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IBC 2015 Biggest IBC ever The total number of visitors, 55,128, to IBC2015 exceeded the record-breaking attendance in 2014. The event found ever more ways to engage with the community, ensuring that everyone who attended joined the debate about the future of electronic media.
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TM Broadcast International #26 September 2015
Quales V2.3.14 Quality check system on audiovisual content
In this month's edition of TM Broadcast we analyze the last version of the acclaimed Software QUALES. It is a quality check system on audiovisual content that, despite its short time in the market, has surprised and generated great expectations
ELEMENTS ONE FAR MORE THAN A DISK FARM
Editorial IBC was bigger than ever in terms of visitors and exhibitors. It has also been the one that best feelings left us since many years. Just remember the fiascos like 3D, and of course, all mergers and acquisitions between companies, also the bygone global economic crisis and a changeling business change model in media industry. This had led producers, broadcasters and media platforms to be very protective in regards to investments. But in Amsterdam weâ€™ve seen the â€œfearâ€? is over. Different companies from our ecosystem are financially calmer and R & D has paid off, moreover, the new business model is much more settled. We strongly believe that IBC 2015 has been a turning point and we'll see a lot of investment in the upcoming months.
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PA N S H O T
Times Network to launch India’s First Property News live channel with BroadStream’s integrated playout and graphics platform Times Network has chosen BroadStream’s OASYS integrated playout system as the platform to launch its new live channel Property Now, India’s First Property News channel, as well as to perform playout of its existing HD movie channel, Movies Now.
“Compared to most other playout systems in the market, OASYS is economical, flexible, and refreshingly intuitive – it also came highly recommended by many industry colleagues & peers who’d previously worked with BroadStream Solutions.”
Times Network, the No. 1 English Network in India, was meticulous with its requirements and implemented a rigorous vendor selection process following shortcomings of its previous system.
Times Network has just completed installation of the two fully redundant channels with a number of OASYS modules, including advanced graphics for tickers, logo and bug inserts, etc.; Browser for content editing and preparation on the go; as well as its unique N+M Redundancy Manager for added protection.
“We were looking for a reliable and highly automated playout offering with a simple and intuitive interface that leaves no room for error,” explains Farzin Najmi, General Manager of Broadcast & Corporate IT, Technology & Broadcast Operations at Times Network, Mumbai, India.
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“We are very impressed with the levels of automation that the BroadStream solution provides and we’ll be saving a huge amount of time and resource on operations that we currently perform manually,”
continued Najmi. The OASYS system at Times Network integrates seamlessly with a Gen21 traffic software system for both live and pre-recorded program playout. Because of its modular design, the OASYS system gives Times Network the opportunity to licence new modules and channels as and when required, without having to upgrade the existing hardware. BroadStream’s President of Sales & Business Development, Ben Wolk: “We’re very proud to have been chosen for this exciting Times Network project – it’s always a privilege to work with companies that are renowned for pioneering content in their market – especially after such a thoroughly comprehensive selection process.”
PA N S H O T
Switzerland’s Canal9 enables workflow to remote sites with GV Director Canal9, the Switzerland Valais canton regional television station, has selected the GV Director nonlinear live production center for the Parliament of Valais, along with K2 Summit and GV STRATUS from Grass Valley, a Belden Brand, to provide a uniform workflow between its central station and remote sites throughout the region.
use of Grass Valley equipment to the Parliament of Valais remote station. Facilitated by Grass Valley reseller PZ-Multimedia AG in Switzerland providing important local and level 1 support services, Canal9 now has a complete, interoperable solution using one dynamic platform.
This investment follows the initial installation in 2014, when Canal9 selected GV Director to combine the functionality of a switcher, video server, graphics generator and multiviewer in a simple, powerful and creative workspace. Additional products installed include K2 Summit 3G production servers and a GV STRATUS video production and content management system to integrate video switching, multilayer effects, animated graphics, multiviewer monitoring and more into a single, intuitive and highly creative system. With great success, the decision was made to expand the
“GV Director removes the typical complexity of production when working with remote sites, and now Canal9 will have a unified workflow across all stations,” stated Stéphane Sassano, CTO, Canal9. Joël Antonin, co-CTO, added, “Integrating GV Director into our workflow leverages powerful interoperability with our other Grass Valley products, streamlining operations and adding greater efficiency to our day-to-day tasks. We couldn’t be happier with our decision to replicate this investment for our remote sites and expand our partnership with Grass Valley.”
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Canal9’s remote stations will also install Grass Valley K2 Summit 3G production servers, optimized for a broad range of production and broadcast applications that will support their end-to-end SD/HD workflows, along with GV STRATUS for greater simplicity, flexibility and efficiency within their news production system. “Many of our customers have remote sites that need to deliver highly creative, valuable content that can be easily shared with their central station,” stated Said Bacho, senior vice president, EMEA. “In selecting GV Director, Canal9 will have the ability to easily collaborate without being restricted by their operators’ geographic locations. Canal9 is a perfect example of how Grass Valley products allow broadcasters to work seamlessly together throughout the entire production cycle, in any environment.”
PA N S H O T
Grass Valley’s GV STRATUS Playout Secures Disaster Recovery for TV5 Québec Canada TV5 Québec Canada has become the nation’s first broadcaster to implement a disaster recovery site for its playout and transmission operations, using GV STRATUS Playout from Grass Valley, a Belden Brand. The station ran a wide-scale disaster simulation in August, evacuating its building for several hours to test the recovery site, a rented office space with a limited set of generic computers that had nothing installed. In less than an hour, the site was online. GV STRATUS Playout fit precisely with TV5 Québec Canada’s requirement of parallel transmission paths to its primary playout chains, ensuring continuous playout operations for two channels—TV5 and Unis—that would be needed in a catastrophe. In addition, because GV STRA-
TUS Playout can be controlled from anywhere using a standard web browser, even while the rest of the remote office was coming online,the revenue-generating components still had access and control within a few minutes of leaving the building. “Not having a playout would cost us money and credibility,” says Régis Harrison, director of operations and technology development, TV5 Québec Canada. “Now we not only have playout that we can control and manage remotely, we also have access to our directory, videos and all of our enterprise tools.” Besides GV STRATUS Playout— a revolutionary cloud-based Software as a Service (SaaS) for broadcast playout combining the simplicity, flexibility and accessibili-
ty of the cloud with the rock-solid performance of solid-state playout servers—TV5 Québec Canada bought several other Grass Valley products from Applied Electronics Ltd. as part of a broader solution. Those products include the Densité IRD, K2 Summit TX and K2 Solo. “When TV5 Québec Canada faces challenges that are very complex and delicate, this provides a simple, lightweight, cost-effective mirror of its Canadian operations,” said Steve Stubelt, vice president of sales, North America, Grass Valley. “GV STRATUS Playout tools are cloud-enabled, they can operate in a variety of environments and can be tailored for each user’s job, increasing efficiencies and collaboration.”
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PA N S H O T
Hellas SAT chooses Newtec to power new DTH Earth Station Hellas Sat, a subsidiary of Arab Satellite Communications Organization – the leading satellite provider in the Middle East and North Africa – today announced it has chosen Newtec’s solutions to power a new multimillion Euro Direct-to-Home (DTH) earth station. Located in Cyprus, the earth station will broadcast up to 70 TV channels, ten percent of which will be delivered in High Definition (HD). Most of the content will be received via different Television Receive-Only (satellite dishes) (TVROs) and all content will be transcoded and re-multiplexed into different bouquets, which are then uplinked via Arabsat’s BADR satellites. Newtec, a specialist in designing, developing and manufacturing equipment and technologies for satellite communications, will be the prime contractor, designer and integrator of the entire DTH earth station. It will also provide its
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Newtec M6100 Broadcast Satellite Modulators amongst other Newtec equipment, Ericsson TV encoding and multiplexing equipment, two 7.6m antennas and an umbrella network management system. “At Hellas Sat, we are committed to offering complementary, reliable and supreme quality satellite services to our shareholder’s customers, establishing our teleport in Cyprus as one of the major centers for aggregation and distribution of TV content in the Middle East,” said Hellas Sat’s CEO Christodoulos Protopappas. “With Newtec as a long term partner and now taking the lead building our new earth station, we are confident of offering even better services in the future. Thanks to the advanced capabilities of Newtec’s M6100 modulator, we will benefit from unprecedented bandwidth and efficiency optimization options, thereby lowering our OPEX and allowing us to deliver a reliable, high-quality and competitive service.”
The M6100 features robust design and industry-leading redundancy solutions, resulting in the highest system reliability and service uptime. Newtec’s Equalink® 3, Clean Channel Technology® and the latest transmission standard DVB-S2X are also all available on the modulator as software upgrades. “We are proud to be selected by Hellas Sat to provide a turnkey solution for its new earth station. By combining our expertise with the capabilities of our business partner network, we are confident of providing a cost-effective, high-performance solution,” said Serge Van Herck, CEO at Newtec. “Not only does the M6100 meet Hellas Sat’s needs today but, thanks to its support of DVB-S2X, it also supports potential future requirements, like the launch of 4K and HTS satellites.” The earth station is expected to be live by November 2015.
PA N S H O T
Cognition makes major investment in Mistika Finishing Technology Cognition, the recently launched hybrid post production facility, has purchased six powerful Mistika systems from SGO. The package includes two top-end 4K colour grading and mastering systems, two assist workstations and two laptop systems for on-set and nearset use. The company has also acquired an SGO high-speed SAN. The installation is part of an ambitious, multi-million dollar facility expansion that will include a pair of highly spec’d DCI grading theatres, expanded visual effects resources and creative production workspace. Mistika is a next-generation colour grading and finishing platform with an expansive toolset that supports a wide range of media formats and post production applications including high-framerate and 3D. The latest version of the system software includes tools for manipulating multilayer EXR sequences and expanded support for OpenEXR formats. Cognition Director of Operations David Hollingsworth said that Mistika is an ideal choice for the facility, and its approach to feature film finishing which places a premium on creative flexibility. Hollingsworth is intimately familiar with Mistika technology having collaborated with SGO on the development of the system since 2011 when he was Head of Picture/Senior Colourist at Park Road Post Production in Wellington, New Zealand. Mistika was used at Park Road Post Production to finish the high-framerate epic movie The Hobbit Trilogy directed by Peter Jackson. “After 5 years of collaborating with SGO and their development team I am more confident than ever that Mistika is the best complete finishing tool in film and broadcast,” Hollingsworth said. “At Cognition our goal is to give our clients the
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greatest flexibility during the finishing process to produce the highest quality results. Recent additions to Mistika software including fully translatable AAF functionality and fantastic new EXR tools prove that SGO is staying ahead of the curve.” Cognition recently used its Mistika workstations to grade and finish the independent feature “Opening Night”. The film, which stars Topher Grace, was produced by Grace alongside Dark Factory Entertainment’s Daniel Posada and Jason Tamasco. It’s directed by Isaac Rentz. Final grading was performed by Cognition Senior Colourist Mike Eaves, working closely with Grace, Rentz and Director of Photography Andre Lascaris. Eaves described the grading process as “very collaborative.” “Mistika allowed me to create different versions of the grade and made it very easy to keep them organized using the system’s grade history function and by creating different nodes for each pass,” Eaves said. “Mistika’s very robust FX toolset, which includes de-noise and grain FX functions, allowed me to integrate the look and feel of footage shot on different cameras
with uniform consistency. The best thing about Mistika is that it allows me to concentrate on the creative without worrying about tools.” Rentz called the DI work at Cognition a great experience. “The process was collaborative and fluid,” he noted. “That was true for straight colour work as well as for more complex window work and de-noise and re-grain processing. Everything we asked for was easily achieved. Mistika was interactive and powerful. We have nothing but good things to say about the process and are very happy with the results.” Cognition’s Mistika systems will be integrated into its two new grading theatres, whose construction will be completed this fall. The theatres will also feature 4K Barco digital cinema projectors and a variety of sophisticated support gear. “Cognition’s investment in Mistika is evidence of its forward-thinking approach,” said SGO Director of Global Sales and Operations Geoff Mills. “It is reassuring to see a Los Angeles facility that appreciates how SGO technology can be a differentiator in a competitive market.”
PA N S H O T
VER completes acquisition of Aurora Lighting Hire Ltd
Telestream honored with Emmy® Award for Technology and Engineering America’s National Academy of Television Arts and Sciences has announced that Telestream®, the leading provider of digital media tools and workflow solutions, has been honored with a 2015 Emmy® Award for Technology and Engineering.
VER has announced that it completed its acquisition of Aurora Lighting Hire Ltd (“Aurora”), the UK’s foremost lighting rental specialists for the television, broadcast and entertainment media production industries. The acquisition represents the latest step in VER’s strategic plan to expand its industryleading lighting capabilities and equipment inventory throughout the UK and Europe. Steve Hankin, chief executive officer of VER said, “We are very excited to team with Aurora, an industry-leading lighting rental house that offers the UK a boutique, premier service. Over the next year, we will invest significantly to expand the equipment offering and other resources to support the tremendous demand for their service. The combination of Aurora’s knowledge and quality service with VER’s broader product line will offer Aurora’s clients a truly one-of-a-kind resource. ” Nick Edwards, managing director of Aurora said, “VER is a global leader in the provision of quality entertainment and broadcast media solutions and as such, is perfectly positioned to provide the investment and support that will help grow Aurora and ensure our clients have access to all they need to be successful.” “I am delighted that Aurora is joining forces with VER. Combining the resources and strengths of our companies has created an unbeatable team with a shared passion for service and an incredible range of production solutions. I know this will be a huge asset to myself and other freelance lighting designers, both now and for the future,” remarked Chris Rigby, founding director of Aurora. Aurora will retain its name, staff and services with plans to move into a new, state-ofthe-art facility alongside VER. Aurora’s clients will immediately benefit from the expanded capabilities offered by VER and a much more extensive inventory of equipment.
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Decided by the National Awards Committee’s Technology and Engineering Achievement Committee, the Emmy® recognizes Telestream’s work on ‘Standardization and Pioneering Development of Non-Live Broadband Captioning’. The committee stated that Telestream had shown excellence in engineering creativity and the company joins a distinguished group of honorees that are chosen each year by dozens of industry experts and peers. “We award the Technology and Engineering Emmy® to companies who are the ‘tool makers’ of the industry that have materially affected the Television viewing experience,” said Robert P. Seidel, Chairman, Engineering Achievement Committee, National Awards Committee. “Just as screen actors are cited for Oscars and stage performers are similarly proud of their Tonys, so should the team at Telestream feel uplifted by its achievements in the demanding area of broadband captioning.” Captioning has been a research & development focus at Telestream for many years, resulting in the evolution of fastest and simplest way to author and edit closed captions and subtitles for any type of video. Telestream’s captioning solutions meet all FCC regulations for both TV and Internet closed captioning with the industry’s leading support for CEA-708 caption file formats, QC and troubleshooting of caption files, plus automated adjustments and conversions. The Telestream captioning system solves the challenges of modern content production, editing, delivery, and archival while maintaining the highest quality closed captions and subtitles. "The importance of captions goes far beyond legal requirements. From helping deaf and hard of hearing individuals enjoy television to assisting viewers with language ambiguity and allowing a weary traveler catch the news in a crowded airport, captions play a critical role in our society. However, for broadcasters, creating captions brings very demanding technical challenges. At Telestream we have some of the brightest minds in the industry who have dedicated themselves to creating solutions and standards that are designed to remove some of these technical barriers. To be recognized in this way is a fitting tribute to all of the hard work that our team has invested. We feel honored to have been recognized,” said Shawn Carnahan, Chief Technical Officer at Telestream.
PA N S H O T
Sky Cinemas Kuwait sign exclusivity agreement with Barco
Barco has further strengthened its position in the Middle East. Sky Cinemas Kuwait have made a commitment to Barco partner CineTech to exclusively install Barco projectors, including laser projection for future sites. Sky currently has three screens installed in the capital Kuwait City, with five new screens planned by mid-2016. The cinema group also has expansion plans in Kuwait and the wider region. Sky Cinemas Kuwait is part of a large real-estate group that’s also based in Kuwait. The relatively new chain of cinemas has aimed high from the start: last July, three new screens were inaugurated in Kuwait City, featuring two DP2K-10s and one DP2K-20C Barco projector. By
mid-2016, the cinema group wants to install another five screens. At the same time, Sky Cinemas is looking for opportunities to expand outside of the capital.
Future-proof partner The cinema group is relying on Barco Gold Partner CineTech Middle East JLT to make this expansion story a success. CineTech is a leading cinema and multi-function auditorium solutions provider for the Middle East and Africa regions. “CineTech has already installed Barco technology in numerous other chains,” CineTech spokesperson Peter Khamas said. “Time and again, both our clients and cinema visitors
are stunned by the immersive cinema experience that Barco digital cinema offers them. Barco’s industry-leading position in laser projection, the future of cinema, was the deciding factor for Sky Cinemas to make an exclusive choice for Barco projectors.” Fahad Al-Saleh, owner and spokesperson for Sky, said he is confident that the partnership will prove to be a winning ticket: “With the experienced support of CineTech Middle East JL and the state-of-the-art technology of Barco, I’m convinced that we are going to make the moviegoers an offer they can’t refuse. Now and in many years to come.”
PA N S H O T
Zylight F8-100 LED Fresnel Helps ‘Legacy Project’ Share Inspiring Stories His name was Frank Dymock, and for years he sharpened ice skates out of his garage for families free of charge. Brent Foster, director and cinematographer for Foster Visuals in Wallaceburg, Ontario, grew up in the same town and thought Dymock was an amazing character. Foster planned to capture his story on video, but Dymock became ill and died in late 2014 before Foster had a chance to profile him. Dymock’s death prompted Foster to launch “While I’m Here | The Legacy Project,” a self-funded series of profiles of unique and selfless individuals. “I started this project based on that regret and the realization that stories like Frank’s shouldn’t wait,” Foster said. “I
decided to dedicate the project to Frank, and tell stories while people are still here and doing great things.” With three profiles already shot posted to www.whileimheretheproject.com, Foster has found his subjects through “research and a bit of good luck.” His first subject, Thomas Weller – also known as “The San Diego Highwayman” for his work rescuing stranded motorists – was someone Foster met during his time as a journalist for the Los Angeles Times. He discovered another character in an amateur YouTube video, and found a third from a list of award nominees posted online. Foster has added a nomination form to the Web site to keep the
project moving forward. “We’re not interested in finding stars,” Foster explained. “We’re looking for everyday people who are doing extraordinary things.” A high-end corporate video production house, Foster Visuals focuses on storytelling videos for companies including Nike and VISA. The company also offers aerial cinematography through its sister company, UP Aerials. Legacy Project shoots are scheduled between paid jobs, and Foster and his team spend a few days with each subject. Footage has been shot using a variety Canon, Nikon, and Sony DSLRs, but all three shoots have included at least three of the company’s five Zylight F8100 LED Fresnels. Foster first used the F8-100 on an outdoor location shoot last year. When he able to use a standard 14.4V camera battery to run the light, he was impressed. When the water resistant (IP54) light continued to operate in the rain, he was sold. “Just the strength of the lights and the amount of power you get with a V-mount [battery] on location was huge for me,” he said. “It really is priceless.” The daylight balanced F8-100 quickly became Foster’s light of choice on location. He said it delivers consistent color quality, and the spot and flood controls, barn doors, and eight-inch glass lens provide excellent control. The "Flat Fresnel" collapses to four inches thick, and Foster uses Zylight’s custom travel case, so he is much more confident flying with Zylights than HMIs. “To know they’ll be fine and not take up a lot of cargo space is a real plus,” he added. “My wife has been trying to get me to sell the HMIs because we don’t touch them anymore.”
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Wisycom unveils MTP41S Pocket Wireless Transmitter at IBC 2015
“The newly updated MTP41S now incorporates all of the features of its big brother, the MTP40S in a compact frame,” says Massimo Polo, Sales & Marketing Director, Wisycom. “These new advancements combined with Wisycom’s RF technology offer the customer and talent the smallest, most advanced transmitter on the marketplace today.” The biggest feature added to the MTP41S is the integrated hardware limiter. The limiter acts as a variable attenuator maintaining a distortion less than 0.3 percent, without lost quality. These features have been added to standardize performance in Wisycom’s body-pack transmitter product line. “The 50mW output power will now offer top-inclass performance in the tough environments of today’s RF spectrum,” Polo continues. “Peak audio levels are controlled better with the advancement of the hardware limiter (30 dB above peak), while the device transmits a digitally modulated sub-carrier, suitable for tone-squelch operating, remote battery monitoring and optional PTT [push to talk] operation.” The MTP41S presents users with up to 232 MHz bandwidth in 470/798 MHz range, offering a wide range of frequency options. Setup is easy and fast via an OLED display, a gain/frequency button and a ‘joggle’ selector. The miniature design of the MTP41S features PCB (no connectors) for extended reliability, and an ultra-light metal alloy body. It also offers user-selectable multi-companding systems: ENR (noise optimized) or ENC (voice optimized). Power options include one AA Alkaline or rechargeable NiMH or Lithium battery.
PA N S H O T
PacTV selects Grass Valley Router for new London Facility
Pacific Television Center (PacTV), a Los Angeles-based, global transmission and production company, has purchased an NVISION 8576 router from Grass Valley, a Belden Brand, for its new state-of-the-art London facility with IP and 4K capabilities. The new router is a central component of the operation and will manage all of the global connectivity into and out of the London facility. This latest investment means PacTV will now have Grass Valley routers in five of its managed locations in Los Angeles, New York, Washington D.C., Singapore and now London, offering round-theclock support and services, such as fiber connectivity and satellite coordination. The company installed its first Grass Valley router in 2002 and has been relying on the technology ever since. “Reliability is critical, and we know from experience in our other locations that Grass Valley routers have a long life span,” said Nick
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Castaneda, VP of Development of PacTV. “By using Grass Valley equipment at our facilities, colleagues can now manage each other’s routers using similar, intuitive user interfaces and controls. For our customers, this means that we can minimize disruptions and provide reliable transmission services under the most demanding circumstances.” With the new router, PacTV operators are able to quickly have source/destination status for highdemand resources, helping make quick decisions for customers. Furthermore, programming can now be done with ease, and main components of the system can be monitored through the tabbed system in NV9000 SE Utilities. As PacTV looks to the future, the new router ensures an IP delivery method via Ethernet or Fiber link as video transport becomes more integrated toward IP delivery. PacTV will increasingly need to take the current video formats of HD-SDI
and ASI and apply it into IP multicast or unicast applications. The Grass Valley router will provide an intermediate device to route these into various networks and take them away when the service is complete. The NVISION 8576 router is part of the NVISION 8500 hybrid router series, designed for production and playout applications from trucks to the largest engine rooms. It offers the convenience of integrated audio processing, SMTPE 2022 IP routing and simplified cable management with no compromises on reliability. “We have been providing innovative technology to PacTV for more than a dozen years, and are very excited to be part of the company’s new leading-edge London facility,” noted Said Bacho, senior vice president, EMEA, Grass Valley. “The NVISION 8500 series router is perfect for PacTV’s workflow needs today, and with its ability to manage IP and 4K, this platform is also perfect for PacTV in the future.”
PA N S H O T
Lawo and L-S-B take Swedish Radio into the future with IP technology Swedish Radio (SR) has a vision to “meet listeners where the listeners are, and broadcast from where the action is”. Achieving this goal using IP-technology requires the broadcaster to undertake a complete modernization of its infrastructure. SR issued an EU tender about the mutual development for a pilot installation which was won by German manufacturer Lawo, a company renowned for its futureoriented approach, innovative IP solutions and products. For the overall control system, Lawo will use products and services of L-S-B Broadcast, another innovative company from Germany. The pilot project comprises the regional studio of Uddevalla and the close-by Gothenburg HUB, the latter to serve as control center for Uddevalla and – in a later step – for other regional studios around Gothenburg. All companies participating for this pilot installation – SR, Lawo, L-S-B – have been involved in all aspects of the project. After the modernization, all SR regional studios will be able to act independently from the central
broadcast operation with access from everywhere in the region by using IP technology. The self-operators will produce their own radio material using “instant” newsgathering, and broadcast via their regional antennas. Reporters will be located around the region, conducting interviews, directly reporting on events and newsworthy incidents. There will be no master control room for the regional studios – SR correspondents will use their tools, and in special cases even own mobile phones, to go on-air directly from their location, sending input to a studio or directly to the antenna via
the relevant regional HUB. Jarle Felin, Regional Director at Lawo, states that it was a difficult task to specify the contract content with a “floating” technology description, but that many of SR’s ideas for the future match technologies that are already part of Lawo’s portfolio and roadmap. Lars Hedh, Head of R&D at SR states: “I am very pleased with both the procurement process and the outcome of it, and I am looking forward to cooperate with a company that shares Swedish Radio’s vision of how radio will be made in the future.”
PA N S H O T
Mobile will continue to lead the telecommunications market in Brazil exceeding 304 million active lines by 2018 The mobile market in Brazil will exceed the 304 million active lines mark in 2018, according to the report “Telecom Series 2015: Brazil” published by Dataxis. This figure will represent 80.3% of the total number of telecommunication
Huawei and NetRange agree to jointly drive OTT ecosystem cooperation Huawei announced that they will work in partnership to create a joint OTT ecosystem. The collaboration will enable Huawei and NetRange to create added value for the next generation of OTT services for telco operators and end users. The two companies agreed to cooperate with a view to providing content-rich OTT ecosystem services, including linear TV streaming, video on demand and cloud gaming. The creation of this joint OTT ecosystem will especially benefit telco operators, who will be able to seamlessly integrate the high value OTT services on offer with their products. The move comes as Huawei is aiming to launch its hosting service in Europe this year, following its successful rollout in the Middle East and in China. Keen to provide high quality OTT content, including linear TV, gaming and video on demand services, to the public worldwide together with its partners, Huawei believes that NetRange is the perfect partner to turn this project into another success story.
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accesses estimated for this year. Thus, this segment will remain as the primary source of growth in the country’s telecommunications market. Dataxis estimates that the mobile market incidence over total telecommunication revenues will grow from 65.3% in 2014 to 67.4% in 2018. Data refers to the combined revenues of mobile services’ *, fixed telephony and fixed broadband services, which in Brazil will remain above USD 40 billion. Brazil recorded 283.2 million mobile lines in 2014. Even though Vivo (Telefônica) led the market in terms of access volume, TIM (Telecom Italy) was the operator with the highest amount of revenues recorded during 2014, close to 33% of the total. Dataxis estimates that the fixed broadband sector will exceed the 27 million accesses mark in 2018, a figure which represents a 25.5% increase when compared to 2014. Net (América Móvil) led the sector in 2014 with a market share close to 34%. The Brazilian MSO is one of the few cases in Latin America in which an operator manages to position itself in various business segments and lead without being an incumbent. In the midst of this scenario, Brazilian mobile operators moved forward towards an integrated 4Play services offer (mobile and
fixed telephony, broadband and TV). This process was made even clearer with the consolidation of América Móvil in the country (Claro, Embratel and Net). At the end of 2014 Telefônica/Vivo announced the purchase of TV and broadband operator GVT –with a presence in a large part of the country- with no activity in the mobile market. Since TIM and DTH operator Sky (AT&T) did not move forward in this regard, they were left in the middle of speculations regarding a possible sale of its assets. On the other hand, Brazil is the leading Latin American country in terms of active fixed telephony lines volume. The Brazilian operator Oi incumbent on almost all of the country- is the company with the largest number of active lines in Latin America, with over 15 million customers by the end of 2014. According to Dataxis, there will be over 47 million fixed lines in 2018, 5.9% more than in 2014. Growth will be driven by VoIP services offered by cable operators. VoIP/cable represented 14.7% of total fixed lines by the end of 2014, with Net as the main operator in this segment. By 2018 Dataxis estimates that this ratio will increase to 19.6%, while traditional fixed telephony will progressively lose market share.
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Venture Capital Firm, Covington Fund II Inc. Becomes Controlling Shareholder of Masstech Innovations Inc. Masstech has undergone an ownership restructuring whereby Masstech is now controlled by Covington Fund II Inc., one of Canada's largest and most experienced venture capital firms. The new ownership positions Masstech to accelerate growth, build on its success, and fully capitalize on its imminent new software releases and the rapid adoption of its awardwinning solutions. The ownership change brings Masstech's business under the newly formed corporate entity Masstech Innovations Inc. Masstech provides innovative software solutions and expertise that media organizations trust to manage their valuable digital media content and related information
throughout its lifecycle. Leading media companies worldwide depend on Masstech to deliver superior user experiences, exceptional ROI and frictionless media asset management workflows that enable them to maximize their efficiency, monetize their content across multiple platforms, create better productions, enhance their competitive position, and save time and money. "We remain impressed with Masstech's vision, insight, groundbreaking technologies and deep understanding of its target markets," said Phil Reddon, Managing Partner at Covington. "We are extremely excited to take majority
control of the company, particularly at a time when it is poised to break through to the next level of growth." "We have invested significantly in R&D over the past three years for our next generation of solutions, from our pending new MAM software releases to laying the groundwork for future game-changing innovations on our roadmap. Meanwhile, our award-winning newsroom solution is now benefiting nearly 100 stations, and we are poised to double that footprint less than three years after its introduction." said Joe French, President and CEO of Masstech Innovations.
PA N S H O T
UEI introduces Simply Smarter Control for interactive TV services The Smart Control remote brings users fully in sync with their home entertainment system, controlling all devices as one. The innovative control can detect and automatically connect to all devices within the home entertainment stack, using UEI’s widely-adopted QuickSet® technology, which is currently deployed in over 150 million devices around the world. Using Bluetooth Smart technology, QuickSet 3.0 leverages the twoway RF link between the remote and set-top to automatically configure control protocols for auto-discovered devices, to control virtually any television or entertainment device in the home, with minimal user input. The Smart Control remote includes voice and motion control technology for complete ease of use. The voice control feature delivers accurate and intuitive content search, based on key words, film titles or actors, while motion control allows users to navigate by pointing at the screen. Motion technology also helps the user easily select GUI functionality in the hot corners of the TV screen, or when playing games from the app portal, with the 6-axis motion engine enriching the whole gaming experience. The remote control integrates the latest technology and functionality based on true consumer insights and includes the latest design trends, state-of-the-art materials, finishes and form factors. The ultrathin design is available in different colours such as the ivory-whitechampagne or the black-velvetchrome. Menno Koopmans, senior VP subscription broadcasting, Universal Electronics says: “There is a demand from pay TV operators for a remote control suited to video on demand and interactive applications that encourages consumers to
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explore the many services offered. And we’ve delivered just that. “Smart Control has been designed specifically for interactivity and to improve user experience in navigating TV apps and finding content across all your video cata-
logues. We have created a product for pay TV service operators, that tunes in to their services and content with the touch of just one button and better still, it does this automatically. That’s what we call simply, smarter control.”
PA N S H O T
Video Devices announces PIX-E SERIES firmware update Video Devices announces Firmware Version 1.05 for the PIXE Series. With this latest firmware update, the PIX-E Series recording field monitors will now include several standard lookup tables (LUTs), the ability to utilize custom LUTs, and support for HDMI recording triggers for Panasonic cameras. “The features being added to the PIX-E Series with firmware v1.05 are the direct result of requests from users in the industry,” says Paul Isaacs, Director of Product Management and Design, Sound Devices. “The variety of LUTs we have added to the monitors enable production professionals to simulate their desired final appearance while still recording the full-dynamic range needed for post production.” To aid onset viewing, most camera manufacturers provide monitoring LUTs to convert the cameras’ LOG output into easily viewed imagery that more accurately represents the final recorded image. PIX-E users can take advantage of new customizable touch-screen options for quick-tap comparison of simulated looks using up to four LUTs. With firmware v1.05, the PIXE monitors are equipped with several standard LUTs, but custom LUTs may also be used via SD card or SpeedDrive™. This latest update also expands HDMI recording triggers to include Panasonic cameras – such as Panasonic Lumix GH4 – in addition to triggers added previously for Sony and Canon cameras. The PIX-E Series of 4K recording monitors includes two released fiveinch models, PIX-E5 and PIX-E5H, as well as the upcoming seven-inch PIX-E7. The line was designed to cater to the varying needs of a diverse range of production professionals – from camera operators to video assist technicians. The monitors are equipped with a full suite of precision monitoring tools, plus the
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ability to record 4K and Apple® ProRes edit-ready files to any mSATA-based SpeedDrive. The five-inch models are best utilized for smaller format DSLRs, while the seven-inch model is ideally suited for larger cameras. Both the PIX-E5 and PIX-E7 monitors have SDI and HDMI I/O, while the PIX-E5H has HDMI I/O only. Video Devices built the PIX-E recording monitors in die-cast metal housings with scratch-resistant Gorilla® Glass 2. In addition to durability, the high-resolution monitors are available as 1920x1080 (PIX-E5 and PIX-E5H) or 1920x1200 (PIX-E7) LCD displays, which are color-accurate and sun-
light-viewable. Founded in 1998, Sound Devices, LLC designs both Sound Devices audio products and Video Devices video products. Sound Devices offers portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, newsgathering, live-event, and acoustical test and measurement applications. Video Devices offers digital video monitors, recorders and related products, which address a range of video productions, including fastpaced studio applications, live sports and events, as well as mobile, TV, film and documentary productions.
PA N S H O T
Telestream provides Media Transcoding & Transformation Platform for Fox International Channel Europe’s New UK Production Centre Designed and installed by Telestream’s UK channel partner, Boxer Systems, this innovative filebased workflow meets numerous content processing, transcoding and transformation needs from linear broadcasts to web publishing of video clips and VOD material conversion. “Today broadcasters must be able to supply many different pipelines with content – from OTT to VOD, linear, web and multi-platform deliveries. To do this effectively, we need to rely on a robust and flexible infrastructure and this is exactly what Telestream Vantage gives us,” said Maurizio Raffaeli, Director, Broadcast Operations & IT, Italy at Fox International Channels. A major requirement of the Vantage platform at Fox International Channel Europe & Africa is to create DPP-compliant file-based content for delivery by FIC to UK broadcasters. When FIC started the design of its new London production Centre an important consideration was the new Digital Production Partnership
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(DPP) initiative, which its UK client broadcasters were preparing to adopt. During an intensive twomonth testing period with Sky UK, DPP files created using Vantage proved to be technically advanced and totally reliable. “From its flexibility, extensive format capabilities, scalability and third party workflow interoperability, Vantage has proved to be an elegant and sophisticated platform for our growing operations,” explained Mauro Panella, Executive Director – Head of Broadcast Operations, IT & Facilities, Italy, Germany & UK at Fox International Channels. “Another key factor was the high quality support that we receive from Boxer Systems. They helped us at every stage from initial architecture design through to deployment, and as soon as the workflow was installed and operational they trained our staff to a very high standard.” In selecting Telestream, Fox International Channels Europe & Africa is building on a relationship
that started in 2008 and already sees Vantage employed in their Italian and Spanish production centres. In order to complete pre-installation evaluation and testing, Boxer engineers remotely constructed the Vantage workflow at FIC Italy’s production centre while the new Hammersmith facility was still under construction. Having passed all testing with flying colors, FIC reports that the new file-based workflow was successfully migrated to London and became operational this spring. The workflow integrates Telestream’s Vantage Transcode Pro Connect and Analysis options running on standard Windows Servers alongside a Dalet media asset management (MAM) system. “We’re pleased with the seamless integration of Vantage alongside the Dalet MAM system where our operators can create, test and implement a new encoding workflow on the Vantage user interface including calling up assets from the Dalet MAM,” added Raffaeli.
PA N S H O T
EBD selects TVU Networks as exclusive provider for mobile live video uplink TVU Networks announced that European Broadcast Development (EBD), the leading service company in the media and television broadcast market in Italy, is switching to TVU in a multi-year deal for all of its live mobile video content services to Italian broadcasters, replacing all similar current equipment in favor of TVU. EBD will deploy the award-winning TVUPack backpack style transmitter, TVU One, TVU’s newest ultra-compact mobile transmitter and TVU MLink, TVU’s vehicle mounted mobile, microwave and satellite transmitter. The deal arrangement was completed with the assistance of Professional Show, TVU’s official reseller in Italy. EBD consists of a pool of compa-
nies that specialize in broadcast, providing complete and integrated services. EBD works with over 400 partners across Italy and has offices in Milan, Rome and Genova, Venezia, Torino, Bologna, Firenze, Napoli, Bari and Palermo. In addition to its comprehensive services, EBD invests every year a large amount of its revenue in research and development of new services and technologies. “At EBD, we are committed to delivering the best solutions and services to our broadcast customers. We were very impressed with TVU products and felt that the TVU equipment’s ability to transmit a broadcast quality HD signal in the most challenging environments with very low latency is crucial to our
customers,” said Matteo Brambilla, Strategic & New Business Director, European Broadcast Development. “We have evaluated and used a number of similar products. None of them are able to match the performance and picture quality that TVU’s products can deliver. We are happy to be consolidating to TVU for cellular uplink to allow us to effectively service Italian broadcasters and look forward to a long partnership with TVU. With TVU we started a deal with the aim and commitment to develop together the best and up-to-date system to provide the most effective and reliable services to our customers.”
PA N S H O T
Dataxis’ latest research analyzes the performance and projections of the VOD OTT MARKET in Latam’s major markets Latin America’s VOD OTT services generated USD509.2 million in 2014, according to data published today by Dataxis. By 2018 this figure will grow by 262% reaching USD 1.84 billion. The information included in Dataxis’ new report “OTT in Latin America” includes combined VOD OTT services’ revenues – in its different variants (by subscription, by transaction and Download-To-Own) – in the region’s seven largest markets: Argentina, Brazil, Chile, Colombia, Mexico, Peru and Venezuela. Dataxis identified 86 VOD OTT platforms in the markets analyzed by the end of July 2015. Brazil and Mexico are the countries with the largest number of platforms, 29 and 17 respectively. By 2018 VOD services by subscription (S-VOD) will account for 66.5% of total revenues; transactional platforms (T-VOD) will represent 18% and DTO services the remaining 15.5%. Mexico and Brazil will still be Latam’s largest VOD OTT markets. According to Dataxis, Mexico will capture 43.9% of total revenues and Brazil 33.4%.
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S-VOD services recorded 6.5 million paid accounts in 2014. Netflix led the market with nearly 3.9 million paid accounts at the end of 2014. However, its regional market share has declined in recent years as a result of competition, especially with Claro Video, which has positioned itself as the second largest VOD OTT service in the region.
2014 to 129.5 million by 2018. As a
Dataxis believes that the S-VOD OTT market will expand rapidly and by 2018 will record 19.8 million paid accounts in Latam’s seven main countries.
Dataxis believes that this figure will
The transactional market will start gaining traction in the region, growing from 9.4 million transactions in
result of this expansion, Dataxis projects that T-VOD revenues will exceed those generated by the DTO market for the first time in 2018. In turn, DTO services sold 11.6 million movies and series in 2014. rise to 35.7 million by 2018-end. However, DTO’s market share of total revenues will decline over the years as a result of lower unit prices and the competition with other OTT VOD services.
PA N S H O T
Media Links Inc. relocates its Americas Headquarters to support company growth Media Links announced it has relocated its Americas headquarters and U.S. based staff from Bloomfield, Connecticut to a new facility in Windsor, Connecticut, USA. Media Links' renowned video over IP media transport and switching solutions facilitate the transport of high-value media content and data over long distance networks. The Company's solutions (MD8000, MDX Series and Network Management Software) are deployed globally by television broadcasters and major telecoms for the contribution and distribution of premium-quality 4K, HD, SD content and data. The 10,000+ square foot operation supports key functions, including software development for the Company's global Research & Development team, as well as
product and software quality assurance (QA) labs. The new headquarters also includes expanded customer training and demonstration facilities plus all administrative, technical support, operations, and warehousing for the Media Links' Americas business. The facility is conveniently located less than three miles from Hartford's Bradley International Airport and less than two hours from New York City and Boston. It is minutes from major shipping and distribution centers.
"The relocation of our Americas headquarters reflects the continued growth and expansion of Media Links as our industry migrates to an IP-based infrastructure. Our new office provides us with significantly more space and resources to support our Americas customer base, including a wellequipped and expertly staffed training & support facility, with capacity for continued growth as we seek to further expand our leading Media over IP platform of solutions," commented Tom Canavan, President of Media Links Inc. "Notably, we are significantly growing our R&D functions here in the U.S. in support of our headquarters team in Japan. This allows the Company to take advantage of the skill sets we have here in the U.S. and locate key R&D functions closer to our customers."
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IBC2015 was widely agreed to be the most successful yet. Conference delegates from more than 250 top level speakers in a sharply improved environment; exhibition visitors had more than 1,800 vendors to choose from; and everyone enjoyed innovations from a hackfest to a drone zone. The total number of visitors, 55,128, to IBC2015 exceeded the record-breaking attendance in 2014. The event found ever more ways to engage with the community, ensuring that everyone who attended joined the debate about the future of electronic media. At the centre of that debate was the future of media in an age of disruption. Speaking in the opening conference session, David Butorac of Middle Eastern broadcaster OSN asserted “We have to adapt, we have to recognise that the consumer is now in charge, but the future is bright for broadcasters.” Fran Unsworth, the Director of BBC World Service, added “The future is digital and we need to expand it – but not at the expense of television and radio.” This confidence that top quality content aimed at a broadcast audience can exist alongside YouTube and TV Everywhere was also reflected on the show floor. A record-breaking 1,800 exhibiting companies brought the latest in every aspect of the technology, from cameras to codecs, workflows to wearables, virtualisation to virtual reality. “The media industry today is radically different from where we were even five years ago,” said Michael Crimp, CEO of IBC. “We have gone from an industry that was defined by technology to one where we demand new functionality from our vendors; from an industry where broadcasters told us what we were going to watch to one where consumers call for content wherever and whenever they want. “All that inevitably brings seismic shifts on every level,” he said. “IBC provides the independent forum for the conversation. We have worked hard to bring everyone together: the telcos, the social media and the innovators; and everyone from the CEOs who attend our Leaders’ Summit to the engineers and creative artists who walk the show floor and learn in the conference. Only IBC provides this comprehensive platform – this is where the real debates take place.”
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3D Storm Brainstorm and 3D Storm Partner to launch LiveCG Election Brainstorm Multimedia and 3D Storm, distributor of NewTek and LiveXpert products, debut an exclusive partnership at IBC 2015, with the launch of a brand new product. Already a member of the NewTek Developer Network, Brainstorm Multimedia’s implementation of the AirSend API was the first full inte-
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gration of real-time 3D graphics and CG products with NewTek’s TriCaster systems. LiveXpert, tools for live video and sports production, is a member of the NewTek Developer Network, and aims at extending any production environment by providing tools to manage, create and add outstanding graphics, social media content, sports timing and scoring information into any live production workflow. "Augmented Reality is what
broadcasters want today", says Franck Lafage, 3D Storm Managing Director, "we are thrilled to expand LiveXpert offering and to be able to provide the broadcast industry with such an amazing product. LiveCG Election combines both ease of use and outstanding graphics capabilities". “We are delighted to have forged a strong relationship with 3D Storm and LiveCG Election is the result,” says David Alexander, Brainstorm’s
addition to the LiveXpert range of tools, is a multiformat player and recorder, the systems supports a wide range of audio and video codec and delivers great performances when capturing signals, both in Standard and High Definition.
Commercial Director. “With over 20 years of experience in providing customers with election graphics, from small requirements to largescale turnkey projects for national elections, we were very pleased to be able to work with 3D Storm to develop this outstanding product for their particular markets.” LiveCG Election is available as a software only product, supporting
NewTek AirSend® protocol and sending motion graphics in full resolution to any TriCaster connected through Ethernet without using any video inputs. 3D Storm also offers a turnkey system providing SDI in/out as well as Fill and Key to be connected to any vision mixer.
LiveCG Election is the first intuitive and affordable 3D graphic tool to create and display customized animated graphics for election results. The turnkey graphics solutions dedicated to turning complex data into a dynamic television show, gives the ability to deliver high-end 3D graphics and augmented reality.
LiveXpert new tools
Live Media Server, the latest
DELTA-stat IP is a complete
turnkey solution, manufactured by DELTACAST, dedicated to generate and display graphics for multisport live productions such as pre-game animations and presentations, clocks, animated scores, statistics management, actions, referee decisions…Featured in a 1U rack system, DELTA-Stat IP is easy to integrate in stadiums and sports arenas control rooms. DELTA-Stat IP supports NewTek AirSend™ protocol, connecting to TriCaster and 3Play with an Ethernet cable, without using video inputs.
SPORTS SCORING SOLUTIONS LiveCG Football is a professional statistics and scoring management application for NewTek TriCaster and 3Play, dedicated to Football games productions, for live broadcasting and displaying figures and graphics in real-time on large screens in football stadiums. LiveCG Tennis is a complete solution to generate and display graphics such as animations, players' presentations, animated scoring, timers and statistics management, during tennis live productions. FingerWorks is an intuitive telestration tool, based on a touch-
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screen user interface, for TriCaster and 3Play users, for real-time news and sports programs.
GRAPHICS & SOCIAL SOLUTIONS LiveCG Broadcast is a standalone 1RU device giving the ability to display all graphics needed for a high-end professional television production, including fixed and animated titles and logos, crawled or rolled tickers, clocks, countdown, dynamic datas and bitmap sequences. In addition to receiving posts and messages from Facebook®, Twitter®, Flickr®, or WhatsApp®, the Social Hub software module of LiveCG Broadcast also supports pictures from Instagram, videos from Facebook and even SMS. Connected to social networks account, the incoming messages can be filtered on a dedicated workstation and sent into live production in real time.
AUTOMATION SOLUTIONS LiveMixer is an exclusive add-on that provides the ability to deport TriCaster audio mixer on a dedicated workstation either on a Berhinger BCF2000 or a Yamaha
01V96i or on a remote PC. The Exclusive "DB Switch" function gives the ability to automate multicamera productions by triggering actions on the TriCaster based on audio levels and rules. LiveTally is the simplest Tally lights solution you could imagine for fitting Tally lights to your cameras. LiveTally Air, the wireless solution are automatically detected by the transmitter connected to the video mixer, once installed on the cameras. LiveTally Remote is a Tally lights solution using Ethernet cable for TriCaster and other video mixers. LiveTally Converter is a small interface to plug into the Tally connector of TriCaster to provide close contacts instead of 5v power, to be used with cameras with built-in tally light and CCU. LiveControl Box is an interface for TriCaster dedicated to sending and receiving GPI (General Purpose Interface) to and from any kind of devices supporting GPI. NewsCaster is a Newsroom Automation product that integrates Broadcast Newsroom Computer Systems with the TriCaster product line. The TriCaster operator no longer needs to manually set up the show and drop what they are doing to make adjustments while on-air.
AJA Video Systems Corvid HEVC AJA Video Systems announced Corvid HEVC at IBC, a 4K and multi-channel HEVC encoding card, as the latest addition to AJA’s Developer Program. Corvid HEVC is a PCIe 2.0 8-lane video encoder card providing real time, low-latency HEVC encoding at 4K, 1080p HD and lower resolutions. Development partners can use AJA’s powerful SDK to integrate Corvid HEVC directly into their Windows and Linux applications using a flexible API for a variety of use cases. In addition to HEVC encoding, audio and metadata are also captured and included in the encoded file. Key Features: - Realtime 4K/UHD/HD HEVC hardware-based encoding - PCIe 2.0 8-lane full-height card - Low power consumption - Supports HEVC Main and Main10 profiles
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- Supports 4:2:0 and 4:2:2 at 8- or 10-bits - Supports bit rates for streaming and contribution quality - Supported HEVC streams: o Single 4K/UHD stream up to 60 fps o As many as 4 streams at 1080p HD up to 60 fps - 4x 3G-SDI inputs - 1x LTC input - 16-channel embedded audio support per stream - ANC data support - Supports file-to-file encoding - Built on AJA’s powerful crossplatform NTV2 SDK for Windows and Linux - AJA’s extensive Developer Program partner support “Corvid HEVC integrates the latest 4K/UHD workflow technologies developed at AJA into an incredibly
robust PCIe card that our developer partners have been asking for,” said Nick Rashby, President, AJA Video Systems. “For everything from 4K/UHD, to independent, multichannel or file-to-file encoding, Corvid HEVC delivers real-time, low-latency, reliable performance under the hood.”
Desktop Software 12.3 The 12.3 software adds a host of new features including a range of options for closed captioning support for KONA 4 and Io 4K, new output support for Telestream Wirecast and Linux retail drivers for use with applications such as Shotgun Software’s RV and The Foundry’s NUKE. This release also includes the new AJA System Test 2.0, a cross-platform application for Mac or PC, with a completely redesigned user interface. System Test is used to measure disk performance and PCIe performance and with this version also adds a new system report creation tool.
New features include: - Closed Captioning Improvements—KONA 4 and Io 4K now support closed captioning in Adobe Premiere Pro and AJA Control Room. - Closed Captioning Capture— Stored in a closed captioning track in a QuickTime file as well as in an .scc and .mcc file. Closed captioning playback is also supported. - Output Support for Telestream Wirecast—Monitor output with Wirecast generated graphics overlays, including support for AJA T-TAP™. - New Linux Retail Driver— Supported by Shotgun Software’s RV and The Foundry’s NUKE. - SMPTE 425 controls for KONA 4 and Io 4K in AJA Control Panel. - Audio Delay Slider—An audio delay slider is now part of AJA Control Panel supporting KONA 4 and Io 4K. Delay audio on input or output up to six frames, in 1/10 frame increments. - Follow Input mode—Automatically changes the framebuffer to match the video input - Windows 10 and Mac OS X 10.11 El Capitan support. New AJA Desktop Software 12.3 with System Test 2.0 is available as a free download from www.aja.com/downloads and is compatible with the following AJA products: KONA 4, KONA 3G, KONA LHi, KONA LHe Plus, Io 4K, Io XT, Io Express, and T-TAP.
FS3 4K Upconverter The new FS3 combines AJA’s industry-proven frame synchronization with high-quality 4K up-conversion technology to seamlessly integrate SD and HD signals into 4K workflows. AJA’s adaptive scaling algorithms, paired with our wellknown conversion technology
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ensures your up-converted images will have the maximum quality possible. Input SD or HD resolution SDI via BNC or Fiber and send upconverted 4K/UHD to multiple BNC and Fiber outputs simultaneously. The FS3 can also operate as an SD or HD frame synchronizer. FS3 also includes the industry-proven features included in AJA frame synchronizers such as RGB color correction, region of interest scaling, extensive audio controls and routing, web UI control, GPI triggers and more. Products in the AJA FS family are often referred to as the ‘swiss army knife’ of professional video workflow tools for their unprecedented levels of support, and the FS3 is no exception. The FS3 can up-convert almost any input HD or SD format to 4K/UHD up to and including 60p. 4K/UHD outputs can be 4x 3Gb SDI (level A or B), 2x 3Gb SDI (level B) or 4x 1.5Gb SDI. Inputs or outputs can be Fiber with optional SFPs. FS3 will be available in October at a price of $2,995.00 US MSRP
New Mini-Converters HB-T-SDI and HB-R-SDI extend 3G-SDI signals for monitoring, digital signage and device control over Ethernet cable. ROI-HDMI allows conversion and region-of-interest scaling of computer HDMI outputs
to baseband SDI video; and HD10MD4 downconverts HD-SDI video to standard definition SDI and analog component/composite video. New firmware for the HA54K includes HDMI 2.0 support. The HA5-4K, Hi5-4K and 4K2HD MiniConverters also all gain two-sample interleaved and quadrant modes support, and all Mini-Converters with USB support gain faster up and download speeds with the updated AJA Mini-Config software. The HB-T-SDI and HB-R-SDI offer an easy solution for extending 3G-SDI signals over Ethernet cable, utilizing the industry standard HDBaseT protocol. Bi-directional IR and RS-232 for device control is also supported, making these MiniConverters ideal in a variety of scenarios including: fixed installation AV, digital signage, live events, post production, network, studio environments and on set. These new SDIbased converters can be “mixed and matched” with AJA’s already introduced HDMI-based HDBaseT Mini-Converters, allowing customized video I/O on either end of the Ethernet connection. The ROI-HDMI Mini-Converter offers realtime region-of-interest scaling and SDI video output from HDMI computer outputs. With extensive audio functionality, incredible image scaling as well as aspect and frame rate conversion, ROI-HDMI fulfills the growing need
to properly incorporate computer signals into the video world without sacrificing budget or space. The free Mini-Config Mac or PC application lets you interactively select a region-of-interest on-screen from the incoming HDMI signal and control how that region is scaled to the output resolution using AJA's high quality scaling algorithms for the cleanest picture quality possible. ROI-HDMI joins the growing family of AJA ROI converters, which also offer DVI and DisplayPort connections. The HD10MD4 is a miniature digital downconverter for converting HD-SDI video to standard definition SDI and analog component/composite video. The HD10MD4 uses a full 10-bit data path and multi-point interpolation to produce broadcast quality downconverted video. In addition, the HD10MD4 converts either 1080p24 or 1080p24sf to 59.94 Hz output video using the standard 3:2 pulldown technique. The output can be formatted for either 4:3 or 16:9 standard definition monitors. Four-channel input embedded HD-SDI audio is passed to the SDI output. A mini-USB jack allows configuration and control from the free Mini-Config applica-
tion for Mac or PC.
New openGear® Compatible Rack Cards and Frame New openGear compatible cards from AJA include the OG-1x9-SDIDA, a 1x9 SDI re-clocking distribution amplifier; the OG-FIBER-2R, a 2-channel fiber to SDI converter; and the OG-FIBER-2T, a 2-channel SDI to fiber converter. The new OG-3-FR is a 2RU, 20-slot openGear frame that can support any openGear-compatible card. “Our broadcast customers have been asking us for openGear compatible cards, and we’re very excited to provide them with three new solutions for using our I/O hardware in our own openGear racks, or racks that they may already have in-house,” said Nick Rashby, President, AJA Video Systems. “Even more openGear compatible products will be coming from AJA in the near future.” The OG-1x9-SDI-DA is a latest technology SDI distribution amplifier. The input is equalized and reclocked with best-in-class cable length capability and input jitter tolerance. SDI rates of 270Mb, 1.5Gb and 3Gb are supported. One SDI input and 9 SDI outputs are provid-
ed. A 10 BNC rear openGear connector module is included. The OG-FIBER-2R is a latest technology two channel fiber to SDI converter. The fiber inputs are reclocked with best-in-class input jitter tolerance. SDI rates of 270Mb, 1.5Gb and 3Gb are supported. The two fiber inputs are independent and can be different SDI rates. Supports single mode fiber cable. The OG-FIBER-2T is a latest technology two channel SDI to fiber converter. The SDI inputs are reclocked with best-in-class input jitter tolerance. SDI rates of 270Mb, 1.5Gb and 3Gb are supported. The two SDI inputs are independent and can be different rates. Supports single mode fiber cable. CWDM options are available. The OG-3-FR is a 2RU, 20-slot openGear frame that can support openGear-compatible cards. The frame features an easy-access front panel and integrated cooling fans for improved reliability and longer life. The modular rear panel allows custom I/O connections per card (included with individual cards), optional Ethernet connectivity, and remote control capability via the dashboard control system.
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ENEX, BCE and Streambox Inc. sign Live over IP deal
Newslink initial platform, build to offer video file sharing, will now have the capabilities to share realtime HD content from any Enex broadcast member to another using the sophisticated cloud streaming technology.
between Enex members. With the global cloud infrastructure provided by Streambox, Enex members can contribute securely using BCE’s Newslink system to increase mobility and transmission capabilities from the field.
For the past months, both BCE and Streambox have been in collaboration to establish an open design platform allowing new features and additions future integration. Today's deployment stemmed from a three-way partnership allowing members to search, edit, route & download in order to deliver accurately the latest news to all its viewers.
At BCE we’re very happy with this agreement and we’re looking forward to deploy the solution over the next years. It’s really a major success as it has been integrated in our Newslink system in a very short time. During the Greek Referendum in July 2015, the solution was already up and running and gave entire satisfaction to ENEX and its members”, commented Tun Van Rijswijck, COO at BCE.
With over 50 Enex members using Newslink to exchange content daily, this new feature sends live video content via IP instead of the traditional satellite. Not only this results in a reduction of operation costs, it also opens the door to increase live feed video exchange
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“We at Enex are really excited to be the first beneficiary of this partnership between BCE and Streambox. We can now connect more easily to our partners that are growing further and further in field from the traditional European foot-
print. If we want to reach partners in Guatemala, Honduras, Japan and Australia, we require a diversity of different connectivity solutions. This latest iteration of the Newslink server from BCE and Streambox really gives us a fantastic opportunity to connect with our partners and provide them with a much better and a greater diversity of service”, said Adrian Wells, Managing Director of Enex “Two years ago Enex, BCE, and Streambox met at the IBC show and came up with this synergy. We are very grateful for BCE’s cooperation to make this project happen and these last months, working with the Enex Technology Team was really exciting and inspiring. This live addition to the BCE’s Newslink service will provide members premium quality and reliable video transport for worldwide sharing and broadcasting of news”, concluded Alex Telitsine, CTO and CoFounder of Streambox Inc.
Blackmagic Design DaVinci Resolve 12 is Now Shipping The free DaVinci Resolve 12 is a complete professional editing and color grading solution for individual editors working on SD, HD and Ultra HD projects. It features a familiar multi track timeline with context sensitive editing tools, realtime multi camera editing, asymmetric and dynamic trimming, a new mixer, audio plug-ins, keyframe animation with on screen motion paths, new media management tools and much more. Customers also get DaVinci’s legendary image processing and color correction which includes advanced primary and secondary color correction, Power Windows™, a new 3D tracker that follows objects as they move and change perspective over time, an incredible new 3D keyer and much more, all absolutely free. “Since we announced DaVinci Resolve 12 at NAB, the response has been absolutely incredible,” said Grant Petty, CEO, Blackmagic Design. “The public beta was huge-
ly popular and the feedback was amazing, which made our engineers work even harder to make it perfect! We also heard from thousands of editors during the public beta, many of whom said it was the best NLE they’ve ever used. We couldn’t be more excited that some editors have already started calling DaVinci Resolve 12 Hollywood’s next professional editor!”
New DeckLink Quad 2 PCIe Capture and Playback Card. This new model of DeckLink Quad 2 features 8 independent 3GSDI connections so it can now work in high HD frame rates and it supports SDI formats in SD and HD up to 1080p60. Each SDI connection is completely independent, meaning that each of the 8 connections can input or output entirely different video standards and content streams, all at the same time. DeckLink Quad 2 can also capture and playback at the same time, and also includes a reference connection for black burst/tri-sync. Developers can use the SDK to
configure the eight SDI connections to be any combination of inputs and outputs. Featuring the latest, high performance 8 lane generation 2 PCI Express, DeckLink Quad 2 takes up only one single PCI slot in the computer, which makes it the perfect solution for system integrators and developers that need completely customizable, flexible I/O configurations on a single card. DeckLink Quad 2 appears as 8 independent SDI cards to the host computer, even though it only uses a single PCI Express slot and is ideal for use in servers that need to handle multiple video streams for both simultaneous capture and playback. “Developers building playback servers have been asking us for ways to reduce equipment size,” said Grant Petty, CEO, Blackmagic Design. “The new DeckLink Quad 2 is exciting because it’s like getting 8 independent SDI capture and playback cards in one! Best of all, the new SDK lets OEMs and developers control each SDI connection
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independently for incredible flexibility. This means customers can have any combination of inputs or outputs and for example they could have 8 inputs or 8 outputs or 1 input with 7 outputs or simply 4 inputs and 4 outputs. It’s really their choice and they can use the one card even when the systems they are building could vary from customer to customer.”
New Teranex Mini 12G-SDI Converter Models Teranex Mini 12G-SDI to Quad SDI converts 12G-SDI to Quad Link SDI so customers can connect the latest 12G-SDI Ultra HD equipment with Quad Link Ultra HD equipment. This model also allows Ultra HD SDI to be separated into four HD SDI outputs for using regular HD displays for creating video wall style displays. Teranex Mini Quad SDI to 12GSDI converts Quad Link SDI to 12G-SDI so customers can connect Quad Link Ultra HD equipment to the latest 12G-SDI Ultra HD equipment. This model allows equipment that uses four BNC cables to be
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connected using a single 12G-SDI BNC cable for connecting to the latest routers, switchers, projectors and more! Teranex Mini SDI Distribution distributes a single SDI video input to up to eight SDI outputs. This model features the latest multi rate 12GSDI connections with full SDI reclocking allowing the converter to automatically switch between all SD, HD and Ultra HD formats up to 2160p60. This is perfect for distributing a single SDI signal to multiple devices such as monitors, switchers and encoders. All these new models include support for both Level A and Level B 3G-SDI equipment. “Customers love 12G-SDI because it works with everything from SD all the way up to high frame rate Ultra HD 2160p60 over a single BNC connection,” said Grant Petty, CEO, Blackmagic Design. “It’s being adopted faster than any other broadcast technology we’ve ever seen. These new Teranex Mini models help bridge the gap by letting customers use first generation Dual Link SDI and Quad Link SDI
Ultra HD equipment with the latest 12G-SDI cameras, routers, switchers and more!”
MultiView Update Blackmagic MultiView 1.1 Update adds new professional audio meters to MultiView 16. Customers can now view audio meters independently for each video input. The meters are superimposed over the video in all layouts including 2 x 2, 3 x 3, 4 x 4 and solo view, plus feature correct VU ballistics that accurately conform to the VU meter standard. This means broadcasters can rely on the on screen meters and use them as an accurate tool because they are designed to adhere to professional specifications so behave in the same way as a mechanical VU meter. Because MultiView 16 can output Ultra HD, the meter graphics are extremely sharp and clear. In addition, on screen view labels have also been enhanced with a more subtle and elegant design. The labels now resize proportionally based on the selected layout so they match the view size better.
Both audio meters and labels can now be turned on and off independently using the on screen menus. This new MultiView 1.1 Update adds SD anamorphic support so lets customers view 16 x 9 anamorphic SD video sources in widescreen. This update also adds support for RGB output over HDMI for greater compatibility with even more Ultra HD displays or televisions, and improves the clarity of output when MultiView 16 is used with regular HD displays. Blackmagic MultiView 16 is the world’s first multi viewer that operates natively in Ultra HD so customers can monitor up to 16 different SDI sources on one single display. Each input also includes a full frame re-synchronizer so any combination of SD, HD and Ultra HD can be displayed at the same time. MultiView 16 can be controlled from its front panel, remotely via software on a Mac or Windows computer, or with an external hardware control connected via ethernet. “MultiView 16 gives customers 4 x more clarity and detail than regular HD multi view monitors,” said Grant Petty, CEO, Blackmagic Design. “This free software update adds exciting new features, such as audio meters and improved label design, that make it ideal for even more customers. Now broadcasters can use it in master control rooms and production crews can now take it on the road as a source monitor for live, switched events! Best of all, this update is free so existing customers get all of these great new features too!”
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Teranex 4.2 Update The new Teranex 4.2 Update means that Teranex Express customers can use noise reduction in real time while simultaneously performing format conversions. The output can be previewed on the built in display or an external monitor so customers can immediately see the results of their noise reduction settings. A convenient split screen mode shows before and after, with overlays to indicate which parts of the image are being processed for noise reduction. The advanced noise reduction features of Teranex Express are perfect for customers that need to remove noise from old tapes, weak incoming transmission signals, or even poorly lit camera sources. Teranex’s noise reduction algorithms work in real time by applying spatial noise reduction to still areas of the image and temporal noise reduction to moving areas, resulting in higher quality images on all up, down and cross conversions between SD, HD and Ultra HD. Teranex 4.2 Update also adds timecode display and audio meters, along with video and format information on the built in LCD screen of Teranex Express. This makes it easier for customers to monitor both timecode and audio levels while performing conversions. In addition, Teranex 4.2 Update adds Level A SDI support for working with 1080p50/60 over single link 3G-SDI. Now customers working with 1080p50/60 can work with both Level A and Level B equip-
ment. You can also convert back and forth between Level A/B, and also get support for Ultra HD monitors with Level A quad link inputs. Customers can now use the Teranex Setup software for Mac and Windows to create, save, manage and load an unlimited number of conversion presets on any number of Teranex converters over their Ethernet network. Using conversion presets greatly simplifies the workflow for customers that have multiple converters and that need to work with a wide range of different format conversions on a regular basis. Teranex Express is now the world’s most powerful format and standards converter, providing a massive 1089 different conversions between all SD, HD and Ultra HD formats, up to 2160p60. Customers can convert virtually any video format into any other video format in real time, all with the legendary Teranex image quality that broadcasters have mandated for years. “This is the second massive update for Teranex Express this year,” said Grant Petty, CEO, Blackmagic Design. “In addition to the amazing 1089 conversions we added earlier this year, the new noise reduction algorithms let customers improve the quality of their old sources in realtime as they’re converting them! This update also gives customers Level A SDI compatibility, conversion presets, timecode displays and audio meters. Best of all, existing customers can update and get all of these great features today, absolutely free!”
BLUEFISH444 NEW EPOCH | 4K NEUTRON BUNDLE WITH ASSIMILATE SCRATCH v8 “ASSIMILATE’s SCRATCH is a fantastic, all-around tool for dailies, 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”. “The digital cinema market has clearly embraced 4k acquisition and the 4k postproduction workflow. And to see the output of 4k, they now require the most advanced and reliable video cards like those from Bluefish444 and real-time 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
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in solutions that give ever-greater 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 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
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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 The Bluefish444 Epoch | 4K Neutron and ASSIMILATE SCRATCH bundle is immediately available for $USD 2,995 through Bluefish444 resellers worldwide. SUPPORT FOR ADOBE CREATIVE CLOUD 2015
- 4:2:2/4:4:4 YUV and RGB SDI Output - 4K/2K/HD/SD SDI Output - Audio monitoring through ASIO 64 (windows) “Video professionals who use Adobe Creative Cloud with Bluefish444 SDI hardware expect their systems to perform day in day out, even with demanding 4K content. Our ongoing commitment to
Bluefish444 support for Adobe Premiere Pro CC on Windows and Mac OSX offers editors, broadcasters and filmmakers compatibility with Epoch | 4K Supernova, Epoch | 4K Supernova S+ and the NEW Epoch | 4K Neutron video cards. This update brings valuable improvements to performance and functionality, including all-new Mac OS X support, capture of 4K SDI on Windows and customized sequence render formats. Other features include:
new features and improvements
- 4:2:2/4:4:4 YUV and RGB SDI Input and Output
the complete SDI I/O solution, both
- K/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
continue with the latest updates of Adobe video applications,” said Tom Lithgow, Product Manager, Bluefish444. “Our customers require second to none performance for all workflows from Standard Definition video right through to 4K SDI I/O and our hardware and plug-in support really is
on Windows and Mac OSX plat-
“Adobe Premiere Pro CC and Adobe After Effects CC, both part of our Creative Cloud offering, are top choices of creative professionals," said Susan Skidmore, Head of
Adobe After Effects CC For motion graphics and visual effects artists, Bluefish444 also supports the new release of Adobe After Effects CC via 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. Additional features include:
Partner Relations, Professional Video at Adobe. “Reliable reference monitoring is important for today’s high resolution workflows. Adobe is pleased to see the SDI video options for our customers expanded and enhanced with this announcement from Bluefish444.”
New Generation of MultiConfigurable Flint Systems Designed to manage live production from ingest to distribution, the new Flint is available with four (Flint LX) or six inputs (Flint LS), and includes several new workflow enhancements. All of Flint’s video inputs are now available as SDI and HDMI, with one input also supporting analog video. Audio has also been improved. The system supports embedded SDI or HDMI audio from any input, and one input can alternately use four balanced analog or two AES/EBU inputs. Source audio can be mixed with clips in the built-in clip stores using Flint’s exclusive internal eight-channel audio mixer, which is controlled through an intuitive interface with on-screen stereo faders and VU meters. “When we introduced Flint in 2013, we knew it was an ideal tool for streaming video. Now, broadcasters and other live video producers have also embraced its end-toend integration as well,” explained Steve Ellis, CEO of Broadcast Pix.
“With all its integrated tools, Flint makes it easy for someone with very little training to create sophisticated live productions using a touch screen or tablet. It’s a powerful all-in-one video production system, and these latest upgrades provide improved audio and video input flexibility and functionality.” The multi-format switcher supports a variety of HD and SD cameras simultaneously, as well as cloud-based content from Dropbox, Twitter, and other resources. Flint ingests and scales all sources while maintaining constant lip sync. Both new models also include three key layers, two clip channels with storage for up to 60 hours of clips and animations, and an internal CG with six graphic channels. Flint can simultaneously output up to six video formats. Flint systems feature built-in HD streaming and live program recording to its internal hard drive. Plus, Flint includes Broadcast Pix’s Fluent Control toolset with a customizable multi-view, file-based macros, advanced ClearKey chro-
makeyer, and control of external devices such as robotic cameras and video servers. Control options include a choice of three different Broadcast Pix control panels, touch screens, iPad or Android tablets, or keyboard and mouse. New Version 5 software, which was announced last month, adds new source control moves and enhanced Virtual Sets with multiangle sets and zoom capability. All Flint inputs now auto-sense every input and include new format support for improved ease of use. Plus, new controls for Sony IP-based PTZ cameras and Matrox Monarch HD streamer/recorder appliances enhance Fluent Control. Other upgrades announced earlier this year include a Show Transfer Utility that allows organizations to back up and move all elements of a program – including graphics, clips, and macros – between Broadcast Pix systems for consistency and redundancy. PixPlay adds slow motion support for Blackmagic Design and AJA Video Systems disk recorders to the production
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switcher for simple reviewing stations.
Roadie Mobile Production System Roadie features Broadcast Pix’s patented Fluent Control toolset, as well as built-in HD streaming and recording, to deliver a complete end-to-end production workflow. “We are very excited to bring Roadie to IBC for the first time. In fact, it’s portable enough to bring on the plane as one of my carryons,” said Steve Ellis, CEO of Broadcast Pix. “This is a ruggedized portable production solution with all the tools and simplified workflow you expect from Broadcast Pix, along with built-in HD streaming and recording and an eight-channel audio mixer to keep clutter to a minimum on location. It’s perfect for live productions with limited staff or a single operator.” Equipped with a built-in handle for easy transport, Roadie weighs about 20 pounds and features a durable aluminum alloy chassis. Protected by a removable cover, its integrated 17.3-inch HD display is a resistive touchscreen with a scratch resistant top coat. The system includes a keyboard and mouse, but can also be controlled through the built-in virtual panel (add a second touchscreen), optional Broadcast Pix 500 or 1000 control panel, or an iPad using the iPixPanel app. Roadie is a multi-format production switcher that features up to four SDI/HDMI and two IP inputs, along with eight internal switcher channels (two clip servers and six graphics). Audio is available via balanced or embedded audio that can be mixed with internal clip audio. The system natively supports Avid DNxHD and Apple ProRes formats, which can be imported via multiple connected network folders. All sources – including cloud-
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based content from Skype, Twitter, and more – can be included in live productions, and are automatically ingested and scaled while maintaining lip sync. Roadie also includes built-in Wi-Fi as well as two network inputs to accommodate a hotspot for connecting to cloud-based services or connecting an iPad for system control. Plus, with the new Show Transfer utility, operators can back up and move all elements of a program between Roadie and a Broadcast Pix Flint™, Granite™, or Mica™ system installed in a separate control room. Fortified with Fluent Control, a patented combination of automation technology and performance tools, Roadie is designed to meet the growing demands of live production. Internal features include an eight-channel audio mixer, filebased macros, dual clip players, CG, multiple DVEs and keyers, ClearKey chromakey, enhanced Virtual Set Studios, Fluent-View customizable multi-view, and camera and device controls. Optional accessories include a soft carrying case with shoulder strap and custom hard rolling case.
New Version 5.0 Software More than a drag-and-drop solution, Virtual Set Studios offers multiangle sets, zoom capabilities, and better control over light for more realistic virtual sets. “Virtual set technology has been a part of the Fluent Control toolset for years, but our new Virtual Set Studios lets you go beyond the basics,” explained Steve Ellis, CEO of Broadcast Pix. “It’s very easy to use and integrates seamlessly with our advanced ClearKey chromakey to deliver even more realistic results.” Router Control works with AJA Video Systems KUMO SDI routers to extend the I/O of the production switcher through a simple TCP/IP connection. A cost effective option for facilities with multiple sources
feeding other house equipment, it allows easy cross-point control of router sources to router destinations feeding a Broadcast Pix system. Custom names on the KUMO router are automatically mapped to the Broadcast Pix Multi-View as an under monitor display (UMD) and on the panel through patented PixButtons. Plus, AJA router panels and Web-based control offers bidirectional control, so any change on the Broadcast Pix system is reflected on AJA router panels and Web-based control systems (and vice versa). While Broadcast Pix systems already control a number of external devices, V5.0 adds control for Matrox Monarch HD streamer/recorder appliances, so all Broadcast Pix systems can stream and record HD video. The upgrade also provides support for Sony IPbased PTZ cameras, including preset positions. Both the cameras and the streaming appliances can be controlled directly through the PixPad. Additional upgrades include new format support, source-based control for enhanced DVE positioning and cropping, and auto-detect capabilities for every input to simplify setup. Broadcast Pix will also demonstrate additional software upgrades that were introduced earlier this year. The Show Transfer Utility allows organizations to back up and move all elements of a program – including graphics, clips, and macros – between Broadcast Pix systems for consistency and redundancy across multiple installations. PixPlay ports VTR control from a Blackmagic HyperDeck or AJA Ki Pro disk recorder to a Broadcast Pix production switcher for slow motion replays during sports productions. Users can scrub or step through a scene with better control, plus mark points to easily create a playback highlight reel.
Calrec Calrec introduces transparent broadcast automation at IBC2015 At IBC2015, Calrec Audio revealed its new automation system for the Apollo and Artemis consoles. Designed to record the movements of a console’s channel and bus controls in real time, Calrec’s implementation is unique in that it operates entirely in the background during a live broadcast. “In principle, Calrec’s broadcast automation system is similar to traditional post-production and music automation systems, but that’s where the similarity stops. The fact that it is user-transparent is what makes it unique,” said Karl Lynch, product manager at Calrec. “The Calrec automation system has been designed for the highly stressful live-broadcast environment, where there is only one opportunity to get it right. Because it operates almost invisibly during the live broadcast, the system allows the user to concentrate on the task at hand without additional controls interfering with the console user interface.” That “user transparency” leaves the operator free to mix the show without the distraction of seeing automation controls on the surface. Once the live element is over and the first pass has been recorded, the automation controls can be made visible on the console surface with a single button press. The system provides an on-screen editor that can be operated from the mix position, allowing the user to quickly locate any part of the show, replay the recording, and make adjustments using the surface controls in combination with the comprehensive set of editing tools provided. This feature set greatly sim-
plifies the task of producing an automated mixdown or repurposing the material for quick turnaround. The console setup and automation data can be saved for post-production at a later date. Calrec’s system comes as a 3U rackmount unit and is connected to the primary and secondary master controllers of the console, creating a redundant connection for peace of mind. The system provides video synchronisation and comprehensive machine control via 9-pin, LTC, MIDI, and GPIO; works alongside all major DAWs; and can interface with external machine control synchronisers if a full post-production environment is required.
New integrated Waves plugin solution This powerful integration is unique amongst broadcast desks in that it uses a brand-new SoundGrid interface module on Calrec’s Hydra2 network. The module provides direct connection between Hydra2 and the Waves SoundGrid network, allowing simple integration and fewer parts in the chain, meaning lower latency and greater reliability.
Calrec customers can control Waves software, such as MultiRack, from the integrated touch display in Apollo and Artemis surfaces, allowing direct control of Waves plugins from the mix position. This capability gives Calrec users instant access to the vast range of highly regarded Waves plugins and powerful broadcast tools, such as the new UM225/226 stereo-to-surround upmixers, WNS noise reduction tools, and a wide variety of creative processors. “Calrec is at the forefront of broadcast audio, and this partnership further develops Waves’ presence in the broadcast market,” said Mick Olesh, vice president of Waves. “Calrec’s adaptation is an integrated solution that includes many broadcast features associated with its Hydra2 networking system. The result is a very robust infrastructure.” Thanks to a direct Hydra2 connection, all Calrec/SoundGrid I/Os benefit from the powerful Hydra2 feature set, which includes source and destination protection, Hydra Patchbays, aliases, access rights, and the inherent redundancy of the Hydra2 network.
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“Calrec’s integration builds on technology and knowledge developed by Allen & Heath and DiGiCo,” said Henry Bourne, product manager at Calrec. “This uniquely integrated solution using Hydra2 is another example of how we have benefited from increased R&D collaboration across the Audiotonix group.” The module features two SoundGrid ports, allowing direct connection of two SoundGrid products, or expansion via a SoundGrid certified switch.
Evertz and TSL link up with Calrec Audio’s Hydra2 Calrec announces further adoption of its Hydra2 interface card by manufacturers of complementary products. Following the launch at the 2015 NAB Show, where it was introduced as part of DiGiCo’s Orange Box development, both Evertz and TSL Products have integrated the technology into products. TSL’s new MPA1 is a 1U rackmounted system that monitors signals from variety of sources such as MADI, SDI, AES-3, and analogue, as well as Hydra2. These shallow units can be placed anywhere in a network infrastructure to monitor a single channel or a monitoring mix, while the built-in Web server enables all units to be configured, monitored, and controlled remotely via a Web interface. Evertz’s new 7800EMR-Hydra2 card provides an interface between the Evertz EMR audio TDM router and Calrec’s Hydra2 network. This development supports name synchronisation between Evertz MAGNUM NAMES and Calrec labels for all applicable audio channels, and provides primary and secondary connectivity for full redundancy. Just one Hydra2 link provides 512 bidirectional channels, which comfortably fit down one Evertz TDM
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connection and align with the TDM PRI/SEC configuration. “For many years Evertz has been connecting our routers to sound desks using MADI, which has proved a popular solution,” said Simon Reed, managing director of Evertz UK. “It is common for customer to use four to six MADI links, which requires conversion from the router’s internal audio bus to MADI, and then back again to the sound desk’s internal format, adding complexity and using valuable rack space. “The solution is tighter integration between these audio islands, and
so Evertz is very pleased to be able to offer a direct Hydra2 interface from our audio-routing products to the Calrec sound desks. This interface brings several advantages to our customers, including up to 512 audio channels, link redundancy, reduced complexity, and the ability to share audio names.” The integration with DiGiCo’s Orange Box enabled Calrec to demonstrate the potential of the Hydra2 interface card to other interested third parties. Calrec is currently talking to other sympathetic product manufacturers about future partnerships.
considering it also involved swapping out processors. The new software transforms the look and speed of the desk’s user interface, allowing quicker and clearer feedback,” said Will Underwood, lead sound engineer at Timeline Television, one of the companies that have taken advantage of the new processor. “Multilayer interrogation is a feature we have requested and I’m pleased to see it has been integrated into the GUI. It has been invaluable when checking routes through the desk. The implementation is simple, and it’s easy to see which layer has paths routed to a particular bus. The channel-processing overview is a very welcome improvement and I’m impressed by the ‘wild’ control assignment and extended use of the ‘fader spill’ panel. The ability to save presets in channel processing will also be particularly useful.” The Concord processor upgrade enabled Calrec to implement its version 3.0 software, which introduced a new processing mode, a new GUI that provides clearer information, and more instinctive interaction.
“We are excited to work with Evertz and TSL to expand the reach of the Hydra2 network,” said Henry Goodman, Calrec director of support and market development. “Our customers are looking for deeper levels of integration and these are the first in a string of third-party integrations to come as Calrec widens the range of Hydra2 network compatibility. “These developments continue Calrec’s drive towards total interoperability and offer a unique integration opportunity to third-party manufacturers of complementary products.”
Mass adoption for Calrec’s Concord processor upgrades More than 20 desks have upgraded to Calrec Concord processors since their launch in April. Customers including BBC, dock10, CNBC, Time Warner Cable, and CNN London have switched out their processors to take advantage of improved speed of operation, a cleaner and more straightforward interface, and a number of new features such as user-configurable wild controls and path presets. “I was impressed by the speed and smoothness of the upgrade,
Summary displays provide an instant preview of a path’s processing, and a single button-press reveals detailed controls for EQ, dynamics, delay, autofaders, or a combination of those essential controls for the whole path. “The Concord processor upgrade has ushered in a new level of performance and ease of use for the Apollo and Artemis consoles, and we’re delighted about the rate of customer adoption,” said Henry Bourne, Calrec product manager. “Customers have embraced the change and have reaped the benefits — more intuitive navigation, more time saved, and a shortened learning curve for new users.”
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ChyronHego At IBC2015 ChyronHego announced the acquisition of Newsroom Solutions, a leading provider of fully integrated software, hardware, and services for local and network cable and television stations. Based in Charlotte, North Carolina, Newsroom Solutions offers a suite of content and brand management solutions for deploying data-driven news ticker graphics such as severe weather alerting, school closures, and election reporting.
tions. To that end, we will continue developing and acquiring the best technologies available,” said Johan Apel, president and CEO, ChyronHego. “With its comprehensive family of solutions and solid expertise in presenting data graphically from a range of data sources, Newsroom Solutions provides the ideal complement to our product family. The acquisition gives us a new center of competency that we plan on leveraging not just for broadcasting customers, but also in other markets that rely on compelling graphical presentations of real-time data.”
“ChyronHego is committed to leading the charge as the broadcast industry continues to coalesce around all-IP, software-based production technologies. Our acquisition of Newsroom Solutions is the latest step in our strategy to build the industry’s most complete software suite for live news produc-
Newsroom Solutions’ flagship NewsTicker product is installed in 74 of the 75 largest TV markets in the U.S., and more than 500 stations count on the solution to provide mission-critical graphics displays in a 24-hour news cycle environment. The company’s Freedom HD is the leading graphics engine
Latest Acquisition: Newsroom Solutions
for domestic ticker displays. In the coming months, ChyronHego will work to integrate Newsroom Solutions’ real-time data presentation technologies with its ChannelBox channel branding product to provide additional targeted options to the market. “The acquisition by ChyronHego is a tremendous step for our company and will give us access to a powerful multinational development and sales team as we continue to expand our presence beyond the North American market,” said Rick Summers, vice president for sales and marketing, Newsroom Solutions. “Plus, it’s a significant advantage for our customers, who will now be able to access ChyronHego’s rich array of graphics creation and playout solutions while continuing to receive the same outstanding service for which our company is well-known.”
DirectOut German manufacturer and MADI specialist, DirectOut Technologies was pleased to launch brand new remote software for their MADI analyzer and signal generator, ANNALISA, at the recent IBC show in Amsterdam. ANNA-LISA is a handheld device with a simple traffic light style LED Go/No Go indication. It is equipped with two MADI I/Os; a coaxial BNC port and an SFP cage for single mode or multimode transceivers. It is compatible with all MADI formats and checks for AES10 conformity, sample rate, format, signal amplitude and jitter. The onboard generator has three presets for different test signals. The newly-launched remote soft-
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ware, which is available as an app for ANDROID™ devices and connected via Bluetooth, offers a significantly enhanced feature set for ANNA-LISA users. Functions include advanced analysis of signal parameters including amplitude and jitter measurement; monitoring of AES3 channel state; bit scope for monitoring audio and subframe data; 128 channel level meter and output gain adjustment; and finally, a channel-based routing matrix for both MADI I/Os and all signal generator presets. DirectOut managing director Stephan Flock (pictured at IBC) remarked, “I’m delighted with the extremely positive feedback that we’re getting for the ANNA-LISA remote app. Our only regret is that
we weren’t able to bring it out sooner, but our users all agree that the even more comprehensive analysis tools provided by the software were worth the wait!”
Next-gen MAM solutions have to do more Broadcast and post-production facilities don't need more gimmicks and gadgets, but faster and easier manageability of assets, and purposeful features that simplify and accelerate their daily business, says André Kamps, CEO of ELEMENTS. Fully integrated platformagnostic MAM solutions that consolidate necessary workflow processes are the future. Simplicity and speed are not only desirable but crucial in today’s complex and sometimes intricate workflows in the media and broadcast industry. With entire teams of artists accessing the same project files simultaneously from a multitude of different applications, constantly creating new versions, managing and controlling those assets can be a challenge. There are
André Kamps, CEO of Germanybased company ELEMENTS states: “Keeping track and an updated overview of the media files and their versioning is an issue that is fairly easy to manage; however, with all the media assets stored in the same place already, why stop just there?"
as well, especially when decentralized teams of international artists are working remotely, a more and more common situation these days. With the input of numerous editors, directors and other potential users around the globe, ELEMENTS’ highly-specialized workforce created a list of features and functionalities a modern professional media asset management tool should provide to fulfill the needs of modern post-production workflows.
As veterans in the post-production and broadcast field, the international team of visionaries at ELEMENTS knew that some projects require tremendous amounts of data to be reviewed and pre-selected, while not all people involved in the process are physically in the same spot at the same time. In addition, the communication and approval processes involved in a project can be rather challenging
The innovative developer of advanced technologies for the M&E industry has launched their webbased Media Library, a professional media asset management tool for managing and organizing media files across all platforms. Expanded by a comprehensive set of features and useful tools, such as a full-text search engine and an intelligent task manager that allows for customized workflow automation, ELE-
MAM solutions available today providing a decent range of features and functionalities that help to defeat the data chaos.
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Library even allows for on-screen drawings, making it even easier to point out certain issues with an image. The embedded task manager in the Media Library allows for setting up tailored event triggers that, for instance, automatically distribute email notifications to dedicated users, as soon as changes have been applied, comments have been added or the particular project has reached the next step in the approval process. By being fully transparent to and compatible with virtually all non-linear editing applications, rough-cuts projects created in ELEMENTS’ Media Library can easily be transferred to any Adobe Premiere, Apple Final Cut Pro, Avid Media Composer, including the EDL, exported as an OP-Atom/MXF file. For the latter, the Media Library even provides full Avid Bin-locking and Avid Project Sharing support. Hence, projects started in the Media Library can easily be finished in any of the high-end editing applications, with even all comments, remarks and drawings added in the Media Library being fully visible and accessible in those professionals editing suites.
MENTS’ Media Library comprises a well-designed editing tool, providing the full scope of editing functions that work identical to common modern editing applications. “We don’t intend to replace professional editing applications,” says Kamps. “But when we learned from our customers that a quick roughcut, conducted on-set, at the airport or even at home and with a real simple and intuitive tool that anyone can operate, would save them so
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much time and hassle, we got busy developing just exactly that.” he adds. After several years of development, the potent solution features interesting options explicitly invented to streamline the adaptation and approval process: Comments and remarks added to certain clips or even single frames significantly simplify the communication between all parties involved. The new generation of the Media
Accessing the assets directly on the media storage via an HTML5 portal, the issue about data security and protection is well thought-out at ELEMENTS' solution: only accredited users, authorized through the embedded user and rights management tool, can access the project data. For those who want an extra layer of security, the system provides the option to create unique token-based access keys that only the dedicated team member can utilize. The comprehensive system provides a mature MAM with a multitude of features, while rendering rather unsafe cloud-based solutions or tedious transfers via FTP obsolete.
Envivio New Cloud DVR solution This solution has been designed for the multi-screen world, providing ultimate flexibility and cost-efficiency to video service providers which want to monetize services across all subscriber devices at a fraction of the usual cost. New functions include network time-shifting, Startover TV, Catch-up TV, and network personal video recorders (nPVR), all in one virtual software solution. Envivio’s Cloud DVR software solution combines next-generation processing techniques, from efficient software-defined storage with erasure coding, the use of the latest compression standards to transcoding, and packaging on the fly, resulting in storage reductions at each step. Furthermore, by leveraging the HP Moonshot scalable architecture and the accelerated video processing functions of Intel® Xeon® processor E3-1200 v4 product family, the Cloud DVR solution offers a compelling cost/efficiency ratio for this type of service. During this demonstration, Envivio Cloud DVR software will be hosted on the HP Moonshot
ProLiant m710p from HP’s lab in Houston. The content will be viewed in Amsterdam in native resolution on TV, where visitors can compare that resolution to the different bitrates and formats streamed on tablets and smartphones at the booth. “Envivio and HP are introducing a breakthrough improvement based on Intel technologies that will enable faster adoption and new revenue opportunities for video service providers worldwide with this unmatched cloud DVR capability,” said Julien Signés, CEO, Envivio. Advantages created by this innovative software and hardware combination include: - Ultra-fast just-in-time transcoding and packaging, paired with other processing enhancements by Envivio software, can improve storage savings by a factor of 26X - The combination of software and hardware advancements can result in significantly reduced storage and processing demands and energy savings Envivio’s new Cloud DVR archi-
tecture also allows video service providers to use off-the-shelf servers, pick and choose any format (SC, HD, or UHD) and includes the widest range of digital rights management software; and it enables new revenue streams such as subscriptions and dynamic ad insertion. “We are excited to leverage the innovation in Envivio’s Cloud DVR Software to deliver customers an extremely compelling solution with significant cost, power, cooling, and space benefits,” said Paul Santeler, vice president and general manager, HP Moonshot. “HP Moonshot is the ideal platform for video service providers, delivering breakthrough video streaming density at significantly reduced costs.” Envivio’s innovative software, known for both its video and audio superiority, is used to encode more than 150,000 live streams yearly, worldwide. The company’s video processing, delivery, and monetization solutions are in use today by seven of the top eight Tier 1 U.S. cable providers; nine of the top 10 broadband providers and eight of the top 10 global mobile providers.
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Forscene Upgrades Forbidden announced upgrades to Forscene at IBC that expand what users can do within the platform’s “boxless,” all-software virtual workflow. “The new Forscene features that we’re showcasing at IBC2015 solidify Forscene’s reputation as an industry leader,” said Jason Cowan, director of business development at Forbidden. “Input from our clients and partners is an essential part of our road-mapping process, which is why we added improvements that take them further away from the restrictions of standard postproduction workflows. We’re really excited about demonstrating our ground-breaking new functionality and introducing IBC visitors to the benefits of ‘going boxless’ with Forscene.” Among the upgrades is a new virtualised digital-rights workflow that integrates Forscene with deltatre’s sports-delivery technology and the
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Microsoft Azure™ cloud computing platform. Together, they provide the first completely hardware-independent solution for the postproduction and distribution of Web-based content. In this new workflow, Forscene’s ingest server runs as a virtual machine on the Microsoft Azure platform to transcode and ingest live video streams into Forscene accounts just seconds behind the live feed. deltatre’s team of remote editors then uses Forscene to create video packages and publish them directly back to the Microsoft Azure cloud for distribution through deltatre’s Diva sports-video player. The workflow has already been successfully deployed on one of 2015’s biggest sporting events. Another significant new feature is dual-system audio, which allows Forscene to marry original video and audio source files that were recorded separately, making it easier to ingest native rushes directly into Forscene.
Adding this feature means that Forscene can now be used as a primary editing tool – without the need for transcode and upload from other systems. Forscene has the unique ability to publish completed edits directly to social media platforms and content distribution networks. Improvements to this feature — such as better 1080p YouTube publishing, robust handling of HLS streams, and integration with Twitter — expand Forscene’s social-media sharing capabilities. Finally, Forbidden has added new functionality to Forscene’s multicam logging tool, which can handle feeds from up to 18 cameras at once. The tool can now perform live cuts on multicam sequences. Designed to mimic the live switching of a mixing desk, the new multicam edit functionality allows editors to play a multicam sequence and select cameras on the fly during playback.
Fujifilm FUJIFILM UK Ltd and ES Broadcast announce major acquisition of 4K UHD lenses at the IBC 2015. ES Broadcast Hire ordered a total of twenty-six (26) 4K UHD Series lenses; thirteen (13) UA80x9BESM EFP Box lenses and thirteen (13) UA22x8BERD ENG lenses. This is the latest order in a row of recent acquisitions for the newly developed FUJINON 2/3-inch 4K UHD lenses, it can be viewed as a clear indicator that the TV broadcast market migration to the new 4K UHD format is picking up pace. The signing parties were represented by the owners of ES Broadcast Mr.Taggart, Mr. Saunders, Mr. Toru Takahashi (Director, Senior Vice President & General Manager Optical Device & Electronic Imaging Div.) at Fujifilm Corporation and Fujifilm UK Sales Manager Mr.
Ian O’Connor. Mr. Ian O’Connor (Sales Manager – Optical Devices Division UK) stated: ”Fujifilm delivered the most advanced 4K UHD optical technology on the market to date which includes an extensive after sales service commitment to all of our clients”. ES Broadcast will be the first rental house in Europe to offer 2/3inch 4K UHD lenses to its valued clients. The owners of ES Broadcast Hire Mr. Edward Saunders and Mr. Warren Taggart stated; “We’re very excited about the increase in demand for 4K/UHD production. We have chosen now as the time to invest as the first rental company in Europe. Lenses are just the 1st step on this tooling up of ES Broadcast Hire.” ES Broadcast Hire, founded in
April 2012 boasts Warren Taggart, previously operations director at CTV outside broadcast as Managing Director. With the support and partnership of the original sales company ES Broadcast Ltd behind them, ES Broadcast Hire over the last 3 years has invested heavily in their choice of the best outside broadcast kit the industry has to offer. With stock of multiple camera channel variations, VTRs, lenses and your pick of grip, this addition of FUJINON 4K UHD lenses makes their inventory incredibly strong for the European OB Market. The twenty-six (26) lenses are due to be delivered at the end of this month with the booking diary already filling fast for the first rental jobs in Europe featuring the UA80’s and UA22’s, Fuji’s first 4K live production lenses.
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GatesAir High-Efficiency Liquid-Cooled Transmitters GatesAir demonstrated the latest advances to its solid-state Flexiva™ radio and Maxiva™ TV and DAB Radio transmitters at IBC 2015—including the international debut of the Flexiva FLX range of liquid-cooled transmitters for FM and digital radio broadcasters (HD Radio™, DRM+). Building on the foundation of the award-winning Flexiva FM aircooled platform and leveraging advances first instituted in mediumto-high power Maxiva transmitters, the Flexiva FLX design incorporates a heat-to-liquid transfer that removes heat from the RF plant without excessive air conditioning, helping broadcasters cut monthly utility costs and establish a greener plant. The transfer itself cools the air in the RF plant, moving transmitter heat to the outside via a liquidto-air heat exchanger with redundant fan systems. In addition to low total cost of ownership over the long term, GatesAir’s high-efficiency PowerSmart® 3D transmitter architecture slims down the overall size and weight through a significant reduction in number of internal modules and power supplies. This exceptionally high power density significantly lowers operating costs for higher power, solid-state transmitters thanks to a much more energy efficient and compact design. Notably, the significantly fewer number of internal parts to manage also equates to minimal, single-engineer maintenance—a valuable benefit compared to tube transmitters. “Our continued efficiency increases in solid-state liquid-cooling technology makes operations far more
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cost-effective, and simpler to maintain than in the past,” said Rich Redmond, chief product officer, GatesAir. “Add in a quickly changing broadcast engineering work-
force and dwindling availability of tube transmitter parts, and the value proposition for solid-state quickly becomes clear. As a result, we see as many broadcasters tran-
sitioning to solid-state transmitters for both maintenance and power efficiencies.” To obtain maximum efficiency, the liquid-cooled design, 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 failure to ensure proper and constant transmitter cooling. The associated size and weight improvements are especially helpful for broadcasters who lease space in the RF plant by the square foot. For example, Flexiva provides a foot print reduction of over 50%—a remarkable difference in monthly rental costs.
Next-Generation TV and DAB Radio Exciter GatesAir introduced its next-generation software-defined exciter for TV and DAB Radio broadcasters and network operators at IBC2015. Featuring unparalleled signal processing power, a smaller footprint and advanced IP capabilities, the new GatesAir Maxiva XTE exciter builds on the groundbreaking, previous-generation Maxiva M2X exciter with new efficiencies and improvements for future generations of digital broadcasting. Like the M2X exciter, the Maxiva XTE exciter is a GatesAir innovation developed by the company’s signal processing and modulation specialists. Offering market-leading efficiency and performance for broadcast network operators, the XTE further enhances signal correction to improve modulation error ratio (MER) and address other signal imperfections in over-the-air broadcasts. Delivered in a 1RU platform—half the size of its predecessor—the XTE incorporates a 300 percent increase in digital signal processing capability, along with a 1 GHz
quad-core CPU featuring 20 times the horsepower. This ensures improved signal quality, throughput and IP networking capabilities for today’s leading DTV standards (and DAB Radio) and emerging broadcast opportunities, including LTE Mobile Offload and next-generation TV standards like ATSC 3.0. Additionally, its software-defined design provides a field-upgradeable platform, ensuring broadcasters worldwide can quickly and seamlessly upgrade as standards evolve.
cloud-based QoS/QoE monitoring solution for multichannel over-theair networks and local broadcasters. Powered by Qligent, an expert in cloud monitoring for multiplatform TV delivery, StreamAssure gives broadcasters comprehensive endto-end monitoring and verification of multiple formats and stream layers along the entire delivery path. This detailed, data-rich approach ensures full standards compliance and improved consumer quality of experience.
“The exciter is truly the engine driving the transmitter, and too many exciters on the market remain static in capabilities, or are simple repackaged modulators from suppliers lacking competency in advanced digital waveform and signal correction,” said Rich Redmond, chief product officer, GatesAir. “Our engineering team has put countless hours into research and development to ensure a futureproof platform that outperforms every exciter on the market in terms of quality, performance, size and power. The Maxiva XTE is securely two generations ahead of every TV and DAB Radio exciter on the market.”
Leveraging the infinite scalability and cloud power of Qligent’s Vision platform, StreamAssure simplifies the traditional component-based architecture of disparate monitoring systems through a centralized platform. Its cloud monitoring characteristics allow on-premises and offsite, managed service-based monitoring of physical, transport and audio/video streams from a single dashboard to more easily understand network-wide performance.
The software-defined XTE gives broadcasters the latest technology and state-of-the-art digital correction for today’s transmitter amplifier technologies. For example, SMPTE and IEEE standardized IP technologies for transport stream input and precision timing lower overall infrastructure costs. The XTE also adds a new highly intuitive HTML5 GUI with advanced monitoring and diagnostic capabilities, providing engineers with a highly valuable tool for predictive maintenance and realtime troubleshooting.
New Maxiva™ StreamAssure for Cloud-Based Over-The-Air TV Monitoring GatesAir announces the availability of Maxiva™ StreamAssure, a
Rapid isolation of performance issues over the transport and RF infrastructure is another key value proposition for broadcasters. The ability to analyze multiple IP, ASI and other streams ahead of the transmitter concurrently with the RF and decoded audio/video streams coming out allows users to quickly identify and address the source of the problem, ensuring unprecedented accuracy across root cause analysis, impact valuation and corrective actions. “Broadcasters have always had the technology to understand the health and operation of the transmitter, however understanding the quality and health of the content streams coming in and going out of the transmitter has been complex,” said Rich Redmond, chief product officer, GatesAir. “Maxiva StreamAssure provides the simplified in-depth monitoring and verification of the entire delivery and distribution chain that is essential to an exceptional viewer experience.” TMBi - 61
XDR Extended Dynamic Range for the LDX 86 Series Cameras At IBC 2015, Grass Valley, a Belden Brand, unveiled its new Extended Dynamic Range (XDR) software upgrade option for all LDX 86 series cameras working in single-speed formats (HD/3G/4K). Only Grass Valley’s LDX 86 series cameras with Xensium-FT CMOS imagers can deliver the visual quality of better pixels and an outstanding dynamic range of 15 fstops with this new XDR capability. XDR benefits live productions, with the ability to capture action in extreme lighting conditions and shadow without compromise, and recorded productions where a colorist has a much more precise light palette to work from—helping to tell a more visually engaging story. The XDR option is available through
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Grass Valley’s perpetual GVeLicense software upgrade path. “XDR is an exciting new option for our LDX 86 series cameras that will help our customers continue to deliver stunning imagery for any type of production,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “It’s not just about higher resolution, but the quality and depth of each individual pixel as well. With XDR support in our LDX 86 series cameras, our customers’ can be ‘Future-Ready’ to deliver incredible imagery, even as UHD and high dynamic range programming moves to the mainstream.” XDR sets a new standard for compelling image acquisition with the highest dynamic range available to the industry. In addition to lifelike highlights and better color rendition in low-lit areas, XDR
enhances the effective resolution of highlights, which can be seen easily from large viewing distances. Rental houses, studios, truck companies and other facility providers will be able to take advantage of this enhanced image capability— even telenovelas and sitcoms will have a new look with XDR, capturing more life-like scenes without additional efforts. To achieve XDR operation, the camera must be equipped with an XF Fiber transmission system to deliver XDR outputs as well as simultaneous standard dynamic range (SDR) outputs in parallel. Several parameters of both signals can be adjusted independently from each other to achieve the best possible results for both signals, at the same time, with no need to change out equipment. “The LDX 86 series with the XDR
option represents the first true HDR camera system for broadcast applications and the first 2/3-inch camera system with available high dynamic range for HD and 4K,” added Cronk.
GV Node—a Broadcast-centric IP Processing Platform for Vertically Accurate Switching Solution builds on lessons learned from the data center industry Grass Valley, a Belden Brand, debuts at IBC 2015 the world’s first true, real-time IP processing platform, GV Node. Offering multipurpose video and audio processing, vertically accurate switching and IP aggregation, GV Node is a critical next step in the growth of Grass Valley’s Glass-to-Glass IP solution for broadcasters, enabling them to apply the unprecedented flexibility of IP in more applications throughout their workflows. GV Node allows broadcasters to combine many of the advantages of a data center model with the specific requirements of a live broadcast production environment. This unique IP processing node is designed to serve as a primary source of switching in live production. In early applications, customers may choose to operate GV Node alongside commercial off-theshelf (COTS) IP switches to offer paths with deterministic switching that are ideal for backup in directto-air and secondary live feed applications. Historically, COTS IP switches have been unable to perform vertically accurate switching like traditional SDI routers. This is especially important in live applications where signals go directly to air, and where routers have traditionally been used as a backup to the production switcher. Switching that happens accurately within the vertical interval is also needed when a router is used for connecting secondary live feeds.
“GV Node’s distributed architecture means that broadcasters can start their IP infrastructure with a small system, and grow quickly and linearly as their needs change,” explained Mike Cronk, senior vice president of strategic marketing, Grass Valley. “This exceptional integration of functions into one device enables broadcasters to build compact, cost-effective and efficient solutions.” The GV Node distributed platform topology is designed to uplink to aggregation COTS IP switches, using a “spine-leaf” architecture that’s typical of modern IT infrastructures. This topology represents a much more scalable and flexible approach than traditional, centralized routing systems, which have encouraged the purchase of larger, more expensive chassis than necessary in order to allow future expansion. This type of distributed topology enables the realization of a true broadcast-centric data center model. GV Node delivers multiple signal processing and monitoring functions and provides IP and SDI I/O as well as MADI I/O, audio deembedding/embedding and monitoring. The built-in, highly scalable multiviewer uses industry-proven Kaleido technology for the highest picture quality and layout flexibility. GV Node is designed to be “FutureReady” with respect to currently changing industry signal formats and standards, currently supporting both SMPTE 2022-6 (HD) videoover-IP and 4K 1-wire using TICO compression. “IP is certainly a proven technology in a variety of industries,” observed Cronk. “However, there are a number of nuances in the broadcast space that require a specific IP solution. GV Node meets those needs and positions users for the opportunities to come.”
First to Offer 4K 1-Wire Capability for Cameras and
Switchers Broadcasters around the world are focused on the exciting opportunities for enhanced content and efficiency offered by 4K and IP solutions, but are struggling to deal with the increased infrastructure required to handle the signals. At IBC 2015, Grass Valley, a Belden Brand, is unveiling a suite of products that provide support for 4K 1wire transmission. Rather than requiring four 3G wires to carry an HD or 4K signal, the Grass Valley solutions use the award-winning TICO 4:1 visually lossless compression from intoPIX to carry a highquality signal across a single wire. “A number of manufacturers are talking about compression solutions to simplify the transmission of highend video and audio signals, but because TICO is extremely low latency and requires minimal hardware for processing, we believe it is the best fit for live production workflows. That’s why we chose to implement TICO compression in our IP solutions first,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “Also important to Grass Valley was intoPIX’s work to submit TICO as an RDD to SMPTE. We are committed to a standards-based approach, and are happy to see industry adoption of TICO growing among other broadcast equipment suppliers.” As a key part of Grass Valley’s “Glass-to-Glass” IP solution, 4K 1wire connectivity allows the transmission of 4K signals using industry-standard 10 GigE connections, which avoids the need to use cumbersome and error-prone four quad signals (4 x 1080p), while also offering the flexibility and power of IP infrastructures. Importantly, Grass Valley offers both 4K 1-wire IP connections and traditional SDI connections on its products, making it easy for users to create hybrid IP/SDI workflows until they
upgrade to the existing XCU HD/4K IP base station, and will provide broadcasters with full 4K for live production with reduced cabling, faster and easier set-ups, as well as greater reliability. This makes 4K and HD a more practical proposition for live production, and will allow easy linking between the base station and a video-over-IP studio infrastructure. The base station also has traditional coax connectors for SDI plus audio, and communication and control interfaces to simplify migration, while the patented cradle design makes it easy to switch between baseband and IP infrastructures on the fly as needed. Kayenne and Karrera K-Frame video production centers are modular, powerful and scalable, reducing the complexity of today’s production workloads while providing the flexibility to meet future demands. With the addition of 4K 1-wire IP connectivity for K-Frame switchers at IBC 2015, Grass Valley is enabling production workflow in IP in either 4K/UHD or HD. The TICO 4K 1-wire implementation is ideal for production applications because it is visually lossless even after multiple codec passes, and it creates far less delay than other compression formats. The K-Frame video processing engine is ideally suited to transitional, hybrid IP/SDI environments, as it can handle IP and SDI video formats seamlessly.
are ready to fully commit to IP at some time in the future. The first two product families to provide seamless integration for 4K 1-wire with TICO compression are LDX 86 cameras and K-Frame switchers. With the move to video-over-IP, there’s a demand to integrate camTMBi - 64
era base stations into IP infrastructures, while also retaining SDI connectivity for use in hybrid IP/SDI environments. At IBC 2015, the XCU HD/4K IP camera base station for the LDX 86 series cameras will be available with TICO compression to provide 4K 1-wire transmission. This extra capability will be delivered via a free firmware
“4K 1-wire is a game-changer for our industry. It’s all about giving customers choice and making the best technology available to help them provide the best service possible to their clients,” noted Cronk. “We know that broadcasters have legacy investments and we want to be sure the investments they make with us will integrate smoothly into their environments and grow with them. Open standards are a very important part of driving the industry forward for the benefit of all.”
Imagine Communications Imagine Communications Introduces Landmark xG Open for Programmatic Advertising Imagine Communications, a global leader in video and advertising solutions serving the media and entertainment, multichannel video programming distributors and enterprise markets, today announced the expansion of its advertising management solution portfolio with Landmark xG Open™, a new, open API-based solution. Landmark xG Open allows media companies to participate in sales via programmatic exchanges, optimizing and automating the sales process necessary for advertising marketplaces. Landmark xG Open enables broadcasters, networks, media companies and advertising agencies worldwide to streamline the advertising buy-sell process and
support overall campaign stewardship with near real-time performance feedback to the buyer. This new solution, which will be previewed at IBC2015, provides direct connections between advertising buyers and sellers, facilitating the sale of advertising inventory with analytics-based metrics. Imagine Communications’ open-API approach creates new revenue streams by helping sellers expose inventory to buyers they would not normally be able to reach. “The inherent value of programmatic advertising for sellers is buried beneath the debate about pricing,” said Steve Reynolds, Chief Technology Officer, Imagine Communications. ”By leveraging the expertise that we have with both our agency buy-side systems and our global penetration with sellside systems, we are breaking new ground by recognizing what will help the omniplatform advertising
ecosystem: automating and simplifying the overall management of advertising campaigns.” The Landmark xG Open API, or application programming interface, is compatible with multiple advertising exchanges for network, local, cable, radio, digital and on-demand. The solution automates proposals and sales transactions, leveraging data-driven decision making provided by business and external data. Built on the industry-standard SMPTE-2021 BXF (Broadcast eXchange Format) framework, the API enables media companies to easily work with advertising marketplaces, with the schema available to all third-party vendors for integration. “Programmatic within the television ecosystem is still nascent,” continued Reynolds. “Thus, there are a number of ways that we believe automating transactions will
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increase the efficiencies and profitability for media buyers and sellers that need an open approach. Landmark xG Open enables our clients to experiment with and leverage this new sales channel.” Landmark xG Open tightly integrates with Imagine Communications’ family of advertising management products to incorporate business rules to manage local requirements and sales practices. The open system is also available for licensing by all third parties to standardize programmatic transactions. Many advertising exchanges are built on proprietary, transactional technology that limits participation. These closed exchanges apply an “ad tax,” or processing fee, for each transaction, raising costs and reducing the rate of return. The Landmark xG Open API dramatically increases the efficiency of the overall buy-sell process with a simple software license that enables the generation of new revenue without having to incur incremental fees. “Imagine Communications is spearheading the charge for open communications using industry standards and a common language for all exchanges, without requiring customers to lock into a specific exchange or trading methodology,” said Charlie Vogt, CEO of Imagine Communications.”
Imagine Communications and EVS Team Up to Deliver New Capabilities and Efficiencies to Live Production Facilities Imagine Communications, a global leader in video and advertising solutions serving the media and entertainment, multichannel video programming distributors and enterprise markets, and EVS, the technology leader in live broadcast and media technology for sports, news and entertainment, today
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announced a partnership that embraces industry standards for IP signal distribution to deliver a bestof-breed, end-to-end solution for live production, slow motion and instant replay operations. The integrated solution will focus initially on utilizing the SMPTE 2022 and JPEG2000 (J2K) standards for moving and managing SDI and compressed signals over IP to bring increased agility and cost efficiencies to live production facilities, as well as helping to enable broadcasters to seamlessly transition to an all-IP ecosystem. The alliance strengthens EVS’ global live enrichment offering, comprised of its industry-leading video production and content management solutions, and Imagine Communications’ market-leading routing and processing platforms. The combined end-to-end solution is designed to deliver the reliability, quality and performance that news, sports and live production operations demand. “As a true pioneer of live video replay and instant video enrichment, EVS has always been at the forefront of practical technology innovations offering real benefits to our clients,” said Muriel De Lathouwer, managing director and CEO, EVS. “Our open collaboration with other industry leaders such as Imagine Communications enables us to present our customers with comprehensive IP-based workflows relying on our legendary robustness and flexibility for future live operations." Shifting video consumption patterns and new competitive demands are putting increased pressure on media and entertainment companies to improve the quality, productivity and efficiencies of their production facilities. By embracing industry standards that enable multivendor interoperability and a gradual and pragmatic migration to next-generation technolo-
gies, broadcasters are able to build out future-proof facilities that deliver higher-quality content, are operationally efficient and possess the agility needed to pursue new monetization opportunities. The flexibility of IP also relieves live production environments of many of the architectural constraints of proprietary solutions, including dependency on inter-site connectivity for wide area workflows. By leveraging industry standards to forge an end-to-end, best-ofbreed solution, Imagine Communications and EVS are providing its customers with a seamless migration path to next-gen IP technologies. The joint solution creates a hybrid SDI-IP environment that allows media companies to preserve baseband investments and maintain operational transparency while benefitting from the performance and cost efficiencies of Commercial Off-The-Shelf (COTS) switching equipment. Imagine Communications and EVS will demonstrate the marketready joint solution at IBC2015. The live demonstration, one of the firstever of IP interoperability in a multivendor environment, will be conducted in Imagine Communications’ and EVS’ booths. The two companies will demonstrate live sports and slow-motion applications that utilize compressed and uncompressed SDI over IP video signals routed from remote venues to a centralized production center. The demonstration features the Imagine Communications Selenio™ MCP with SMPTE 2022 UncompressedOver-IP (UCIP) and J2K interfaces. The Imagine Communications Magellan™ SDN Orchestrator will simultaneously manage the routing and control of all IP and SDI signals. EVS’ XT3 media production server uses the new EVS XiP gateway to manage in/out SMPTE 2022 IP video signals with HD multicamera live feeds and highlights.
From Acquisition to Archive Native File Smart Player HD-VU2 instantly views over 20 different camera formats without transcoding. This is a great quality check tool in the field or studio. HDVU2 will instantly play 4k files like Arri RAW, CinemaDNG, DPX, all the RED formats and Sony's XAVC. Don't waste time transcoding clips, sync external audio or apply tempo-
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Jünger Audio Jünger Audio Unveiled Audio Monitoring and Authoring Tools For Immersive 3D Audio at IBC 2015 Widely regarded as the market leader in loudness control and audio processing for the broadcast industry, Jünger Audio used the IBC 2015 platform to show a prototype audio monitoring solution that will allow broadcasters to check the quality of all immersive audio transmissions, regardless of format. It will also help maintain compliance with existing loudness regulations, while avoiding the known processing artifacts of traditional loudness control approaches. "Building on our long-term experience of designing and manufacturing dedicated audio processing products for digital TV production, we are actively engaged in developing this multichannel immersive audio monitoring processor ready for the next generation audio for TV broadcast," says Peter Poers, Jünger Audio's Managing Director. "We envisage that this solution will be deployed not just in production and post-production, but at all stages of the audio workflow where programs running future immersive audio standards need to be controlled or monitored effectively." Comprising of a combination of hardware containing I/O, decoding stage, monitoring functionality, audio control software and an advanced user interface, the unit allows for monitoring and auditioning of up to 16 channels of audio. All metadata including dynamic description of included objects for 3D projection, or personalisation of audio services can be handled and controlled. A variety of physical input and output formats will be offered including SDI, MADI and AoIP. For object based encoded
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content, the graphical interface allows the user to perform 3D panning for audio objects to move and pan them around the screen, along with controlling the level. There is also the option of the personalization of services through the selection of alternative audio objects such as commentator languages. "Our solution is truly agnostic in terms of encoding format," Poers adds. "It will be positioned between the mixing console and the transmission chain and at any point where real audio must be monitored again. At the push of a button, users will be able to configure it to work with any codec on the market." At IBC 2015, Jünger Audio showed its audio monitoring system working with the Fraunhofer IIS MPEG-H TV Audio System. The seamless integration of Jünger Audio's loudness control features into MPEG-H means that broadcasters can easily identify content that has already been processed or levelled for loudness control and content that hasn't, thus enabling them to avoid multiple levelling passes that can affect the overall quality of the audio. Robert Bleidt, Division General Manager at Fraunhofer USA, says "We are excited to work with Jünger Audio on this product as it will enable broadcasters to offer
better audio quality while satisfying their viewer’s desire for consistent loudness. It is an example of how working with an open standard such as MPEG-H allows rapid innovation. One application we see for this is control of loudness at network affiliates. The network signal may be levelled prior to distribution, and not touched by the Jünger Audio processing. Only the local ads and programming inserted by the affiliate will be processed, preventing double compression of the audio." Peter Poers adds that integrating effective loudness control with the new immersive audio formats will be a vital requirement right from the outset because it will allow broadcasters to maximise audio quality and ensure that loudness is consistent and compliant with existing regulations and recommendations. "Our years of experience in developing the Level MagicTM loudness management algorithm meant that we were perfectly placed to provide high performance products for this developing market," he says. "Our technology will enable broadcasters to transition to the new emerging audio formats with confidence and minimal workflow changes, whilst ensuring that end users benefit from the enhanced listening experience with predictable and reliable results."
Lawo KICK New and innovative technology from Lawo, a leading manufacturer of digital audio solutions and IPbased video routing equipment, will ensure the evolution of audio production for major live sports. KICK automated control for close-ball mixing makes its debut at IBC When interfaced with modern image analysis and tracking systems, KICK’s unique, patent-pending, technology guarantees a consistent, fully-automated, high-quality, close-ball audio mix for sports such as soccer, rugby and American football. KICK’s intuitive graphical user interface allows easy adjustment of all of all of its parameters, including the placement of microphones, their polar patterns and microphone prioritization.
Noise-to-Kick brings audio into focus The system ensures transparent sound pickup with its excellent ‘noise-to-kick’ ratio, significantly reducing crowd noise. It also ensures a consistent audio level without noticeable fades for seamless inclusion in a broadcast mix, and delivers a mix that is 100% repeatable from match to match. It remains highly accurate, even after 90 minutes of play.
core to third-party consoles via MADI and RAVENNA/AES67. The mc² Micro Core can be controlled by a variety of external studio control systems, as well as Lawo’s touchscreen mxGUI software, making it perfect for smaller automated applications where external control systems trigger operation – such as automated newsrooms. Other applications include small routing applications with DSP processing, like installed sound applications.
New plug&play IP/MADI hybrid router In combination with the German innovator’s mc²36 audio mixing consoles and mc² Compact I/O stageboxes, the Nova37 Hybrid RAVENNA/MADI Plug&Play Audio Router offers a very smart package for applications in live performance, installed sound and houses of worship. Its standardized configuration means that it provides easy networking of mc² compact I/Os and mc²36 mixing consoles.
Optimizing Audio Networking Supporting a maximum of 1,536x1,536 crosspoints, Nova37’s plug-and-play set-up is perfectly suited to small-sized audio networks – connect your mixing consoles and I/O systems via RAVENNA/AES67 or MADI, and the audio network is immediately up and running, providing access to all sources. Network user rights are easily managed directly from the console’s touchscreen using Lawo’s intuitive one-touch rights management system. In addition to the standard presets offered by the Nova37, configuration can optionally be customized to a specific installation’s requirements. And, as it uses inaudible cooling fans, silent operation means that it can be placed anywhere in a setup. With eight RAVENNA/AES67 ports (RJ45 or optical via SFP) and eight MADI ports (optical via SFP), providing extensive connectivity, the use of redundant PSUs ensures its reliability in critical applications.
KICK is available as a softwareonly solution for productions using Lawo mc² mixing consoles, as well as a hardware bundled solution for productions using consoles from other manufacturers. It requires a standard host PC (running Windows 7 or Windows 8) for the host application, and an HTML5 capable browser for the user interface. An optional Lawo mc² Micro Core hardware processing engine is available for interfacing micro
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LiveU LiveU Launches “Solo” Designed to fit seamlessly with web streaming workflows, LiveU Solo connects automatically to Wowza Streaming Cloud™, a cloud streaming service offered by Wowza Media Systems™, as well as other popular CDNs, OVPs and YouTube Live. Solo can be managed and controlled remotely via a web interface or smartphone. LiveU Solo offers the best-in-class cloud streaming solution based on LiveU’s field-proven bonding technology, 10 industry patents, and integral LRT™ (LiveU Reliable Transport™) protocol. Optimized for video performance, Solo delivers the rock-solid video streams LiveU is known for by using LRT’s integral adaptive bit rate and forward error correction technology. On the transmission side, and as part of the overall streaming solution, this small, easy-to-use encoder is available in a single channel streaming configuration or with premium full bonding capabilities. The solution will be offered via LiveU’s new online store*. “LiveU Solo is a cost-effective and seamless way to send contribution video over the internet to Wowza Streaming Cloud,” said David Stubenvoll, CEO and cofounder of Wowza Media Systems. “We are happy to collaborate with LiveU to help bring an integrated ‘glass to glass’ live streaming solution that delivers the highest possible quality and reliability to anyone, anywhere.” Samuel Wasserman, LiveU’s CEO, said, “In discussions with our customers, we saw a growing need for a professional-grade live video product for the online media market. LiveU Solo is set to create a new standard in the web streaming
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space. Our goal is to offer a simple integrated solution to sports and other vertical markets, which is much more powerful. Now, everyone can start streaming at an affordable price.” Wasserman continued, “Working in close collaboration with Wowza, LiveU Solo is aimed at any live online media production looking to improve their viewers’ experience.”
Panasonic and LiveU launch commercial bundle to customers worldwide Panasonic and LiveU have teamed up to launch a bundle package that includes Panasonic cameras and LiveU’s ultra-small field unit. A result of an ongoing strategic collaboration, the seamless package will be available worldwide and combines Panasonic cameras with LiveU’s LU200 transmission solution. The discounted bundle will initially launch in Europe through the Panasonic and LiveU reseller channel, but availability will grow globally. It enables production houses, freelancers, online media, as well as broadcasters to benefit from professional-grade live video acquisition in the field.
It links Panasonic cameras to LiveU’s Central cloud-based IP management platform, using LiveU’s robust cellular bonding and live streaming. The system also enables remote control of the camera. The bundle currently applies to four Panasonic cameras: AJPX5000, AJ-PX270, AJ-PX800 and AJ-PX380. “LiveU and Panasonic have already developed and launched P2 cameras with a single LTE dongle, for live streaming directly to LiveU Central cloud management system. Now we would like to offer our end-users another live streaming solution using our P2 cameras and LiveU bonding devices,” said Kunihiko Miyagi, Director of Professional AV Business Unit. “LiveU and Panasonic are always thinking of how to improve the flexibility and convenience of our customers’ workflow in the field.” Samuel Wasserman, LiveU’s CEO, said, “We greatly value our long-standing collaboration with Panasonic and this product bundle brings exciting new opportunities to the video professional market, enabling users to enhance their live video capabilities with a streamlined flow and reliable, high quality uplink.
At IBC 2015 Nautel had goodquality traffic visiting from many different countries that would have been difficult to see on an individual basis. Fred Baumgartner, Nautel’s TV Product Manager, noted that the most interesting thing internationally was Korea’s announced adoption of the ATSC 3.0 standard. 3.0 is a far more efficient and capable TV transmission standard than the current North American ATSC and even DVB-T2, etc. ATSC 3.0 is in the final stages of the standards
process with release anticipated as early as first quarter 2016. ATSC 3.0 does mobile better, supports UHD TV, includes immersive sound, and some interactive and advanced advertising features. You can expect that Nautel will be deeply involved in this first roll out of the new television standard. A number of meetings were held in the stand regarding significant tenders and opportunities in the region. Of note were several meetings with broadcasters looking to
explore Nautel’s HD Radio offerings as possible solutions for their migration to digital broadcasting. Nautel held an exciting DRM event “New Developments in DRM Transmitter Technology” in the booth on the Saturday of IBC that was well attended. Sergei Sokolov of Digiton Systems, Nautel’s agent in Russia, shared some good information on DRM receivers from Russia.
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Norwia New IP and SDI Production Solutions “We really do have innovative new solutions to meet almost all production challenges, from controlling long distance optical fiber ring networks to exciting pocket sized optical equipment that fully replace much larger pieces of equipment,” said Tracey Ford, Chief Sales and Marketing Officer, Norwia. “We’re increasingly seeing productions needing to adopt hybrid IP and SDI architectures and visitors to our IBC booth will see that we are the number 1 provider of solutions that make this hybrid approach cost-effective and easy to set-up and manage for flawless video delivery.”
Short Haul fiber distribution platform The Short Haul MiniHUB from Norwia has been released to answer the growing needs of mass video distribution within buildings and building-to-building infrastructures for distances of up to 5 kilometers. This short haul solution has connectivity over a multiple core fiber, providing cost-effective connectivity for use with high bit-rate signals for modern broadcasting. The Norwia miniHUB short haul comes in two variants: a 16-channel point-to-point platform and a compact 8-channel platform in a small form factor chassis. The short haul platform has all the capability and flexibility of the standard Norwia miniHUB. As a result, all components are interchangeable and upgradeable to CWDM and multiple signal formats are available with Norwia’s SFP modules. Premium quality is a key requirement for all Norwia products and the Short Haul version of the
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MiniHUB is no different. The optics are rigorously tested and are all SMPTE approved to ensure the best delivery service possible. To develop Noriwa’s miniHUB successfully the use of controlled testing is essential and allows users to benefit from a reliable end product that has longevity.
at a predetermined optical signal level. The change-over card also has manual change-over from relay contacts or via the miniHUB control software, RCON. The OX-20-2XX optical change-over module comes in a 2 x 1 or 2 x 2 configuration with an option of optical signal loss detection.
“Workflows for premium video increasingly need to be able to support uncompressed video, which is why miniHUB Short Haul supports RAW video,” said Lars Erik Eriksen, CTO, Norwia. “The Short Haul miniHUB is still a full card-based system with all the flexibility of the AutoSFP® technology, which is unique to Norwia. There is incredible value for customers that choose to opt for our Short Haul system, which provides full Web-based monitoring at a very competitive price level.”
Application areas for the changeover switch include complete site release, which ensures the fiber continuity is ensured by bypassing the site and keeping fiber integrity for the fiber ring. Additionally, it can provide a main and redundant path change-over and automatic detection of fiber loss. This fully integrated product uses the latest optical components to keep attenuation levels to the lowest on the market. This is very helpful when optical budgets are stretched and every dB of light is valued. Tracey Ford, Chief Sales and Marketing Officer, Norwia expanded, “The OX-20-2XX module fits seamlessly with the miniHUB optical distribution system to provide solutions for broadcasters, fiber vendors, sporting delivery systems and telecommunication providers. The high quality and flexibility of the miniHUB platform with the new OX-20-2XX change-over switch makes a perfect companion for mission-critical optical solutions.”
Change-over MiniHUB optical distribution platform completes the redundancy race with a NEW fully featured change-over switch. The OX-202XX optical module completes the redundancy structure needed by mission-critical optical applications as a standalone or integrated solution. The OX-20-2XX can be used to switch entire multiplexed optical streams in reaction to a fiber fail or
PROVYS Next Safari: Africa Parallel to its great success in Norway, PROVYS is now heading for a much hotter region. In the land of Kilimanjaro where modern communication technologies are proceeding at breakneck speed, Azam TV have established themselves as a major broadcaster serving the territories of Tanzania, Kenya and Uganda. Located in the former Tanzanian capital city of Dar es Salaam, Azam TV have embarked upon a programme of expansion requiring the most modern technological management tools to assist them in this venture. It should be noted that Azam TV is not only a broadcast station operating standard TV channels, but is also a renowned producer of a wide range of entertainment content. Following a fierce tendering process, the Provys team came out on top and will shortly be commencing an on-site installation to be quickly followed by familiarity and user training sessions in Provys head office in the beautiful city of Prague.
numerous operators can work in the same module, on the same project and even on the same playlist page, at the same time. This facility enables multiple sharing opportunities, simultaneous teamwork, without the usual delays, thus enhancing the efficiency, the effectiveness and therefore the profitability of the organisation. Real-time information regarding the validity of content rights is available to all users at all times. Rights contracts usually contain options to use the given content for a set number of broadcasts within a given timeframe. Historically, it has been all too easy to miss the deadline and lose the opportunity to broadcast a re-run prior to expiry. Provys rights management software monitors all rights and deadlines and prompts the station when a rights expiry is approaching, allowing them to fully utilise the content within the validity terms. â€œWhen selecting an appropriate system for our organisation, paramount amongst our considerations was the ability of the new system to grow along with our own develop-
ment objectives and at the same pace. The potential to add new channels both quickly and efficiently was of critical importance. Therefore, we selected Provys as the system which most perfectly matched our demandsâ€œ, says Ms. Stellah Adams, Head of Planning, Azam TV. The management of Provys are extremely excited by this challenging but very important first step on the African continent which they view as the beginning of a new dimension for the whole Provys team. Modern technologies are by their nature expensive, and especially top of the range products, and many broadcasters have to operate within strict budgetary constraints, thus creating a number of difficulties when negotiating in a price sensitive market. Provys are therefore delighted to see that Azam TV have recognised the superiority of their software and like the summit of the volcano, Kilimanjaro, their choice has reflected the peak product on the market today.
Initially, Provys presented the whole range of their broadcast management modules including production and resource planning, programme scheduling, rights management and advertisement sales. As a starter, Azam TV selected for the primary installation the broadcast scheduling and rights management modules. Since the beginning, Azam TV have been using standard Microsoft software in an effort to control their broadcast administration processes but with the ever increasing complexity associated with an increasing number of channels, it soon became apparent that more sophisticated management tools would be required. A major attribute of Provys software is that
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Qligent Multichannel Visualization into Cloud-Based Monitoring and Analysis Platform Vision is Qligent’s enterprise-level system for monitoring broadcast and media quality through the entire delivery chain. It can be deployed on-premises, in the cloud or via Qligent’s Oversight managed service, the broadcast industry’s first true monitoring-as-a-service (MaaS). Oversight delivers the same benefits of Vision but reallocates the tactical day-to-day monitoring, analysis and troubleshooting responsibilities from in-house staff to outside experts. Qligent’s unique spin on multichannel visualization helps engineers connect the dots when problems arise through a simple threestep workflow. Using Qligent’s customized video widgets (Vidgets), users can combine any monitoring parameters to quickly visualize performance issues that matter most to the user, determine impact on the viewer and drill down to the root of the problem. This simple manner of correlating a variety of data with quality and performance issues allows operators to quickly filter, sort and collect evidence across multiple channels, programs and their associated delivery platforms (terrestrial, cable, satellite and IPTV). Beyond offering an overall status view, the new multichannel visualization application crosses Qligent’s two major monitoring dimensions: Quality of Experience (QoE) and Quality of Service (QoS). The QoE dimension provides visualization of all audio and video streams (and associated data), giving users clear insight into current and historic performance of all channels across each delivery platform. The QoS dimension allows users to objec-
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tively measure transport and physical layers to ensure standards are being met (legally, contractually and performance-wise). Correlating
and analyzing data across both QoE and QoS dimensions quickly answers the question, “Did my viewers see this problem?”
QUALES QUALES CONSOLIDATES WORLD-WIDE PRESENCE AFTER ITS GREAT SUCCESS AT IBC 2015 QUALES has proven at IBC 2015 the CONSOLIDATION of the worldwide network with more than 50 countries in its area of activities; with new presence in RUSSIA, GEORGIA, KAZAKHSSTAN, INDIA and SCANDINAVIAN as result of the show. Once again Quales has exceeded all expectations, with more than 100 quality visits to the booth, including MAM manufacturers, and well known and reputed companies like Apple, Microsoft or Playbox, among other important market key players. QUALES is in the process of closing deals with several worldclass integrators and third party products, with the objective of improving their products and catalogues. More than 5 companies are now working with QUALES for integration into their products.
Alongside, starting September 2015, QUALES entered new business lines: TRANSACTIONAL (CLOUD), PRIVATE BRAND and SERVICE, all of them market requests coming in during the first part of the year. The announcement about ORTANA MEDIA GROUP and QUALES partnership for a Cloud complete solution had a real impact in media and attendees (CUBIX system). QUALES brand image is rising up in a short time frame, so we can consider brand awareness to be in the TOP-4 QC systems in the world. QUALES proves it is a newborn healthy and solvent product, with brilliant future ahead, considering innovation as a way of life, and investing in R&D for more than two years before the entrance in the market in 2015. QUALES is making all that is needed to be the best offer in the market, with the most cost effective proposition, simplicity and ease of use and business models diversifi-
cation. QUALES 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 firstname.lastname@example.org
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New AES67 Client Card For Riedel’s Artist Riedel Communications continues to innovate with networked solutions with the development of their new AES67 client card for Artist digital matrix intercom systems. This simple add-on card makes it possible for users to take advantage of AES67 audio networks. With the existing AVB card for Artist and this new development, Artist now can accommodate both AVB and AES67 audio networks. “Over the last eighteen months we have made it clear that we don’t want to tell clients how to run their broadcast communications infrastructures,” said Christian Diehl, matrix intercom product manager, Riedel Communications. “We were very quick to embrace AVB and now, with this client card, we have a solution that gives our customers the choice to use whatever standard they want whether AES67, RAVENNA, AVB, or Dante via AES67.”
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The new AES67 client card is easily installed into the Artist mainframe and then configurable through the Director software. The interface will also allow AES67 connectivity between the Artist and Smartpanels, as well as other 3rd party devices. The card features 8 independent AES67 connections to service multiple devices. Riedel’s AES67 client card will be available in 2016.
The office is conveniently located in southern Madrid near one of the city’s main traffic arteries.
Riedel Opens New Offices in Tokyo and Madrid
Sited in the popular Shinjuku district, Riedel’s new Tokyo office completes a trio of Asian hubs that also includes locations in Sydney and Singapore. The office is lead by Cameron O’Neill, Riedel’s director for the Asia-Pacific region.
Signaling its expanding market presence throughout Europe and Asia, Riedel Communications today announced the opening of new regional offices in Tokyo and Madrid. Riedel is a provider of pioneering real-time video, audio, data, and communications networks. Headed by Maribel Roman, general manager, South Europe, the new Spanish office will provide sales and support for customers in Spain, Portugal, Italy and Greece.
“The opening of the Madrid office is a significant milestone for our company and gives us a strong position from which to support our growing customer base in southern Europe,” said Roman. “We can now provide the localized support that is absolutely critical for maintaining a presence in this region.”
“The new Tokyo office will serve as an important center for Riedel’s design, sales, support, and service operations across the Asia-Pacific region,” said O’Neill. “We'll be investing in all three of our Asian offices to make sure that our customers are being serviced to the best of our ability.”
Ross Video New Products at IBC Virtual and Augmented Reality Production Studio A complete virtual and augmented reality production studio shows how VS/AR can be used to produce big productions in a compact space, enhance the look of a production and reduce cost at the same time.
News Editorial and Automated Production Automated news production runs through a full OverDrive Automated Production Control System. Inception News, the Ross News Room Computer System offering is showing “Idea Centric News Production” as a single hub for news, web, and social providing the advanced tools required for the modern news environment.
Sports Stadium Sports stadium production is demonstrated as a complete solution with a jaw dropping, giant 20 foot screen and ribbon board. This features the flagship Acuity Series Production Switcher and XPression Motion Graphics System. 4K is very much part of what is being shown in this area.
Graphics Solutions and Workflow A range of Ross graphics solutions are now available from centralized graphics production workflow through to branding and ticker solutions.
Legislative Assembly Production A tailor made solution centered around the latest version of the
LCS intuitive touch screen interface that legislative organizations around the globe are taking advantage of to automate their production environments and produce a high quality and consistent output for constituents.
Infrastructure Products Infrastructure is a necessary foundation for all the solutions being demonstrated. To provide high quality, low latency video connections between locations connected via IP transport, new openGear™ modules are being shown that offer SFP Based SMPTE 2022 IP and VSF TR1 JPEG-2000 conversion solutions. - H.264 / MPEG-4 AVC Contribution Encoders provide simultaneous support of DVBASI, broadcast video over IP, RTMP, and HTTP Live streaming.
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- 3G / HD / SD Distribution Amplifiers are offered in Single, Dual and Quad re-clocking and equalizing models, with support for SMPTE 424M, SMPTE ST 292-1 and SMPTE 259 serial digital video signals at 3G, HD, and SD rates. - Frame Synchronizers synchronize, time, and process both audio and video in 3G, high definition, and standard definition applications. - MC1 Master Control adds 3G 1080p support, channel ganging capability to switch multiple MC1â€™s in tandem, either manually or under automation, and audio features with the ability to remap audio channels and make adjustments to level presets to any audio source.
Production Switcher Products The Acuity switcher offers enhanced processing power features. These include: full UHD (4K) production with 8 keys/16 channels of DVE per ME, MultiFeedTM configurable program outputs with 2 preview and 6 program outputs for every ME, 36 channels of system wide Media Stores, and expanded dual head, 20 source window multiviewers. The Carbonite Black production
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engine and new beautiful 3ME control panels bring expanded I/O and ME count to the Carbonite series with 2 or 3 full MEs, 36 Inputs and 22 outputs.
Graphics Products XPression Studio 4K and BlueBox 4K bring UHD video and key graphics into production components such as switchers. Clips and real-time graphics come together in XPression Clips, an advanced IT technology production clip server with instant recall times and back-to-back transitions from an intuitive user interface or via automation triggers from other devices. Users can simultaneously ingest multiple channels of baseband video and output multiple channels of clips to air. A useful companion product is XPression INcoder for file-based ingest and transcoding of material delivered for playout using multi-target publishing capability. The latest XPression features include: Transition Logic, Avid Command Version 3+ Plug-in, MOS Plug-in enhancements, native Ncam and Stype Grip integration for augmented reality and virtual sets, GV EDIUS NLE integration, and QuickTime export.
SmartShell 4 is a single, unified control system for both CamBot and Furio pedestals, lifts, and heads. It comes with a new USBbased joystick panel to trigger robotic movements. Most importantly, SmartShell 4 now permits both CamBots and Furios to be controlled from a common interface, so studios can combine dollies on tracks, manual and freeroaming pedestals, and standalone PT heads to create the most comprehensive studio robotics solutions possible.
Automated Production Control Products OverDrive Caprica is released, shipping, and on the air! Adding the OverDrive system to any control room is now possible, regardless of which existing production switcher is being used. OverDrive now controls the Ross Video Carbonite midsized production switcher as well as the Grass Valley Kayenne production switcher.
Control and Monitoring Products DashBoard offers improved design capabilities for increased control and functionality. Integration of new capabilities and protocols produces better access to informa-
tion, better code reuse, easier interaction with functions, reduction of code complexity and errors, and faster writing of software.
Media Workflow Products Inception News / Social have added instant messaging, alerts, linking, and notifications features for improved workflow communication. There is also the ability to completely customize the running order, assignment, and story grids. The new version 9.1 release, has a native multi-language spell checker, and introduces several time saving workflow features such as story templates and support for MOS redirection. Inception Live offers game day production for stadiums and sports teams through a browser-based environment. 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 the built-in instant messaging platform, which lets everyone know of schedule changes or unplanned events. The Streamline Media Asset Management System now includes a MOS engine and HTML5-based plug-in to discover and source media, browse, and link to broadcast scripts in Inception News. Streamline adds video proxies and stills, single-sign-on, with importing and conversion tools from existing asset systems. 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.
Legislative Control System Products LCS provides an intuitive touch screen interface to get speakers on air quickly and simply. The new version of includes the ability to store meeting files so that a single room can be configured for multiple meetings, which reduces the amount of configuration time required before each meeting. A simplified configuration interface makes arranging a room or adding in new positions easier than before. Representatives can be assigned to a position using a drop down menu to accommodate for unassigned seating or quick adjustments if a replacement representative is present. The graphics system dynamically receives information from LCS providing user defined representative information, to ensure that all the relevant details are correctly displayed.
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RTW 50 YEARS RTW was founded in 1965 as a specialist service provider for audio equipment. Through the subsequent years the company became a leading vendor of professional broadcast and audio-metering equipment. Andreas Tweitmann, current CEO of RTW, came to the helm of the company at 2007. “At RTW, we are committed to providing our clients with the best in visual audio meters and monitoring devices,” says Tweitmann. “Our involvement as a top company in the industry helps us gather important knowledge regarding new standards and needs. We work to streamline the broadcast industry’s necessary loudness control by way of user friendly, attainable products.” With mandatory loudness standards becoming the new normal, RTW has made powerful contributions to the introduction of these regulations. They not only offer the products to suit the demands of the pro-audio industry, but also have helped develop the standards themselves. Michael Kahsnitz, head of product management at RTW, is a
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member of EBU’s PLOUD group that has worked to create binding loudness-management standards. “With the ever-evolving pro-audio industry, it is important to stay informed of the new trends that come about,” says Tweitmann. “It is important to us that our customers find products with functional capabilities that are able to adapt to different environments. We look forward to the next 50 years of providing unparalleled customer service and products.”
LOUDNESS CORRECTION SOFTWARE IMPLEMENTATION CLC technology allows users to constantly adapt the level of audio they are working on, against a given program-loudness value, along with a definable loudness range in real-time with minimal obstacles. The CLC software is capable of handling DAW audio, live audio and files. It may be operated with the most common DAW software products with Mac and PC and now also as a standalone software tool. With CLC technology, RTW clients are able to maintain accordance with EBU-R128 and
other global loudness standard specifications. “We are constantly updating our products to satisfy our growing customer base and serve their needs,” says Andreas Tweitmann, CEO of RTW. “Partnering with IRT has improved our audio meters and monitoring devices, enabling us to reach a broader market, while also helping our customers conform to set standards. We are happy to continue our implementation of the Continuous Loudness Controller software in collaboration with IRT.”
NEW TM3 USB CONNECT TOOL The RTW TM3 USB Connect software enables a direct connection between a TM3-Primus as a plug-in within a DAW environment. It offers a remote control within the DAW for start, stop and reset on the TM3-Primus. With this software, it is no longer necessary to define the TM3-Primus as an output device. The TM3-Primus may now be connected to any channel or group in the DAW project just by inserting the plug-in into the desired channel. If the TM3-Primus is operated as an output device, the TM3 USB Connect software can also be used as a stand-alone remote control for the TM3-Primus. This new software may be operated with the most common DAW software products for Mac and PC. “We are happy to provide this new tool to enhance our customers’ work bench,” says Andreas Tweitmann, CEO of RTW. “By manufacturing the TM3 USB Connect tool, we are hoping to simplify the DAW environment, creating a smooth workspace for our users. RTW is proud to supply innovative, user-friendly audio technology to support our client’s needs.”
SAM – Snell Advanced Media
Quantel and Snell get together with a new name, new brand and new vision “IBC 2015 marks the beginning of a genuinely exciting new era for the company,” said Tim Thorsteinson, SAM CEO. “In the five months since NAB, we have radically overhauled and brought together every aspect of the two businesses to create a new company with a unique mix of experience and energy. “Our vision is to own the space between content creation and distribution – to be the partner of choice for our customers as they navigate the transition to the new world of agile content and consumer-driven viewing. To this end, we have embarked on a visionary development roadmap that will enable our
customers to transition their business models at a rate which suits them, providing certainty in this time of unprecedented change. To deliver this, we have increased our investment in engineering across all our product lines – post, infrastructure, news production systems, image processing, MAM, playout and live production. We are also upgrading our global operation with significant key appointments in all regions. “At IBC we unveiled the first major steps on our new roadmap – a risk-free transition path to IP routing and Cloud-based playout which future-proofs customers’ investments in current systems, enabling them to maximize efficiency and productivity without the cost and upheaval of wholesale infrastructure and systems replacement.
We’re also showing a complete 4K live production workflow and major new developments on our unique Media Biometrics media assurance technology that now spans the entire production chain. “All our staff are fully committed to the new company and are putting in supreme efforts to deliver on the vision. SAM is all set to become a major force in our industry over the coming months and years,” Thorsteinson concluded.
SAM rolls out facility-wide, proven, risk-free IP transition strategy At IBC 2015, SAM demonstrated its comprehensive, risk-free IP migration strategy. It enables customers to transition via hybrid SDI/IP working to fully-IP operation
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at a rate which suits the individual needs of their business. Critically, no wholesale systems replacement is required; SAM’s engineers have designed in the ability to progressively IP-enable existing SDI systems across its router, switcher, infrastructure and playout product ranges. SAM’s IP strategy embraces support for SMPTE 2022-6, VC-2 and other compression formats, providing a secure path to the future whatever standard the industry eventually adopts. “We have been conducting extensive proofs of concept of our IP transition strategy with a number of key media organizations around the world over the course of the last 18 months, so we know it works,” said Neil Maycock, SAM EVP Marketing. “Our strategy enables customers to invest in the systems that they need to grow their businesses now, in the certainty that they can transition to IP in whatever standard they choose, as and when their needs dictate. DutchView | Infostrada choice of SAM as its partner to
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transition its entire operation to IP with our switcher, router and infrastructure technology is a massive vote of confidence in our IP vision,” Maycock concluded.
Kahuna IP SAM launched the Kahuna IP production switcher range at IBC – delivering all the power, processing and multi-format capabilities for which the Kahuna is renowned, with a full complement of IP inputs and outputs. This new development is in addition to the ability to replace individual input and/or output ‘fins’ on a standard SDI Kahuna system with IP fins – also on show at IBC, and enabling users to transition to IP at a rate which suits their developing business needs. Kahuna IP is available in a range of three models - 4800 IP, 6400 IP and 9600 IP - to support the needs of every scale of production, from OB/remotes to the largest broadcast operation, covering everything from SD to 4K. IP connections are initially 10 GigE, and support
SMPTE 2022-6 natively as well as VC-2 and other compression formats. Kahuna IP systems incorporate SAM’s Make M/E technology, which enables the user to create a tailormade M/E for specific requirements. SD, HD, 1080P and 4K signals are supported simultaneously thanks to SAM’s FormatFusion3 multi-format technology. Kahuna IP is perfectly complemented by the Kahuna Maverik configurable control panel, its modular architecture allowing complete flexibility in design and enabling the panel to be reconfigured on a production by production basis. “Every business has different requirements when it comes to implementing IP – the new Kahuna IP range of switchers is aimed at those wishing to go fully IP now,” said John Carter, SAM Senior Product Manager. “Kahuna IP is a no-compromise product, delivering the full Kahuna production power but with IP inputs and outputs. For those wishing to transition to IP
over time, we also have the perfect answer. Our Kahuna 4800, 6400 and 9600 production switchers can be progressively IP-enabled by simply swapping out input and output fins and replacing them with IP fins as required.”
New Quantel Rio range introduces HDR, wide color gamut and cost-effective collaborative workflows SAM introduced its new Quantel Rio range of color and finishing systems at IBC. There is now a choice of three turnkey systems – 2K, 4K and 8K, and two software only options – 4K and the new Rio Assist workflow partner. In addition, SAM introduced Rio Connect, a collaborative workflow engine that enables cost-effective media sharing between up to eight Quantel Rio systems. All Quantel Rio models benefit from the new V3 software on show at IBC, which supports HDR and native color space media (providing wider color gamuts) with 32-bit floating-point or 16-bit halffloat processing. The Quantel Rio 2K turnkey system is perfect for TV program and commercials finishing houses; multiple systems teamed together with Rio Connect delivers the kind of flexibility post houses need to tackle short-deadline projects across multiple Rio suites, or instantly move a project from one suite to another. The new Quantel Rio 4K turnkey system offers unmatched power and capability for high end TV and movie finishing. Not only does it boast twice the storage capacity and RAM of the previous 4K model, it also taps the hugely increased processing power of the NVIDIA Tesla K80 GPU (double the performance of two Tesla K20 GPUs), and includes 4K HFR output support as standard. At the top of the range, Quantel Rio 8K is the only color and finishing system on the market that delivers realtime
working at 8K 60p.
including high quality up-scaling,
Quantel Rio was on show at IBC demonstrating advanced HDR color and finishing workflows, displayed on a Canon DP-V3010 HDR monitor. The new V3 software includes support for native color spaces, including ITU-R BT 2020, DCI-P3 and ACES, and HDR with multiple transfer curves covering a range of EOTF (Electro-Optical Transfer Function) requirements including SMPTE ST 2084. So flexible is Quantel Rio’s workspace that multiple color spaces and transfer curves can be mixed on the same timeline, and only committed to the chosen format on output.
complex audio handling, advanced
“The new Quantel Rio range has a perfect-fit solution for every color and finishing application,” said Damon Hawkins, SAM Product Manager. “Quantel Rio is the most powerful and capable system on the market, making it the natural choice for client-attended sessions, and its continuing rapid development – now delivering interactive HDR and wide color gamut operation - ensures that our TV finishing and post house customers can continue to offer leading edge color and finishing services.”
new ICE SDC was also on show at
graphics capabilities for premium channel branding, Media Biometrics and support for single channel, multi-channel, multi-region and multi-platform environments. ICE IP is also fully compatible with SAM’s Morpheus playout automation, so integrating IP playout is a simple and highly cost-effective process. For playout facilities looking to implement full cloud/data center playout, the initial release of the IBC. ICE SDC will bring ICE CiaB capabilities to virtualized playout environments - delivering the Software-Defined Channel. The initial release is targeted at proof of concept implementations; ICE SDC is a rapidly developing product with a rich roadmap through 2016, adding functionality as the capabilities of commercial data centers continue to develop. ICE SDC inte-
SAM launches IP-enabled Channel-in-a-Box at IBC
grates fully with the cloud-ready
SAM launched a new variant of its ICE Channel-in-a-Box (CiaB) system at IBC 2015: ICE IP. ICE IP provides playout facilities with a future-ready path to IP playout, without sacrificing any of the comprehensive functionality or performance that has established ICE as the market-leading CiaB system. SAM also showed an initial release version of ICE SDC, bringing CiaB capabilities to virtualized playout. ICE IP supports multiple H.264 IP input and output streams alongside its SDI I/O, enabling ICE owners to transition to IP operation at a rate that suits their business needs. ICE IP integrates the full ICE toolset,
seamless transition to virtualized
Morpheus automation, enabling a playout. “These two new additions to our CiaB product range offer media organizations a risk-free transition path to IP and the Software-Defined Channel,” said Ian Young, SAM Product Manager. “It’s a key part of our complete IP transition strategy, designed to enable our customers to integrate IP technology into their workflows at a rate which suits their business needs.”
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Sennheiser’s new EK 6042 two-channel camera receiver works with both analogue and digital transmitters At IBC, Sennheiser unveiled a new slot-in camera receiver that redefines compatibility: the EK 6042 is a true-diversity, two-channel receiver that can work with both analogue and digital Sennheiser transmitters across a bandwidth of 184 MHz. It is an ideal partner for Sennheiser’s top-of-the-range Digital 9000 series and can operate with all analogue transmitters that feature Sennheiser’s HiDyn plus or HDX companders. The receiver will become available in spring 2016. “This is a true “one for all” receiver,” said Tobias von Allwörden, product manager, Sennheiser Broadcast & Media. “It works with any Sennheiser series from Digital
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9000, 5000 and 3000 down to 2000 and evolution wireless G3, and automatically identifies the transmitter via an IR link.” The camera receiver chooses its own operating mode depending on the transmitter, and also selects the appropriate bandwidth and frequency in the UHF range between 470 and 654 MHz. As a true diversity receiver with four separate receiver circuits, the EK 6042 is extra-reliable, even in difficult RF environments. The EK 6042 can be combined with either a 15-pin adaptor to slot directly into Sony cameras, or a 25pin adaptor for Unislot- and SuperSlot-compatible devices. For camcorders without an audio receiver slot, a special backpanel adaptor for the EK 6042 is available as an accessory. If the camera
does not supply power to the receiver, a “piggyback” power adapter can be attached to this housing and fitted with two hotswappable BA 61 battery packs. The EK 6042 camera receiver will become available in spring 2016.
SGL NEW ENTRY-LEVEL ARCHIVE SYSTEM - FLASHPACK FlashPack is a complete turnkey archiving system designed for use with all major media and production asset management systems, FlashPack provides a cost-effective, entry-level archive system with no extra hardware, no extra software and no hidden costs. Global broadcasters large and small require sophisticated archive technology that enables assets to be managed and stored. However, a large archive with full disaster recovery workflows may not be appealing to a smaller broadcaster in a single location with fewer assets. SGL FlashPack provides a complete archive and content management solution that includes all the features required for a fully integrated, infinitely scalable media archive such as hardware, software, support and integration with a MAM or production system. At the heart of FlashPack is SGL FlashNet, the industry leading content archive and storage management solution. FlashPack harnesses FlashNet’s power, resilience and scalability, in a compact entry-level solution. It is ideal for broadcasters, sports venues, post-production houses, corporate communications and other organisations that need to manage their media assets. Implementation is simple and is completed remotely, linking FlashPack to the user’s MAM or PAM system. FlashPack is easily manageable by creative professionals, not requiring dedicated IT resources. Lee Sheppard, SGL’s Director of Product Management explains, “The FlashPack complete storage archive addresses the need for a separate, self-contained system
providing a price versus performance ratio that lowers the cost of entry while ensuring the key business criteria of future scalability and security.”
NEW TECHNOLOGY AND KEY THIRD-PARTY INTEGRATION PROJECTS SGL presented Direct Connect for the Avid ISIS environment at IBC 2015. Direct Connect allows Avid ISIS users to quickly transfer high resolution material providing significant benefits when working with longer form content. The advent of 4k and 8k formats has made a huge difference in terms of clarity of image, but the sheer size of files can cause bottlenecks, reducing transfer times and hindering system performance. Now, using Direct Connect, clips or sequences over several GBs in size can be archived and retrieved significantly faster, as can shorter clips with high bit rates such as HD trailers and commercials. Cloud storage is playing an increasing role within archiving workflows. At IBC 2015, SGL will showcase cloud-based archiving to
Amazon’s S3 and Sony’s Ci Cloud services. Working closely with Aspera and Data Expedition, SGL enables broadcasters and content owners to transfer media to AWS services and Sony cloud services at a guaranteed speed, providing an additional means of storage and disaster recovery workflows. Throughout the show, SGL will demonstrate a full archive using GV STRATUS, hosted by a Grass Valley presenter. A highly intuitive solution, GV STRATUS includes full search, archive and restore integrated directly with SGL’s FlashNet archive. The presentation will include FlashNet’s control of job queues directly from GV STRATUS. The migration of tape assets from one platform to another, or from one generation to another is a costly and time-consuming process. At IBC, SGL is launching its FlashNet Migration Service, which enables a whole migration to be set up as a single background task that optimises the use of available archiving equipment and speeds up processes. This reduces migration times by half.
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Signiant How Signiant solves the IP problem for large file video transfers Most networks combine IP with TCP (transmission control protocol) in order to establish a connection between a source and a destination. This IP/TCP layer forms the foundation of data transfer protocols such as HTTP and FTP. For the large majority of information communicated between endpoints over TCP/IP networks, data flows without issue. However, the increasingly large content files of media combined with an expanding virtual nexus of production, editorial and distribution channels cause TCP to break down. TCP uses a transfer mechanism that will only send a limited amount of data before pausing for acknowledgment of safe receipt from the other end. While this ensures reliability for most of the data that moves over the internet,
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for large files, it actually does the opposite because they require many more round trips and associated latency that increases with longer distant transfers. Considering that HD and even Ultra HD are moving around a global media landscape, it’s no wonder that TCP can’t hold up.
Latency is one drawback, but different IP technologies also impact bandwidth utilization. EmmyTCP based protocols can only use a limited amount of bandwidth, so even a very high bandwidth network will not automatically translate to fast file movement, especially in high latency networks (networks that are spread across multiple countries, for instance). Signiant’s proprietary protocol is often called “UDP acceleration” but is really many steps beyond standard UDP (user datagram protocol). Our IP technology uses more
advanced reliability, flow and congestion control protocols on top of UDP. We’ve also replaced standard TCP with a more advanced file transfer protocol. All together, Signiant’s acceleration technology virtually eliminates latency for long distant, large file transfers and fully utilizes available bandwidth. It improves on standard IP transfer speeds up to 200 fold, with the security needed in today’s hyper connected world. As always, cloud was another big subject at IBC this year. Signiant has been a leader in developing true SaaS solutions, allowing the core acceleration technology we’ve worked for decades to develop to be delivered with all the advantages of cloud-based services. In fact, our pioneering work as a SaaS solutions provider for the media industry is what got us awarded an Emmy this year. But we will save that discussion for another blog.
Vislink Vislink has showcased the world’s smallest and lightest broadcast-quality HD micro transmitter, HEROCast™, with a dedicated wireless receive unit, PROCeiver, providing a complete end-to-end solution. It’s now easier than ever for technical crews to introduce point of view camera angles from any location and transmit them live for broadcast television. HEROCast™ has been developed in partnership with GoPro and is designed to work specifically with the GoPro HERO 4 and HERO 3+ product lines. Paired with Vislink’s technology, GoPro cameras can now transmit live HD video wirelessly for the first time. HEROCast™ is small enough to be mounted on helmets, the body, and a range of other applications, giving broadcasters’ unrivalled flexibility when capturing live sports and events.
“Vislink has a long track record of creating the industry’s smallest and lightest wireless camera transmitters. Now, with HEROCast™ and PROCeiver, Vislink is taking this expertise and expanding the range of points of view to enable more compelling and immersive content,” said Simon Derry, CEO at Vislink. HEROCast™ has already been used to transmit unique perspectives and angles at NHL Playoffs, Summer/Winter X Games and many other high-profile sporting events, giving broadcasters the necessary tools to bring viewers closer to the action. Like all Vislink equipment, the Point of View Live range has been developed to deliver high performance and low latency with an extremely small form factor.
4K/HEVC without compromise Vislink has made 4K wireless video transmission a reality by pairing its award-winning hardware encoder, the UltraCoder, with the new UltraDecoder that will be unveiled at IBC 2015. The UltraCoder is the industry’s first H.265 and 4K capable video compression encoder purpose built for content contribution. It’s designed to let broadcasters transmit HEVC encoded live video at half the bandwidth of H.264, hence offering 50 percent cost savings with no compromise on quality. The UltraCoder will be capable of encoding 4 H.265 HD channels simultaneously hence doing the job of 4 encoders in one product. “By introducing an HD H.265 and UHD 4K encoder and decoder package to meet future broadcaster needs, Vislink is ensuring its global user base stays at the forefront of what’s possible with live video encoding in broadcast technology. Providing astonishing H.265 capabilities now, we are providing a future proof solution to enable the evolution to UHD without the need for new equipment,” said Simon Derry. Keeping with Vislink’s ethos of small and lightweight design, the UltraCoder is housed in a compact ½ width 1RU chassis. This makes it capable of being used in situations where weight and space are critical, giving broadcasters the ability to transmit video in crystal clear HD and UHD quality from the field. The UltraCoder and UltraDecoder is an ideal package for satellite and electronic newsgathering or for use at sports events, letting broadcasters encode and compress footage from challenging locations that simply wouldn’t be feasible with a wired set up.
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Test bench made by Pablo MartĂnez In this test bench we will analyze and look at some of the hallmarks of one of the most innovative products of the company ELEMENTS. This company specializes in offering real top-quality solutions to problems of the audiovisual industry, and it is one of the best companies when it comes to efficiency and integration of storage systems and data management network solutions. The times of enormous archive rooms with tens of catalogued tapes are well and truly over. We then stepped towards the introduction of digital formats to store and support our projects. When talking about disk storage media within our industry, we normally think about large and bulky devices with plenty of hard disk bays: the typical "black" box that only a few know exactly how to use, and is only intended for data storage (for both NAS and SAN environments). These devices back up our projects and, through different third party software combinations, we can have access to their content and/or handling. When the number of active users is high, it often causes a bottleneck on file transfers, which ends with the intervention of a super-user, who manually manages transfer resources in our network to and from our "disk farm".
ABOUT "ONE" Let us focus on the device that we are to analyze, which, as the name of this test bench reads, is "far more than a disk farm". This system is much more than a highperformance storage unit: it's an "all-in-one" that focuses on the specific needs of our industry. The first thing that draws our attention when we see "ONE" is the robust design of the device, with a 4 unit rack chassis, and a capacity of 24 bay
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(when referring to the device used for this test bench) for 3.5" disks. This provides a total capacity of 48TB (at the time of this test bench 2TB per SATA unit), with up to 96TB depending on the manufacturer. It also has a system located at the back with redundant SSD disks to handle meta-data and manage control and access software.
manufacturers that I have tested so far (with such integrated configuration).
WHAT IT OFFERS
Mechanically, installation could not be easier. It includes all the necessary components for it to be fixed in the chosen place and position. All of the information is included on the side through numbered bays (in my case the system had factory default configuration, with the characteristics defined to perform this test bench, and each hard disk was placed in its corresponding bay). It's as simple as following the order established and placing each hard disk in its corresponding bay. In this respect, we should mention its disk anchoring configuration, with a write-protection system to avoid its removal by error once placed, and the status LED of each disk, in such a way that the frontal system is closed with a hinged lid that avoids physical access to the bays. With regard to structural design, its mechanical arrangement and the incorporation of several self-managing cooling system, stand out as an important key to avoid overheating during peak workload. According to sample measurements of internal temperature, the device is provided with a good thermal stability, which will avoid operating errors in case of failures in the external cooling system of our installation.
I wasn't sure on how to approach this test bench because I do not intend to go into the system's data transfer measures or its virtual data management. I rather believe that these valuations are subjective, and depend on the system that one chooses. Plus, data will vary according to the mode of file transfer that we decide to use. This doesn't mean to say that I haven't carried out such tests, but I just briefly will say that with a sample of information from the values obtained, the results were generally much higher than any of the devices of other
At first access and configuration level we found ourselves with an easy, accessible and intuitive management software that displays all the information required for its management. So far we might think that this is just one more of the systems currently available on the market, but there is where we find one of the major differences: the task manager enables a customized authorization of the workflow. With the multi-user set we can establish access to different users within our environment, by creating working groups with restrictive
Technical features of "ONE": - ELEMENTS ONE - 24 bay: 4U Chassis, 24 HDD, up to 7x ELEMENTS JBOD - 24 bay - system- and meta-data on separate, redundant SSDs (andGlobalSpare) - up to 360TB in a single ELEMENTS (60 bay/4U) - two 10Gb Ethernet-Ports (backward-compatible) - next generation dual-core RAIDengine (RAID level 5/6/10/50) - Active Directory support - IPMI-and web-management integrated - up to 24 Hot-Plug-drives - scalable in performance and capacity - redundant power supplies - FibreChannel option
access profiles, depending on the needs of each user or working group. The advantage of working with native projects, from different remote sites, is that it allows file management with compatible means such us, for example, non-linear editing programs like Avid Media Composer, Adobe Premiere Apple Final Cut. This increases the rapid integration of our system as an unrestricted tool for operators, increasing productivity in our broadcast environment. In the tests that I have performed with concurrent users for the same project it has to be pointed out that Avid Media, with project exchanges, offers a choice to work with native means in different platforms (MAC, Windows). It offers native Avid bin lock, which means that a user can lock a bin project to avoid changes being made by other concurrent users. When this happens, the container will be marked with a colored lock, red or green (depen-
ding on the status). Naturally, ONE allows several concurrent users to work on a same project, the format of work is decided by each of them through an open testing project and we had no problem when working with 5 users on one same project. Once the project is finished with this solution designed by ELEMENTS, we reduced considerably the problem of file transcoding when working with native projects.
WHAT WE MISS When it comes to the results achieved the system is, quite frankly, amazing, with unusually quick transfer and processing rates (when compared to the systems I normally work with) and its ease and integration convenience are obvious. Yet, but making it clear that as I said before, the mechanical design is really good, I have just found one single problem. Because of the lower swing lid, when opened it
pushes down the lowest disk bay. If you are not careful it could be damaged due to the excessive pressure (I mean the outside protective casing of the bays). A chain between the chassis and the lid would be a simple solution to limit the tilting system to a position where it does not stick to the lower part.
CONCLUSION ONE is an innovative system that leaves aside the clichĂŠs of "disk farms" and provides an "all-in-one" to our installations, thanks to its quality and development software, which are very focused on the audiovisual sector. I want to thank Heiner and Nico and the rest of colleagues at ELEMENTS for allowing us to use the system and IB3 for lending us their facilities to carry out this test bench.
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BETTER SAFE THAN SORRY In this month's edition of TM Broadcast International we analyze the last version of the acclaimed Software QUALES. It is a quality check system on audiovisual content that, despite its short time in the market, has surprised and generated great expectations. I don't tend to focus my test benches exclusively on software (I like to fiddle with Hardware) but in this case, and due to the emerging interest generated since its launching, I have been more than willing to learn first-hand about its possibilities.
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Test bench made by Pablo MartĂnez
Before getting to the substance, I have to say that this software is focused on the analysis of digital content. As you all know, they are rapidly becoming more common in our environment; I could even say that we work exclusively with them and this changes drastically the quality control of this type of files. Up to now, the few video and audio analyzers available involved the acquisition of an expensive management and automation system, along with an important manual process that included staff involvement, watching hours and hours of production to detect any errors that would be declared non admissible by our broadcast station, and creating incidence reports on programs/documentaries/films/etc. After such analysis, it was almost impossible to justify a "not suitable" unless it was outrageously obvious. For years, I have been trying out different software that carry out similar functions , but I have never worked with one that allows us to discern between so many control parameters and, more importantly, that produces such clear, concise and documented incident and error reports. In audiovisual production quality is very important. For both video and audio signals, working parameters are established through standards that have to be followed by our content provider, in such a way that, those that do not comply with these standards are not, theoretically, permissible. Broadly, the technical realization stage of any work begins with the reception of signals, their processing-recording, and their edition or live delivery as a final product. If we do not control the parameters required by the broadcast station during this process, we deal with a problem of wear, having to redouble efforts to settle it. By performing a quality control before we hand over the product, we would save time, by not having to redouble editing hours. Likewise, if the delivery of the project includes an error report on the audio/video pre-set parameters, we ensure that the project is not going to be technically rejected. In the test bench, we will work on this basis to make sure that everyone understands that "better safe than sorry" thanks to QUALES software. The following consideration was made at QUALES presentation on the market: "Given the boom of digital content over the last few years, the integrity and technical quality of content is becoming ever more important. Especially when we talk about content monetization, ensuring a minimum material quality is of great importance, in order to avoid rejection by clients. Moreover, given the great deal of content that is generated, quality assurance will be in some cases the differentiating factor between the content of different providers. TMBi - 93
we only have to access it through the web browser or the server where we have installed it. The login screen displays four tabs to the different display and configuration sections (Projects, Templates, Scheduler and Management), and in each of them, without going too deeply into the matter, we find:
Content processing, especially in the broadcast sector, goes through many different processes throughout its development workflow and life cycle. During all such processes, content undergoes transformations, storage, intaking, transcoding, etc. Each one of the processes may introduce new parameters that threaten its integrity and technical quality. How often have we seen content with excessive color saturation, too high luminance levels, macroblocking, cuts in sequences, freeze images, audio cuts or undesired effects caused by content storage or by defective coding, or reverse field sequence? The proposal shall cover the problem of content quality, and will present QUALES, to show how a product may help to prevent or correct in good time those problems that arise from the manipulation of audiovisual content, under whatever format, means of broadcasting or expected audience".
HARDWARE REQUIRED We have to work with a hardware that maintains the software's quality and efficiency in order to exploit its maximum potential. With regard to the required hardware, Quales currently recommends: - CPU core i7 or similar - 4GB of RAM
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- Hard disk in RAID or SSD - O.S. Windows Vista or higher - Web browser: Optimized for Google Chrome - IP Connection when implemented within a network Having defined this, we have to be realistic; with the above features we will obtain the best processing speed. However, as you will see in this test bench, I used hardware with significantly lower features, and having sacrificed the work speed of the file analyzer, the results were more than acceptable (with regard to analysis time).
LOOKING INTO ITS FEATURES We find ourselves facing a program that is extremely easy to install. It stores itself as a resident module in the memory; therefore,
- Projects: We are able to see the different projects that we have created, as well as all information about them, project ID, name, check status, progress check bar (if it is still active), events and errors detected. We can create projects by defining in each of them the different analysis modes (both on the defined screen and on the basis of personalized parameters). We are also able to see the accesses to the project and the check priorities, the hosting of the checked file once it has finished, depending on the errors detected, and we can verify the reports of each of the checked filed (with different information options, according to the setting up that we have programmed) and/or send the reports via email. - Template: This is the fundamental basis of the program. Here, we will define the necessary check parameters and they will be saved as templates so that we can further use them in each project to define the verification video and audio parameters.
QUALES currently allows 27 check parameters for the video signal, and 9 for the audio signal (including Loudness), and as a picture is worth a thousand words, you can see all of these parameters in Image 1.
the above steps have been conducted, we have to define the repositories (directory where all the files to be checked are stored).
TEST ON THE FIELD
- Scheduler: Shows the license (we have different nodes and access points), the configuration of the nodes and the assignment of access point per node, as well as the operational checks that are begin carried out.
In order to develop this test bench, I chose to carry out two tests on the field, within a real working environment and using different hardware settings:
- Management: Here we can configure the settings of the program, by defining, among other parameters, the user's creation according to the profile that we need (Admin, Designer or Viewer), and the nodes (additional equipment where QUALES has been installed), so that we can carry out concurrent file checks and share the workload in environments with high volume of material. Once
First test - I installed QUALES on the laptop that I normally use to carry out monitoring of video / audio signals, and which I also use to set the different equipment I use in outside broadcasting. This laptop works with a Centrino2 processor, 8 GB of RAM and its initial operating system was Windows 7, updated to Windows 10 in the last stage of this test. For the signal receiver I used a portable capture system
with input SD-SDI format and embedded audio signals, producing in capture format a MP4 file. During this stage of the test, I created two projects with QUALES. The first of them would work on a "LIVE Input" format, and the second one with file samples stored locally on "File Input" format. I used the same technical check parameters for both projects, according to the minimum criteria established by the transmitting channel (I will not go into detail with this because each channel has its own different tolerance limits, even when we all base on the same standards set for the audiovisual sector). I did establish parameter thresholds for these projects, by setting critical, medium and low alerts on the levels of luminance, chrominance levels, signal freeze, field errors (interlacing), and audio levels and no audio. I had my doubts about the program's behavior, specially due to
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the type of processor used, which would make it operate at full capacity (for safety, I always try to limit its performance to 90% of its processing capacity), but it ended up being perfect. During a 30 minute period, it checked seamlessly the live signal. At the end of the analysis, and with the error report (in this case the thresholds for critical errors were very restrictive) the errors were compared with the conventional measurement equipments to check if the values presented by QUALES were correct. The error margin of the measurements, when comparing it to the luminance and chrominance levels of the conventional system, was less than 0.5%, and the detection of other errors was perfectly correct. On completion of this project, the second stage was to check the same file that had been previously processed in direct format. After recovering the recording with an external hard disk recorder and having transcoded it to MP4 format, the file was imported to the second generated project, maintaining the same error checking parameters and adding Picture Quality Score, Dead Pixel Detection, and Blockiness. This file's analysis was
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relatively quick, when taking into account that we were working below the minima recommended technical specifications. Upon completion, the error report was exactly the same as the one carried out with the "LIVE Input" format. The only difference was that, due to a problem with one of my units, during transcoding, it created seve-
ral video signal errors, which were detected because the parameter "Blockiness" was activated. The result was excellent. I have to say that I performed the same test once I had updated the operating system to Windows 10, and the results were the same (except for the problem with my transcoding unit, as it had been solved and therefore no
errors were generated). Second Test - I installed QUALES at the management, digitalization and quality control department of broadcasting files. In this case, it was done with the minimum necessary hardware requirements recommended by QUALES. I created only one project with the marked quality parameters of the station to make sure that the files would be "broadcastable". At the same time, I created storage points for the analyzed files according to the level of the errors detected, by distributing them into two categories: SUITABLE and NOT SUITABLE, to make sure that the staff of the quality control department was able to discern and prioritize how to proceed with such files. The system has been operating continuously for 20 days, with an analysis average of 60 files per day, and without difficulties. Further, in order to create the report for the "NOT SUITABLE" files, the thumbnails and the waveform of the detected errors has been really helpful for their modification by those who created those audiovisual files.
WHAT IS MISSING IN FURTHER VERSIONS As I always say, there's no harm in asking. I realize that this is a high-level product but I would like to see in future versions a monitoring "Cron" for the folder where we store the source files or the files to be analyzed. Thus, with a defined frequency, we would be able to automatically add new files to a specific project by placing them at the end of the project (with predefined priority parameters) for them to be analyzed. This would be very useful, for instance, when there is a heavy volume of content, in order to speed up the work carried out by the quality control department.
CONCLUSION I find the system's integration, ease of use, error control parameters and stability to be impressive. At last we have a quality control software that brings true added value, with no need to make high investments. The use of QUALES within the production chain, both for
own production and external production, would make management of audiovisual material easier, avoiding to a great extent "NOT SUITABLE" problems in all different production stages. When a supplier delivers audiovisual material to be broadcasted, and it is accompanied by a corresponding quality report of the product, it would avoid many headaches when having to solve the different errors detected by our quality control department, and would greatly facilitate their work, because, once analyzed by QUALES, they would be able to focus themselves on final viewing to obtain technical approval for broadcasting. This test has schematically shown a small part of the possibilities offered by QUALES. I invite you to visit their website, which provides more specific information on the product, and where you will have the chance to check out their software demo. I want to thank Daniel RoquĂŠs from QUALES.TV for his support during the preparation of this test, and IB3 for lending us their facilities in order to carry out this test bench.
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In this issue: an extensive article with all the news from IBC, and in our test zone we test Elements One and Quales V2.3.14. Enjoy it.
Published on Oct 1, 2015
In this issue: an extensive article with all the news from IBC, and in our test zone we test Elements One and Quales V2.3.14. Enjoy it.