Editor Javier de Martín firstname.lastname@example.org Editor in chief Jesús Carrillo email@example.com Key account manager Cristina Feduchi firstname.lastname@example.org Creative Direction Mercedes González email@example.com
Editorial staff firstname.lastname@example.org Administration Laura de Diego Marga Quevedo email@example.com
Editorial PAN SHOT
Mexico goes digital! Interview with Arturo Mignon, Televisa Director of Transmision
The Media Networks View Interview with Javier Izquierdo, TV Wholesale Director
TM Broadcast International #28 December 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
34 Test Zone:
Aurora 6.0 + Hydra player overview
ROSS VIDEO at Pinewood
The audiovisual market moves mainly in two shows such NAB and IBC, which do not stop growing, every year there are more exhibitors and visitors. This does not detract from the most local fairs. Once IBC has happened, it is the turn for local shows in Europe mainly. CVW, NAT EXPO, SATIS, BITAM; NYC, Moscow, Paris, Madrid are some examples. ThereÂ´s an increasing level of visitors also in these others. Despite the internationalization and globalization of markets, these local trade shows remain absolutely necessary. We encourage manufacturers to increasingly support their partners to come to these ones. Sometimes we find opinions in manufacturers who do not support local trade shows these because they go to NAB or IBC, but a very high part of the business moves into smaller, nearby sites. So, go for it!
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PA N S H O T
Calrec Audio Summa console gives students an edge at New England School of Communications at Husson University
Husson University's New England School of Communications (NESCom) in Bangor, Maine, has installed a Summa audio console to give its video production and audio engineering students hands-on experience on an industry-standard desk. The Summa gives students a competitive edge when they graduate â&#x20AC;&#x201D; a benefit more universities are starting to recognise. "A huge advantage of our program is that students train on the same equipment they will be using to earn a living," said NESCom Executive Director Rodney Verrill. "We knew a few years ago that we wanted a Calrec console, not only because that's what graduates will see in the workplace, but also because of Calrec's reputation for ease of use, flexibility, and customer service. "Thanks to a partnership with Calrec, we were able to purchase this desk for our students. For them to get their hands on this type of technology is amazing. One of our graduates, who is now a freelance A1, said, 'Finally, the right console at the right institution!' It's a testa-
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ment to the progress we are making by adding the Summa." NESCom's video production and audio engineering students use the Summa in a studio environment to produce live newscasts and recorded public affairs shows. The layout and operation of the board is easy for beginners to learn and use, yet the underlying features are advanced enough to satisfy any expert user, such as the industry professionals who serve as instructors. "The Summa is a Ferrari disguised as a Chevy," Verrill said. "To the beginner it looks very simple, but the flexibility and availability of patching and DSP are among the best in the industry." NESCom offers bachelor's degrees in communications technology, entertainment production, and mass communications, and having the Summa boosts NESCom's graduate placement outreach program. "Now that we have the Summa, we have a new reason to reach out to employers and remind them that
we are current with industry standards, which means our grads will be able to hit the ground running when they're hired. It gives our program and our graduates an edge," Verrill added. Working with the video production and journalism departments, NESCom expects to expand use of the Summa console to connect with its remote production truck, where the remote truck will send signals to the Summa via MADI over fibre. "More and more educational establishments are recognising the benefits of training students on equipment they're likely to encounter when they enter the world of professional audio broadcasting. NESCom is ensuring new video production and audio engineers graduate with directly relevant experience, which benefits the whole industry," said Dave Lewty, Calrec U.S. regional sales manager. "We applaud NESCom for investing in its students in this way, and we're pleased to be a partner in the effort."
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Forscene Boosts Editing and Collaborative Capabilities in Newest Release A new iteration of Forbidden's professional video editing software, Forscene, will be released on Nov. 24 and will be immediately available to all clients of the post-production platform. The functionality introduced in this release enables new Avid workflows and increases efficiencies on multitrack productions. Many of the new features were requested by longtime Forscene client Princess Productions, who was integrally involved in the development and testing process. "We've been using Forscene for the past five years to save time and money in edit — particularly on factual entertainment series and highshoot-ratio productions," said Paul Jones, head of post-production for Princess Productions, part of the Endemol Shine Group. "The new features are currently being put to the test on series 3 of Channel 4's 'The Island with Bear Grylls' in a workflow that sees complex multivideo and audio track sequences move from Avid to Forscene and back again, which would not have been possible before this release. Working with the Forscene product development team has delivered a
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solution that allows our teams in Panama and London to collaborate on edits the day after the footage is shot." The ability to import Avid AAF files — and autoconform timelines based on this data — is one of the release's much-anticipated features. Long-form broadcast clients often log and create rough cuts in Forscene and then move to Avid to complete their edits. This new feature means that clients can now move seamlessly between Avid and Forscene at any point during the offline edit. In one scenario, clients can use the feature to make Avid sequences available for review by parties in different locations. Rather than exporting a QuickTime® clip from Avid and then importing it into Forscene, clients can now make the actual Avid timeline available in Forscene. In another example, the feature allows production and post teams to collaborate on cuts. Once an editor has refined a sequence created in Forscene, he or she can recreate the Avid timeline in Forscene for the production team to
continue working on it. Other noteworthy additions to Forscene's feature list include: - Support for up to 12 active video tracks and 24 audio tracks on the timeline - The unique ability to concurrently see all video tracks in a sequence during playback — and to easily toggle between this multidisplay grid view and the usual top-down view of video layers - The option to publish audio-only clips in a variety of formats - Faster publishing for video content with added graphics and overlays "Forscene is all about creating efficiencies. Our reality production clients — like Princess Productions in the U.K. and Leftfield in the U.S. — rely on our platform to make workflows simple," said Jason Cowan, business development director at Forbidden. "The new features we're releasing today are designed to make it easier than ever for any production or post team to log and edit collaboratively from anywhere in the world."
PA N S H O T
SHM Broadcast announced as Screen System’s German Distributor Subtitling technology pioneer Screen Systems has announced the appointment of SHM Broadcast as their distributor for Germany; the company’s second new distributor agreement since IBC 2015. UK based Screen Systems manufactures and supplies premium subtitle and captioning transmission systems and professional subtitle creation and preparation software. Depending on the customer’s location Screen sells its solutions directly or through its network of 20 globally placed distributors. SVP of International Sales at Screen, Keith Lucas said: ‘Germany is viewed as a significant global player in both TV and the film
industry and Screen wanted to strengthen its presence in the country.’ ‘We pride ourselves on our respected reputation in broadcast and insist on working with distributors with equal status within the industry; hence we viewed SHM Broadcast as a perfect choice to represent Screen in Germany.’ SHM Broadcast GmbH is a market leading, exclusive sales and service partner of high-class broadcast products from international business partners. The company associates its success with a combination of many years of experience in broadcast consulting, sales and servicing and the delivery of a
product portfolio from 18 exceptional manufacturers. On the appointment by Screen, Juergen Helscher, SHM Broadcast GmbH CEO said: ‘We are extremely excited about this great opportunity to work with Screen Systems.’ ‘We are looking forward to offering best-of-breed solutions to our customers and we have already started working with Screen to integrate their products into the market.’
PA N S H O T
Grass Valley Helps TV Liberal Make the Switch from SD to HD
TV Liberal, an affiliate of the Brazilian network TV Globo, is making the switch from standard definition (SD) to high definition (HD) with a new suite of products from Grass Valley, a Belden Brand. The transition to HD will enable TV Liberal to quickly and efficiently deliver high-quality live productions, breaking news coverage and other timely information to its viewers. TV Liberal’s upgrade includes improvements to its infrastructure and playout capacity to meet the growing demands of the station and TV Globo. In addition, the new equipment will help streamline its news and live production capabilities with a system designed to grow as their business needs change. “The Grass Valley solution provides us with operational excellence and reliability, while also giving us the flexibility to grow,” said Fernando Nascimento, executive
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director, TV Liberal. Denis Brandão, technology director at TV Liberal, added, “We’ll have a new, efficient workflow that delivers better production and better news quality, which, in turn, makes our station more agile and competitive.” At the center of the installation is the NVISION 8280 router combining exceptional resilience with cost, space and power efficiency to make it an ideal enterprise-class routing solution for TV Liberal; NV9000 control system; one Karrera K-Frame S-series production switcher with proven workflows, simplified control of complex productions, and multiformat support including 1080p and 4K; two Kaleido-X and ultra-quiet KaleidoMX multiviewers; two K2 SAN storage systems for both playout and production with K2 Summit 3G transmission clients for a guaranteed reliable 24/7/365 file-based
infrastructure and workflow; GV GUARDIAN monitoring system; eight CopperHead 3200 systems for simultaneous transport of both digital and analog program video; and a variety of multiprocessors, embedders, fiber systems and fiber cables. TV Liberal has been a long-time customer and previously installed several K2 servers and SDI routers from Grass Valley. This latest investment positions the company for future 4K operations over a 10 Gbps IP network. “We’re thrilled to provide a complete range of solutions for TV Liberal that helps them go to HD,” said Cristiano Barbieri, sales manager Brazil, Grass Valley. “It will be exciting to see not only how this helps the station immediately, but also how it positions TV Liberal for future growth.”
PA N S H O T
Motion Design Studio Boosts Power and Agility With Quantum StorNext Pro Solutions Shared Storage System
Quantum Corp. (NYSE: QTM) announced that San Franciscobased motion design studio Swordfish is using the StorNext Pro™ Foundation shared storage system to take on cutting-edge projects involving massive high-resolution media files. Supplied by Advanced Systems Group LLC, a systems integrator specializing in media and entertainment, the Quantum solution provides the high-performance storage and workflow efficiency the Swordfish team needs to manage its video content, including stereoscopic 4K and heavy 3D renders of high-resolution content up to 27K. "Our incredibly skilled team of designers and animators boasts experience working on everything from user interfaces to the most complex visual effects at leading studios, so storage infrastructure is our only limiting factor in taking motion design to the next level," said Matt Silverman, founder and executive creative director at Swordfish. "By enabling us to take on any project and almost any highresolution file, Quantum's StorNext Pro Foundation has given our little studio the capacity and performance to compete with large traditional postproduction houses."
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StorNext Pro Foundation is a complete solution that combines StorNext 5 software, redundant metadata controllers and high-performance storage in a simple-touse preconfigured system. Users can deploy the solution as a new complete storage network or, as is the case with Swordfish, easily integrate it into their existing storage network. Sized for a smaller workgroup but able to provide the speed and power essential to real-time playback of massive files, StorNext Pro Foundation gives creatives at Swordfish the ability to work efficiently with huge volumes of 4K RED files. With the system's exceptional performance preventing issues such as dropped frames during playback, creatives can perform client-supervised sessions — much like the well-established, high-end postproduction and animation studios with which Swordfish aims to compete. StorNext Pro Foundation connects just as readily as any other drive in Swordfish's Mac-based shop. In addition, it operates so seamlessly with all the different applications the studio uses — Adobe After Effects and Premiere, Blackmagic DaVinci Resolve, Autodesk Maya, MAXON Cinema
4D, Side Effects Houdini and Tweak Software RV for playback — that creatives and freelancers can easily enjoy the benefits of fast collaboration on familiar Mac systems. "StorNext Pro Foundation sits at the heart of our operations, and it is the backbone on which we're building Swordfish," said Silverman. "As growing demand for higher-resolution content requires greater and greater storage resources, we can scale our StorNext® system with confidence and take full advantage of fibre-attached storage to push tremendous volumes of pixels through the pipe." "The deployment of StorNext Pro Foundation at Swordfish demonstrates just how game-changing the right shared storage solution can be," said Alex Grossman, vice president, media and entertainment at Quantum. "Powered by the Quantum StorNext 5 shared storage platform, StorNext Pro Foundation has the versatility to address Swordfish's evolving workflow requirements, from content ingest from multiple sources and collaborative high-resolution content creation to on-time delivery in the appropriate format."
PA N S H O T
Exset supplies DMS 4.0-equipped set-tops to Pakistan’s Cable Media Group for value-add services tional 40 cities, with its networks serving all the major conurbations.
Exset has successfully integrated the recently upgraded middleware with set-top boxes from Gospell that are to be deployed by CMG shortly. Designed specifically to deliver new revenue streams for operators in an ever more challenging market, DMS offers monetised services over and above video. DMS 4.0 enables subscription fees - and set-top box costs - to be kept very low, vital in driving the successful migration to digital across the country. The technology has also been successfully integrated with set-tops from Newland and is also being deployed by Russian pay-TV operator Tricolor.
users turn on their TV. The second key development is an Interactive Blue Button Ad Service; when instructed, pressing the blue button on a banner ad results in complete advert detail being revealed.
DMS 4.0 now includes fully integrated EPG ad-insertion, allowing operators and content providers to reach a new audience as soon as
CMG is based in Karachi with offices in Lahore, Islamabad, Rawalpindi, Peshawar and Multan and is expanding across an addi-
Andrew Pons, Global Director of Sales and Marketing with Exset, said, “Both CMG and Tricolor are building for the future and the provision of value-add services, we believe, is an essential tool in moving populations to a digital subscription model. By integrating with vendors we are able to satisfy both cost and technological requirements. Exset is helping to power the digital transition in emerging markets. Subscription fees can be minimised via the use of DMS with revenues driven up by providing value-add services. Those services attract people to make the switch to digital in markets where low ARPU’s are getting lower all the time.”
PA N S H O T
Latest Release of LIVE+ NewsBook Software From Dejero Enables BGAN-HDR and Bonding for Live Video Streaming Dejero released an update of its LIVE+ NewsBook software for Mac notebooks, enabling users to bond portable Broadband Global Area Network (BGAN) terminals to produce a live stream greater than 1 Mbps of video. This newest Inmarsat L-band service provides additional Internet connectivity and enables live video streaming from anywhere in the world covered by BGAN's satellite network, including extremely remote locations where no other network connections are available. Dejero's LIVE+ NewsBook transforms a Mac notebook into a highly versatile "go-anywhere" video uplink solution. With the BGANHDR bonding feature, users can now send live video feeds, as well as recorded and edited files, back to the broadcast facility by connecting multiple Explorer-710 terminals to the notebook via Ethernet. The LIVE+ NewsBook software automatically optimizes transmission settings when a High-Data-Rate (HDR) streaming connection is selected. In addition to BGAN, the
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LIVE+ NewsBook software bonds multiple cellular, Wi-Fi, and Ethernet connections to create an aggregated data path for the transmission of reliable high-quality, lowlatency video. Network Innovations, a leading provider of integrated satellite communications solutions, has worked with Dejero to offer LIVE+ NewsBook software for the new bonded HDR service offered via Explorer-710 BGAN HDR terminals. While Dejero leverages the bonded HDR service to provide a higherquality picture, broadcasters are able to reduce satellite costs by using the more affordable asymmetrical HDR streaming service. "Dejero is one of the leading providers of bonded cellular encoding technology, and many of our media customers â&#x20AC;&#x201D; including some of the world's largest broadcasters â&#x20AC;&#x201D; use Dejero mobile IP video transport solutions for satellite newsgathering. Several requested a bonded HDR solution that works with their existing Dejero systems, including LIVE+ NewsBook," said
John Stoltz, vice president of media sector for Network Innovations. "The result is our bonded HDR service, which enables customers to cost-effectively double the bandwidth for improved picture quality while streaming live video. These Inmarsat capabilities are ideal not only in remote areas with little or no network resources, but also in congested live news situations in which cellular networks are overloaded." "We designed our LIVE+ NewsBook software for field reporters, foreign correspondents, and other production professionals who need to send live or recorded video content remotely while traveling with as little gear as possible," said Brian Cram, CEO, Dejero. "This update makes the software more versatile than ever, with the ability to use multiple BGAN connections to improve video quality in areas lacking other network resources. Now it is easier than ever to cover breaking news and live events with broadcast-quality content from remote locations."
PA N S H O T
Emerson College Chooses Grass Valley LDX Cameras and Karrera Switchers to Improve Studio Production The new Extended Dynamic Range (XDR) capability is also available as a software upgrade to enable 15 f-stops of dynamic range in singlespeed operation. Built for business flexibility and operational excellence, with superior imaging, processing and performance, the LDX 80 Flex is an advanced imaging, single-format 1080i or 720p camera. With the GV-eLicense program, users have the ability to upgrade the LDX 80 Flex to any other camera in the LDX 80 Series, based on business and production needs.
Emerson College has upgraded its Tufte Performance and Production Center to include LDX cameras and Karrera K-Frame Sseries switchers from Grass Valley, a Belden Brand. The move was part of Emerson’s upgrade of its entire television production facility, which supports student production of educational, sports and long-form program programming. The LDX cameras, currently operating in the Di Bona Family Television Studio at 1080p60 and in Teaching Studio B at 720p60, offer varying levels of operational flexibility to meet every production need, while the Karrera K-Frame S-series switchers combine ultimate mid-range switcher performance, along with proven workflows and simplified control of complex productions. With Grass Valley’s upgradeable architecture, the cameras and switchers can be upgraded easily to UHD with 4K, HDR, WCG and HFR capabilities. “We take pride in preparing our
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students for successful careers, and that means helping them develop the best skills and teaching them how to use the best equipment,” said Brooke Knight, chair of Emerson’s Visual and Media Arts Department. “We’re excited about how our new live production facility will further enhance our students’ learning experiences.” The recent purchase includes four LDX 86 WorldCam cameras and four LDX 80 Flex cameras—all of which came with Fujinon lenses. Emerson also selected a Karrera KFrame S-series 3 M/E switcher and a Karrera K-Frame S-series 2 M/E switcher. Installation was handled by The Systems Group, a Grass Valley premiere systems integrator for more than 20 years. The LDX 86 WorldCam offers traditional HD/3G acquisition, as well as the ability to upgrade to LDX 86 4K functionality and then further upgrade to LDX 86 Universe functionality, adding 6X HD and 3X HD/3G high-frame-rate capture.
Karrera K-Frame S-series switchers deliver unmatched creative freedom for highly produced content and offer up to 6 M/Es across two suites, with four keyers per M/E, and up to eight floating iDPMs. Switching of 4K is offered without the need for any hardware or software upgrades, and the switchers are now available with IP I/O for SMPTE 2022-6 connectivity. This marks the latest Grass Valley equipment installation at Emerson. The school already utilizes a number of other Grass Valley solutions in its Journalism Production Center, including the Kaleido-X multiviewer and a legacy Concerto router. “This equipment gives Emerson College students unrivaled capabilities and unmatched freedom,” said Stephen Stubelt, senior vice president, sales and marketing, Grass Valley. “And when these Emerson students graduate, they’ll have unlimited potential because of the experience they are having with some of the most advanced broadcast solutions on the market.”
PA N S H O T
NETIA Partners With CDM to Address Rapid Expansion of India's Radio Broadcasting Marketplace NETIA announced that CDM Technologies and Solutions Pvt Ltd will serve as the distributor of NETIA's software suite in India. The company will represent the full range of radio automation, playout system, and media asset and workflow management solutions — including the Media Assist™ digital audio software suite — to India's rapidly expanding radio and television broadcast market. "The landscape of the media business is changing at an exponential pace, and the addition of NETIA solutions to our portfolio will better enable us to help our broadcast customers across India to improve their productivity, achieve growth, and gain the competitive edge," said Dilip Kathuria, CEO of CDM. "With the auctioning of phase-3 FM radio licenses opening up new opportunities for broadcasters of all sizes, this is an excellent time for radio broadcasters to take advantage of NETIA products to establish smart, efficient, and flexible broadcast operations."
Offering NETIA's Media Assist software, CDM will be able to help broadcasters to automate and streamline their operations. The NETIA radio automation and broadcast modules cover the entire digital audio workflow of a radio station, integrating smoothly into new or existing systems to facilitate ingest, editing, scheduling, playout, multicast, archiving, data security, and administration via a single user interface.
Located in New Delhi, with branch offices in Kolkata and Mumbai, CDM is a leading distributor of video and audio products for the broadcast industry and prosumer market. The company has a strong reputation in new facility programming and planning, and it has helped numerous broadcasters and television service providers to address the challenges of rapidly evolving broadcast technologies and business models.
"CDM's expansive reach and expertise in providing forwardlooking solutions to its customers make the company an excellent partner in the Indian market," said Peter Fong, NETIA head of sales for APAC. "Phase 3 is driving growth for existing private radio stations and new players in the radio broadcasting market. We are confident that CDM will be a valuable ally in helping broadcasters to build technical facilities supporting broadcasts on the dozens and dozens of frequencies made available through government auction."
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VITEC Introduces Video-Streaming Solution for Houses of Worship VITEC announced an integrated streaming solution designed to help houses of worship extend their reach across multiple campuses and foster a sense of community among church members who attend services at different sites. The solution, which bundles VITEC portable encoders and decoders with the Zixi™ error-free streaming protocol, is just as effective as, and far more affordable than, satellite or fiber-based streaming services, making it accessible for houses of worship of almost any size. VITEC's encoder/decoder combinations with integrated Zixi Stream Protection take advantage of an increase in bandwidth and a decrease in the cost of the public Internet to enable real-time streaming of church services and events over the same Internet services people use at home. VITEC's portable appliances encode and stream up to 1080p60 video for the highest level of HD video quality at the lowest possible latency. Combined with VITEC's advanced video compression, the hardware ensures that the most demanding video will look great even on the largest IMAG screens. At the same time, integration with Zixi's proven, unique transport software eliminates the video-transport problems that are inherent in unmanaged IP networks. This integration ensures that houses of worship can deliver video of unprecedented quality with no stutter, packet loss, or frame-freeze, regardless of network conditions. VITEC/Zixi live-streaming solutions are available in three different bundles to enable point-to-point, bidirectional, and multisite streaming. The point-to-point streaming bundle includes a VITEC encoder and decoder with integrated Zixi Stream Protection for zero-error delivery over unmanaged networks.
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This bundle includes a lifetime Zixi license. The bidirectional streaming solution includes two sets of VITEC encoders and decoders — one set for each location — and a lifetime license for Zixi Stream Protection. This solution ensures low-latency streaming for natural two-way communication and live interaction between the main and satellite campuses. The multisite distribution bundle consists of a VITEC encoder at the main campus, a VITEC decoder at each of the satellite campuses, and a Zixi Broadcaster platform in the middle. Zixi Broadcaster acts as a central hub that manages, processes, and distributes content in various formats. The combination of VITEC and Zixi components provides content-aware error correction, bandwidth shaping, and realtime feedback of streaming status for multisite streaming over any net-
work. Zixi Broadcaster also makes it possible for a house of worship to record streams and play them out later to other campuses. "Many houses of worship around the world have the common goal of using live video streaming to unite worshippers at multiple locations. The challenge is how to deliver a reliable, low-latency, HD-quality video signal economically," said Philippe Wetzel, CEO of VITEC. "It used to be that the only way to stream video was through a costly one-way fiber or satellite transmission service. Now, with the VITEC and Zixi integrated streaming bundle, churches have an affordable, reliable alternative that delivers pristine HD video that can truly engage remote audiences as if they were all together at the main campus."
PA N S H O T
Big Bang Post Production invests in file-delivery QC from ATG Danmon UK Big Bang Post Production has invested in a Vidcheck Vidcheckerpost automated quality control solution from ATG Danmon UK. This will be used to ensure that files leaving the facility are up to the technical standard specified by the Digital Production Partnership. "We are a full-facilities post-production house offering editing, graphic effects, grading, audio tracklay, mixing and sound design as well as kit hire," comments Tim Bolt, co-founder and Managing Director of Big Bang. "Vidcheckerpost enables us to make certain that all content files produced for our customers conform fully to the signal and metadata parameters approved by the UK's major broadcasters. It performs a thorough check of video and audio quality and our operators can choose between multiple levels of checking including fail-on-error." "Vidcheck products continue to be in strong demand throughout the broadcast and media market," adds ATG Danmon UK Product Sales Manager Chris Elson. "Vidchecker-
post slots perfectly into operations at Big Bang Post by automatically measuring and correcting the quality of the master files. It comes complete with templates for the DPP delivery specification so is an easy automated process to set up. This enables Big Bang to concentrate on the creative process without the distraction of monitoring the technical aspects of each file. "Vidchecker is accredited by the DPP. If a file passes the Vidcheck tests, this is accepted by all UK
broadcasters. Vidchecker is highly cost-effective and hardware efficient, producing reports certifying the tests done and the results. "If any issues arise, Vidcheckerpost lists the timecodes showing exactly where the problems are plus a description of each event in language that an editor can easily understand. The version we supplied includes an AVC Intra decoder which generates the exactly file format specified by the DPP for UK broadcast content."
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ChyronHego names Pantalha as Latest Reseller in Portugal ChyronHego announced that the company has signed Pantalha as its newest reseller in Portugal. Pantalha will represent ChyronHego's full line of broadcast graphics creation/playout and real-time data visualization products to the rapidly growing Portugal broadcast market. In addition, Pantalha will continue to resell the advanced software-based broadcast automation solutions of ChyronHego company VidiGo. On Thursday, Nov. 26, at the Vintage House Hotel in Lisbon, ChyronHego will host an open house in honor of Pantalha's 25th anniversary. With the theme "The Power of Data and Next-Generation Graphics Visualization," the event will include presentations and demonstrations of ChyronHego's Lyric 64 graphics creation and playout platform, Paint telestration solution, and Virtual Placement virtual graphics system. "As one of the top resellers of technology solutions for the Portuguese broadcast industry, Pantalha is a strong addition to our channel in the region," said Aldo Campisi, vice president, Latin America, Caribbean, Spain, and Portugal for ChyronHego. "With a focus on solutions for media production and playout as well as content capture and processing, Pantalha will provide a strong local presence and market expertise for our solutions."
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HBO’s ‘Game of Thrones’ Graded with DaVinci Resolve Studio by Chainsaw’s Joe Finley Blackmagic Design announced that Joe Finley of LA based post production facility Chainsaw, a SIM Group company, is grading HBO’s Emmy Award-winning series “Game of Thrones” with DaVinci Resolve Studio. Joe has graded the series with DaVinci Resolve Studio since 2012, and with season five’s finale in June, anticipations are already high for the season six premiere in 2016. Based on the bestselling fantasy book series A Song of Ice and Fire by George R. R. Martin, HBO's “Game of Thrones” is an epic story of treachery and nobility, set on the continent of Westeros, where summers and winters can last years. Joe explained that the use of different color palates takes you on a journey and allows the viewer to know exactly where they are throughout the seven kingdoms of the realm. Joe relies on DaVinci Resolve’s custom curves, secondaries, keyer and compositing to help create the nuanced looks and colors of the show. And he is able to show different looks in real time. “Resolve
is fast, and this is part of why I love using it. It works in real time with no rendering, which is very helpful if I have to show different looks,” said Joe. While nuanced color is important for distinguishing between locations and storylines, for the overall look of the show, Joe is tasked with delivering a very rich film look. “Regardless of the theme of the episode and whether we are going for a vibrant or muted color, I always give the footage a real film look. The highest possible feature look you can get without actually shooting on film,” said Joe. “When working with LOG material, you need a great starting point to give it a film look. The ability to use the LOG rhythmic side of color correction in harmony with linear, regular color correction to manipulate the whites and the blacks is a tool in Resolve that I use constantly,” Joe concluded. “DaVinci Resolve never hinders you creatively, it only enhances.”
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ISC Captures the Excitement of Marquee Thoroughbred Racing Events with Hitachi HD Cameras International Sound Corporation (ISC), a provider of high-quality products and services for the racing and sports industries since 1960, is deploying Hitachi ZHD5000 HDTV cameras for superior-quality acquisition as race tracks across the country upgrade their video operations to high definition. The exceptional picture fidelity, performance and reliability of the ZHD5000 cameras under demanding operational conditions were at the forefront during production for two of this year’s most prestigious racing events, the Preakness Stakes and the William Hill Haskell Invitational. As one of ISC’s key service offerings, the company designs, installs and operates complete broadcast control rooms and production workflows tailored to the unique needs of race tracks. ISC has deployed hundreds of Hitachi cameras in varying configurations across nearly 50 tracks, and continues to expand their use of Hitachi as their clients make the transition from standard definition (SD) to HD video production. “We are using Hitachi cameras exclusively for all of our installations,” said Joe Gordon, Executive Vice President at ISC. “Like all of the Hitachi camera models we’ve worked with, the Z-HD5000 provides exceptional value, delivering remarkable quality and performance at a cost-effective price. Hitachi has also been a great company to work with, providing phenomenal service that we can always count on.” Featuring high-performance 2/3” CCD imagers, Hitachi’s advanced digital signal processing and powerful picture controls, the Z-HD5000 cameras consistently produce outstanding image quality and exceptional dynamic range even under rapidly changing and uncontrollable lighting conditions. “The lighting
can change multiple times over the course of a four or five hour live show, from cloud cover to facing directly into sunlight,” said Gordon. “The Hitachi cameras react very well, always delivering pristine video.” Hitachi's highly-acclaimed durability and reliability also withstand the significant challenges of the tracks’ outdoor environments, from dirt to dramatically varying weather. “There is a lot of dirt and sand in the air, especially for cameras close to the track,” explains Gordon. “And the horses run in all sorts of weather conditions, rainy or dry, from 10 degree cold to 100 degree heat. The cameras take a lot of abuse, and hold up to it well.” The benefits of the Z-HD5000 cameras were showcased during marquee events at the sites of two of ISC’s most recent HD installations. Pimlico Race Course hosted the Preakness Stakes – the second leg of thoroughbred racing’s Triple Crown – while Monmouth Park Racetrack hosted the William Hill Haskell Invitational, which featured American Pharoah in his premier race after becoming the first Triple Crown winning horse in over 35
years. The Pimlico and Monmouth Park installations each include seven Hitachi HD cameras. The majority are deployed in fixed positions while others are used handheld, highlighting the camera’s operational flexibility. The cameras are connected by SMPTE fiber to Hitachi CU-HD500 camera control units with RU-1000VR remote control units. The Hitachi cameras are in use throughout each track's entire race schedule, with live productions up to five days a week and ranging from four to six hours each. The resulting productions are seen on monitors throughout the local venue and are distributed to off-track betting (OTB) establishments, sports books, racing-focused specialty TV networks and local television stations. As more race tracks around the nation move to high-definition video production, ISC will continue to depend on Hitachi cameras as the linchpin of their acquisition workflows. “Great quality, great reliability and great value from a great company to work with -- that says it all,” concluded Gordon. TMBi - 21
PA N S H O T
LEADER Sees Accelerating Focus on UHD Production at NAB Content & Communications World of the production process. That's a more efficient and effective approach than taking the fix-it-inpost course." "The LV 7390 is a 3G/HD/SD-SDI rasterizer with optional 4K capabilities. Introduced at the NAB Show in Las Vegas earlier this year, it can handle up to four SDI signals simultaneously. It occupies just 1U and can be deployed for desktop or rackmounted operation. Like the LV 5490, its integral CINELITE速 feature allows the operator to measure the luminance levels at up to three different different points in a scene. CINEZONE速 uses false colors to indicate luminance levels in a scene and is particularly suited to green screen chroma-key virtualset alignment." LEADER Instruments Corporation reports growing interest in 4K UHD production resources at the NAB Content & Communications World show, held at the Javits Convention Center in New York City November 11-12. The exhibition attracted more than 6,800 attendees and 300 exhibitors. Visitors included broadcasters, content producers and post production professionals from many East Coast states. Chris Brown (NAB Executive Vice President, Conventions & Business Operations) announced on the opening day that the event was now being branded NAB Show New York. Center of attention on the LEADER stand were the LV 5490 waveform monitor and LV 7390 rasterizer, both of which are designed for use in 4K UHD, 2K, HD and standard definition workflows. Also
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on show were the LV 5333 3G/HD/SD-SDI waveform monitor and the compact LV 5770A multimonitor. "UHD is moving through an acceptance phase comparable with the transition from standard to high definition broadcasting at the turn of the century," comments Kevin Dunsheath, LEADER's Director of Eastern Sales for the US and Canada. "The media industry's initial priority is to create UHD content. Programme makers are becoming increasingly keen to invest in 4K cameras to maximize the shelf life of their work. This is a global trend, encouraged by competitive 4K camera prices and the rapidly falling cost of 4K consumer television displays. The LV 5490's Cinelite速 and Cinezone速 tools are especially popular with cameramen who need fast confirmation that they are delivering the best possible signals right from the front end
Also demonstrated was the ShibaSoku VC7 multi-format standards converter which LEADER now distributes in the USA and Canada. The VC7 can convert between up to 10 commonly used video signal formats. The standard version comes with 1080/59.94i and 1080/50i inputs and outputs. Support for 1080/29.97PsF, 1080/25PsF, 1080/24PsF,1080/23.98PsF, 720/59.94p, 720/50p, 625i/50 and 525i/59.94 formats is available as an option. Advanced dynamic vector and motion compensation are incorporated. Multiple intermediate fields are calculated by shifting the position of the moving image based on the direction and magnitude of its motion. This results in razorsharp natural motion playback free from the video 'stuttering' which often accompanies camera panning and the tracking of fast moving objects.
PA N S H O T
FilmLight delivers end-to-end colour control at Arab Telemedia Group Emmy Award winning and MENA region leading production company Arab Telemedia Group has added an integrated Baselight colour pipeline to its production and post workflows. The new pipeline allows Arab Telemedia to increase both value and productivity for its television productions.
workflow. In addition, with the new free-to-read capability in Baselight for Avid, which is now available and means that grades can be read accurately without purchasing a license, last minute grade changes can be provided in an updated AAF to any Media Composer system without rendering or licensing.
To boost the quality of the imagery and to speed delivery, Arab Telemedia has now installed a comprehensive colour management workflow from FilmLight. This starts with four FLIP units for on-set previsualisation, each capable of handling four input channels. Where drama productions regularly use the same set, this is a very efficient way of creating a strong look at the point of acquisition, by adding colour correction to the output of each camera.
The ability to exchange the onset grades as BLGs with the editorial department, then pass them to the grading suite, ensures the DOP’s intent is displayed consistently throughout the post process. The editor always sees the latest grade during the edit and can also make adjustments where necessary. It makes the final grade a much easier and shorter process.
FLIP is part of the Baselight environment, so the colour grades imposed on set are not burnt in, but stored as metadata in FilmLight’s Baselight Linked Grade (BLG) file format - the essential component in enabling looks to be exchanged between all FilmLight systems. The BLG enhanced format contains all grade information, even Truelight cubes, conform metadata and keyframes, and can be passed to the Baselight TWO colour grading workstations in post-production where the final grade is finessed.
“We first used this set-up on Waed Al Ghareeb (The Promise),” said Talal Awamleh, CEO of Arab Telemedia Group. “This is a highvalue, high-profile 30 part episodic and we wanted it to have great production quality, even in a tight timescale. We talked to the FilmLight team at IBC in 2014 and realised that the renderless, metadata-driven colour environment they had built using Baselight tools and the BLG workflow had huge
potential.” “At that time we were making a huge investment in Avid technology, so the fact that Baselight Editions could add colour grading to the edit stations was a significant benefit,” he explained. “It means we can see precisely what the finished product is going to look like, at any point from the set to the finishing suite. Producers are reassured and we know we are getting the best possible quality, quickly and economically, because we have a colour pipeline that is without equal in the Middle East.” Mark Burton, sales director at FilmLight added, “High pressure drama production is being transformed by the Baselight collaborative workflow. Scenes that appear regularly will always look the same because standard looks can be developed and repeated, so everyone in production gets to work with the latest grade – meaning there are no compromises in post and the creative intent remains. Additionally, because we are only building metadata, there is no waiting for renders or for large files to be transferred again and again.”
As well as the FLIP on-set look management system, Arab Telemedia also uses five Daylight systems for on-set dailies and highperformance transcoding. The colour grade from the FLIP can be further refined and rendered at this point, but more commonly the BLG metadata is attached to each shot, and the grade is imposed in real time using several Baselight Editions for Avid - a software plugin which resides in the Avid edit workstations and completes the
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PA N S H O T
D+P Multimedia / Camerakit .ie supplies IDX System to Power Live Video Transmissions for Cricket Ireland IDX CW-F25 two-way wireless HD-SDI transmitters form the communications core of a remotely controlled video capture system recently completed for Cricket Ireland. Each transmitter is configured to carry data from a compact control unit to a remote television camera with an integrated motorised pan/tilt/zoom head. Full 1080i high definition video is simultaneously carried back from the cameras to a Panasonic AW-HS50 production mixer. "We needed a system which would allow us to stream live television coverage of matches over the internet while also benefiting our performance analysis for the players," comments Cricket Ireland coach Peter Johnston. "A vital requirement was the freedom to place cameras at any location without worrying about power supply cables or signal feeds.
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"After surveying the available sources, we approached D+P Multimedia Products Ltd who specialise in providing all leading broadcast equipment brands. They designed a complete solution for us based on Panasonic AWHE40S compact pan/tilt/zoom cameras. Video is fed back wirelessly from each camera to the control suite. The production equipment is housed in two flight cases and includes video monitors, a network switch plus a live streaming interface. The system is reliable, easy to learn and very efficient to operate. The IDX transmitter and Panasonic camera combination gives excellent quality high definition video in any lighting levels cricket would be played in, as well as night mode if that were ever required." "The IDX CW-F25 transmitters simultaneously carry H.264 High
Profile video back to the Blackmagic Duo video source monitors and a Panasonic AW-HS50 vision mixer which allows live mixing from both masts along with inputs from other local sources. A third Blackmagic Smartview HD monitor is configured for programme and preview multiviewing. A combined video and audio output feed is then sent to a Blackmagic Ultra Studio Express interface which encodes the live output stream on a Apple MacBook Pro using Telestream Wirecast Pro to send out to the web. Each of the two CW-F25 Transmitters supports return video, intercom, tally, RS422 remote and Ethernet networking, giving the remote camera operator the full features of a wired link. The system includes an IDX VL4S battery charger plus 12 IDX CUED150 146 watt-hour high-grade Lithium Ion V-Mount batteries."
PA N S H O T
Marshall Electronics Extends the Popular Pro-Series POV Camera Line with Upgraded Features and the Ability to Capture Targeted Local Audio Marshall Electronics Inc., announces new additions to the popular Pro-Series POV Camera line. The new CV505 Mini Broadcast Camera and CV345 Compact Broadcast Camera utilize next generation chip sets, which in addition to improving on all aspects of video production, support audio input for capturing local sound at the camera level. The CV505 and CV345 utilize state-of-the-art 2.5 Megapixel sensors to captures sharp, vivid HD color images at high-speeds with improved low light capability, when compared with earlier models. The CV505 Mini Broadcast Camera is built around a 1/3” 2.5MP sensor, set in a 1 ½-inch body with 3.7mm (interchangeable) Lens. The CV345 Compact Broadcast Camera also features a 1/3” 2.5MP sensor,
housed in a 2 ½-inch body with CS/C lens mount and DC Auto-Iris. Both models offer flexibility in HD lens options to achieve a wide range of Angle-of-View perspectives. “We're seeing more and more remote placement applications of our Mini-POV cameras,” says Tod Musgrave, Director of Product Marketing, “and adding the option of embedded audio at the source extends our mini-camera capabilities and offers more options to our
broadcast integrators and end users.” These next generation models support embedding audio on 3G/HD-SDI and HDMI feeds simultaneously when captured via 3.5mm TRS stereo input (2.5V supplied power). The ability to capture sound at the camera level, such as chatter between professional athletes, crack of a baseball off the bat, or the ping of a golf ball off the tee expands the potential use case scenarios of the Marshall ProSeries POV Camera line. Marshall’s new CV505 and CV345 will be displayed at CCW Expo, November 11-12th at Javits Center in New York City as well as WFX, November 18-19th in Nashville. The new Pro-Series POV Cameras will be released in late November and will be available for sale through Marshall Electronics Dealers and Distributors.
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INTERVIEW WITH ARTURO MIGNON, TELEVISA DIRECTOR OF TRANSMISION Tell us about the digitalization project This very-far reaching project for Televisa is intended to switch-off from analogue to digital TV, and we have been working on it since 2004. At that time, we were directly regulated by the Secretariat of Telecommunications that developed a three-year project covering 6 periods. The first of them was 2004-2006 and the end of it all was planned for 2021, but this was the original line, which was then changed. We started to work in the gradual switchover to digital TV in the different areas of the country. Obviously it was done based on population, thus, big cities were to be adapted first and so was the border area, due to commitment to the USA. Later on, switchover would extend to the centre of the country, and then to the south-east. We were working on that basis when last year it was decided that switchover had to be completed by August of this year, instead of 2021. Ever since, we've had to work very hard because the forth, firth and sixth period were reduced to one. Despite that, we have made it. We've faced problems with the complementary stations because we have a large territory, with many mountains, and we have to work with a complex terrain. Plus, there are many complementary stations. In fact, they are more numerous than our concessions. They wanted them all to be ready by August, but it was impossible. Even so, be managed to have a lot of them ready with great effort of the technical area. The final shutdown is scheduled to take place at the end of this year, so we are still working to make sure that we have everything ready by then. We have faced partial shutdowns throughout this period, but they have not been based on the original project, which was designed for broadcasting in cities to include analogue and digital signals during a 5 year period. Since 2005 Mexico has had both digital and analogue broadcasts, but this will end as from December when the final shutdown is to take place. Even though forecast has changed, we have easily adapted. We are working extremely hard to have the complementary stations ready as soon as possible.
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What units have you used for this project? We have many different products in our facilities, as we have tested different brands. In terms of coverage, we started working with Japanese units, basically Toshiba and NEC, also Gates Air, when it used to be Harris. At present, most of the work has already been done, but we have mainly worked with Gates Air and Rhode&Schwarz. In the case of complementary broadcasts, as they are small power, we have integrated other brands such as BTESA. These units were developed by SAPEC by combining a modulator with an encoder. In the standard that we use (ATSC), 8 VSB modulation in high-definition,
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the unit stimulates a BTESA amplifier. This simplifies installation and, according to the tests that were performed, provides reliability in our operations. Antennas are Rhymsa and Jampro. Is there a perception of better quality with this change? Of course there is, not only among the public, but also among professionals. I personally have done a lot of fieldwork, especially during the first three periods of the plan, when my team and I had to install everything, and I have to say that we did a good job. There is, of course, a big difference between the analogue signal and the digital signal.
How is the signal distributed? Satellite transmissions are used in distribution point-to-multipoint, the company has 3 national channels in different stations. Several of them are broadcasted in almost the whole of Mexico, and some are only seen in specific places, such as Canal 4 that is only broadcasted in Mexico City. They all use the same bandwidth. Have you performed 4K testing? We have performed specific 4K testing with these systems, but we haven't gone into 8K. Having performed these tests, my personal opinion is that this is something that we will have to wait to see because the change is far from being as big
as BW to color, or analogue to digital, which is what we are doing now. I don't see an enormous difference that makes it worth, at least in broadcasting. What about IP? We do use it and it's quite practical in several environments. We mostly use satellite but we do use it for subsequent conducting because the transmitter is not always in the same location, or it has to be distributed to other points within the same location, for example, if we have to go from the city centre to the outskirts. Basic distribution is done by satellite but IP is an excellent complement.
Media Networks is the B2B unit of the Video Unit of Telef贸nica providing wholesale pay TV services, audio-visual solutions, content generation and ad sales to companies and operators in the United States, Brazil, Mexico, Chile, Colombia, Argentina, Paraguay, Ecuador, Bolivia, Venezuela, Central America and Peru, where its regional teleport is located. In this issue we interviewed their TV Wholesale Operations Director, Javier Izquierdo.
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Where does Peru stand as to technological development? And where does it stand with respect to other countries of South America? The audiovisual sector in Peru has grown significantly during the last few years; with pay-TV platforms, Peru has consolidated itself in the forefront of technology, through the development of important services within the region. Add that to the fact that contentproviders are investing to become digital production centers with the latest HD technology. When compared to the rest of Latin America, it is difficult to have a unique vision, as it strongly depends on the countries with which the comparison is made. But as to traditional pay-TV
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services, such as DTH or CATV, Peru has the same penetration levels as the key countries of the region; as to value-added services, such as multi-screen, its development comes with a broadband infrastructure upgrading. In that sense, Telef贸nica del Per煤 leads and is strongly committed to provide users with broad banding that is comparable or better than that being offered in other countries of the region. What do you think will happen in the next few years? Changes in content consumption patters are increasingly obvious and there is a clear trend towards the adoption of on-demand video multi-screen services, complementing the content offered by linear
channels. This all comes from providing users with a broadband that enables adequate use and that lives up to the expectations of customers. Positioning of operators as exclusive content providers is a trend that was taken up by Telef贸nica del Per煤 through its payTV service some years ago. It has proven to be an amazing loyalty strategy that leverages the operator's services. From now on we will witness a change on the way content is presented by operators: there will be a greater differentiation as to their contents but also as to the way they are presented and offered to customers. What key technologies will we see in Peru in the medium term? There is no one single technology
that will be a key one in Peru. Due to its geographical diversity, we will probably see a combination of technologies focused on offering customers a similar service, regardless of their location. In this way, we will see the evolution of cabling, the development of optic fiber infrastructure, the extension of 4G coverage and the use of satellite systems to offer a solution to customers' communication needs, amongst which content and linear channels are, and will continue to be, the major part of these services available.
How does Media Networks position itself in all of this? For a decade, Media Networks has been playing a key role in the development of the pay-TV industry in Latin America, with a consolidated platform that operates in the whole region, making it easier for operators to launch their pay-TV services, and managing today over 5 million subscribers in the region. At the same time, as to content generation, it offers exclusive content TDP channels, and this all has enabled it to become a regional reference within the industry. This
leadership has helped Media Networks to consolidate itself within Telef贸nica's video strategy as an internal key figure in the "Unidad de Video Latam" (Latam Video Unit). What about your recent projects or relevant leads. Media Networks has had a leading role in this year's expansion of high definition content, where Telef贸nica achieved regional leadership. We also participate actively in Telef贸nica's regional initiative to launch its multi-screen proposal, and in Peru's content quality offer, with original formats that are greatly appreciated by customers. This year, 8 new formats have been released for its lifestyle channel, Plus TV, Conmebol Qualification for Russia's World Cup 2018 in its sports signal, CMD.
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This is a new concept of filebased quality control to improve productivity of operators and, at the same time, relieve them from boring and monotonous tasks. The concept is simple: Aurora detects QC issues according to standards of work quality, and the operator can automatically review the list of QC issues with the new Hydra player. For some parameters, correction can also be automated.
TEKTRONIX AURORA For some time now Digimetrics, which previously owned Aurora, had been working in the definition of quality control of EBU. The product has some key functions that make it unique in the market: - Scalable file analysis speed according to needs, making it the fastest system on the market today.
- Uniquely capable of testing 4K files at real-time or faster. - Adaptive Bit Rate Support. In this respect, with the same system, files from providers, mezzanine and OTT files can be also tested. - Manual review up to 8x of content - Report analytics. There are 3 versions of the product according to analysis speed: 1. Aurora Core: up to 3x in HD per
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verification unit (VU). 2. Aurora Professional: up to 6x in HD and 2x in 4K per VU. GPU support 3. Aurora Premium: It is able to get to every corner where your hardware can get to per VU. GPU support. Aurora is a file-based quality control, on a Windows platform, that is able to integrate into existing workflows in traditional and OTT environments. Thanks to its advanced design and to its parallel file processing at the maximum speed of the market, it ensures that QC is not a bottleneck in the production process: - It has an API for MAM monitoring - Those who need simple configurations can use hot folders for the analysis. - Those who already have Cerify, can change to Aurora whenever they wish and with all the advantages that this involves. API of Aurora 6.0 is compatible with Cerify's. Although this is a high-quality system with a level of performance well above other market solutions, Aurora is different to the rest
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thanks to its integration capacity with Hydra player. With regard to the issuance of reports, once the work performed
by an operator has been validated through Hydra, the system is able to issue reports, pdfs and send them by email.
TEKTRONIX HYDRA Hydra is a player with some very special features that are listed below. It closely integrates with Tektronix's quality control. This means that once a file has been analyzed by Aurora, we can click the review button and see automatically in Hydra the list of issues, so that the operator can review them with just one click. If it detects false alarms, they are deleted from the list and they automatically disappear from the Aurora test reports. Hydra is very powerful as for audio functions. It is able to work with multichannel audio and to display waveform and loudness meter.
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But probably Hydra's most important feature is that it is able to work with third party hardware to facilitate the work of the operator: 1. Through shuttle controller we can fast playback and reverse the image with no need to use the mouse. 2. If we add a card with digital outputs, we can use Hydra to reproduce contents through its outputs. One of its potential uses would be to connect a device in order to thoroughly test the quality of the signal in the points marked by Aurora. At this year's edition of IBC, Tektronix's stand has shown the complete suite of monitored hardware outputs through a monitor,
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August 2015 Supported containers: MXF (Al OP, including AS defined by AMWA, RDD-9, P2, SxS), Transport Stream, Elementary Stream, Program Stream/VOB, AVI, WMV/ASF, QuickTime/MOV, GXF, MP4, 3GPP, LXF, R3D, DPX, DXW, HLS, DASH, Smooth Streaming, IMF, and DCP (not encrypted). Video codecs: H.264 (AVC/AVC-Intra/XAVC), MPEG-2 (including XDCAM, IMX and D-10), ProRes, JPEG 2000, DNxHD (VC-3), Cineform (VC-5), VC-1 (and WMV), DV/DVCPro, Flash VP6/7, RAW (Huffman, YUV, RGB, Blackmagic), EXR, DPX, RED, Canopus, and H.265 (HEVC). and waveforms to test signal levels, colorimetry, gamut, etc. To be clear, we have a set of tools that allow us to automate processes, but assuring that the operator can review the different issues in a quick and safe way. Once finished with the review, the
Audio codecs: PCM Audio (WAV/AES/BWF), AAC, HE-AAC, Dolby Digital (AC-3), Dolby Digital Plus (EAC-3), Dolby TrueHD (MLP), Dolby E, WMA Standard Pro, MPEG-2 (L1,2,3) and MPEG-1. Correction is only available for constant bit rate CODECS. Subtitles, teletext, etc. CEA-608/CEA-708 on video line 21, ATSC 53, SCTE 20, SCTE 128 and SMPTE 436M; SMPTE Timed Text and variations, including DFXP; EBU Subtitles, including STL; SRT; SCC.
report can be saved in the data base, as a PDF or sent by email.
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MAXIMIZING EFFICIENCY AND SIMPLICITY Sound is one of the aspects that makes the difference in high-quality audiovisual productions. The product that we are presenting today makes technology available to us with two fully achieved objectives: outstanding results and maximum ease of use.
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Txt: Luis PavĂa
Before I go any further, let us briefly review some of the reasons that have led us to where we are today. Technology is constantly evolving and the growth of some of its sectors may sometimes limit others. In this case, wireless microphone systems have fallen victim to mobile data transmission. That is, the famous â&#x20AC;&#x153;digital dividend". We all remember well that not so long ago we had to retune our TV channels due to a change of frequencies. This change was the result of EU regulation of around 2010, reallocating the high part of the UHF band. Analogue television needed a UHF channel for each TV channel, while digital transmission of DTT can broadcast 4 TV channels for each UHF channel. TV didn't need so much bandwidth, mobiles do. In this way, the former TV channels 60 to 69 of the UHF band are no longer used in television broadcasting. Since 2015 they are used for mobile data transmission, as part of the famous "4G", which enables significantly higher data rates for a larger number of customers. This is all well and good but, what does it all have to do with my microphones? It has a lot to do, it is extremely relevant. Why? Because the spacing between TV channel frequencies was used by most wireless microphone systems. Especially by those offering higher quality and many of them worked in the highest part of the band, which provided the best dissemination, reach and penetration. So we have to be careful about older systems, because one of these days they may be affected by 4G mobile interferences, and they will become hardly usable. Or even useless. But others won't if their operating
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frequency is between TV channels 21-59, or if they use a very different band, as is the case here. To avoid doubts, we will include at the end a chart. This regulatory change has meant that since 2010 manufacturers have marketed new models, changing the carrier frequencies of those systems that required it, to make them compatible with the new radio scenario. And theoretically for several years now nobody is selling products with this range of channels. Building on that issue, manufacturers have used all available technology in order to develop much more
efficient, versatile and easy-to-use systems. In the case of Sennheiser's new AVX family, they have moved the frequency band to a very different range, specifically to 1.9 GHz band, in order to avoid current or future complications. Many of us still remember the hard work of matching frequencies on transmitter and receiver, and readjusting pairs when having more than one system in the same room. Or suffering from interferences due to frequency proximity. In this new frequency range, due to its new features, it is something we will forget about. As we are about to see, this all
has changed and in the case of the product that we have had the chance to test, one of the latest models of the German manufacturer Sennheiser, we have found ourselves with the quality and reliability that one would expect, plus some pleasant surprises. AVX family is intended to make life and work easier for independent reporters, camera operators and small producers. It is specifically conceived for those who do not want to give up excellent sound quality, but who don't always have the necessary human team to deal with this task. It's a new line that is not intended to replace any of the
What does it all have to do with my microphones? It has a lot to do, it is extremely relevant. Why? Because the spacing between TV channel frequencies was used by most wireless microphone systems.
existing ones, but wants to seize its own space. We have had the chance to test AVX-835, which includes a handheld microphone, with an integrated transmitter and a receiver. The appearance of the microphone does not particularly catch the eye: power button, pairing button, internal rechargeable battery, display panel, etc. But the receiver is quite different to everything that we have seen up until now. It is an extremely compact and lightweight unit that uses its own XLR connector to plug the receiver into the camera, without requiring additional cables or holders. A holder and an adap-
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ter are provided so that it can be used with DSLR cameras, so popular lately in all kind of film shoots. One of the strongest features of this product is its ease of use. It does not require any configuring. We just have to remove it from the box, charge the batteries, switch it on and in a few seconds its LEDS change from red to green, indicating that they are synchronized. But its true magic cannot be seen. Not only is it able to identify the cleanest channel in the environment we are in, but is also continuously checking the signal quality, and is able to switch over to another channel before any interference is perceptible to our ears or recorders. Yes, it switches over to another channel while operating and without us noticing it. This is how it provides a clear and clean sound in all of the different circumstances that we have tested. We even created around it a "barrier" with different types of mobile phones, by placing them very close and making calls between them; and no interferences were spotted in the recorded audio. The quality of the recorded sound is perfect, using 24 bits coding, and sampling rates of 48kHz. It's the same one used in DAT, and higher to that of any audio CD. Though we have already said that it does not require any configuring, it does not mean that it cannot be done. In order to achieve the most suitable result for the sensitivity of each camera, the output level can be adjusted. Once it has been adjusted, we shouldn't change it because the transmitter and receiver are in charge of adjusting the level, regardless of whether the audio from the microphone is too high or too low. This adjustment has 4 steps in levels 0, -10, -20 and -30 dB. In any of them it is able to handle unusually broad dynamic margins, much higher than everything else we have known up to
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AVX family is intended to make life and work easier for independent reporters, camera operators and small producers.
now. We can shout or whisper and we will always receive the signal perfectly. Perfectly but not flat. This means that we will have levels that are proportional to the volume of our environment or our speaker, but always within limitations. Incredibly simple. As for the handheld microphone, it comes standard with 835 capsule of cardiode response. This falls into the classic of handheld microphones, with decreasing sensitivity towards the sides and virtually nonexistent backwards. The capsule can be removed, and replaced by a 42 omni-directional capsule that provides an omni-directional pick up pattern to record more environmental sounds or to deliver better results when the microphone is not pointing to the speaker, or when we have several participants. The change is as easy as unscrewing the capsule and screwing the other one. No connectors or tools are required. Engineering for simplicity. And even though we haven't been able to test them directly, it should be said that the set with lavalier microphones (lapel microphones) has interchangeable capsules that provide a better response in high frequencies, so they can deliver excellent results under clothing. Going into details we should say that the receiver has an ON/OFF/paired LED, and 4 LEDS that indicate the output level once adjusted, the remaining battery life, approximately one hour for each of them, and when the last one flashes red, the capacity of the receiver is only sufficient for a maximum of 15 minutes of operation. Battery is recharged using a standard USB
port, so we can power and recharge it while operating, using its power charger or the port of a computer, or even small power banks that many of us use with our mobile phones. On top of that, the receiver is able to identify the phantom power provided by XLR camera connectors, and is able to switch off and
on when it senses that we have switched off or on the camera. Or give instructions to the transmitter as to enter sleep mode. In other words, there is always permanent communication between the transmitter and the receiver. This means that the 5 hours of nominal autonomy of the receiver, and the 10 hours of the transmitter, end up being much more than that, depending on how we operate the camera. In the case of the handheld microphone, the transmitter cannot recharge the battery while it is being used, because the charge connector is inside the handle body
and has no external access. Though 10 hours of autonomy seem more than enough for any working day. In the case of having several pairs within one same environment, each of them will find its own free channel to avoid interferences with the others, and we will identify them by short pressing the pair button (pairing). We will then be able to see the LED flashes of each paired device. If we long-press any new pair of transmitter and receiver, the pairing will be changed and they will be paired. Not only that, Sennheiser has designed it so that it is able to work simultaneously
Channels are encrypted, making it easier for the signal not to be picked by other systems, while ensuring "confidentiality" during broadcast. with 12 pairs within a same environment in European frequencies (8 in the case of USA). Channels are encrypted, making it easier for the signal not to be picked by other systems, while ensuring "confidentiality" during broadcast. Point-to-point transmission, that is, more than one transmitter cannot be paired with one same receiver, or several receivers with one same transmitter. Always one to one. Another important feature they have is their reach. In normal conditions, that is, with no obstacles, its reach is above 30 meters. But of course, what obstacles would we have if we are shooting and we need to see our characters? None, obviously. And the latency, the delay time that can elapse in intermediate processes since sound is produced until it reaches our camera is of 19ms. 19 milliseconds: this is distinctly lower than the duration of a video frame, and it guarantees that sound will always be perfectly synchronized with our image. To be clear, it's a state-of-art product that uses latest technologies. For modern operators such as ENG or reporters, who work on their own with increasing frequency, it meets requirements in an outstanding way: readiness, unnecessary configuration in most cases, reliability, huge dynamic margins and all of this with ultimate audio quality.
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Ross Video has opened a Ross Studio of the Future at the Ross EMEA HQ at Pinewood Studios “Our goal at Ross Video is to be the leader in Virtual Solutions for all live production,” says David Ross, CEO of Ross Video. “We believe that it is critical for Ross Video to be able to offer our customers locations to see how we can deliver everything required to meet future studio requirements.” We visited their facilities last month and interviewed David Dowling, Director of Sales for EMEA.
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What can clients expect from your company? Ross Video has a unique code of ethics and that’s exactly what clients can expect from us. We treat our customers just the same way we‘d like to be treated, http://www.rossvideo.com/aboutross/company-profile/code-ofethics.html
I think our dedication to customer support is remarkable, both pre and post sales. We have an extraordinary technical support service and in November another pre-sales person will join the company; their primary task will be to help customers simplify and improve the efficiency of their workflows. The way people work changes every day and keeping up with the
emerging technologies is difficult. Our success is totally dependent upon understanding customers’ needs and being close to customers is essential to this. It’s perhaps an old-fashioned approach but our customers appreciate our dedication to them, and our success suggests it’s the right way to do business. How is Ross adapting to meet customers’ demands? We have a growing pre-sales department that is always speaking with customers about what they need, how they‘re working and how they would like to work, what they need our products to do in the future and how we can make their lives easier. David Ross, our CEO, comes over to Europe on a regular basis to take the temperature of the region to see what we need to do and what products we need to develop. Again, our success depends on developing products that are in line with customers’ expectations. Which of the products launched at IBC is gathering the most interest? The product that everyone is now talking about is Ultrix, which is our new router platform. It really changes the world of routers and we have high hopes for it. All the info is available at the website http://www.rossvideo.com/routingsystems/ultrix/ How does your company plan on expanding in the future? The best way to explain that is look back at history. When I was appointed Director of Sales for EMEA there were 3 sales people, all based in the UK. In roughly 4 years we’ve gone to 31 people. We have 9 sales people all based in strategic regions. We have Russian speakers, German speakers, French speakers and we’re working on more…
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Our strategy is always to become increasingly more local. We’ve grown the company in EMEA by 45% and that’s because we pay attention to what the local needs are. Also, we can’t be everywhere so what we’re trying to do is work with the best business partners who are able to speak the language, understand the cultural differences and represent Ross in the right way. What criteria in your opinion are broadcasters using to select products? It depends on the broadcaster. We can’t forget that we are often talking about multi-million Euro investments. Europe is still experiencing economic troubles, people are fearful for their jobs, they don’t want to make mistakes and they want to feel that they’re going to be looked after. Our job is about making sure the broadcaster understands he’s going to be fully supported in his decision. And of course, pricing. We are not necessarily the cheapest when it comes to price, but what makes us different from our competitors is that we support 365/24 for the lifetime of the product and that support doesn’t come at an extra cost. There are companies out there, big vendors, that are not picking up the phone to their customers when they have problems. Can you describe some of your customer highlights? We’ve worked with the BBC in the UK for a few years now and that’s obviously very gratifying. Our most recent successes include Eurosport, beIN Sports, Kuwaiti TV, Skype, YouTube and many different sporting clubs and stadia. Any product innovations ahead
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that you can discuss?
standards bodies so we’ll be ready when the time comes.
Yes, we are very active in the field of IP Solutions.
Any other comments you wish to add?
The interesting thing about IP is that it looks like everybody is going to have a solution, but nobody actually understand how are they going to deliver it and how is going to work. The real challenge for the vendors is to make IP affordable if this is the way the industry wants to go, and it needs to make sense.
Currently I’m not sure if IP makes sense. It might do for OB but perhaps not for studios. Either way, we’re involved with the various
We are especially proud of the demo facility that we have within our offices at Pinewood Studios in the UK. It’s an important asset that really demonstrates the power of the Ross ecosystem to our clients and business partners and shows them what Ross is all about.
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