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TM Broadcast International #27 November 2015
TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 1 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43
Published in Spain
Editorial PAN SHOT
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Ikegami Produces World's First 8K OB Vehicle
Editorial We´re living awesome times for television. One of the best examples of this is that the best Hollywood writers are currently working for television studios, also premium technicians and actors. There are a big brains drain from cinema to TV. Something unbelievable just a few years ago. Now everybody can see amazing contents in traditional TV and OTT. In fact, we can watch TV wherever we want, and that´s great. Several recent studies show that TV consumption grows exponentially, especially in streaming, that is consumed actually by 50% of viewers (about 6 hours a week). However, the linear television still dominates (80% seniors – 60% millennials). TV consumption on smartphones grows around a 70% since 2012. TV Series are the most viewed content in all the devices, so we´re at the beginning of an amazing era. In the next years there will be mandatory open and flexible solutions from manufacturers. We venture to say that those who continue offering closed systems will disappear, no matter how big they are.
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PA N S H O T
RT Software Standardizes on AJA Corvid 88 for tOG-VR and tOG-Vista 4K Real-time Broadcast Graphics Systems Broadcast graphics systems developer RT Software has standardized on using AJA Video Systems' Corvid 88 video card in its 4K real-time broadcast graphics systems. The company is also integrating AJA's Io 4K with Thunderbolt(TM) 2 and 4K support into its up-and-coming 4K camera stitching solution, tOG-Vista. RT Software’s first system to integrate Corvid 88 is a tOG-VR 3D solution currently deployed at BT Sports to facilitate exclusive 4K broadcasts of the 2015/2016 UEFA Champions League season. As part of the launch of BT Sports’ new 4K channel and studio upgrade, RT Software supplied and assisted with the implementation of the augmented reality solution that delivers studio floor graphics during demanding live broadcasts. RT Software inte-
grated Corvid 88 into the live studio workflow to facilitate the real-time render of on-air broadcast graphics. The in-studio setup consists of up to four cameras, each with its own render PC using Corvid cards. “This is the first time we’ve used AJA cards, and we’ve been really impressed with their reliability,” says Luke Harrison, Technical Product Marketing Manager at RT Software. “We chose to go with Corvid 88 because we needed cards with multi-directional capabilities for configuring video and audio I/O. Our products are operator driven, so the fact that Corvid 88 lets our users monitor graphics at their workstations is great. This lastminute quality check is a huge advantage when it comes to live broadcasts, and BT Sports couldn’t be more satisfied with the results.” RT Software previewed additional Corvid 88 integration with its range of broadcast graphics solutions dur-
ing IBC 2015 in Amsterdam. The company also showcased live demos of tOG-Vista, RT Software’s live 4K stitching solution. Announced in June, the system stitches together the output of two 4K cameras, each connected to a Corvid 88 card, to create a single 7680 x 2160 canvas. The resulting footage allows users to generate two HD outputs that are joystick controlled, enabling the operator to use a virtual camera to follow action and zoom in and out. “tOG-Vista is ideal for situations where there is a benefit in capturing the entire game play. Off the ball incidents become a thing of the past, for example, and this innovative technology could even be used to reduce production costs yet improve production values on 2nd tier sports. Corvid 88 facilitates the entire workflow, allowing us to combine the outputs of two 4K cameras,” commented Harrison. “We’ve done a few customer trials, and the feedback has been overwhelmingly positive.” Harrison concluded: “We’ve been really impressed with Corvid 88 and Io 4K, and we’re looking forward to finding new and innovative ways to integrate AJA technology into our entire line of broadcast graphics solutions in the future.”
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PA N S H O T
Ncam augments UEFA Champions League coverage for BT Sport
As the exclusive UK broadcaster of the UEFA Champions League and UEFA Europa League, BT Sport recently upgraded its studio to add augmented reality capabilities. This included the installation of Ncam’s Live tracking systems on: a rolling jib, a Steadicam and a robotic dolly. The jib allows free movement around the studio, as well as high beauty shots which include an intricate night-time 3D map of Europe with models of the stadiums in use, all generated in RT Software’s graphics engine. The map, and other graphic elements, must be rigidly locked to the live camera outputs. “We wanted to push the creative boundaries with our UEFA Champions League coverage,” said Jamie Hinghaugh, COO of BT Sport. “That is why we have invested in Ncam’s technology. The response from our audience has been fantastic around our augment-
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ed reality offerings.”
tent locked in place.
Ncam’s tracking system is unique in achieving absolute precision in camera location, through all six degrees of movement: XYZ position in 3D space, pan, tilt and roll, so even handheld cameras can be precisely tracked. The Ncam multisensor bar on the camera also integrates with the lens so zoom and focus are captured and streamed to the graphics engine, ensuring the real and virtual elements match precisely.
“This adds so much to the production value of the shows,” he added. “It creates a great immersive experience, bringing the audience into the games and the discussions.”
“BT Sport wanted the freedom to present information in an engaging and creative way, which is why the crane, the dolly system – which moves around two sides of the studio – and the Steadicam were specified,” said Nic Hatch, CEO of Ncam. “With Ncam constantly tracking the positions of all three cameras simultaneously, the director has the freedom to find and explore multiple angles, while keeping all the augmented reality con-
The Ncam Live system uses a lightweight multi-sensor bar attached to each camera. This bar includes a stereo pair of cameras to reconstruct the studio in three dimensional space, combined with multiple non-optical sensors to track and predict motion. Because the technology uses natural tracking points from the environment, the system requires no calibration and can be ready for use in seconds. RT Software uses the Ncam SDK to develop a powerful interface, capturing all the positional data available, which ensures a very high degree of precision in placing the graphics.
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Riedel MetroN Streamlines Signal Distribution for 2015 Red Bull Air Race World Championship Deploying the new MetroN core router along with its MediorNet realtime media network, Riedel Communications radically reduced the signal-distribution infrastructure required to support the Red Bull Air Race World Championships. Throughout the season, this new solution enabled Riedel to reduce the required hardware by 75 percent while increasing available bandwidth. Providing a massive 640 gigabytes of real-time signal-routing in just 2 RU, Riedel's MediorNet MetroN fiber router enables users to configure robust and highly redundant MediorNet installations using less hardware and cabling. The addition of this fiber router to the MediorNet systems typically implemented for the Red Bull Air Race World Championship facilitates the transport of large volumes of high-bandwidth signals without compromising the flexibility of the network. During the air races, pilots navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible. Each of the 14 race planes is equipped with two HD cameras — one at the aircraft's tail and one in the cockpit — that are remotely controlled from the ground. Video is delivered to the ground along with aircraft telemetry via a Riedel RF link, and these video signals and data are then passed to race control, the individual teams, and TVN Mobile Productions — partner to broadcaster EURO TV — via the MediorNet network, which also facilitates distribution of video captured by additional cameras on the ground. "As a pilot, the most exciting part of flying in the Red Bull Air Races is the fact that we are flying against the clock. This makes for fun competition with the other pilots, and we
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always know where we stand," said Master Class Pilot Yoshihide Muroya from Team Falken. "With the amazing images from the onboard cameras, viewers can see and understand exactly what is going on in the cockpit. The onboard cameras are a vital part of creating an exciting race atmosphere and a unique experience for the spectators. We are working very hard when we're up there, and the effects of the G-forces are very evident." The MetroN moves all of the HD signals for the broadcast master control room, on-site video walls, and race control. Because IT data is tunneled through these MetroN systems, Riedel is able to provide the IT backbone for each event without adding a single piece of cable. To integrate the event‘s main mixing console, Riedel technicians interfaced audio signals via MADI through Riedel's RockNet digital audio network solution in combination with MediorNet. Riedel's Artist digital matrix intercom system facilitates all communications for the event's production teams, and the company's wireless products meet the communication
needs of race stewards, directors, and judges. With the Artist serving as the communications backbone, Riedel's Juggler seamlessly integrates a trunked TETRA radio installation with more than 500 hand-held digital radios, many of which support emergency services and both race and flight operations. The Riedel RiFace interface supports the integration and use of analog radios as well. For races where the Challenger class' airports are not located near the host airport — such as in Spielberg, Austria — Riedel's STX-200 professional Skype® interface makes it easy and cost-effective to maintain streaming video and communications between each pilot and their support team. "The Red Bull Air Race World Championship is a visual spectacle featuring the world's most exceptional pilots competing in races across the globe. We're proud that for each championship event, Riedel solutions play a central role not only in facilitating live production and broadcast, but also in ensuring the safety of pilots and spectators," said Yung Min Lee, project manager for global events at Riedel Communications.
PA N S H O T
SAM Welcomes Hector Sanchez. Industry veteran joins Latin American team. SAM is pleased to announce Mr. Hector Sanchez has joined the company as Regional Director, Latin America, effective September 1. Sanchez joins the company after successful roles most recently at Elemental Technologies for one year, and previously with Grass Valley for 20 years. As the company continues to build out its business in the region, Sanchez’s deep industry background and experience with channel partners and end customers will help drive higher levels of business. Sanchez is responsible for all business activities in Mexico, Central America, Caribbean, Colombia and Venezuela, which includes direct engagement with
key customers, development of new markets and the management of the channel partner network and system integrators. “Hector brings a very strong technical background in working with various product lines throughout his career. This enables him to quickly learn the SAM product portfolio and work with customers on the solutions that best meet their needs,” said Rafael Castillo, Vice President of Latin America. The Latin American region continues to provide significant opportunities for the company as it looks to expand its presence and full range of products and solutions to regional customers. Along with the oppor-
tunities, competition is strong; however the company is confident in its ability to be highly successful through the strong sales team being assembled in the region and its commitment to achieving business objectives.
PA N S H O T
NEP turns to Calrec Audio once again for new OB unit U.S.-based global outside broadcast (OB) and facilities company NEP has installed Calrec Apollo and Artemis audio consoles into a new OB truck to cover professional golf and football in the U.S. "NEP introduced Calrec to the U.S. marketplace with two S series desks in 1996, and Calrec has been our console of choice since then," said George Hoover, chief technology officer of NEP Group. "A feature-rich, great-sounding, and reliable desk drove that first purchase nearly 20 years ago, and it has been a pleasure working with Calrec on the evolution of its desks to help meet the ever more complex needs of audio for remote and studio production." "In this case, NEP chose Calrec equipment to help overcome some significant audio challenges in golf coverage," added Hoover. "One is simply the physical size of the course and distances involved. Another is an extremely wide dynamic range, from dead-quiet except for birds and crickets chirping to huge roars from the crowd. In addition, golf events run up to 10 hours and cover multiple days, which can drain the batteries
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in field boxes. Finally, it's difficult to move around on the course once play begins, so reliability is very important." The Apollo and Artemis consoles are installed in the B unit, handling the main mix and effects mixes, respectively. Hydra2 gives NEP full control of the preamps directly from the desk, eliminating the need for an audio assistant to run around tweaking preamps on the course, and it networks the two desks together to enable source sharing. Of critical importance in NEP's setup are the field boxes. Golf coverage calls for having many microphones on the course, particularly for 18-hole coverage at the majors. Calrec designed a new compact and ruggedised Hydra2 Fieldbox with looping network connections â€” a feature that is ideal for golf events where microphones are placed one or two at a time in numerous locations. Key benefits include the elimination of external battery-powered preamps and a reduction in the amount of copper cable required.
NEP has assigned about a dozen field boxes of various sizes and configurations to this new OB unit and can call upon its worldwide inventory for especially large events. The unit covered two golf events in mid-August and then transitioned to Thursday Night Football. "Calrec is the preferred desk in many parts of the world where NEP operates, and the company owns well over 100 desks," said Helen Carr, regional sales manager at Calrec Audio. One of the reasons we're able to deliver our renowned reliability, features, and sound quality is our working relationship with customers like NEP, whose evolving needs drive us to develop products such as the custom field boxes. "NEP's extensive use of Hydra2 for field I/O in its new truck shows how Calrec can improve efficiency and overall quality in complex OB environments. We're fortunate to have had a long, collaborative, and mutually beneficial relationship with NEP, and we're happy to be taking another step forward together."
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Cobalt Digital at CCW 2015 New and Improved 9978ANC-MON Ancillary Data Monitoring Probe New and improved for CCW 2015 is the Cobalt速 9978-ANC-MON 3G/HD/SD-SDI Ancillary Data Monitoring Probe. The 9978-ANCMON is an easy-to-use, economical solution that offers comprehensive ancillary data monitoring and probing to validate and ensure the expected presence and handling of ancillary data in SDI streams. The Cobalt Digital engineering team has updated the user interface to provide 15 status fields and boxes that can be sized and positioned anywhere on the screen. Users can select the status (AFD, LKFS, video format) and which source (Input AE) to use for each status box. The probe also features five timecode burn status boxes. Because the input video PIPs can be sized and positioned anywhere on the screen, the card can be set up for a wide variety of monitoring applications, with the user maintaining complete
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control over how much status is displayed for up to five inputs. Another major improvement introduced for the 9978-ANC-MON is SCTE104 logging. The probe's onscreen display shows the last three SCTE104 messages received, as well as the time each message was received and the time elapsed since the last message. In the dashboard area, Cobalt Digital has added tree views of the last three messages that allow users to drill down into the message fields.
New 9922-2FS 3G/HD/SDSDI Dual-Channel Frame Sync and Text-to-Speech Option (+TTS) The Cobalt速 9922-2FS 3G/HD/SD-SDI Dual-Channel Frame Sync represents the highestdensity frame sync card in the openGear速 family. It provides audio and video processing, AES/analog audio embedding and de-embedding, and CVBS I/O with two signal
paths of frame sync on a single openGear card. Channel density can be as high as 33 channels in 2 RU when the card is deployed in the OG3-FR openGear frame, or up to 40 channels of advanced processing when housed in Cobalt's HPF-9000 20-slot high-power openGear frame. Key features of the space-saving 9922-2FS include the ability to add RGB color correction, set autochangeover to invoke failover for basic input loss, and "moving-box" insertion over input video or internally generated test patterns for active picture verification. Cobalt Digital's award-winning text-to-speech software option (+TTS) is licensable to the 99222FS dual frame sync card and other Cobalt openGear cards including: 9902-UDX, 9922-FS, and 9932-EMDE. The +TTS option can be downloaded the following standalone BBG-1000 boxes: BBG-1002UDX, BBG-1022-FS, BBG-10222FS, and BBG-1032-EMDE.
Riedel Communications Expands Asia Pacific Sales and Support Team With New Appointments in Japan Responding to growing demand for its solutions in Japan, Riedel Communications has augmented its Tokyo-based sales and support team with the appointment of Toshiki Kawakita as sales representative and Takako Konishi as office manager. In his new role with Riedel, Kawakita will be responsible for supporting existing customers, building new client and partner relationships, contributing to the company's regional sales strategy, and representing Riedel at key trade events. "Toshiki and Takako join the company with valuable skills and experiences that enhance our ability to provide responsive service to a rapidly increasing customer base in Japan," said Cameron O'Neill, sales and operations director for Riedel Communications, Asia Pacific. "We are confident that, with useful technical backgrounds and strong communications skills, both of these new additions to the Riedel team will play an important role in our continued growth." Kawakita has 12 years of international business experience, most recently in the OEM sales department at Audio-Technica, a manufacturer of high-performance audio equipment including microphones, headphones, and conference systems. While with the company, he helped to drive significant sales gains and was instrumental in securing high-profile customers ranging from tech powerhouses to leading automotive companies. He earlier held sales and support roles at Komatsu, where he maintained distributor relationships across Europe, the Middle East, and Asia, and international sales roles at Nissin Shoji. Kawakita is fluent in Japanese, English, and Spanish. He will report directly to O'Neill. Konishi joins Riedel with experience working in the financial and efficient/renewable energy fields. Having pursued environmental studies in both Japan and Germany, she is fluent in Japanese and German, with intermediate English-language skills. She joins the company to manage the finance and administration of the Japanese office and to assist in providing timely service to Riedel's expanding customer base.
PA N S H O T
Saudi Broadcasting Corporation (SBC) Upgrades Saudi National Audio Archives to NETIA Radio-Assist™ 8.2 NETIA announced that Saudi Broadcasting Corporation (SBC) has upgraded the NETIA RadioAssist™ radio automation suite used by the kingdom's national audio archives. SBC is a governmental entity of Saudi Arabia, organized under the Ministry of Culture and Information. SBC worked with NETIA's area partner, First Gulf Company, to upgrade its existing systems to Radio-Assist 8.2 and to leverage the software to facilitate the smooth exchange of content between the national archives facility and SBC's two flagship radio stations, Radio Riyadh and Radio Jeddah. "We have developed a strong relationship with NETIA and a familiarity with the company's automation software that give us confidence in using Radio-Assist to enable ongoing expansion of Saudi Arabia's digital media archives," said Naim Saidi, CEO at First Gulf Company. "With this latest extension of NETIA software, we have improved the ease and speed with which various SBC sites can access and work with media. Convenient sharing of assets across these sites ultimately will enable SBC to be more efficient in preserving and repurposing unique media assets reflecting the kingdom's rich heritage." SBC began working with NETIA in 2008, when it worked with First Gulf Company to install Radio-Assist at Radio Riyadh and Radio Jeddah, as well as at the national archives. The installation supported the migration of archived tapes to digital and, in turn, facilitated the restoration, preservation, and
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AES67-2015 revision confirms stability of the audio network interoperability standard A maintenance revision to AES672013 – the AES standard for high-performance streaming audio-over-IP interoperability – has been issued. The revision, called AES67-2015, clarifies some of the interoperability requirements, based on general implementation and “plugfest” experience.
repurposing of historical assets that might otherwise have been lost. In 2012, the two companies deployed the NETIA radio automation suite at three additional regional sites: Jizan, Hail, and Tabuk. Now, with the upgrade to Radio-Assist 8.2, SBC and First Gulf Company have integrated the NETIA software with a new HSM system and management interface to centralize audio and video assets and make them available to users working at the national archives, Radio Riyadh, and Radio Jeddah. "Through the evolution of its digital archives and the software supporting it, SBC is creating a valuable and readily available historical resource for the Kingdom of Saudi Arabia," said Mathieu Poussin, area sales manager, Middle East and Africa, at NETIA. "We look forward to working further with SBC and First Gulf in optimizing, centralizing, and managing Saudi Arabia's audiovisual assets on a nationwide level."
The possibility to incorporate these revisions was identified during the AES ‘Plugfest’ 1 testing, carried out in cooperation with the European Broadcast Union (EBU), in October last year, and held at the Institut für Rundfunktechnik (IRT), in Munich, Germany. During these tests ten companies tested 16 currently available networked-audio products with AES67-specific extensions against each other to confirm interoperability. The participating manufacturers were ALC NetworX GmbH, Archwave AG, Axia Audio, Digigram SA, DirectOut GmbH, Georg Neumann GmbH, Lawo AG, Merging Technologies S.A., SOUND4 and Telos Systems Inc., and technical personnel from IRT, Swedish Radio and the BBC assisted in the tests and observed the outcomes on behalf of the EBU. The tests were a resounding success, and proved the proposed functionality of AES67 to be both real and robust. AES67-2015 includes updated references to RFC 7273 and clarifications in 6.3, 8.1, and 8.5 – http://www.aes.org/publications/standards/ 1 AES-R12-2014, "Standards project report - AES67 Interoperability PlugFest - Munich 2014" Audio Engineering Society, New York, NY., US. www.aes.org/publications/standards/
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New Report: "Broadcast Quality" Is Now Determined by Viewers Not Broadcasters At the upcoming SMPTE conference in LA, Josef Marc, Cofounder & CMO of Archimedia Technology, will present a paper that challenges current perception of what the words “broadcast quality” actually mean. According to Marc, “Broadcast quality” is now being determined by the viewer, not broadcasters. Broadcast quality, which has traditionally been a standard that television engineers have strived to achieve, is being superseded by the choices of consumers in their devices. In his presentation Marc will recall the mostly-forgotten origins of “broadcast quality.” According to Marc, in the early days of television the advertising community needed a standard for “broadcast quality” so they could be sure their commercials were seen in the best possible light. Standards bodies like SMPTE and NTSC helped define what the viewers would see. Says Marc, “After a TV commercial ran, broadcasters had to send advertisers a record of when an ad ran, as well as TV technical specs that were achieved. If the specs were
plex algorithms combining a variety of visual and aural characteristics, including contrast, brightness, edge enhancements, color range, audio processing, motion blur repair, and even upscaling normal High Definition to Ultra High Definition and High Dynamic Range. Once a consumer engages a mode, a wide variety of technical adjustments takes place that shapes what the consumer experiences. not ‘broadcast quality,’ the advertiser might not pay.” But as Marc looks to the present, that model no longer applies. Says Marc, “Consumers don’t care if it’s right, they care how it makes them feel. Advertisers and subscription services will compete to satisfy them. Today smart television sets have powerful controls over what the consumer sees, so ‘broadcast quality’ is now more in the hands of the consumers than broadcasters.” The driver of this change is the growing sophistication of today’s smart TV sets which offer a wide variety of “modes” to shape the viewer’s experience. From the technical view, these modes are com-
At the end of Marc’s paper he will look into the future. Says Marc, “We’ve reached a point where basic quality is a given, and as we look to the near future, viewers will also be able to opt in for expanded audio and visual experiences including High Dynamic Range (HDR), UHD and 4K, expanding the color gamut, and even a “Director’s Look” to complement a Director’s Cut version of a movie. Perhaps we’ll choose to watch a 1980’s science fiction classic in its original look but with sound processed by the TV to match next year’s latest object-oriented theatrical type sound system just because we can.”
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Renewed Vision ProPresenter Software Drives Ad-Supported Digital Scoreboards in Atlanta-Area Sports Venues Renewed Vision has customized its ProPresenter media presentation software to simplify live scoring and drive revenue on new immersive, ad-supported digital scoreboards at the LakePoint Sporting Community and Norcross High School in suburban Atlanta. As powered by the new ProPresenter-based scoreboard software, operators can change scoreboard layouts on the fly during and between various sporting events, and drive multiple simultaneous advertisements, special announcements and interstitial graphics aligned with exciting game action. The complete architecture as designed and integrated by Formetco Inc.—which also manufactured the new scoreboards— leverages wireless communication through a private network and web browser. Renewed Vision created scoreboard software featuring a built-in web server, which allows users with iPads, laptops, or other connected devices to control all aspects of the scoreboard field-side over a private wireless network. Built-in scheduling tools further allow end users to schedule and track ads across any number of games, providing a rich media management tool to accelerate return on investment. The customized ProPresenter software displays separate interfaces for users to easily drive scoring (independently of advertising, graphics, and interstitials), and the system can easily switch between a variety of sports including football, lacrosse, volleyball, soccer, baseball, and more. This is especially useful at LakePoint Sporting Community, a 1300-acre travel sports destination 30 minutes north of Atlanta with multiple venues on campus. Since the LakePoint complex is so enormous, as many as eight operators per day are using the system from 8am to midnight
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location. The LakePoint project was the more innovative, requiring interoperability between ProPresenter and Perfect Game’s “GameChanger” software. In this configuration, the GameChanger scoring application is displayed through custom website views built using ProPresenter, which ultimately delivers dynamic scoring complex-wide alongside ads and interstitials that ProPresenter drives separately through its built-in scheduling tools. The complete system additionally interfaces with LakePoint’s Doppler radar system for automatic display of pitch speeds and types on LED screens. for live scoring—accentuating the importance of Renewed Vision’s learning curve and ongoing ease of use. The visually stunning results produced using ProPresenter have also proven effective at Norcross High School, which at 51’x29’ hosts the largest digital scoreboard on a U.S. high school campus. For Todd Heller, vice president of digital products at Formetco, the mix of operational, visual, and cost benefits made Renewed Vision the only truly viable scoring solution for each location. “Renewed Vision is delivering a full-service system for fan engagement while giving LakePoint Sporting Community and Norcross High School a system that is flexible and easy to use,” said Heller. “These venues heavily rely on volunteers or students to operate the systems, so the learning curve has to be quick, and there needs to be operational simplicity. Renewed Vision makes it easy for any user to put on a memorable show.” The Renewed Vision software is deployed slightly differently at each
Furthermore, operators at both LakePoint Sporting Community and Norcross High School benefit from ProPresenter’s flexibility pre-game, using the software to pre-program shows for different sports. Operators can create rundowns that include the national anthem, ad schedules and graphics built around touchdowns, home runs and other exciting game-changing events. Heller adds that ProPresenter software has also recently been integrated into digital scoreboard architectures for Jacksonville University in Florida, as well as several additional universities and high schools in Georgia just in time for fall football. “Formetco specializes in full turnkey systems that represent a huge step up for sports venues transitioning away from analog systems and into the digital world,” said Heller. “There is no other system in the same price range as Renewed Vision that gives us the anywhere near the same quality, comfort level and return on investment.”
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FilmLight powers Mumbai’s newest post house Nube Studio has opened with a Baselight TWO grading workstation as its centrepiece. The colour-driven facility is providing services for commercials, music videos, television and film throughout the region. As a facility aimed at the top end of production, an important requirement is the potential to work natively with raw files from any camera on the same timeline. The Baselight system is renowned for its ability to accommodate all professional formats, and also fully supports grading metadata of any complexity, including primaries, secondaries, keys, shapes, tracks, LUTs and Truelight Colour Spaces. This allows the colourist to explore all the details from the camera, and achieve the look the cinematographer intended. “Baselight delivers on every feature without restricting the creative
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process,” said senior colourist and co-founder Navin Shetty. “I am able to concentrate on grading and never compromise on quality or inspiration.” “Even at HDR 4K, Baselight delivers real-time playback as soon as the content is in the system,” added Shetty. “Clients are not kept waiting, and with the help of the superior grading tools they can see the final result immediately. For clients, the faster system equals staying within budget.” For FilmLight, CEO Wolfgang Lempp said: “We are proud to be associated with India’s leading colourist, Navin Shetty. He is very particular about the quality and output of his films. What he and his business head, Ranjan Karkera, have recognised is that directors and producers want to come to a post house and see great pictures
just the way they imagined them.” “At FilmLight we developed our core systems to provide real-time performance even when there is a multi-level grade on top of the raw image,” he added. “Baselight takes away the technical constraints of transcoding, proxies and unpredictable performance and leaves the colourist to achieve the best look in the shortest time.” Open only since June of 2015, Nube already boasts an impressive 100+ TVC’s, with a client register including: BMW, Philips, Godrej Air, Cadbury, Flip Kart, Maruti, Amazon, Dabur, Yardley, Myntra, Pepperfry, OLX, Sunsilk, Intex, KIT KAT, Kohler, Honda, Nescafe, Britannia, Nerolac, TATA, Airtel, Grofers, STAR TV, EPSON, Mahindra, Olay, Jaguar, Lava, Lifebuoy, Renault, Mentos and Solly Sport.
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More than 69 million Pay-TV Subscribers in Latin America in Q2 2015 . Dataxis Research analyzes the performance of the region’s pay-TV Market . Dataxis introduces figures of its updated Q2 2015 global intelligence study. The Latin American pay-TV market has exceeded 69 million subscribers, equivalent to a 37.7% penetration over total households. The segment was hit by a rarefied economic context, which was translated into a 5% annual growth rate. Even though Satellite pay-TV once again leads the technology ranking with 50.1% of the total number of subscribers, it showed a lower growth rate and as a consequence lost share. Dataxis explains that 80.3% of the customers is subscribed to a Digital pay-TV alterna-
tive, while HD reached a 32.9% penetration over the total number of subscribers. The seven largest Latin American markets agglomerate 86.6% of the subscribers: Argentina, Brazil, Chile, Colombia, Mexico, Peru and Venezuela. Brazil is the market with the highest number of pay-TV subs: 28.5% of the total. As of Q2 2015, Venezuela is the country with the highest home penetration; boosted by CANTV Satellite’s low cost model. América Móvil is the group with the highest number of recorded pay-TV subscribers by Q2 2015: 21.1% of the total. The group is fol-
lowed in volume by DirecTV, Televisa, Telefónica and Clarín. The subscription video OTT services added 8.8 million active accounts. Netflix is the leader of the segment with 57.5% of the market. Meanwhile, Mexico is the country with the highest share of OTT accounts: 45.5%.
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FOR-A to showcase its video switcher, multi-viewer & signal processor technology at CAPER 2015
One video switcher that FOR-A will have on hand is its HVS-2000 unit. The flexible, cost-efficient switcher allows up to 48 inputs/18 outputs or 40 inputs/22 outputs. The HVS-2000 features exclusive features unique to other switchers in its class, including MELite™, which allows a traditional AUX bus to transform into a functional M/E with cut, mix, wipe and key control; ONStage™, a newly developed technology designed specifically for staging events where multiple image magnification displays are used; and FLEXaKEY™, which allows operators to tailor their production needs by adding and moving key and DVE layers to traditional M/E resources or to MELite resources. The HVS-2000 has been a popular choice among a wide variety of customers since its introduction into the market, including use in houses of worship, corporate facilities, government agencies, broadcasters and educational settings. Another video switcher that FOR-A will show at CAPER is the HVS-100 portable unit, which boasts exceptional cost performance and includes mixed HD/SD input, frame synchronizing, re-sizing engine, 2.5D wipe effects, DVE, Chroma keyer and DSK. The switcher offers a built-in Web browser for remote control, as well as a clip memory feature in the still store to support playback of video or animations. Eight HD/SD SDI inputs, four HD/SD SDI outputs and one HDMI output come standard with the unit. FOR-A will also hand its FA-505 multi-channel signal processor on hand. Ideal for 4K applications, the fiveinput, five-output signal processor features up/down/cross/aspect ratio conversion capability on each input. Features of the unit include a powerful synchronizer that includes frame/line/AVDL modes, video delay line of up to eight frames, full RGB color correction, and 16 channels of embedded audio per channel - with the ability to remap channels from any input to any output. As a distributor of Fujitsu’s video transmission solutions, FOR-A will also be showcasing Fujitsu IP-920 encoder/decoder technology. Capable of operating at less than 99ms back-to-back latency, Fujitsu’s encoder/decoder technology is widely used for HD/SD content delivery in broadcast, enterprise and government applications. The IP-920 uses H.264 MPEG-4 AVC technology encoding and features real-time transmission and robust error correction.
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Vimond appoints Christina Moe Hansen CFO Vimond Media Solutions has announced that Christina Moe Hansen has been appointed Chief Financial Officer. Ms. Hansen joins the company from Ernst & Young AS and will be based at Vimond’s Bergen headquarters. “The appointment of a dynamic CFO at this point in the company’s development is a significant event, especially in a period of rapid expansion in the USA and other regional markets,” said Helge Høibraaten, CEO of Vimond. “Christina’s contribution will be invaluable in Vimond’s continuing progress and we are delighted to welcome her aboard.” Christina Moe Hansen holds a Master’s degree in Accounting and Auditing and an MBA from the Norwegian School of Economics (NHH) and has a wide range of financial management experience with SME clients and large enterprises. “Vimond Media Solutions has an eminent position in the multiscreen media market, and as recent major launches have shown, Vimond products are powering some of the world’s most attention-grabbing media innovations,” said Ms. Hansen. “It’s a great time – and very a busy time – to be joining the company.”
PA N S H O T
VITEC at CCW 2015 VITEC's Professional Series of Portable H.264 Encoding and Streaming Appliances Featuring Zixi and ProMPEG error-correction technologies, VITEC's professional series of portable HEVC and H.264 encoding and streaming appliances, the MGW Premium, MGW Nano, and MGW Pico are a field-proven family of rugged, compact, and pocketsized streaming appliances designed for low-latency streaming of HD/SD content in the most demanding of environments. Designed for stationary and field applications, the small footprint encoders ingest and stream video, audio, and critical metadata from any source, anytime, anywhere. The MGW Premium is VITEC's highest density unit capable of encoding up to two HD sources or up to four SD sources simultaneously. The MGW Premium encoder is the ideal all-in-one appliance for encoding and streaming of TV feeds from HDMI-based set-top boxes, desktop screen imagery, or other analog sources. Designed for single-source applications, the MGW Nano is a more compact unit featuring HD/SD/SDI
and HDMI. MGW Nano is offered with standard connectors or in an airborne certified rugged version called MGW Nano Tough, which features MIL-STD 38999 interfaces and enhanced environmental ratings. At only the size of a credit card, the MGW Pico is the smallest, lightest, and most powerful H.264 HD/SD encoder in the market. Weighing less than seven ounces, MGW Pico boasts HD/SD-SDI and composite inputs with the same compression quality and capability as the MGW Premium and Nano in an ultra-small form factor for manned and unmanned vehicles.
The First Portable HEVC Encoder On display at CCW is VITEC's
all-new MGW Ace appliance, the industry's first 100-percent hardware-based HEVC portable device for encoding and streaming video. Powerful yet compact, the revolutionary device features HEVC (H.265) bandwidth-efficient compression as well as legacy H.264 capabilities. Its wide selection of I/Os and low power consumption using VITEC's HEVC compression chip make it a perfect solution for streaming video, audio, and KLV metadata while in the field or on the move. When coupled with the MGW D265 portable HEVC IP decoder, it becomes an end-to-end, on-the-go streaming solution for broadcast, military, medical, education, enterprise, telco, government, transportation, sports, and entertainment.
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ATG Danmon UK reports growing demand for virtualised systems at IBC2015 ATG Danmon UK reports a healthy and successful IBC2015 with increasing interest in softwarecentric product virtualisation.
whilst retaining the flexibility and reliability that broadcasters quite rightly insist on.
"The move from panel-per-product hardware to software-based solutions running on enterprise servers has now become an established fact of systems integration life," comments ATG Danmon UK Managing Director Russell PeirsonHagger. "Technology has progressed to the point where multiple devices can be virtualised within a single server.
"There was a lot of discussion at IBC2015, as indeed last year, about the relative merits of serial digital interfacing and Internet Protocol. IP clearly has some benefits on offer but there are still plenty of reasons why we will see the continued use of SDI for the foreseeable future. Rather than IP completely replacing SDI, it is evident that a hybrid approach currently offers the best of both technologies.
"In our role as systems integrators, we will include virtualisation whenever it offers clear operational and cost-efficiency advantages to our customers. The key technical challenge today is to ensure that software from multiple vendors operates efficiently when combined into a single operating environment,
"Traditional broadcasting has proved its ability not just to survive competition from the internet but to embrace it. Many channels now offer catch-up television services as a routine element of their activity, along with web-based news, programme guides and over-the-top supplementary programme feeds. A
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key element of our role as a systems integrator is to support our customers with these new delivery options and to ensure they can operate as efficiently as possible in an industry which demands high productivity as well as creativity." Overall IBC2015 proved a very successful show for ATG Danmon UK, including productive meetings held with both new and existing clients. We are looking forward to building on this success across the Danmon Group through into 2016. Part of the Danmon Group, ATG Danmon UK (www.danmon.com) offers a comprehensive range of products services including workflow-design, project-planning, equipment installation, softwareconfiguration, commissioning, documentation, on-site training plus ongoing support and maintenance.
PA N S H O T
Pioneering premiere with Lawo audio and video equipment: organs in eight churches in five cities perform one live concert Eight organs; one opus; eight organists; one concert; eight churches; one audience In a special event marking the 300th anniversary of the city of Karlsruhe in Germany, organists in the twinned cities of Halle an der Saale (Germany), Nancy (France), Nottingham (England) and Timisoara (Romania) played live with four organists in Karlsruhe itself. Performing ‘Organum’ – a contemporary organ work composed by Wolfgang Mitterer especially for the occasion – the event was broadcast live via satellite to the Karlsruhe State Academy of Design (Hochschule für Gestaltung, HfG). At the academy, the live video feeds from the organists playing and the music itself were set to a technically and artistically challenging sound and image installation, with the help of two Lawo V__pro8 video processor units and a Lawo mc²36 audio mixing console.
Audio and video equipment from Lawo Rastatt-based Audio Broadcast Services (ABS) supplied the Lawo video and audio equipment for the event, and worked with Lawo’s Service Department to overcome its technical issues. The IP-based V__pro8 – compact, fully digital 8channel video processors – were required for de-embedding the satellite streams received from the eight churches, and providing separate audio and video signals. They were also used for image processing. Together with the Lawo mc²36, the V__pro8 supplied the surround mix of the concert for both the live PA system and for recording. The separate elements were combined to create a complex work that
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called not only on the skills of the musicians’, but also those of the technology’s operators.
Artistic Concept With the concept for the work established, responsibility for its realization was passed to Dr. Achim Heidenreich of the Department of Education, Media and Economy Karlsruhe, who took on overall management of the project – now called ‘Organum’. Together with the organists, Dr. Heidenreich envisaged a completely new artwork, based on the music composition commissioned from Wolfgang Mitterer, one of the most renowned contemporary composers of organ music. He created an opus for a concert that merged sound and video in a square installation at the HfG called ‘Carée’ – here visitors could walk among eight loudspeakers and projection units, creating their own personal experience of the music and the visuals. It was designed as a "democratic piece of art" as Dr. Heidenreich explains: "Music that sounds perfect only at one particu-
lar spot in a concert hall is an outmoded relict of feudal times. In those days, everything was tuned so that the best sound arrived only at monarch’s box. In our installation, visitors were invited to find their own listening position and to change it at will."
Planning and Coordination Technical design and coordination of the project was overseen by Tonmeister Sebastian Schottke, who works in the field of contemporary music at the Karlsruhe Center for Art and Media (Zentrum für Kunst und Medientechnologie), as well as at other institutions. After considering the requirements necessary for simulcasting, it was apparent that the audio and video signals needed to be acquired at the eight locations and relayed via satellite link to the HfG. This was the only means to guarantee a synchronous transmission with a stable delay. Sebastian Schottke developed guidelines for the selection and positioning of the microphones on the organs; the cameras showed in their position
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as well as the organist at work. The audio and video signals were fed to an SNG van from Colognebased broadcasting and media service provider, Media Broadcast, and from partners located at the respective churches, and transferred via satellite link to Karlsruhe. They were received by another Media Broadcast SNG, and fed into the Lawo setup for the sound and image installation – a total of nine SNG vehicles. Drawing on his experience of audio mixing consoles from a number of different manufacturers, Schottke chose the Lawo mc²36 from Lawo for the concert mix. "The key was the fidelity that I achieve with my mix, and the mc²36 gives a particularly high-quality sound that didn’t require any editing whatsoever. In addition to its DSP power, the console provides a compact sur-
face and allows fast operation," he says. Paralleling the live stream from the V__pro8, a DAW supplied sample recordings as a backup (which were not used during the concert) and pre-produced sounds transmitted via MADI to the mc²36. Schottke: "Through the use of two V__pro8 Units – one for redundancy – and the digital mixing console, the complete signal path could be maintained digitally after taking the signals from the SNG, so no quality losses occurred by repeated conversion."
Technical Process and Musical Performance After conception, composition, technical preparations and rehearsals, the satellite link was booked. And on the day of the premiere, the real excitement began –
19 September 2015 at 4pm, and again at 9pm, the organists began to play. Their performances were synchronized to the second – indicated by a radio clock, as they had to adhere precisely to appropriate timings set by the composition. The organists were able to develop and expand the piece in improvisational passages, but all to a fixed schedule, because they had no return line for acoustic control, only a time slot. "You have imagine this as eight World Cup finals, that took place at the same time in the HfG," explains Dr. Heidenreich. "The event took place in this very moment. Such a thing has never existed before in this form. The audience in Karlsruhe experienced the interaction between the eight separate organs as a single, synchronous sound body."
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GatesAir HD Radio™ Upgrade Plan Transitions PreviousGeneration Transmitter Owners to Flexiva™ Exciter GatesAir is offering a cost-efficient exciter upgrade to its large base of Platinum Z™ and ZX™ transmitter customers. The Flexiva™ Power-Up Program targets worldwide FM broadcasters seeking a low-cost path to the increased power levels of elevated HD Radio sidebands, and provides competitive analog audio improvements without requiring investment in a new transmitter. “GatesAir transmitters have always been manufactured for high performance over long lifecycles to ensure long-term low total cost of ownership,” said Rich Redmond, chief product officer, GatesAir. “Many of the Platinum Z and ZX transmitters in the field are not even halfway through their operational lives. The Flexiva Power-Up Program gives these customers a low-cost way to leverage the benefits of Gen4 Exgine technology for HD Radio broadcasting, and get
the most competitive sound on analog without forklifting their entire systems.” In the United States, the FCCapproved HD Radio sideband increase up to -10dB from -20dB allows stations to significantly improve their HD Radio coverage. The Flexiva Power Up Program allows Platinum Z and ZX customers to raise HD Radio power by up to 237 percent upon integrating the Flexiva FAX-50 FM exciter. This, along with GatesAir’s innovations in hybrid crest factor reduction to increase output power, ensures that HD Radio broadcasters can broaden their market penetration. Furthermore, the Flexiva FAX exciter enables hybrid FM/HD broadcasters to increase transmitter analog power by up to 33 percent, also enhancing overall system
An extension of the program allows customers to additionally upgrade to current-generation GatesAir Flexiva Importer and Exporter units, ensuring the full multichannel and audio quality benefits of a complete Gen4 Exgine architecture. The current-generation Importer, Exporter and exciter units also eliminate spinning disks in favor of 100 percent solid-state operation, increasing reliability, simplifying maintenance and boosting efficiency for lower operating costs. At nearly $6000 below its usual cost, the base Flexiva Power-Up package includes the FAX-50 FM/HD Radio exciter, an installation kit with cables and mounting hardware, and a video installation guide. Interested parties can contact their regional sales rep or e-mail Americas@GatesAir.com for more information.
VITEC Named to List of 100 Companies That Matter Most in Online Video in 2015 VITEC has been named to the Streaming Media 100 — Streaming Media magazine's fifth annual list of companies that matter most in online video. VITEC has made the list three years in a row. The Streaming Media 100 represents the most interesting, important, and influential companies in the online video industry as determined by Streaming Media writers, staff, and regular contributors. Judges focused on companies that create products, technologies, and services that enable either end users
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or other vendors in the industry to improve a piece of the online video value chain, whether for image capture, encoding, distribution, or consumer use. "We strive to bring innovative,
industry-first digital video products to the streaming community in all industries, from broadcast to government to education to medical. This year we introduced the MGW Ace and MGW D265 appliances, which together make up the world's first entirely portable HEVC encoding/decoding solution," said Philippe Wetzel, CEO, VITEC. "It's so gratifying that Streaming Media has once again recognized our pioneering technology, and we're honored to be a member of this elite list."
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Qligent Cloud Monitoring Solution Brings Vision to OTT Delivery Quality for RT
Ncam showcases augmented reality capabilities at Sportel 2015
Qligent has delivered a large-scale QoS (quality of service) and QoE (quality of experience) OTT monitoring system to RT (formerly Russia Today). The initial deployment covers multiple points of OTT service monitoring in major cities across the United States, UK, Spain, Mexico and the United Arab Emirates, with 24/7 access to the system for RT monitoring staff from anywhere there is an Internet connection. As part of the turnkey software-as-a-service (SaaS) to reduce RT's in-house integration responsibilities, Qligent’s partner The Tecom Group is handling strategic deployment of the entire monitoring infrastructure. In collaboration with the experts from RT, Tecom Group determined the most effective and efficient monitoring strategy across global locations. Given its ability to run on commercially available IT equipment, Qligent’s Vision software-defined platform proved ideal for remote, virtualized deployment and operation. RT’s current OTT portfolio includes its YouTube channel, which with more than 2.5 billion views and nearly 3 million subscribers is considered the world’s number one OTT TV news network. RT additionally distributes OTT content over its website at RT.com; and its mobile apps on iOS, Android and Windows Media devices. For the purpose of the OTT service monitoring, Qligent’s innovative Vision platform allows for the capture, collection and analysis of QoS and QoE parameters, the latter of which determines the end viewer experience. As Vision is cloud-enabled and allows proactive control over service quality, Vision makes it possible to carry out distributed monitoring in locations worldwide without the need to deploy a complicated network of probes – a benefit for monitoring OTT services that technically have few geographical limitations. The Tecom Group’s deployment plan ensures the appropriate positioning of virtualized probes at strategic monitoring points, with occasional redeployment to new locations over a central IT infrastructure. In addition to the virtualized deployment of monitoring probes, The Tecom Group additionally reconciles changes with the virtual server cluster to ensure high capacity, availability and quality of service. This delivers a substantial cut in CAPEX related to installation, support, maintenance, and equipment and software updates for RT, significantly reducing long-term total cost of ownership.
Augmented reality places virtual graphics elements into real images. In sport it might be graphics in place on the pitch during the event, and popup players, graphs and statistics in post-match analysis. In each case, absolutely critical to the success of the technique is that the virtual elements should remain perfectly positioned in the real image, which means tracking the view of the camera to a very high degree of precision. With sports typically taking place on large pitches and outdoors, using markers or fixed references for reference is impossible. The Ncam solution uses a sensor bar attached to the camera, automatically identifying points of interest and tracks them whatever the camera movement. The resultant stream of positional and rotational data is sent to the graphics engine for the precise blending of real and virtual elements. The full Ncam Live 7D system provides six degrees of freedom in camera tracking: the position in X, Y and Z space, plus pan, tilt and roll, allowing for handheld use. Adding zoom, focus and aperture settings from the lens means that the precise field of view of the camera can be calculated. “Augmented reality is already having a huge impact on sports television, and Ncam is enabling industry leaders like Fox Sport, ESPN and BT Sport to achieve remarkable immersive coverage,” said Nic Hatch, CEO of Ncam. “At Sportel we want to show what can really be achieved with today’s technology, but we also want to talk to the leading sports broadcasters from around the world about their vision for television coverage in the future, and how our technologies could be developed to help them reach their goals.”
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SDI Media is a global group specialized in dubbing and subtitling (localization) with facilities in 37 countries. One distinction is that the company dubs and subtitles to almost every language in a manner that offers major media customers such as Disney, Warner, Universal, Sony, etc., the possibility of localizing productions into multiple language versions, by delivering a single copy. SDI then coordinates internally creation of all
versions managed by those countries where SDI has its offices located. This is a fast and competitive solution for customers because global control of contents. SDI has been in operation for over 30 years, and in 2013 SDI entered the Southern European dubbing market, by acquiring Soundub, a company that carries out dubbing and post-production services, with recording studios in Madrid, Barcelona, Santiago de
Compostela, and Lisbon. In addition to conventional dubbing and subtitling, the company provides access services for people with visual and hearing impairments (sign language adaptation, audio description and captioning). Another service offered by SDI Media Iberia is sound postproduction (creation of effects, environments, sound design and editing) and mixing for TV series and film productions. TMBi - 31
The dubbing production process begins when the studio receives the material (normally consisting of files) in its original version (image, music, effects, playback for songs and script). These materials are used to carry out a literal translation that is then delivered to a dubbing editor, who is in charge of adapting and adjusting the script so that the translated dialogues (Spanish, Catalan Galicianâ€Ś) are synchronized with the lip movements and they make sense in the local language. The dubbing director makes sure that, when talking, the dubbing actor seems to be the original actor. Once the dialogues have been translated and adapted, we start preparing for the next step which is recording. In this process the appropriate voices are chosen, according to the
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characteristics of the original actors. SDIâ€™s multiple locations in single territories ensure the largest possible talent pool. During the recording sessions, dubbing actors follow the instructions provided by the dubbing director. Using the adapted dialogues and an image reference from the original version, they rehearse every sequence repeatedly until they obtain the best interpreting result and synchronicity. Throughout the whole process, SDI Media Iberia carries out several internal quality controls of both the materials received and delivered, and a linguistic revision of the adapted scripts and the recorded dialogues to ensure that the whole dubbing process achieves a high degree of perfection that suits customers'
needs. In addition to the dubbing process, and according to the needs of each production, SDI Media can perform processes related to subtitling or localized computer graphics, and can adapt or record songs with professional singers so that audiovisual works totally adopting local ways. Once dialogues are recorded, mixing takes place. During this process, recorded dialogues are mixed with the music tracks and sound effects. At the same time, dialogues are filtered and equalized to make sure that the sound in the dubbed version is the same as in the original one. At the very end of the work flow we find two key processes. The first of them is quality control, which is carried out with the adapted and reviewed script to make sure that
no sentences are missing; dialogues are fully understood and synchronic, etc. Plus, it is important to verify that all dialogues are at the same level and there are no instances of overly loud or quiet dialogues. The second process is to create master files, or any file flavor to be delivered to the customer. This process has to follow the customerdefined spec to satisfy the platform or TV broadcasting standard. In addition to the delivery of these processes, the company's facilities comply with the security and antipiracy standards of American major studios, in the interest of preserving and guaranteeing that the materials are being used in a responsible way. Thus, SDI Media has areas to which only authorized individuals have access, there are security cameras in the facilities and a constant control is
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maintained of the materials received.
facilities of its four offices in Spain and Portugal.
INTERVIEW WITH JESĂšS CARUDA, CEO.
SDI Media Iberia has, including those in Madrid and Barcelona, 5 big theatrical mixing studios, and one of them is equipped with ATMOS system. They recreate the same sound conditions as the cinemas where the films will be eventually played, all of them adjusted by DOLBY. Every studio is equipped with ProTools 11. Every room has similar soundproofing and acoustics, and all necessary equipment to turn them into multifunctional studios, where recording, editing, and viewing or mixing can be carried out. Each year the company allocates significant sums to acquire and update equipment, and improve the
You are an experienced company... Yes, SDI Media consists of four companies (Estudios Abaira in Madrid, Soundtrack in Barcelona, CTV Studios in Santiago de Compostela and Matinha Studios in Lisbon). Many of its employees have been in the dubbing industry for over 25 years. How is your relationship with customers? In these times it's difficult to gain the confidence of customers, and we are proud to have achieved it with our work and honesty. The proof lies on the fact that most
customers come back to us.
"we don't know how to do this".
Our management is based on two directions. The customers that contact with our colleagues from USA or London, that offer all dubbing versions offered by SDI Media, and those who just have local offices within our territory. In both cases, we deal with the product in the same way although, of course, proximity with local customers enables us to work in a more close way and we are able to help them with our professionalism, dedication and facilities to make sure that their dubbings please broadcasters or series and film owners.
Are you tapeless?
The advantage is that, in many cases, our customers are just as familiar as us with voices and processes, and that is really helpful, though at the same time sets the bar high in terms of quality and service. Another advantage is that we are able to carry out any sound and image process. Only very rarely do we tell a customer
We work in a network, building on work copies that we create using the materials received. Only authorized individuals have access to such network. That is one of the requirements set by our customers to certify our work. The different processes that we perform are added to a server. This is key to ensure that we can work on a same project through different processes simultaneously. We can dub at various locations and subtitle at the same time or, mix immediately after a recording is finishing. When we worked with tapes it used to be terrible, but now it's much more comfortable and reliable. Although we also depend on the human factor which, in our case, is dubbing actors. We are seeing new players such as Netflix, does this benefit you? This has a positive effect because, even though the television sector is changing
worldwide, production has increased and this means more material has to be dubbed. What we don't know is if this will change the way we work, although we have to take into account that our sector comprises partly machines and an important part of creativity is provided by actors and technicians. Years ago, dubbing studios used to have the complete series, and we knew what actors participated in which episodes. Later on, as to avoid piracy, we got used to dubbing just a few days before the broadcast in the United States. Currently, consume is also changing and in some way forces us to work on smaller time-scales to dub the whole series, so that the viewer has access and is able to view any episode, both dubbed or in the original language with subtitles. In short, I feel that SDI Media is empowered to adjust itself to any situation that is imposed by the television market. We have suffered every change, and we have learned something from each of them. What projects are you most proud of? Many of them: The Simpsons, with which we started back in 1989 with its customer's comprehensive monitoring, A Game of Thrones, Desperate Housewives... To be honest, the dubbing of all relevant series that are currently broadcasted or have been broadcasted in the past has been done by SDI Media to Spanish, Galician and Catalan. The same applies to films, where we have done high-quality dubbing. An example of our most recent work is Inside Out, of which we feel especially proud.
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Ad Hoc Studios was born as a result of the business idea, enthusiasm and experience of its founding partners Javier Valdés and Carlos Cervera “Boris”, wellknown professionals within the audiovisual industry, who decided to renovate and modernize Sonoblok's historical postproduction studies, by using an area that covers more than 15,000 m³, equipped with the latest image and sound avant-garde trends, in one of the biggest post-production facilities in Spain. From the beginning, the purpose of its founders was to create a strong brand to generate trust within the sector. With this determined commitment, Ad Hoc Studios provides the seventh art with the best resources in mixing and dubbing. In the words of Carlos Cervera “Boris” CEO at Ad Hoc Studios, “we have arisen out of the renown facilities of what once was Sonoblok in Madrid, including its immense and famous mixing rooms, recording and pre-mixing studios, along with its design and sound editing areas, but with an added value: we have completely renewed and modernized everything with the best technology of the most prestigious brands
within the image and sound sector, such as Avid, Sony Digital Cinema and Dolby Laboratories, Inc., in order to become the best postproduction studio in Spain”.
INTERVIEW WITH JAVIER VALDÉS, CEO AT A D H OC S TUDIOS .
As for Javier Valdés, CEO/ CTO at Ad Hoc Studios, “any sound effect, post-production (foley, design, ADR) mixing or dubbing, for movies, TV series, advertising, video games, or new media can be carried out in our post-production facilities, as we have more than 15,000 m³ of silence to create the best sound”.
Why have you decided to launch yourselves onto the market now?
Ad Hoc Studios has mixing 4K films studios, certified by Dolby Atmos; digital mixing studios; and broadcast mixing studios with 7.4.1, with Avid Pro Tools HDX and DControl systems; as well as recording rooms and rooms for vocal register, music, ADR and sound effects, and mixing rooms with Avid S6 systems. This stake by Ad Hoc Studios in the very newest market technologies makes its facilities ideal for sound and soundproofing, and enables sound recording and reproduction under optimum conditions for subsequent post-production, both in dubbing and in creating the original sounds of movies.
Because there are interesting growth prospects and, in that scenario, we though we could carve ourselves a niche in the sector. Plus, we couldn't miss the opportunity of making use of these facilities. This all belonged to Grupo Sonoblok, a company that went bankrupt, and we had the chance acquire these facilities. Having a mixing film room of 250 constructed squared meters, dialog recording rooms or vocal register rooms of almost 100 squared meters, with very high ceilings and a magnificent design is not common, so it was a unique opportunity. Sound needs air and space to be adequately recorded and this study was build with that in mind. We obviously needed massive investment because at technical level the studio was outdated, but thanks to the project that we submitted, we got the funding we required. We are now seeing that we made the right decision, because of the positive feedback we've received from our
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customers, as they are able to work on their films within a definite environment. Recently we were playing a movie that wasn't even finished, but it was in its last production phase, and it was sent to us as an uncompressed 4:4:4 file. These kinds of files are not normally used for audio. We normally use highly compressed H.262. When the director was watching the material he asked if he was already watching the DCP, but he wasn't. What's important is that our installation is capable of moving that kind of files and you simply can't beat quality, it makes the difference. This all taking into account that we were just validating changes; it wasn't even a total
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viewing. Add in the fact that the rooms are huge, not only the cinema one, you can work with pole vaulters and all staff required with no need to stop the main one. That is why we work closely with Soundfill or Pinewood Studios. What are your strengths? Besides from the technical strength, we are passionate about our work. Having latest generation technology and workflows makes it possible for us to have very competitive rates. We closely studied the formulas used before, which involved many staff members, structural expenses and other costs that were passed on to the customer. We pump up and
down on a same project, without having to maintain high structural expenses, and in this we are fortunate. Does having cutting edge technologies put you on the starting line? That's exactly what we thought when we were embarked in the preparation of the project. We knew that we had a Ferrari with worn-out tires, so we decided to change the tires. That is why we incorporated so much technology to this studio. Its installation has required very complicated engineering due to its innovative nature, and it has been a challenge for everyone, even for the installation company, for Dolby
due to the new machinery, and even for Sony due to the projector, as it's the first Digital Cinema 4K that has been incorporated to a sound post-production studio. Have customers changed in the last few years? I think customers know what they are looking for, and you try to guide those who don't, because the truth is, there is a lot of information. This last crisis has been noticeable in many things: producers have had to adapt to Spain's limited budget and they have tried to use nonhomologated studios with poor sound quality. What we want is for everyone to understand that those studios may be useful for something specific, but this is a cinema studio. If you want sound to be cinema like, don't come in for two days, but rather talk to us and we will try to reach an agreement so that you can carry out the whole process here. This is difficult because with the crisis dynamics, which is still there, productions have low budgets, but we believe to be clearly on the right track. We have to try to avoid the "pay, in, out and forget" way of thinking.
How do you see yourselves in the future? We would like to believe that we will become a leader company, but we are starting up and we want to be realistic. We can't complain because we have done 40 productions during the first year, most of which are films. Plus, RTVE called us to carry out a spectacular and groundbreaking project filmed on Dolby Vision 4K HDR and Dolby Atmos, because
we were the only ones that actually offered that solution. This pioneering project was presented in the last edition of IBC in Amsterdam. At the other end, working on that same project, we had Disney and Skywalker, presenting their content. When you travel to Amsterdam and you see that your counterparts are two world leaders in the sector, you realize that what you are doing is very important. We are very proud of that project.
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NAB's CCW is the largest and most powerful media, entertainment, video and communications technology conference and exposition on the East Coast of the United States. It is widely recognized by exhibitors as far more than a regional event, drawing attendance from all over the USA and beyond. Over 300 exhibiting companies and 7,000 attendees do business together every year at CCW. The event draws extensive praise from exhibitors for delivering an exceptionally high-quality audience. It is also known for its intimate business environment where in-depth customer and prospect meetings produce sales for exhibitors.
DMNG PRO180-RA Video Uplink System
Exhibiting at VidOvation Booth 1442
At CCW 2015, AVIWEST will highlight a number of new features recently added to the DMNG PRO180-RA video uplink system, including a new IP Bridge functionality allowing broadcasters to establish an IP bridge between the LAN on which the DMNG StreamHub receiver is connected and the IP devices connected over Ethernet to the DMNG PRO. This set-up enables full control of all IP-based products, such as video mixers or PTZ cameras, directly from the DMNG StreamHub site allowing for remote video production on the fly.
AVIWEST will demonstrate the latest enhancements to its Digital Mobile News Gathering (DMNG) system at its U.S. master distributor's booth. Find the AVIWEST team at VidOvation Booth 1442, Nov. 11-12 at the Javits Convention Center in New York City. AVIWEST's advanced live video contribution platform enables broadcasters to capture and broadcast live HD or SD video over multiple networks, including bonded 3G/4G cellular wireless, Wi-Fi, Ethernet, and satellite. Offering seamless integration into existing workflows and headends, extremely low power consumption, high MTBF, and unparalleled mobility, the DMNG system offers broadcasters a fully integrated and cloud-based solution for breaking news and live events coverage.
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The DMNG PRO180-RA features eight 3G/4G internal modems with internal highefficiency custom antenna array, a built-in Wi-Fi modem, and two best-in-class H.264 video encoders, making it the ideal solution for streaming live HD video with minimal delay. The system can be easily connected to any professional camera and
without compromising the performance required by today's media environments.
DMNG Manager New cloud-based capabilities for AVIWEST's DMNG Manager will be on display at CCW 2015. The DMNG Manager is an innovative server application that enables broadcasters and video professionals to monitor and manage an entire fleet of DMNG equipment including DMNG transmitters, smartphones using the DMNG APP, and DMNG StreamHub receivers.
mounted via V-Mount, Gold Mount, or PAG plates. One of the unique capabilities of the DMNG PRO180-RA system is its ability to automatically detect real-time network capabilities. Through a user-friendly and intuitive touch-screen interface, broadcasters and other video professionals can easily configure and operate the system as well as communicate with the studio through the IFB return channel. In addition, the unit can be controlled by the receiver (i.e., DMNG StreamHub), the management system (i.e., DMNG Manager), the DMNG Remote smartphone application, or any device connected to the unit though the network.
DMNG StreamHub At CCW 2015, AVIWEST will showcase the latest version of its DMNG StreamHub receiver, decoder, and distribution platform. The DMNG StreamHub supports a rich set of input IP protocols, enabling reception of up to 16
concurrent incoming streams from remote AVIWEST DMNG PRO transmitters, DMNG smartphone applications, or third-party systems such as IP cameras. Leveraging the platform's four SDI outputs with a genlock input, broadcasters can decode up to four videos simultaneously. The DMNG StreamHub offers support for multiple output streaming protocols (e.g., RTMP, RTSP/RTP, HLS, TS/IP), allowing video content to be freely distributed over virtually any IP network. Up to 32 IP outputs can be utilized to enable re-streaming of video content over LAN or WAN to CDNs, media servers, streaming platforms, IRDs or other DMNG StreamHubs. Designed to fit customers' unique needs and headend constraints, the DMNG StreamHub application can be hosted on a 1RU or 2RU server platform with various software configurations. The DMNG StreamHub also operates in virtualized mode to deliver all of the economic benefits of the cloud
During the show, AVIWEST will also showcase a new grid view that has been added to the DMNG Manager. This feature provides broadcasters with a video thumbnail of each feed from the field units. When arranged in a gridview, these thumbnails ease system resource allocation by helping operators route video streams to one or multiple receivers or CDNs with a simple drag and drop.
CHYRONHEGO Booth 1133 At CCW, ChyronHego will demonstrate Channel Box Prime, a significant new release of Channel Box that has been re-engineered for the 64-bit environment. With an all-new dedicated rendering engine and scene designer, Channel Box Prime is completely geared to broadcasters' specific requirements for channel branding and playout. In addition, Channel Box Prime includes powerful new features for creative freedom and performance. One example is Warp Effects, a never-before-seen special effect that integrates with industry-leading third-party modeling and rendering tools such as Adobe After Effects and 3ds Max from Autodesk.
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CAMIO 4.2 At CCW, ChyronHego will feature CAMIO 4.2, a significant update of the company's award-winning CAMIO graphic asset management solution. A highlight of CAMIO 4.2 is a complete redesign of LUCI, the modular interface for producer fulfillment of graphics in newsroom computer systems, with tight integration across the entire ChyronHego product line. With CAMIO 4.2, LUCI has been fully reengineered to utilize forwardthinking technology for more flexible and powerful interfaces on PCs, Mac® computers, or tablets — giving producers an at-a-glance overview of all information they need to deliver breaking news to air. With LUCI's simple and clear
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workflow connecting the newsroom to the art department and the control room, users can focus on writing the news and breaking it first.
Lyric64 — All-New Graphics Technology and Playout Platform As a true 64-bit application, Lyric64 offers a single powerful solution for graphics creation and playout. Lyric64 includes a new and updated user interface including point-and-click access to data using ChyronHego's Advanced Data Object technology, with seamless usability and easy access to Lyric's rich and extensive feature set. In addition, Lyric64 is
resolution-agnostic, with full support for authoring and playout in nonstandard aspect ratios and resolutions of 4K and beyond. At CCW, ChyronHego will showcase Lyric64 in a 4K environment and in an advanced video wall application.
Paint 6.2 — Bringing Game Play to Life At CCW, ChyronHego will highlight Paint 6.2, a new release of the company's industry-leading telestration solution that features comprehensive support for 4K productions and integration with EVS and popular replay solutions. Paint 6.2 also includes the ability to export directly to an EVS. The Paint family includes advanced production analysis and telestration
tools designed specifically for the needs of sports broadcasters. With Paint 6.2, broadcasters are able telestrate a 4K stream in an HD broadcast without any loss of resolution. Paint Live, a solution targeting live OB productions with the ability to produce a fill and key output, will also be showcased. Paint Offline and the unique offline workflow, which enables users to leverage file-based import and export of video for creating graphics on laptops at any time and from any location, will be on show. In addition to Windows® support, Paint 6.2 is now available on Mac® platforms.
VidiGo Live and VidiGo Visual Radio VidiGo Live VidiGo Live is an intuitive software solution for live multicamera TV production that gives operators control over media, including the display of playing team information, live Internet feeds, (social media) tickers, video playout, or display of advertisements on the stadium scoreboard or big screen. Also
being showcased is VidiGo Live Assist, a solution that automates all of the features in VidiGo Live. VidiGo Live Assist enables users to easily create, load, and control a rundown, as well as combine scenes into running orders and simply drag and drop elements to compose a story. VidiGo Live Assist can be easily integrated with newsroom data systems. This solution is ideal for any scripted show, allowing last-minute changes to the rundowns. With VidiGo Live Assist, users can prepare a show in-studio or at home.
VidiGo Visual Radio VidiGo Visual Radio is a fully automated software solution that turns radio broadcasting into an entertaining and compelling visual show. Visual Radio is a combination of automatic camera switching, dynamic digital video effects, and graphic overlays with real-time XML updates and audio control. This solution is an add-on to the user's radio production, eliminating the need for extra staff. Visual Radio is suitable for use with Web, mobile, and TV platforms.
Hybrid — Advanced Tracking and Trackless Virtual Studio Solutions At CCW, ChyronHego will team with Hybrid, a leading manufacturer of virtual reality and robotics solutions for the digital media and broadcast industries, to demonstrate Hybrid's line of advanced tracking and trackless virtual studio and robotic camera head technologies. Hybrid uniquely offers users a feature that won't cause video or audio delays while using their virtual set and augmented reality solutions. ChyronHego will feature Hybrid's Neon trackless solution, a sensorless system that uses fixed-camera signals on a green screen to enable virtual camera motions such as virtual roll, pan, travelling, and crane movements. Also on display will be Hybrid's virtual set tracking solution, providing real-time, precise camera motion within 2D or 3D computer-generated backgrounds. Both products leverage the full capabilities of Hybrid's Krypton real-time 3D graphics-rendering engine.
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COBALT DIGITAL Booth 1138 "The northeastern U.S. market is vital for our business, and CCW gives us unique access to this market to showcase our spaceefficient cards and frames. This year at CCW, attendees will get a firsthand look at two more of our high-density problem-solvers: an RGB color-space corrector and a dual-channel frame sync card."— Robert McAlpine, Executive Vice President, Sales and Marketing
New Products at CCW 2015 New and Improved 9978ANC-MON Ancillary Data Monitoring Probe New and improved for CCW 2015 is the Cobalt® 9978-ANC-MON 3G/HD/SD-SDI Ancillary Data Monitoring Probe. The 9978-ANCMON is an easy-to-use, economical
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solution that offers comprehensive ancillary data monitoring and probing to validate and ensure the expected presence and handling of ancillary data in SDI streams. The Cobalt Digital engineering team has updated the user interface to provide 15 status fields and boxes that can be sized and positioned anywhere on the screen. Users can select the status (AFD, LKFS, video format) and which source (Input AE) to use for each status box. The probe also features five timecode burn status boxes. Because the input video PIPs can be sized and positioned anywhere on the screen, the card can be set up for a wide variety of monitoring applications, with the user maintaining complete control over how much status is displayed for up to five inputs.
message. In the dashboard area, Cobalt Digital has added tree views of the last three messages that allow users to drill down into the message fields.
Another major improvement introduced for the 9978-ANC-MON is SCTE104 logging. The probe's onscreen display shows the last three SCTE104 messages received, as well as the time each message was received and the time elapsed since the last
The Cobalt® 9922-2FS 3G/HD/SD-SDI Dual-Channel Frame Sync represents the highestdensity frame sync card in the openGear® family. It provides audio and video processing, AES/analog audio embedding and deembedding, and CVBS I/O with two
The card supports an on-screen display of the dial-norm metadata for a user-selectable Dolby pair, displays measured LKFS, and supports closed caption decoding/overlay. These three features were not shown at the 2015 NAB Show but will be highlighted at CCW 2015.
New 9922-2FS 3G/HD/SD-SDI DualChannel Frame Sync and Text-to-Speech Option (+TTS)
signal paths of frame sync on a single openGear card. Channel density can be as high as 33 channels in 2 RU when the card is deployed in the OG3-FR openGear frame, or up to 40 channels of advanced processing when housed in Cobalt's HPF-9000 20-slot highpower openGear frame. Key features of the space-saving 9922-2FS include the ability to add RGB color correction, set autochangeover to invoke failover for basic input loss, and "moving-box" insertion over input video or internally generated test patterns for active picture verification. Cobalt Digital's award-winning text-to-speech software option (+TTS) is licensable to the 99222FS dual frame sync card and other Cobalt openGear cards including: 9902-UDX, 9922-FS, and 9932-EMDE. The +TTS option can be downloaded the following stand-
alone BBG-1000 boxes: BBG-1002UDX, BBG-1022-FS, BBG-10222FS, and BBG-1032-EMDE. The Cobalt Digital +TTS option is a complete 21CVAA text-to-speech solution comprising an integrated, self-contained single-device system with no added dedicated units or baseband audio patches. Its sophisticated text-to-speech synthesis provides realistic male- or female-versed voice conversion within a single unit and without any baseband intermediate breakouts or patches between the audio module and the host device.
MEDIA LINKS Booth 1243 4K Transport from Live Camera Feed Media Links will be showing a 4K
over IP transport workflow from a live camera feed at CCW 2015. Content & Communications World (CCW) is the largest media, entertainment, video and communications technology conference and exposition on the East Coast of the United States. Media Links will be at booth 1243. Media Links solutions available today bring powerful benefits to 4K live productions. Utilizing its MD8000 media-over-IP transport products, Media Links will showcase and demonstrate 4K transport over IP of a live camera feed to a 4K monitor on its CCW booth. The live feed will be generated from a Hitachi SKUHD4000 UltraHD 4K camera in the Hitachi booth and transported via fiber to the Media Links booth. The demonstration will show Broadcasters how they can use their existing production workflows
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with current Media Links solutions to transport 4K content over IP, SONET or DWDM based network backbones. Media Links products meet industry standards for transport and delivering live and reliable high quality 4K content for less cost and bandwidth. They are reliable and scalable solutions for transporting content over IP based networks from sports venues to broadcast centers, long haul or local distribution, and interconnect within IP-based studios and facilities.
TEDIAL Booth 757 Tedial™ Evolution, an exceptionally well-integrated IT architecture, provides a flexible, scalable solution that features simple integration for multi-site, multi-format, multi-platform organizations and Business Process Workflow. Evolution significantly extends MAM functionality by providing new services to surf/explore archives and improve integration between archive and workflow engines to reinforce a collaborative environment. Tedial™ Evolution offers a completely new user experience designed to speed both manual and automated workflows. New features include:
True Object Relational Database Harnessing the power of a true Object Relational Database, a new set of tools provides a service to manage group entities, a multi-level classification schema (collections, albums, series, projects, rights, delivery packages, etc.) based on dynamic, changing relations. Employing the power of a real Object Relational Database, entities are logged as assets, which can
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now be a repository for all shared information. Assets are categorized as members of multiple entities, according to the user needs.
Live Logging Evolution features metadata cataloguing during live ingest, making it an invaluable tool for sports, news and live event production.
Single Click Operation The new HTML5 User interface features “one button commands” and keeps frequently used tools on the screen for improved performance, while true multiscreen (smartphone, tablet, etc.) and multiplatform (IOS, Android, Windows, etc.) operations allow users to manage tasks, validate media or monitor workflows status from mobile devices.
Tedial™ Evolution Embraces IMF standard Always adopting SMPTE and IT standards as the best way to
address the need to future proof the development of world-class software tools, Tedial has implemented the IMF schema within its MAM and workflow systems, as well as the AMWA FIMS AS-11 specifications. Tedial supports the SPMTE standards of MXF, BXF and AXF and the BPMN 2.0 Notation standard for enhanced interoperability.
TRIVENI DIGITAL Booth 539 At CCW 2015, Triveni Digital will demonstrate its industry-leading metadata generation and transport stream analysis platforms, which enable a better TV experience. Through advanced technologies, including HEVC and 10GigE support, Triveni Digital offers complete monitoring and analyzing solutions that allows broadcasters to take advantage of new revenue opportunities while providing superior quality of service (QoS) to viewers.
Key Products HEVC Functionality for StreamScope速 MT-50 Transport Stream Analysis and Troubleshooting Tool Triveni Digital will showcase HEVC functionality for its awardwinning StreamScope速 MT-50 realtime DTV transport stream analysis and troubleshooting tool, enabling broadcasters to address the growing consumer demand for 4K television services. With Triveni Digital's StreamScope platform, broadcasters can quickly pinpoint
and resolve video, audio, and closed caption impairments in the transport stream, ensuring superior QoS for viewers. The video monitoring system supports a broad range of video compression schemes, from HEVC to H.264 and MPEG-2, allowing a smooth transition to an all-HEVC infrastructure. The new HEVC capability is available for all versions of the StreamScope MT-50, including the StreamScope Portal, an ultraportable, touchscreen tabletbased analyzer, and the StreamScope MT-50 HDT, which offers a 10GigE interface option and a 16:9 HD touchscreen.
10GigE Support for StreamScope速 RM-40 DTV Transport Stream Monitor Triveni Digital will demonstrate new 10GigE monitoring capabilities for its market-leading StreamScope速 RM-40 DTV transport stream monitoring system at CCW 2015. Utilizing the end-toend video monitoring and analysis solution, broadcasters can quickly and cost-effectively identify and resolve video and audio quality issues while ensuring compliance with closed captioning and audio loudness standards and legislation. The StreamScope RM-40
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supports high throughput — up to six gigabytes — while maintaining all monitoring capabilities, saving significant rack space, reducing power consumption, and therefore minimizing operating expenses. The StreamScope RM-40 also includes a variety of advanced capabilities for detecting and eliminating issues with transmission, including audio and closed caption monitoring, automated stream comparison, spot checks, and the ability to store error reports over a long period of time for postmortem analyses and record keeping. The StreamScope RM-40 also provides real-time intelligent filtering to speed up operations. By classifying and filtering errors based on error severity scales defined by ATSC A/78, the broadcast industry's standard for transport stream error verification, the StreamScope RM-40 allows broadcasters to determine which
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errors require a timely resolution, as well as those that can be ignored.
VITEC Booth 457 "The consistent growth of CCW each year and its draw to key decision-makers from high-profile customers makes attending the show invaluable to us. That it remains a more intimate show gives us a greater opportunity for direct conversations and meetings with industry leaders. This year, we're very excited to bring new innovations as well as upgraded legacy products to the CCW floor, including the MGW Portable Encoder family that now offers Zixi error-correction; MGW Ace, the world's first portable HEVC encoder; and our popular EZ TV IPTV delivery system." — Michael Chorpash, VP of Sales at VITEC.
VITEC's Professional Series of Portable H.264 Encoding and Streaming Appliances Featuring Zixi and ProMPEG error-correction technologies, VITEC's professional series of portable HEVC and H.264 encoding and streaming appliances, the MGW Premium, MGW Nano, and MGW Pico are a field-proven family of rugged, compact, and pocket-sized streaming appliances designed for low-latency streaming of HD/SD content in the most demanding of environments. Designed for stationary and field applications, the small footprint encoders ingest and stream video, audio, and critical metadata from any source, anytime, anywhere. The MGW Premium is VITEC's highest density unit capable of encoding up to two HD sources or
up to four SD sources simultaneously. The MGW Premium encoder is the ideal all-in-one appliance for encoding and streaming of TV feeds from HDMIbased set-top boxes, desktop screen imagery, or other analog sources. Designed for single-source applications, the MGW Nano is a more compact unit featuring HD/SD/SDI and HDMI. MGW Nano is offered with standard connectors or in an airborne certified rugged version called MGW Nano Tough, which features MIL-STD 38999 interfaces and enhanced environmental ratings. At only the size of a credit card, the MGW Pico is the smallest, lightest, and most powerful H.264 HD/SD encoder in the market. Weighing less than seven ounces, MGW Pico boasts HD/SD-SDI and composite inputs with the same compression quality and capability
as the MGW Premium and Nano in an ultra-small form factor for manned and unmanned vehicles.
education, enterprise, telco, government, transportation, sports, and entertainment.
MGW Ace â€” The First Portable HEVC Encoder
EZ TV IPTV System
On display at CCW is VITEC's all-new MGW Ace appliance, the industry's first 100-percent hardware-based HEVC portable device for encoding and streaming video. Powerful yet compact, the revolutionary device features HEVC (H.265) bandwidth-efficient compression as well as legacy H.264 capabilities. Its wide selection of I/Os and low power consumption using VITEC's HEVC compression chip make it a perfect solution for streaming video, audio, and KLV metadata while in the field or on the move. When coupled with the MGW D265 portable HEVC IP decoder, it becomes an end-to-end, on-the-go streaming solution for broadcast, military, medical,
At CCW, VITEC will be showcasing its award-winning EZ TV IPTV system, which allows any facility to deliver live, on-demand, or recorded video over their existing IP infrastructure. Using the EZ TV Web portal, administrators can easily create, manage, and distribute video assets while the solution's browser-based EZ TV Player uses the market's most flexible digital video codec to offer CPU-efficient quality playback of IPTV streams across networks. Now equipped with a new add-on for IPTV settings, the solution easily complements any IPTV deployment with quality and compliance dashboards as well as instant alerts â€” ensuring all video, audio, and metadata services are delivered reliably to users.
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Vehicle size: 2495 (W) x 3330 (H) x 11,930 (D) (mm); (1000 mm (W) expandable when operating
OB system outline
Switcher: 16 inputs, 4 outputs 1 mix/effects.
Ikegami has announced the completion of the world's first 8K OB production vehicle. The new vehicle is designed to operate as a complete mobile 8K broadcast production facility capable of producing television of unsurpassed picture quality, complete with 22.2 channel surround sound.
Router: 8K, 4K and HD (2K). DSK : 8K. Camera: Up to 10 8K cameras (Ikegami SHV-8000, SHK-810). Recorder: 8K recorder (up to 4 units). Slow-motion: 8K slow-motion player. Up to 4 units. Audio router: Supports MADI. Monitor for switcher: Main: 55-inch 8K monitor; Sub: 55-inch (with multiviewer). Additional video monitors: 32-inch and others.
In March 2015, Ikegami introduced its SHK-810 fourthgeneration 8K television camera that was developed in co-operation with Japan Broadcasting Corporation (NHK). This is about one tenth the size and weight of Ikegami's first-generation 8K camera and offers significantly improved operability. The company's efforts to develop 8K
broadcast production equipment have focused on achieving extremely high resolution combined with Ikegami's proven ability to deliver very wide dynamic image processing. Ikegami also has long experience in producing mobile television production trucks, having produced more than 800 OB vehicles.
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In Japan, the road map for 8K broadcasting announced by the Ministry of Internal Affairs and Communications specifies that trial broadcast transmissions will be conducted in 2016. Regular 8K broadcast services are planned to begin in 2018. Many elements of 8K television production infrastructure are much larger in size, power consumption and number of cables than their HDTV equivalent. This is because 8K broadcast production captures 16 times more image information than HDTV. Organising an 8K OB vehicle is therefore much more challenging than designing and producing traditional OB vehicles. The 8K OB vehicle produced by Ikegami delivers extremely high quality and high reliability in a compact size. The vehicle's specifications allow operation not only in Japan but worldwide so it can be operated for global sporting events such as the Olympic Games. It can be expanded to accommodate additional equipment as and when required. The 8K OB vehicle was delivered to NHK in September 2015. Its role will be to allow television audiences to experience the full reality of live events from wherever they choose to view.
BEYOND HD Looking back at the history of HDTV development, the first HDTV camera was developed by Ikegami more than 30 years ago, 1983, in collaboration with NHK. The camera head was large and required bulky multicore cables connecting with two breast-height rack units which housed the control unit electronics. Performance parameters such as sensitivity were very poor in comparison with current specifications. 20 years later, HD/SD simultaneous cameras based on HDTV became the
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mainstream for television studio production. During that period, technology progressed from tube to CCD, analog to digital, and the employment of ASICs in custom digital processors. 2001, the dawn
of the 21st century, was the very year when Ikegami started to develop the first 8K camera. Like the first HDTV camera, this too was a joint project with NHK. The first unit was very heavy, weighing
around 80 kg. Given that HDTV took about 20 years to progress from initial development into practical use, it is reasonable to assume that 2020, when the Tokyo Olympics are to be held, will be the
actual target for the establishment of 8K technology. In Ikegamiâ€™s experience, technical innovation has been achieved quickly once the essential parameters are determined. For example, the
development of the detail sharpening function was achieved in 1985 using equipment in [a 1 U high rack?]. Within five years, the entire detail sharpening process could be performed in a single
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ASIC with an area of just 2 x 2 cm. 8K camera weight was gradually reduced from 80 to 40 kg, later 20 kg, and now less than 10 kg. Based on this background, Ikegami has a consistent policy for the development of its next generation camera system, advancing quite literally 'Beyond HD'.
Ikegami's technical target is 8K development for 2020. The knowhow and technology being acquired during 8K development are already delivering positive results for 4K and even 2K system development as well. For example, ASICs developed for processing 8K video can be scaled for 2K/4K with plenty of reserve in terms of heat output and power consumption. Once a transmission system is established for 8K, it will allow the large-scale trunk data delivery and it can also handle high speed processing and wide video dynamic range. Thus, the development of high level technology for 8K will bring contribute strongly to 4K and 2K system development both in terms of lower power consumption and the introduction of additional features.
ROADMAP According to the technology roadmap issued by the Japan Ministry of Internal Affairs & Communications (MIC), testbroadcasts of 4K/8K by BS satellite television will start in time for the Rio 2016 Olympic and Paralympic Games. 8K on-air broadcasts will start as soon as possible (by 2018) in Japan. Also, according to the tentative report published on September 9, 2014 by MIC, 4K/8K broadcasting is targeted to coincide with the Tokyo 2020 Olympic and
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as an ultra-high-quality 2K and 4K camera for current 2K and nextgeneration 4K operation. Needless to say, it is designed to be compatible with 8K when that era arrives. As mentioned, this camera employs the technology developed for 8K such as a newly developed ASIC and 40 Gbps large capacity 40-gigabit/s output. The 4K camera has a three full 4K (8 megapixel) images. Transmission between camera and CCU is at 40 gigabit/s RGB, full dynamic range, 4:4:4. The newly developed sensors deliver a depth of field suitable for sports coverage and almost studio applications. The camera can accommodate a current 2/3 inch HD lens.
Paralympic Games. Per MIC, by the year 2020, 4K/8K broadcasting should be accessible at public viewing points in Japan. 4K/8K television sets should be widespread in the consumer market by that time. Expectations for the 8K UHDTV video are increasing strongly.
SHK-810 8K UHDTV CAMERA The SHK-810 camera employs a single 33 million-pixel Super 35 CMOS sensor, achieving 4,000 TVL horizontal and vertical resolution. The color filter on the sensor is matched with the dualgreen SHV color arrangement, and achieves a high level of modulation depth. The System Expander enables the use of large viewfinders and full studio lenses, converting the portable camera into a full facility studio/field camera. A
viewfinder detail (VF DTL) function allows the camera operator to increase the detail edges to the viewfinder and picture monitor video for easy focusing. The lens aberration correction function and communication features (tally, intercom, etc.) are also available for conventional HDTV camera operation. The camera has a PLLens mount which allows the operator to use 8K lenses, cine lenses, 4K lenses and customdesigned zoom lenses for singlechip SHV cameras. A flange back adjustment system is built-in, enabling back focus adjustment of PL-mount lenses without shims. Standard SMPTE fiber cable can be used between camera head and camera control unit (CCU), allowing long-distance transmission for live broadcasting.
The new 4K camera can be used
The video processor is a crucial device. Ikegami employ a fifth generation ASIC that is a compilation of technology development over 25 years. It will have various functions such as 3D color correction, chromatic aberration correction, 4K/2K independent detail enhancement, dynamic range and flexible gamma. The ASIC is flexible and will embrace all three generations : a single ASIC for 2K, dual ASICs for 4K for 4K, four ASICs for 8K and eight ASICs for Full 8K.
SUMMARY Based on a life-cycle of approzimately 10 to 15 years for broadcast equipment, a 4K camera system should be at least threeimager Full 4K. This camera will also be usable not just in the 4K era but when the 8K era, using very high quality upconversion. Ikegami will be ready for 8K with the additional 4K-compatible flexibility made possible by high grade downconversion.
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Published on Oct 30, 2015
In this issue: SDI Media, a global group specialized in dubbing and subtitling with facilities in 37 countries; Ad Hoc Studios, one of the m...