the event: Ánima Kitchent, Atresmedia, Boomerang TV, Comercial TV, Filmax International,
Grupo Ganga Producciones, Imira Entertainment, Konx Media Hub, Mediaset España, Medina Media, Onza Distribution, Phileas Productions, Secuoya Content Distribution and Veralia, and several Galician companies grouped under AGADIC (Agencia Gallega de Industrias Culturales). Close to this, but in an independent space, we also saw Televisión Española, Basque Audiovisual, PROA-Catalan Films, Imagina International Sales, BRB Internacional and Planeta Junior. The brand Spain remains strong in fiction formats, and it consolidates its position among the top world countries in content sale and adaptations produced with its content. But MIPTV doesn't only mean business; it also includes other types of activities relating to content. Two days prior to the opening of the forum, the conferences began, no less than 130, with 400 speakers, including respected figures such as Steve Levitan (Modern Family), Malik Ducard, Global Head of Family and Learning at YouTube, and Yannick Bolloré, presi-
dent and CEO at Havas, to name a few of the huge list. For this year's edition, panels, conferences and other events have been very focused on 4K and digital content. There were also interesting and expected premieres, such as the TV series Texas Raising, a production with heavy advertising presence throughout the forum, which included the attendance of its main characters. Furthermore, Digital Emmy Awards are given at MIPTV ; this year the 10th International Digital Emmy Awards took place on April 13, 2015. The awards were attended by over 300 international executives from the television, broadband, and mobile industries. Brian Robbins, founder of AwesomenessTV, one of the most followed teen destinations in YouTube, received the 2015 Pioneer Prize, and other winners came from Germany (Dina Foxx, Fiction), The Netherlands (Last Hijack Interactive, Non-Fiction) and the United Kingdom (Reverse the Odds, Children & Young People).
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Published on Apr 30, 2015
In this issue: a special review about NAB 2015 with news and highlights, an interview with Betty Cantor Jackson, an article about Signals of...