Editor Javier de Martín email@example.com Editor in chief Jesús Carrillo firstname.lastname@example.org Key account manager Cristina Feduchi email@example.com Creative Direction Mercedes González firstname.lastname@example.org
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76 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
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The Best of 2015 Manufacturers have expanded their cost effective products because professionals demand an increasingly open ecosystem. There were never so many technical possibilities in this market like now. That´s why in this issue we offer an editorial selection of the best products of 2015.
Administration Laura de Diego Marga Quevedo firstname.lastname@example.org
TM Broadcast International #29 January 2016
Conquer the challenges in a decentralized workflow
How to achieve seamless collaboration between editors that work remotely
It is a fact that some of the major technological developments are associated with live sport broadcasting, many technologies are required on it. Two major events for broadcasting are Fifa World Cup and Olympic Games, where we’ll see premium systems and trends for the coming years. In 2014 we saw the born of live UHD, the settlement of digital systems and a huge online coverage. In the Olympic Games this year we’ll see how all this is amplified and possibly IP Technology will get a major role. We’re moving to a stage of a very high quality capture, even HDR, to ingest the material and then down convert it to different formats and use a lot of rich graphics and augmented reality. We will also see more possibilities online, thanks to growth in IT. 2016 is going to be a very exciting year!
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PA N S H O T
Bandito Brothers Invests In Avid Shared Storage To Enhance Collaboration Across Editing Applications Avid® announced that leading Los Angeles-based media company Bandito Brothers has invested in Avid’s new shared storage system for creative teams to deliver the flexibility and efficiency it needs to handle any kind of project. Powered by the Avid MediaCentralTM Platform, the system enables the company’s creative teams to collaborate efficiently regardless of which editing application they use. Bandito Brothers is an award-winning, full-service media company that creates, produces, manages, and distributes audiovisual content for clients including major film studios like Universal and Warner Bros., and brands including Electronic Arts and BMW. Working primarily on feature films and commercials, the company increasingly has to work with numerous formats and large file sizes, including 4K and 6K raw files. Its creative teams use the Avid Artist Suite’s Media Composer® nonlinear editing soft-
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ware and Pro Tools® digital audio software, as well as Adobe Premiere Pro. The company invested in the Avid Storage Suite’s new Avid ISIS® | 1000 shared storage system to help them work more collaboratively with very large and difficult-to-play files across all editing applications. “ISIS | 1000 gives us the collaborative power we need to share projects across a wide range of tools and staff, and to complete projects in less time,” said Lance Holte, senior director of post production, Bandito Brothers. “The fact that it’s software agnostic means everyone can use the right tools for the job, and we don’t need to have several different servers with different projects and workflows. Media Composer is the industry standard and its collaborative editing capabilities are second to none. But for smaller projects where things like bin locking and collaboration are less essential, we use Premiere Pro.”
Bandito Brothers’ ISIS | 1000 system is accessible from three separate buildings at its Los Angeles campus—for music, post production and finishing. Editors can access plates being worked on by its on-site visual effects company, or copy over an AAF or OMF file for the sound team to open in Pro Tools in their shared workspace, adding an extra layer of efficiency. “Avid’s new affordable, reliable, and high-performance shared storage solution gives creative teams the accelerated workflows and enhanced collaboration they need to take on any project,” said Kyle Kim-Hays, Senior Vice President and Chief Marketing Officer at Avid. “Delivering on the openness of Avid Everywhere™, Avid shared storage systems now support a wide range of third-party video editing systems, giving companies like Bandito Brothers greater choice in how they deploy their creative workflows.”
PA N S H O T
European Swimming Championship Deploys Micro Studio Camera 4K for Live Broadcast
Blackmagic Design has announced that its Blackmagic Micro Studio Camera 4K was deployed at the 2015 European Short Course Swimming Championship, held in Netanya, Israel, as part of a specialist 3D motion robotic cable system developed by DynamiCam. As the lead overhead camera for live broadcasts, the Micro Studio Camera was part of a major multi camera OB set up, devised by sports specialist Mizmor HD Productions, with a live program mix produced for more than 20 international EBU broadcast partners, including the BBC, RAI TV, MTVA, ORF, NOS, TVE and SVT. The Blackmagic Micro Studio Camera 4K was rigged in a 3D motion robotic cable system over the Olympic size, ten lane facility, in order to deliver a ‘pool top’ view of the action, which is a broadcast prerequisite of the European Swimming Association. The solution features a 360 degree gimbal held
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in place by lightweight winches and cabling, together with stabilization, to deliver a greater range of camera angles than other rail rig solutions. “The Micro Studio Camera delivered outstanding results,” reveals Ziv Bezalel, head producer at Mizmor Productions. “Not only did the solution give us a top shot of the pool, but it also gave us the flexibility to use a more dynamic range of movement to track competitors, which helped to enhance the overall excitement of the races.” A pilot for the gimbal and camera operator worked side by side to coordinate shots, with the camera operator using the Micro Studio Camera’s CCU software over a fiber connection to control parameters including iris, shutter speed, white balance and gain control. “Remote camera control is essential for any multi camera broadcast environment, especially when you are mixing signals from a wide variety of cameras, as we were at the
Championship,” continues Ziv. “The more parameters that we have control over, the better the images we are able to produce. The ATEM CCU also allows lift, gamma and gain control for individual color control, so the team was able to ensure the same level of consistency from the Micro Studio Camera 4K that we were achieving across the rest of our OB production.” “We recognized that a number of small HD and Ultra HD cameras offering superb image quality coming into the market, and designed our solution to place these compact units into an alternative, lightweight cable system for live events as well as stadium and venue AV installations,” explains Enosh Cassel, DynamiCam. “As soon as we saw the capabilities of the Micro Studio Camera, we knew that it would be the perfect partner for what we had in mind; combining broadcast quality images with interesting and unusual camera angles, which bring an added creative dimension to live sports broadcasting.”
Now shipping: Lawo Sapphire compact mixing desk Equipped with VisTool 5.0 software for extended visualisation and control and with innovative new features designed to help simplify the workflow of even the most complex radio programming, sapphire compact is perfectly suited to today’s quick-moving, interactive news and call-in shows. Autogain, for example, is a life-saver for multiple-mic talk shows and news programs; with the push of a single button, Autogain adaptively optimizes the dynamic range of all active microphone preamps, turning microphone chaos into a smooth, even mix of voices. Another Lawo innovation, Automix, is an exclusive, intelligent DSP algorithm which gives presenters the power to create radio shows virtually hands-free. Automix works by intelligently riding the gain of any combination of mono and stereo input signals to produce error-free mixes — freeing talent to prepare for what’s next. Another unique feature present in sapphire compact is a unique “layering” capability, which enables the console to manage a live broadcast while, at the same time, performing alternate tasks such as voice tracking, phone call editing, and even light production.
Sapphire compact comes with VisTool screen building application software, designed to easily create custom status displays, tablet and touchscreen based button panels and even mixing console controllers. VisTool also serves to capture and manage snapshots and offers sophisticated rights management functionality. The new 5.0 version adds GUI elements including the ability to place web page objects on custom panels. It also provides integration to more devices via the Ember+ control protocol while a new logic engine enables rules-based decisions and actions.
PA N S H O T
Denmark’s TV East Turns to LiveU to Power its Live Broadcast Operations LiveU has announced that Danish broadcaster TV East has deployed a range of its technology to enhance its newsgathering operations. The deal was overseen by LiveU’s Danish partner Avit. Based in Southern Zealand, TV East is one of eight regional broadcasters in the country and is fully license fee-funded, having separated commercially from national broadcaster TV2. Some of its content is still broadcast during regional opt-outs in the TV2 schedule, though TV East is a 24/7/365 operation in its own right. As well as news programming, it also concentrates on a variety of magazine formats. The broadcaster’s news shows can be viewed on DTT and cable as well as via the regional slot on TV2, which also has satellite coverage. Increasingly, content is viewed online. TV East is using three LiveU LU500 backpack units as well as an Xtender remote antenna solution. LiveU’s Xtender increases network reception, providing additional resiliency for live video transmission in extreme scenarios, such as heavily crowded areas, and can be vehicle or tripod-mounted. LiveU’s Central management platform has also been deployed for easy preview and remote control. The broadcaster has taken delivery of two Panasonic PX270 cameras with integrated LiveU software. This allows LiveU Central remote camera control capabilities and also streaming directly from the camera, to provide additional options in the field. TV East uses the technology for a wide variety of applications, including up to ten minutes of live content (from up to three LU500s) during daily news shows as well as for a weekly 30-minute live transmission of its culture show. Content has been broadcast live from ships and helicopters on more than one occa-
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sion. TV East has also had several two-five hour transmissions from different various sporting and cultural events using multiple LU500s to transmit to the TV station, where the programme is produced and aired live. Kasper Thor Larson, Head of Technology with TV East, said, “Editorial management wanted a bonded cellular solution for our broadcasts. However, previous tests with other solutions showed they were not stable enough for our demands. When we started to test LiveU, we didn’t miss a single live event during the test period. The LiveU backpack is ideal for us. One of the tests was shooting from a
helicopter over a festival with 15,000 people: this was from a distant location with weak coverage. With LiveU, it was a perfect live transmission. After that, management decided to terminate the test phase and ordered an uplink backpack right away: they knew LiveU could give them what they wanted!” Ronen Artman, VP Marketing, LiveU said, “We are very pleased that the robustness of our technology along with its portability was so quickly recognised by TV East. Transmission stability is essential to what we do and is why broadcasters are so confident using our technology live and from otherwise impossible locations.”
PA N S H O T
GatesAir Second Annual Repack Summit Explores Impact of Channel Relocation, Transition to ATSC 3.0
GatesAir brought together engineering executives from major US TV broadcast groups and state networks to the Cincinnati Marriott for the company’s second annual Repack Summit. The two-day event, which included insightful presentations from the FCC, NAB, American Tower, Dielectric, GatesAir and Pearl, provided an open forum about topics related to the reverse FCC auction, spectrum repack, and technologies and strategies to help broadcasters navigate a variety of transitional challenges. The discussion and agenda at this year’s event proved a clear indicator of how far the topics of spectrum repack and ATSC 3.0 have advanced toward reality over the past 12 months. That momentum has carried beyond discussion and into tangible activity, with broadcasters actively purchasing equipment, ordering tower studies and generally updating RF plant infrastructure in preparation. “There was a lot of uncertainty at last year’s event around timing, but
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one year later there is real movement happening in the industry to prepare for next-generation DTV,” said Rich Redmond, chief product officer, GatesAir. “Broadcasters are concerned with meeting tight deadlines for what will be the most challenging disruption to over-the-air TV services in decades. The GatesAir Repack Summit 2015 offered a forum to thoughtfully and responsibly lay the groundwork as broadcasters prepare for the challenges and opportunities across channel
relocation and the ATSC 3.0 transition.” Executives and engineers from Cordillera Communications, Cox Media Group, Graham Media Group, Meredith Corporation, Nexstar Broadcast Group, Quincy Broadcast Print Interactive, Raycom Media and Tribune Broadcasting were among those in attendance, representing many of the industry leaders in U.S. TV broadcasting.
PA N S H O T
“The GatesAir Spectrum Repack Summit gathered some of the brightest subject matter experts in the industry, covering vital topics from FCC processes and tower regulations to what happens with next-generation over-the-air TV following the repack,” said NAB CTO Sam Matheny, who presented the second day. “This was a real service to everyone in attendance, and demonstrates GatesAir’s commitment to the long-term success of broadcasting.” The event opened with insights from GatesAir Technical Advisor Jay Adrick regarding station preparation for repack along with a timeline for the spectrum auction; and a summary of key points in the FCC’s Report & Order on the spectrum auction. Patrick McFadden, VP of Spectrum Policy for NAB followed
with a policy overview that explored the expected timeline of the spectrum incentive auction, along with outstanding regulatory questions surround the repack process. The afternoon delivered a compelling Q&A with Pamela Gallant, associate division chief of the video division, media bureau for the FCC, around the reimbursement program and reverse FCC auction; and a detailed presentation from Peter Starke, VP of Broadcast, American Tower, around construction logistics and their impact on multi-station TV and FM RF facilities. ATSC 3.0 was indeed an everpresent topic over the two days, with two compelling presentations on the challenges and opportunities around this transition. Matheny explored the complexities of migrating to a new standard, and the tran-
sitional challenges broadcasters will face the midst of a spectrum auction. Additionally, Anne Schelle, managing director, Pearl, worked through the potential revenue opportunities and business implications of moving to ATSC 3.0, including new opportunities for mobile TV delivery. This proved an excellent lead-in to Dielectric’s presentation around antenna, filtering and tower upgrades that will be required to support these emerging multichannel TV opportunities. Nathan Smith, director of project management, GatesAir, closed the program with an insightful presentation around end-to-end planning from design to installation and commissioning, demonstrating the benefits of working with turnkey suppliers like GatesAir.
PA N S H O T
Al Jazeera Balkans gains flexibility, functionality, and redundancy with Calrec Audio and makes workflows more efficient. "Calrec provided excellent support. We had to replace our existing console with the Artemis overnight so that it would be ready for live news production the next day. That meant our installation timeline was extremely tight," Isakovic said. "We had an excellent work experience with the Calrec engineers and support team. They helped us ready the Hydra2 network and router core and configure the Artemis ahead of time, so the changeover went smoothly."
As part of an expansion and upgrade project, Bosnia's Al Jazeera Balkans has installed a Calrec router core, two Artemis audio consoles, and a Summa console. The router core provides the hub for a centralised audio network that allows resources to be shared among all of its studios. "Al Jazeera Balkans started in November 2011 with one studio and one stand-alone digital audio console. When we decided to expand our facility, we chose Calrec because they offer very powerful, rock-solid consoles built with broadcasters in mind. That's why Calrec is at the heart of our audio infrastructure," said Mirad Isakovic, manager of the broadcast technology department at Al Jazeera Balkans. "Our operators like Calrec consoles because they are user-friendly, the surface is clearly organised and arranged in a way that makes sense, and everything is readily
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available. Calrec simply makes the operators' lives easier. Now we have two television studios and we can share cameras, microphones, and other sources from one studio to another." Al Jazeera Balkans has installed identical Artemis Light consoles in its TV studios and a Summa console — the first Summa in the Al Jazeera organization — in the new radio studio. The consoles, along with eight I/O boxes placed throughout the facility, connect to the router core via Calrec's Hydra2 networking protocol. By using the Hydra2 network, the consoles can share signals and resources as needed. The Artemis consoles also integrate with the broadcaster's Mosart automation system. Operators can control functions such as patching, routing, equalization, and faders if needed, while Mosart controls only the faders. This ability to automate fader control speeds up operations
Currently Al Jazeera Balkans is only using one of the Artemis consoles (in the main TV studio) for live news. The broadcaster is conducting dry runs with the second Artemis and the Summa and expects them to go live in February 2016. "Al Jazeera Balkans needed a fully integrated audio solution that ensures all resources and signals will be available on any console at any time, which is precisely what our Hydra2 network is designed to do," said Mike Reddick, international sales manager for Calrec. "Now, instead of having one stand-alone console with limited I/O, Al Jazeera Balkans has multiple, larger consoles with more faders and layers; more PGM, AUX, group, and track buses; more functionality; more flexibility; and more efficiency — all linked on a Hydra2 network. That complete audio-networking capability gives Al Jazeera Balkans the redundancy that's critical for any live broadcast environment. We believe this benefit is one reason the Al Jazeera organization has chosen to standardise on Calrec whenever possible."
PA N S H O T
Riedel Supports Comms and Audio for Production of Red Bull's Soapbox Derby in Montreal helped to minimize the complexity of wiring by letting crews mix all onsite communications and audio signals on one system. During production of the soapbox derby, users were able to respond quickly to virtually any communications demand with the press of a button. "For our customers, Riedel's Artist and RockNet systems enable quick handling of various production needs while ensuring outstanding audio quality," said Joel Fortin, senior vice president of operations at Rec4Box OB Factory. "These powerful systems also provide the reliability that is essential in the fast-paced mobile production environment — even for madcap races such as La Course Red Bull Boîte à Savon 2015." When Red Bull's outrageous version of a soapbox derby — La Course Red Bull Boîte à Savon 2015 — hit the streets of Montreal, a uniquely compact Rec4Box OB Factory van equipped with Riedel Communications gear provided master control capabilities supporting live production and streaming of the event. As a wild array of human-powered gravity racers made their way down the slopes of Square Victoria, Riedel's fiber-based RockNet real-time audio network and Artist digital matrix intercom system gave the event producers, Ocean Watch Productions and Red Bull Media House, an efficient, flexible solution for audio transport and communications. "The Rec4Box unit we used on the Montreal soapbox derby was a 26-foot truck that did the work of a 53-footer, and that's valuable for live production in tight urban
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environments," said Sumesh Thakur, president of OceanWatch Productions during the event and now part of Red Bull Media House. "The Riedel gear within the truck provided great audio quality, as well as the ease of use and versatility we required to bring off a successful event." The Rec4Box OB unit boasts modular and highly adaptable details, outstanding workstation ergonomics, and modish interior design, as well as fiber optic connectivity that enables deployment and preparation for a four- or five-camera production in less than two hours. Within the Rec4Box OB unit, the fiber-based network backbone provided by Riedel's Artist system serves as a decentralized infrastructure for live audio and intercom. Easy to set up and operate, the Riedel system facilitated fast, flexible configuration for the Red Bull event. It also
"The efficiency and versatility of our RockNet and Artist systems have made them a staple in Rec4Box OB vans," said Joyce Bente, President and CEO of Riedel North America. "Like the vans themselves, Riedel solutions are designed to accommodate the creative demands of production teams, allowing them to achieve more while working within tight budgets and timelines. Production of the soapbox derby took full advantage of these systems to showcase competitors' imaginative soapbox designs, as well as their panache — and sometimes speed — in attempting to cross the finish line." The winner of the Sept. 6 race in Montreal was team De Lorean, which raced a soapbox inspired by the movie "Back to the Future."
PA N S H O T
SAM announces active participation in Alliance for IP Media Solutions – AIMS SAM has welcomed the formation of the just-announced Alliance for IP Media Solutions (AIMS) and has also confirmed its active involvement. This is a new, independent trade association whose “priority is to bring IP solutions to market that offer complete interoperability, are based on open standards, and integrate seamlessly into media workflow environments to foster industry innovation and efficiency.” Tim Thorsteinson, CEO of SAM, said, “AIMS’ mandate dovetails precisely with the issues that we have identified from our R&D work and initial IP deployments on the production and playout side: we need to push forwards with standardization. Without this, we won’t see a true market develop around IP products and therefore the full benefits won’t be realized. SAM is an active participant within AIMS, as it continues to be with other initiatives that AIMS highlights. This initiative is going to be a key way to protect customer choice.” AIMS is focusing on promoting the adoption, standardization,
development and refinement of open protocols for media over IP, with an initial emphasis on VSF TR03 and TR-04, SMPTE 2022-6 and AES67. Thorsteinson said, “The time is now for this. We don’t want to see the industry heading down a proprietary route, which it’s in danger of doing. Open standards work is of course already taking place, with active testing occurring and in which we are participating, but to have an umbrella association working collaboratively is vital. SAM is now helping customers identify IP migration strategies, strategies that will vary tremendously from cus-
tomer-to-customer.” An example is SAM’s work with Dutch media group DutchView Infostrada, part of the NEP worldwide network. Based on SAM’s unique SDI to IP transition solution the company has successfully broadcast its first live, IP-based multi-camera broadcasts using its Cloud Production platform. All production operations were centralized on the company’s own data centers at the Media Park in Hilversum, fed by IP-streamed media over its own dedicated dark fiber-optic network links directly from the event, studio and centralized galleries.
PA N S H O T
Pearl TV Launches Ultra HD Transmission with Blackmagic Design Broadcast Infrastructure Blackmagic OEM ToolsOnAir, paired with an UltraStudio Extreme 4K, provides an H.265 encoded file for transmission. To ensure viewers across the pearl.tv network can still access the channel’s programming on any television, the switcher also generates an HD output, and a down converted SD signal is produced through an encoder, for simultaneous multi format transmission.
Blackmagic Design has announced that German satellite channel pearl.tv has installed a 12G-SDI multicam workflow using Blackmagic Design broadcast infrastructure to become the first European broadcaster to transmit in 4K to ASTRA. The Ultra HD workflow features Blackmagic hardware including the ATEM 2 M/E Broadcast Studio 4K, Studio Camera 4K and Ultra Studio 4K Extreme. Based out of the EnStyle Studios in Buggingen, Germany, the shopping channel, which covers the entire German speaking world and reaches potential customers in 27 million households, has always been at the forefront of broadcast innovation. Essential to the channel’s move to Ultra HD transmission was the ability to work with 4K in higher frame rates. Choosing a unified 4K production
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workflow based on Ultra HD product from Blackmagic Design required the channel to install more than 800 meters of 12G-SDI single link coax in order to connect the facility’s two studios and a central production gallery. “Any of our existing SDI runs that were longer than two meters had to go and were replaced with premium 12GSDI coax,” explains pearl.tv general manager, Dr. Michael Sichler. “This ensured full signal integrity throughout our entire 4K production chain,” he continues. At the heart of this multicam workflow is Blackmagic’s ATEM 2 M/E Broadcast Studio 4K switcher, which features 12G-SDI connectivity, handling Ultra HD at frame rates up to 60fps and delivering extremely smooth live production for broadcast. Dynamic lower thirds displaying pricing, product details and contact information for purchasing are added, and a playout system from
Daily live content acquisition of up to eight hours is produced using six Blackmagic Studio Camera 4K across the channel’s two main studios, and a further three Blackmagic URSA 4K cameras, which are used for filming outdoors. “Our channel is aimed at a male, over 40 audience and focuses on the latest must have gadgets and technology,” explains Michael. “Shopping in person is a very tactile, emotional experience, and we have to get as close to that as we can. We have to show them in the highest possible standard why they should buy an item. Stunning Ultra HD images help to us to create a strong sense of desire and need amongst our viewers,” he continues. “Being at the cutting edge of technology is very much part of pearl.tv’s ethos, so we wanted to meet the challenge of launching a live Ultra HD channel before anyone else. However, as the broadcast market is still in the early development stages, we did face difficulties in finding market ready devices,” concludes Michael. “Blackmagic Design offers broadcast quality, reliable and unified Ultra HD workflow making them the clear choice. The ease of use and rich feature set its products offer has allowed us to make a smooth switch to 4K transmission.”
PA N S H O T
FOR-A joins major broadcast leaders as newest member of the Aspen Community FOR-A announces that it has become a member of the ASPEN Community. Founded earlier this year, the ASPEN Community is a coalition of industry leading manufacturers and end-users that are adopting the ASPEN framework for building state of the art IP facilities. ASPEN, an acronym for Adaptive Sample Picture ENcapsulation, is a robust transport format for encapsulating uncompressed Ultra HD/3G/HD/SD over MPEG-2 transport streams. First released at NAB 2015, ASPEN was developed as an open framework to build flexible, scalable, and highly efficient IP facilities. Built to meet the real world requirements of an IP-centric facility while leveraging proven MPEG2-TS standards, ASPEN offers ultra low latency with inde-
pendent video, audio and ancillary data flows. When combined with existing SMPTE standards, ASPEN provides broadcasters with a flexible method of transporting video, audio, and data over scalable IP networks. “We’re pleased to join other top
industry manufacturers as a member of the ASPEN Community,” said Jay Shinn, Vice President, FOR-A America. “ASPEN is leading the way in providing a common, open framework for IP transport, and FOR-A is happy to be a part of this collaborative industry effort.”
PA N S H O T
LiveCG Broadcast New Version Now Shipping
The new version of LiveCG Broadcast, the multi-layer character generator from the LiveXpert product line, is available and shipping. The 1U turnkey system provides video makers with even more tools to create and insert high quality graphics in their live video productions, and to extend their audience by connecting with a large choice of social platforms.
Graphics New Features: - 24 new layers can be used as overlay on top of the current displayed graphics. Each of these layers can be displayed or removed independently. This feature eases Clock, counters, scores or logos remaining onair while changing the main graphic content. • Improved hardware configuration with i7 processor to get more power and ultra-silent fan for better integration. - Consolidated export/import function to ease backup and transfer of medias and projects Social Network Integration News: - Connections to Skype, Line and Emails accounts have been added to give even more opportunities to interact with the audience. - Integrated free access to OpenWeatherMap to select and display weather information from over 250 000 cities in the world "The new version of LiveCG Broadcast comes at a time where video productions are more and more connected", says Bruno Lesté, LiveXpert product manager, "more social platforms can be connected, including Skype, and Line. The video operator has even more options and freedom to create outstanding graphics, within a few mouse clicks." LiveCG Broadcast eases the creation and display of information in real-time during live production. LiveCG Broadcast works with any video mixer and supports NewTek IP protocol to connect with NewTek TriCaster and 3Play.
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Zylight Adds Samuel Thomas as National Sales Manager, Streamlines Distribution Zylight announced Samuel Thomas has joined the company as national sales manager for North America, effective Dec. 1. The company also announced USHIO America will serve as its exclusive North American distributor, which will allow Zylight and USHIO to combine dealer networks and service more industries and locations. Based out of West Palm Beach, Fla., Thomas will identify and secure major sales opportunities in North and South America. He will also oversee the recruitment, evaluation, and management of a network of manufacturer reps throughout the region. Thomas previously served as a product manager for Flanders Scientific, and spent more than four years with Vitec Group as a channel accounts manager and business and development manager. “We’re very pleased that Samuel has joined the company because he really understands our industry and can help us grow,” said Joe Arnao, president of Zylight. “We’re also excited about our distribution reorganization because it will help us deliver a better service experience to more lighting professionals, and our channel partners, in more vertical markets. With all our ordering and logistics handled through USHIO’s North American distribution hub, Zylight can provide better service for our customers and even fill orders the same day on stock items.” Contact Thomas at Zylight’s company headquarters or directly at (917) 613-2214 or via email at email@example.com.
PA N S H O T
Rafael Zapardiel joins Datos Media Datos Media, a Danmon Group company based in Madrid, announces the appointment of Rafael Zapardiel as Senior Sales Executive. He brings more than 30 years of experience in the broadcast video and audio sector.
"Rafael Zapardiel is a very welcome addition to the Datos Media team," comments Datos Media Managing Director Tomas Nielsen. "Broadcast television and film technology is advancing at accelerating speed and this implies a need for constant adaptation and increased business competition. It is crucial to invest in experienced and trained staff in order to achieve market leadership."
Rafael Zapardiel began his career as an engineer at Pesa Electronica, later joining Sony Spain as Presales Engineering Manager. He progressed to public television channel Telemadrid as Technical Subdirector and later joined Canal Plus as Operations Manager. This was followed by five years with Panasonic as Engineering Manager before joining Quantel in 1995 as Sales Manager. He was responsible for developing Quantel's activity in Spain, Portugal, Central America
and the Caribbean region, introducing television and digital film production and post-production technology for HD, 3D and 4K.
"Datos has shown an impressive level of dynamism since its formation in 2013," Rafael Zapardiel adds."It combines a detailed understanding of traditional broadcast technology as well as the IT-based solutions now used in many segments of the television, film and radio industry."
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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 network. 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
Alliance for IP Media Solutions Launched to Promote Open Standards and Interoperability in IP for Broadcasters A group of broadcast and media industry suppliers including Grass Valley, Imagine Communications, Lawo, Snell Advanced Media and Nevion have collaborated to form the Alliance for IP Media Solutions (AIMS). This new, independent trade associationâ€™s mandate is to bring IP solutions to market that offer complete interoperability, are based on open standards, and integrate seamlessly into media workflow environments to foster industry innovation and efficiency. The groupâ€™s efforts will be focused on
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promoting the adoption, standardization, development and refinement of open protocols for media over IP, with an initial emphasis on VSF TR-03 and TR-04, SMPTE 2022-6 and AES67. As broadcasters and other media companies look to use IP workflows to speed and streamline the movement and management of increasingly complex content and adapt their businesses to better compete with other content options such as over-the-top (OTT), open standards are the key to protecting current
investments and ensuring long-term interoperability. Specifically, AIMS will prioritize three key strategies: 1) Initiatives that facilitate the education and adoption of open standards 2) Facilitation of activities that accelerate the development of solutions that support these open standards 3) Nurturing the creation of new standards by supporting stan-
PA N S H O T
dards bodies with participation and testing in real-world environments “The mission of the Alliance for IP Media Solutions is to endorse open standards and protect the choice that broadcasters and media companies must have when selecting the right solution for their particular needs,” notes Steve Reynolds, CTO, Imagine Communications. Mike Cronk, senior vice president of strategic marketing, Grass Valley, adds, “Our intent is to avoid perpetuating a future where suppliers push their proprietary technologies only to lock media companies into technologies that don’t work well with other systems or are not easily scaled and upgraded.” Andreas Hilmer, director of marketing & communications with Lawo, continues, “AIMS’s support of open standards and technical recommendations such as TR-03, TR-04 and AES67 afford us an opportunity to eliminate the fragmentation of implementations that our industry has endured over the last 20 years—our chance to avoid repeating expensive and time-consuming mistakes of the past.“ Tim Thorsteinson, CEO of Snell Advanced Media (SAM) adds, “In this transition to IP, we need one set of standards that become as ubiquitous as SDI. SAM is throwing its weight behind AIMS because it supports the only set of standards for IP that have been collaboratively developed and that meet the needs of future business models.” Open standards work for the IP transition is already underway by
the 74-member Video Services Forum (VSF), with the support of organizations such as SMPTE and the EBU. AIMS endorses the work of the VSF and will continue to lend support in the development of a standard approach to IP. More than 30 broadcast equipment manufacturers are actively testing and validating the VSF’s approach today. AIMS provides specific guidance in its bylaws to its members and to the media industry via the AIMS Roadmap. The organization endorses an IP transition plan that includes support for SMPTE 20226, AES67 and VSF recommendations TR-03 and TR-04.
Membership in AIMS is available to all individuals and companies that support open standards and share a commitment to the group’s founding principles. For more about the importance of open standards and interoperability in the broadcast and media industry, visit the alliance website at www.aimsalliance.org and download the Alliance for IP Media Solutions’ new white paper “An Argument for Open IP Standards in the Media Industry.”
A number of solutions are already on the market to help media companies begin the transition by introducing IP components to an SDI workflow. The transition represents a significant investment and will not happen overnight. An open standards approach allows media companies to implement the technology over time and transition at the pace that makes sense for their businesses. “The rate of change in broadcast and media is unprecedented, so it is critical that the industry rapidly aligns with open standards to the benefit of all—from suppliers to end users,” says Brad Gilmer, executive director of VSF. “The approach that AIMS is endorsing is already enjoying broad industry support and is well suited to the industry’s future, providing IP’s enhanced flexibility and cost efficiencies by leveraging the huge investments being made in off-the-shelf IT technology.”
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PA N S H O T
Crestron Founder Inducted into Consumer Technology Association’s Prestigious Hall of Fame Crestron recently announced that its founder, George Feldstein has been inducted into the Consumer Technology Association’s 16th annual Hall of Fame. The CE (formerly known as Consumer Electronics) Hall of Fame was created in 2000 to honor inventors, engineers and entrepreneurs who have paved the way for the products and services that are changing the way we live. The Hall of Fame specifically honors those
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leaders whose creativity, persistence, determination and sheer personal charisma helped to shape the $285 billion dollar industry. Crestron’s current Chairman and son of George Feldstein, Dan Feldstein, accepted the award on his father’s behalf at the association’s annual conference held Monday, November 9th at Gotham Hall in New York City. “When he started Crestron, his immediate goal was to provide for his family,
but his dream, and ultimate accomplishment, was to create an environment where free thinking and open ideas would allow us to make the best products imaginable and to serve our customers and our industry in the best way possible,” said Mr. Feldstein. The idea of the modern connected home with integrated system controls for audio and video distribution, lighting, HVAC, home theater systems, intercom and video secu-
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rity was first conceived and brought to market by the vivid imagination of George Feldstein who started the company in the basement of his home in Cresskill, NJ. Feldstein was born in lower Manhattan near Houston Street, where his father worked as a sewing machine operator. He attended New York City public schools and displayed a rare engineering aptitude. When he was 12, he acquired a "ham" amateur radio license and was building transistorized amplifiers, and at 15 he won a citywide physics competition. At NYU, Feldstein earned both his bachelor's and master's degrees in electrical engineering. In May 1975, Feldstein incorporated under the name Crestron Electronics. What turned the corner for Feldstein's business was a remote to control 35mm slide projectors and window drapes for conference rooms. This success was followed by other audio, video and lighting switches and controls. In 1980 Feldstein built Crestron's first building in Cresskill, NJ. Soon Crestron's systems were installed in Microsoft, the penthouse of Trump Tower, nearly all of the Ivy League schools and even the Pentagon Situation Room. In 1997 Feldstein moved the company to its current headquarters in Rockleigh, NJ, and purchased a few more buildings in the complex for a stateof-the-art Research Center to house 400-plus engineers. In 2009, Crestron opened its 8,000-squarefoot "Experience Center" in New Jersey. This showcase, open to Crestron dealers and partners by appointment only, includes a reception area, a multimedia presentation room, a digital boardroom, the Theo Kalomirakis Home Theater and a technology design studio which showcases the various models, colors and finishes of Crestron’s product portfolio. Crestron soon opened several other Experience Centers and Design Showrooms in the top design centers across the world to showcase its residential solutions. Feldstein handed over his position as CEO to long-time Vice President Randy Klein in March 2014. Today, there are 3,000 employees worldwide, with 91 offices around the globe and more than 15,000 independent partners and dealers. Before he passed away in November 2014, Feldstein secured over 70 patents – mostly based on Crestron products, but including everything from medical equipment to bike chain cleaners.
I-MOVIX Adds Remote IP Production Capability to Ultramotion Camera Range I-MOVIX has added IP-based remote production capabilities to its range of ultra slow-motion camera systems. The upgrade, which requires no additional hardware, allows production teams to integrate I-MOVIX cameras into their network to manage and control them from a central media centre. Using the new remote capability, a single production team can operate camera systems at a number of different venues simultaneously to streamline coverage logistics. Production of league sports such as soccer, where several games take place on the same day, can now be achieved with greater efficiency and better use of staff resources. The remote operation capability can be quickly configured from the OCP (Operational Control Panel) and from the Slow-Motion remote web-based interface which can be used to operate each I-MOVIX camera remotely. “This new functionality makes the cameras more flexible and cost effective for busy production companies, and opens up new possibilities to broadcasters who want to centralise production to deal with dense schedules and make the most of their production resources,” said Laurent Renard, CEO of IMOVIX. The remote production capability also has potential applications in sports refereeing, allowing the same referee to provide ultra-slow motion adjudication of several sport events at the same time, from a unique location.
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PA N S H O T
Michigan High School Radio Station Automates with ENCO
ENCO DAD radio automation powers live production and playout at many professional FM radio stations worldwide, yet its quick learning curve and ease of use also position it is an ideal educational platform. Its for these reasons that WBFH(FM) “The Biff,” broadcasting from Bloomfield Hills High School in Bloomfield Hills, Michigan, has integrated ENCO DAD into its on-air and production workflow. WBFH(FM) “The Biff” has been voted “Best High School Radio Station in the Nation” two years running as part of the annual John Drury High School Radio Awards – and for good reason. The four-studio, 360-watt station doubles as a 24/7 community broadcast outlet, and a curriculum-based program where students can learn everything about on-air radio. When it came to selecting the automation system, Assistant Manager/Technical Director Ron Wittebols wanted a system that was easy to learn, yet powerful enough to support a professional broadcast operation.
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“I have always been interested in the operations aspect of radio, especially in relation to operating with greater efficiency,” said Wittebols. “We needed something that was simple graphically to streamline our educational process, but powerful internally. We can teach the basics of ENCO DAD and have elementary, middle school and high school students running it within 10 minutes. Yet, DAD offers a very rich and immersive platform that every user can continually learn from. We continually discover new things we can do with the system.” Wittebols appreciates how ENCO DAD simplifies the show building process, from automatic insertion of segue markers between cuts via DAD’s AutoSegue DCL, to adding rich detail to playlist files. ENCO integrates seamlessly with other systems in his on-air and production workflow, including a PowerGold music scheduling system. He is also exploring a new feature within DAD that will automate the triggering and playout of
EAS feeds. While students broadcast most of the shows from 9am to 9pm on weekdays, Wittebols also occasionally takes the on-air reins. On weekends, he remotely connects to the studio from his home, recording and uploading shows to DAD for later playout using the system’s Dropbox utility. “I record a three-hour broadcast every Sunday with several cohosts, and then transfer the mp3 file over a network connection to ENCO,” said Wittebols. “The Dropbox utility seamlessly transfers the file to the automation schedule, which is programmed to broadcast the show from 9pm to midnight. This is just one of the advanced features of DAD that we benefit from at Biff Radio, and we’re amazed at how many layers and features there are to the system.” In addition to broadcasting overthe-air locally on 88.1, WBFH is also one of the few high school stations with a mobile app (Biff Radio), and can be streamed live on its website or via TuneIn.
PA N S H O T
MOG Technologies delivers Cloud Services MOG Technologies announced the extension of its services to the cloud. The company is delivering CDN, Web Acceleration, Video Cloud, Security and Storage services in co-operation with Level 3 Communications, a Fortune 500 company that provides local, national and global communications services to enterprise, government and carrier customers. Given that billions of people use the Internet today, enterprises must provide seamless communication and delivery of their contents around the world to successfully reach their targeted audiences. Connectivity to the online world demands the most secure, reliable and highly efficient cloud technology; however, keeping up with business needs does not signal the need to build a long list of complex hardware, software or network configurations. With MOG cloud services, the customer can select from a wide range of offerings that can easily scale and adapt to each organization’s needs. This new service will give each business the chance to take advantage of cost effective, worldclass IT services, as well as a payas-you-go model.
RUSHWORKS Launches Camera Tally System for Lumens and 1Beyond PTZ Cameras Rush Beesley, president of RUSHWORKS, announced the launch and immediate availability of a camera tally system that supports both Lumens and 1Beyond PTZ cameras. The system supports up to eight small LED tally indicators, with the illuminated tally representing the currently selected Program input on RUSHWORKS’ VDESK and REMO integrated PTZ multi-camera TV production systems. An eight-port tally distribution box connects to VDESK and REMO via USB, and uses CAT5 cables for each of the
camera tallies. “Both the Lumens and 1Beyond PTZ cameras are excellent performers and very cost-effective,” said Rush Beesley, President of RUSHWORKS. “But neither include a tally light on the camera, which of course is necessary in news and similar production venues where the on-camera participants need to be aware of which camera is currently selected. We just added this simple functionality to make the cameras viable in this production sector,” said Beesley.
For the broadcast media industry, MOG presents four business plans that allows the user to select the required services online according to their needs. From the simple Video-On-Demand channel to the highly demand broadcaster environment that needs to exchange content among several facilities, MOG is prepared to assist and improve all of the customer’s cloud requirements, while maintaining the maximum performance and security through the way.
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2015 has been a year in which 4K workflows and technology begun to settle, 2016 will be year of Olympic Games and that affects too much to our market. Manufacturers have expanded their cost effective products because professionals demand an increasingly open ecosystem. There were never so many technical possibilities in this market like now. ThatÂ´s why in this issue we offer an editorial selection of the best products of 2015.
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AJA - KiPro Ultra
Ki Pro Ultra is a next generation file-based 4K/UltraHD and 2K/HD video recorder and player with a built-in HD LCD monitor. It is capable of capturing edit-ready 4K (4096 x 2160), UltraHD (3840 x 2160), 2K (2048 x 1080) and HD (1920 x 1080) Apple ProRes files. Ki Pro Ultra also supports a range of video formats and frame rates up to 4K 60p, and offers flexible input and output connectivity – including 3G-SDI, Fiber and HDMI – for powerful and efficient large-raster and high-frame rate workflows.
based video recorder and player with broad support for video formats and frame rates (up to 4K 60p) and flexible input and output connectivity, including 3G-SDI, Fiber and HDMI.
Big on quality - but not on file size
4K/UltraHD and 2K/HD Recorder and Player Supports the latest technologies and workflows, including up to 4K 60p
Ki Pro Ultra records to five quality levels of Apple ProRes including Apple ProRes 4444. This lets you choose the balance of image fidelity and file size that’s right for each individual production as well as having the flexibility to record directly to native file formats that are understood by most major editing systems.
Ki Pro Ultra is a next generation 4K/UltraHD/2K/HD capable file-
Next generation UltraHD 60p and 4K 60p recording is attainable all
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the way up to Apple ProRes HQ when using AJA Pak1000 SSD media. By utilizing Apple ProRes, your project will have the best image quality available, with manageable and affordable file sizes.
Familiar Controls and Operation Anyone familiar with the operation of a tape deck will feel immediately comfortable when working with Ki Pro Ultra. Just like a traditional tape deck, Ki Pro Ultra features straightforward and dedicated transport buttons record, play, stop, rewind, fast forward - making the device easy to operate with minimal training time. The current status of the system
and key configuration information is clearly displayed on the beautiful built-in high resolution LCD screen. Additional operational information can be found in the STATUS menu which can be accessed even when recording or playing back. The Ki Pro Ultra operating system offers users a logical menu structure that is easy to navigate with menu parameters presented in clear and understandable language.
Reliable Storage Media Ki Pro Ultra captures directly to rugged and reliable AJA Pak SSD media. Pak Media is available in a variety of capacities to best suit the demands of your production. Pak1000 is the perfect companion for Ki Pro Ultra offering 1TB of fast SSD media for up to 4K recording at 60p in ProRes HQ. Ki Pro Ultra also offers compatibility with Pak512 and Pak256 media, ideal for lower frame rate projects. The twin media drive bays on the Ki Pro Ultra allow extremely fast media changes and rollover recording, which allows a recording to start on one media module and seamlessly continue onto the second module once the first has reached capacity. Pak Media may also be used with the optional Pak Dock which features USB 3.0 and Thunderboltâ„˘ connectors for lightning-fast data transfers from and to your desktop or laptop.
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AVT - Magic ACip3 The MAGIC ACip3 is a high-quality Audio Codec which is designed to meet the requirements of a future-proof Audio transmission system. The optimised signal processor based hardware platform – for highest availability and low power consumption – is equipped with three Ethernet interfaces. They can be used flexibly for Audio over IP transmissions, for system control via the Windows PC Management Software included in the delivery or for the integration into a network management system via SNMP. As operating modes the LAN/SIP mode for AoIP dial-up connections according to the N/ACIP Standard and the LAN Leased Line Mode for permanent IP connections are available. With the Secure Streaming feature, in the LAN Leased Line Mode a connection can be established via two independent IP links to ensure highest reliability. It is possible to use either one or two Ethernet interfaces for this functionality. If no connection at all can be established, an emergency programme can be played from an SD Card. The system sup-
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ports in standard delivery the coding algorithms G.711, G.722, ISO/MPEG Layer 2 and PCM 16/20/24 Bit. Optionally, the system can be extended with the ISO/MPEG Layer 3, Enhanced aptX 16/24 Bit, AAC-LD/AACELD and AAC-LC+V1/V2 (= HE-AAC-V2) coding algorithms.
Command channel In parallel to the high-quality Audio transmission a second channel can be established in 3,1 kHz or 7 kHz (HD) quality for a transmission of command signals without delay.
Two-Codec-Mode The system encodes one Stereo programme in the standard version and can optionally be upgraded to a second Stereo programme by software activation.
Interfaces The Audio programmes can – flexibly and freely assignable – be fed in or given out, respectively, via an analogue and two digital Stereo interfaces. Besides, a headphones interface is available for monitoring. In addition to the Audio signals that are to be transmitted data for RDS can be inserted per Stereo programme via separate RS232 interfaces. For external signalling and switching commands six programmable GPIO contacts and six relays are available. As backup of the integrated power supply a redundant external 12 V power supply can be optionally connected.
Control & Configuration The system can be directly controlled using the front keypad and the illuminated display. The control
via the Windows PC Software which is included in delivery is even more comfortable and allows the user to monitor, configure and operate a single or up to 40 systems.
Technical Data - Line Interfaces: 3 x Ethernet 10/100 Mbit/s - Coding Algorithms: G.711 G.722 PCM 16/20/24 Bit ISO/MPEG Layer 2 - Optional: ISO/MPEG Layer 3 Enhanced aptX 16/24 Bit AACLD/AAC-ELD AACLC+V1/V2 (HE-AACV2)
- Sampling Frequencies: 8, 16, 24, 32, 48-kHz (depends on Codec) - Data Rates: 8–2304kbit/s (depends on Codec) - Audio Inputs: 1 x Stereo analogue XLR 2 x Stereo digital AES SUB-D 15-pin - Audio Outputs: 1 x Stereo analogue XLR 2 x Stereo digital AES SUB-D 15-pin - Headphones Interface: Stereo 6,3 mm jack - SD Card Slot: yes - Data Interfaces: 2 x RS232 - Control Interface: via LAN1/2/3 - TTL Interface (GPIO): 6 x Input/Output, programmable SUB-D 25-pin - Relay Contacts: 6 x NC/NO, programmable SUB-D 25-pin - Power Supply: 100–230 V AC internal power supply - Redundancy: +12 V DC external power supply (optional) - Power Consumption: max. 30 W, typ. 15 W - Dimensions: 19" x 1 U x 26 cm - Approvals: CE, UL, FCC
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Black Box - DCX3000 Small in terms of cost and size, yet large in feature and performance, the DCX3000 is the ideal solution for process monitoring and control, broadcast (OBV, small TV and radio) studios, medical labs, test beds and advanced datacenters. Designed for small and medium sized applications where fast and reliable switching of digital HD video, audio and USB is essential, the DCX3000 reaches 30 endpoints over CATx. Go up to 10m from the workstation to the KVM switch and up to 50 meters from the switch to the CPU. “Zero U” interface-powered Server Access Modules (SAMs) extend DVI or DisplayPort, audio and USB signals.
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Intuitive User Interface The unique graphical user interface moves away from the tradition of text only OSD menus, using auto refreshed preview thumbnails, giving an intuitive user experience. Devices may also be switched by using “quick-fire” keyboard hotkeys. All connected devices are automatically up-dated on the layout,
allowing an “at a glance” view of the matrix and giving a rich desktop experience.
Zero Compression, Pixel Perfection Unlike other digital KVM systems, the DCX3000 delivers every pixel of every video frame with zero compression and zero latency. In addition the switch truly support single-
and dual-head operations, fulfilling the needs of even the most demanding graphical applications and guaranteeing perfect video synchronization for multiple display applications.
Secure Configuration Secure system configuration is provided by the tablet and mobile compatible WebUI. The UI also gives an administrator choice of control for all device connections, allowing for video only, shared, private, and exclusive access modes to be setup (In private mode other users are able to view the shared video but have no keyboard and mouse access to the target. In exclusive mode no access is offered to any other user).
24/7 reliability The DCX3000 switch utilizes locking dual power connections to enable redundant power whilst providing continuous status updates to ensure true 24/7 operation and reliability.
System Design The slim 30-port matrix switch is the heart of the system. The ports are flexible and can be configured as input or output. The switch engine supports up to 23 computers. Choose the appropriate SAM for each server and run CATx cables from the SAMs to the
switch's ports over distances up to 10 meters. Users can be added freely to the switch. Order one user station providing the necessary interfaces for each user, then connect the user station to the switch over CATx cables up to 50 metres length and youâ€™re all set. You may even use a Server Access Module in combination with a remote user station connected over a direct CATx cable. That way you can establish a cost efficient KVM Extension for DVI or Display Port plus USB over distances up to 50 metres.
Benefit - Save on expensive rack space
Add CPUs and users on demand - No power supplies, quick interchange between different CPUs - Extended span between the endpoints, slim cabling - Convenient, trouble free user experience - True, high-end graphic editing - Slim KVM Matrix switch (1U) - 30-ports usable as in- or output - Zero U interface powered SAMs - User connections over CATx up to 50 metres - UI with auto-refreshing thumbnails - Pixel-perfect uncompressed HD video
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BlueFish444 - Epoch | 4K Neutron
In an industry that always demands â€œbigger and betterâ€? Bluefish444 have yet again delivered! This time we have gone one step further, the Epoch | Neutron range packs a massive amount of power into a form factor that defies belief. Epoch | 4K Neutron Features 1.5G + 3G SDI I/O, Dual Link SDI, 3D Stereoscopic, 12 bit video processing pipeline, HDMI 1.4 output, 4 x 1D LUTs, and a Low Latency video Keyer
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Compatible with: Symmetry, Fluid ingeSTore, Adobe Creative Cloud, AVID Media Composer, Avid Pro Tools, Assimilate SCRATCH, The Foundry NUKE, Telestream Wirecast, Drastic 4K Scope, Drastic Preview Pro, vMix, and many more professional video and audio applications.
Nitro Nitro is a Production, Post Production and Content Creation business in the heart of Tokyo. They have created content for tradi-
tional Broadcast, On Demand services for Mobile devices and more recently have worked on 4K and 8K content production. Nitro have chosen Bluefish444 Epoch | 4K Neutron video cards to capture and output HD and 4K SDI video signals. Creating content in Adobe Premiere Pro CC and After Effects CC the Bluefish444 Epoch | 4K Neutron allow broadcast quality video output from multiple 4K Edit suites within the Nitro facilities.
Blackmagic Design - Da Vinci Resolve 12.1 DaVinci Resolve 12 is the only software that lets customers edit, grade and finish projects all in a single tool. DaVinci Resolve lets professional editors work in a comfortable, familiar way while also giving them an entirely new toolset, along with DaVinci’s legendary image processing technology, that will help them cut and finish projects at higher quality than ever before. The familiar multi track timeline, customizable interface and keyboard shortcuts make it easy for editors to switch to DaVinci Resolve 12. Best of all, with DaVinci Resolve there is no month-
ly subscription, you don’t need to be connected to the cloud, and you don’t need to buy any proprietary hardware. DaVinci Resolve is completely scalable and resolution independent so it can be used on set, in a small studio or integrated into the largest Hollywood production pipeline. The free DaVinci Resolve 12 includes all of the same high quality processing as DaVinci Resolve 12 Studio and can handle unlimited resolution media files. However it does limit project mastering and output to Ultra HD resolutions or lower.
What's new in DaVinci Resolve 12.1: - Remote Rendering on Resolve Studio - Support for native display color profiles on OS X - Support for GenArts Sapphire Builder - Preferences option to enable 10bit precision on viewers on OS X 10.11 El Capitan - Ability to select clips when in Blade mode - Support for faders on Generators
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and Titles - Ability to extend freeze frames from the start of the edit
from a Smart Bin view
- Ability to media manage selected clips on a timeline
- Support for moving files to Trash instead of deleting permanently in Media Management on Mac and Windows
- Ability to perform negative timecode offset in clip attributes
- Ability to delete multiple projects and folders in Project Manager
- Improved support for sub-clips from FCP7 XML
- Ability to decompose a compound node
- Improved rendering of audio transitions (cross-fades) and audio faders
- Ability to grade nested timelines
- Auto scroll during timeline item resize
- Ability to manually keyframe power windows in frame mode even without tracking
- Improved sorting in Media Storage and Media Pool - Support for Smart Bin filtering based on clip type - Ability to move clips and timelines
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- Ability to filter clips based on whether they have keyframes
- Ability to freeze the current frame on an external matte - User option to copy flags and markers when performing
ColorTrace - Improved ACEScc support - Support for Stereo Decision List v0.25 - Support for RED SDK v6.0.4 - Support for embedding timecode in audio output - General performance and stability improvements
Projects Used Some of this year’s biggest and most critically acclaimed feature films have been completed using DaVinci Resolve, including "Mission: Impossible - Rogue Nation", “Macbeth", “Tomorrowland", "The Lobster", “Suffragette", and "Kingsman: The Secret Service".
Calrec - Fieldbox
The Fieldbox range of small format aluminium I/O units bring the advantages of Calrecâ€™s Hydra2 stage box to rugged environments and areas where rack space is at a premium. They are ideally suited to working in Outside Broadcast environments where I/O needs to be spread over a large area, like a golf course. The Fieldboxes can be located and distributed exactly where they are needed, using just two high capacity network cables for full redundancy. This allows for significant savings on rigging time and cabling costs, as well as
reducing cable storage and transport. The locational flexibility goes even further as the units can not only be powered by an AC feed, but also by an industry standard battery pack. Minimising the analogue cable distance mic level signals are carried which reduces the noise and interference picked up, improving overall audio performance. Most significantly, the Fieldbox has been designed to support future Audio over IP connectivity for
use with shared IP networks. We have integrated into the Fieldbox design the functionality to insert an optional AoIP sub-card. This will allow our clients to upgrade to an AoIP format in the future, and still have access to all the protections built into the Calrec protocol. Features - Size:1u Half Rack Width - Inputs:
8 Analogue XLR
8 Analogue D-type
- Power: battery pack
AC mains or DC
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ChyronHego - Lyric 64
As a true 64-bit application, ChyronHego’s 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. Like its predecessor, Lyric64 offers a single powerful solution for graphics creation and playout including point-and-click access to external data sources using ChyronHego's Advanced Data Object technology. With this fea-
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ture, Lyric64 users can enrich their on-air graphics with data from a multitude of sources, including ODBC, JSON feeds, AP wire feeds, and XML from the Internet, simply by pointing and clicking in the Advanced Data Object window. Lyric64 now provides navigation tools that enable the system to cycle through and automatically update selected data sets on a periodic basis. In addition to the Advanced Data Object usability enhancements, the all-new user interface in Lyric64 features docking panes that enable users to define interface elements by dragging and dropping them into position. Users can create tabbed windows and pre-build window configurations that can be instantly recalled for playing out a specific
set of graphics. “Lyric64 is the result of an extensive development effort to evolve our flagship product to keep pace with customers’ ever-challenging graphics requirements,” said Johan Apel, president and CEO, ChyronHego. “With Lyric64, we’ve taken everything that’s great about Lyric and ported it to the 64-bit environment to give users more power and versatility than ever before. In addition to new user interface features that bring all of Lyric’s rich functionality right to the surface and make them instantly accessible, Lyric64 positions ChyronHego and our customers perfectly for the coming world of 4K broadcasting.”
Dalet - AmberFin Dalet AmberFin v11 combined with the Dalet Workflow Engine, which leverages a Business Process Model & Notation (BPMN) 2.0-compliant workflow designer, greatly simplifies orchestration and automation of complex media workflows. New graphical and textual reporting capabilities give visibility into day-to-day operations, enabling users to quickly identify and correct inefficiencies and improve overall performance. In addition, Dalet AmberFin v11 brings native support for caption manipulations, UHD support on playback and more. Benefit today from the latest enhancements in Dalet AmberFin v11:
Workflow Engine to Orchestrate Complex Processes Simple drag-and-drop design tool lets administrators easily model and deploy workflows combining user and automated tasks and then monitor workflow instances in detail, with the status of each task being visually notated as media moves through the chain. Most importantly, operators do not need to worry about the complexities of a specific task; when the Dalet AmberFin platform receives a workflow trigger, it launches a process that describes the “recipe” – the ingredients and actions required to make the technical outputs. Users need only be concerned about the trigger and the result.
financial cost. With AmberFin Dark, the scalable and fault-tolerant transcoding tool from Dalet, workflows are streamlined as caption and subtitle extraction and insertion are supported natively within the platform. AmberFin Dark can now also extract Teletext subtitles to EBU STL files or MXF S436 standalone tracks.
DPX Support for Transcode-in With support for DPX, the format preferred by Digital Intermediate post-production facilities and film labs worldwide, AmberFin Dark enables the packaging and delivery of every new creative material immediately and with the best quality.
UHD Support on Playback As more and more content is produced in UHD, content owners and producers have an even bigger need for trusted QC tools to review the “ready-to-be-sent” UHD asset
before its final delivery. AmberFin Play, which enables users to instantly review shared assets at any point in the workflow, allows operators to monitor all media properties through a single interface with high-quality, frame-accurate, baseband playback up to UHD with flexible audio monitoring.
Version 11 of Dalet AmberFin also includes a host of other enhancements including: - HEVC support for transcode-in - XAVC HD / 4K support for transcode-out - Extended ProRes transcode support to cover resolutions up to 4K - Multi-file import/transcode from Sony XDCAM/XDCAM EX, Panasonic P2 and Canon C300 camcorders - Support of MXF Op1a wrapper for JPEG-2000 codec on ingest
Native Support for Subtitle Processing Caption and subtitle management usually leads to complex integrations with different technologies and/or plugins that are complex to deploy, maintain and monitor, resulting in a significant human or
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Directout - Montone.42 MONTONE.42 is a fully AES67compliant MADI (AES10) to Audioover-IP bridge based on RAVENNA audio networking technology. As the demand for Ethernet-based transmissions in professional audio environments increases, MONTONE.42 provides seamless integration of network audio with existing infrastructures. Equipped with four MADI and two gigabit network ports, it serves as a versatile link for broadcast, live-sound and studio applications. 'MONTONE.42 has enjoyed high visibility amongst customers inter-
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ested in learning how to work with an all-new signal transmission technology. The unit has already passed test on RAVENNA connections via WAN successfully. And of course the unit played a starring role in both the AES67 live demo at the AES Convention and the official AES67 plugfest held at NPR in Washington.'
Powerful networking, seamless interoperability MONTONE.42 integrates RAVENNA networking technology. RAVENNA is a solution for real-time distrib-
ution of audio and other media content in IP-based network environments that offers outstanding features in terms of timing accuracy and scalability. It is also fully AES67-compliant (the interoperability standard from AES) for seamless compatibility with other AoIP devices. MONTONE.42 offers both an AES67 profile for straightforward network integration and RAVENNA profiles for more demanding applications requiring high performance transmission at minimum latency.
Clocking MONTONE.42 can be synchronized to MADI input, word clock, video reference, network (PTP) or internal clock. The device may also serve as a network grandmaster. The achieved clock accuracy complies with AES11 throughout the whole network.
All-Round Functionality MONTONE.42 offers highest flexibility as it provides three interface standards for MADI: - Optical SC (single-mode or multimode) - Coaxial (BNC) - SFP The Small Form Factor Pluggable
cage can be fitted with any SFP module suitable for the customerâ€™s application. The configuration of MADI I/Os can be defined individually at order.
Streaming Assemble up to four streams with an individual number of audio channels from the MADI inputs via the integrated routing matrix. Subscribe to another four streams and convert the incoming audio channels to MADI. 256 channels are supported even at higher sample rates (96 kHz).
Remote control Java-based remote control software can be accessed through the network interface to configure net-
work streams, audio routing and all device settings. Basic settings are also adjustable via a local interface on the front panel.
Reliable Both network ports as well as the MADI inputs can be configured as redundant inputs with automatic fail-over switching.
Safe operation Thanks to two phase-redundant power supplies with separate IEC inlets and AC power switches on the rear panel the device offers the highest reliability.
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Elements - Elements One
ELEMENTS ONE is the ultimate all-in-one SAN/NAS media storage solution for video professionals who want simple and intuitive collaboration in heterogeneous environments with native sharing of media files across all platforms and applications. ELEMENTS ONE virtually eliminates the need for additional workflow management tools, as it combines a full set of workflow enhancement features and management tools, such as professional task, user and file managers, as well as ELEMENTS unique Media Library, a sophisticated MAM that even includes an extensive editing application. The rough-cut editor in the Media Library enables operators to create rough-cuts of the original film material anywhere and with any device available. Furthermore, authorized users can
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leave comments and even onscreen drawings to simplify the communication â€“ all accessible via a fully intuitive, web-based GUI with enhanced security features.
ELEMENTS ONE is more than just easily scalable high performance media storage with a SAN or NAS head: ELEMENTS ONE connects virtually all VFX and non-
linear editing applications across all platforms and fabrics in the facility, including Avid Media Composer, Adobe Premiere, Apple Final Cut and enables sharing of media files natively, even when utilizing XSan or StorNextÂŽ file system. By simulating an ISIS shared storage environment, ELEMENTS ONE also provides full Avid Project Sharing, bin-locking and Interplay support. In addition, ELEMENTS ONE comes packed with unique features that actively support and simplify everyday tasks. Specifically designed for the media and broadcast industry, ELEMENTS ONE provides a fully tailored and exceptionally intuitive GUI that embraces useful tools to manage projects, organize assets, automate tasks, etc.
MENTS JBOD - 60 bayâ€“ - Operating system and metadata on dedicated SSD and additional spare drive - Dual 10Gb Ethernet onboard - Supports NFS, SMB, AFP and block-level access - Can be expanded with already existing storage (SAS or FC) or with ELEMENTS JBODs.
- Central web-based interface - Expandable with additional interface cards - Active Directory integration - Fully indexed and automated LTFS Archive - Project management with native Avid support - Optional: Media Library
Features - ELEMENTS ONE - 24 bay: 4U Chassis, 24 HDD, up to 7x ELEMENTS JBOD - 24 bay - ELEMENTS ONE - 60 bay: 4U Chassis, 60 HDD, up to 2x ELE-
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Fischer Connectors - Minimax Series also incorporates three different types of reliable and user-friendly locking systems (push-pull, screw, quick release). Benefiting from Fischer Connectors’ sealing expertise, the Fischer MiniMax™ Series is IP68 rated, even unmated, which makes it perfectly adapted for applications in demanding environments.
HDMI The Fischer MiniMax™ Series fulfills all of the requirements of the HDMI protocol and can be used for audio/video applications in the broadcast market, for such as HDMI-compliant source devices as display controller, a compatible computer monitor, video projector, digital television, or digital audio device. Fischer Connectors is now working on integrations of devices using this Series for display port and HDMI video output.
High Speed Performance and 10Gb/s Ethernet
Broadcasters face all kinds of connectivity challenges, such as linking TV cameras to signal transmitting devices in a TV studio or on location, integrating complex movie production systems in harsh environments, and optimizing onsite equipment to provide power, lighting and signal transmission. The Fischer MiniMax™ connectors and cable solutions help them overcome their challenges and achieve top performance. A compact, rugged power and signal solution with a high data rate, means less connectors, a smaller housing, and lighter equipment.
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Fischer MiniMax™ connectors offer high pin-density and mixed connections, allowing to pack more functionality into smaller devices. It houses a unique combination of twenty signal contacts and four power contacts in a single connector, providing three times more pins compared with a standard Fischer’s connector of a similar size. Rugged and handy, the Fischer MiniMax™ Series guarantees highly reliable connections for ruggedized devices. It is equipped with durable keying as well as visual color coding to avoid misconnection and improve end-user safety. It
The Fischer MiniMax™ Series (19 and 24 contacts) with a screened twisted pairs cable has been tested as belonging to Class Ea of ISO/IEC 11801 (which defines the balanced cabling class according to the type of applications). This means it can be used for applications such as 10Gigabit Ethernet, Firewire or Power over Ethernet. - Up to 45% smaller and 75% lighter - Greater reliability, even in harsh environments (IP68 mated and unmated) - Rugged with high corrosion resistance - Available in 19 and 24 contacts
Forbidden Technologies - Forscene Forscene, the cloud-based video platform from Forbidden, provides professional post-production tools in a Software as a Service (SaaS) package or licensing option for all video industries, including broadcast post-production, news, and sports. Forscene takes advantage of cloud computing to enable the centralization of material and collaboration in workflows. The result is the ability to connect from any Web browser and perform the full range of post-production functions, enabling unique workflows and saving time and money. Forscene’s integrated features are changing digital post-production workflows by providing remote access, global collaboration, unlimited scalability, and unprecedented value in a single platform. Forscene is the only unified platform that offers review, logging, editing, and publishing entirely in the cloud. All that’s needed to start using
Forscene is a standard desktop or device and an internet connection — which means you can be working minutes after being added to an account. Also, unlike most competing products that can only support a finite number of users before another server is required, Forscene offers scalability without additional infrastructure because it uses the processing power of the user’s machine. Forscene provides a full range of post-production tools over any internet connection. Users generally work on a low-resolution proxy of their media– which doesn’t demand huge bandwidth or processing power but still provides Forscene’s full functionality over a standard internet connection. Forscene integrates with the client’s existing media storage system so that all proxy work links back to the original, locally stored media. And if you need to move your material
from one location to another, Forscene offers media management services too. The cloud allows Forbidden to offer Forscene as a SaaS pricing structure, which means that clients only pay for Forscene when they use it. A license covers multiple “seats” rather than each computer needing its own software license. In other words, Forbidden charges per concurrent user, not per user, so clients could pay for only a few licenses but give any number of users access to the account. Alternatively clients can choose to between project or annual licensing options. And, there are no upgrades to worry about – you always have access to the latest and greatest version. The ability to play well with others is also a key consideration when thinking about your overall production workflow. Long-form production
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clients benefit from Forscene’s integration with the leading acquisition, media storage and finishing tools while partnerships with organisations like Sony, EVS and deltatre allow Forscene to provide liveevent clients with an end-to-end solution. Forscene has been used by media and entertainment companies the world over to log, edit, review, and publish more than 4 million hours of professional video content. By allowing access from anywhere with basic equipment and offering a range of functionality from one pure cloud platform Forscene is changing the face of
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the content creation industry.
Forscene in Endemol Shine Group The functionality introduced in the latest Forscene 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 high-
shoot-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 solution that allows our teams in Panama and London to collaborate on edits the day after the footage is shot.”
Fujinon - UA80x9 high realistic sensation and premium picture quality. With the demand for accurate focusing needed for 4K resolution, Fujinon’s new focus position demand unit*5, the EPD31A, has improved from 12 bit to 16bit encoding.
Main specifications - Model name: UA80x9 BE - Camera specifications: 2/3-inch sensor Bayonet-mount cameras - Focal length: 9mm - 720mm. 18mm - 1440mm when using the 2x extender The FUJINON UA80x9 is a 80x zoom lens that covers a broad range of focal lengths from 9mm in wide angle to 720mm in telephoto, making it ideal for the live coverage of sporting events and concerts. The market needs for 4K video contents are surging amidst a 7fold year-on-year increase in the shipment of 4K-compatible television sets to approx. 11.6 million units last year and the launch of a dedicated 4K channel (CS satellite broadcasting) in Japan in March this year. Fujifilm’s lineup of cine lenses has included the “HK series”, which offers optical performance approximating to 8K systems, and “ZK series”, which combines 4K optical performance and electric drive units. With solid reputation not only from the film industry, but also from broadcasters producing 4K contents, lenses in both “HK” and “ZK” series are frequently used in test 4K broadcasts for international sporting events. However, the broadcasting industry generally uses cameras equipped with a 2/3-
inch sensor including 4K cameras with the same sensor size, and is therefore seeking compatible broadcast lenses that deliver advanced optical performance. “UA80x9”, is a broadcast zoom lens compatible with 4K cameras. Using the cutting-edge optical simulation technology, the lens achieves an impressive 80x zoom as well as advanced optical performance such as high image resolution, contrast and color reproduction. Covering the focal length from 9mm in wide angle to 720mm in telephoto, the lens features a unique “optical stabilization mechanism” that provides optimum adjustment to image shakes caused by vibrations and wind, making it an excellent choice in live coverage of sporting events and concerts. The “floating focus system”, which controls multiple lens groups according to the shooting distance, delivers high-resolution and high-contrast images from close-up to infinity, enabling 4K video production with a
- Zoom ratio: 80 X - F No: 1.7 (9mm - 350mm) 3.5 (720mm) - Minimum object distance (M.O.D): 3.7m - Subject dimensions (at the M.O.D) [Horizontal×Vertical]: 9mm 3303mm × 1856mm, 720mm 43mm × 24mm. 18mm 1714mm × 963mm, 440mm 22mm × 12mm, when using the 2x extender. - Angle of view [Horizontal×Vertical]: 9mm 56°6′ × 33°20′, 720mm 0°46′ × 0°26′. 18mm 29°50′ × 17°2′, 1440mm 0°23′ × 0°13′, when using the 2x extender. - Dimensions (H x W x L): 258mm x 264mm x 610mm. - Weight: 23.5kg.
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Gates Air - Maxiva XTE
The Maxiva XTE is a softwaredefined, field-upgradeable exciter for over-the-air TV and DAB radio broadcasters and network operators. The XTE features a compact 1RU footprint - half the size of its predecessor - and advanced IP capabilities for improved networking and connectivity in the transmission air chain. Additionally, more efficient
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and enhanced signal correction capabilities improve modulation error ratio (MER) and address other signal imperfections in over-the-air broadcasts. From a performance perspective, the XTE boasts 300 percent more digital signal processing power than previous-generation GatesAir
TV/DAB exciters, and a 1GHz quad-core CPU featuring 20 times the horsepower. Collectively, broadcasters enjoy improved signal quality, throughput and IP networking capabilities for both DTV standards and DAB radio, and emerging broadcast opportunities such as LTE Mobile Offload and ATSC 3.0.
GB Labs - 4K Duo on Set
4K Duo On-Set is a solution designed for professional digital film crews on location, providing a powerful, multi-function storage platform. Collaborative working allows crews to: New files are safely stored on a RAID protected storage array. The SSD-based storage has incredible performance, enabling multiple users to process, color and edit full resolution files. As with all Space systems, MacOS, Linux and Windows workstations and laptops can connect simultaneously with the 4K Duo On-Set using standard 1Gb, 10Gb or 40Gb Ethernet, with no concern over the mix of client operating systems. At the same time, assets can be copied to twin LTO-6 tapes; using the TAR or LTFS format, users can read and append data to the tape at any point. Project Backup and Data Transfer Projects can be backed up to tape at will. If it exceeds the 2.5TB tape capacity, files can be spanned across multiple tapes via the unitâ€™s user interface. The robustness of
LTO tape makes it an ideal transport medium with the LTFS format welcomed by the majority of post production facilities. With digital cinema cameras increasingly capturing to solid state disks, 4K Duo On-Set has dual built-in SSD readers that can read at the diskâ€™s native speed (up-to 1000MB/s combined). This fast ingest process means disks can be returned quickly to the camera assistant, reducing the amount of removable media the team needs. In addition, third party media readers can be used with the USB 3 and optional eSATA ports. Generate and share proxies. Share the editing process. Undertake the initial grade on-set. Create multiple insurance copies of the raw data. Safely transfer data to the post house.
Tech Specs - Unit Dimensions - 490mm x 660mm x 2U Carton Dimensions - 620mm x 860mm x 230mm - Unit Weight - 22Kg Shipping weight 28Kg Input Range 100 -
240 VAC, 50-60Hz - Includes high performance SSD storage - Dual SSD readers built in - Features dual LTO-6 tape drives - Dual redundant 500W removable PSUs - Supports any mix of Windows, Mac and Linux clients - No user licensing costs - No client software to install - Expandable up to 102TB using SPACE SSD-EX - Supports SPACE storage tiering and data replication - 2 x 10G Ethernet (SFP+) ports for storage connections - 2 x 1G Ethernet (GbE) ports for system administration - 1 x IPMI Ethernet port for hardware monitoring - 1 year advanced replacement warranty - PSUs drives - 1 year return to base warranty on other parts
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G-Technology - G Speed Studio XL A hardware RAID 8-Bay Thunderbolt 2 solution offers professional content creators colossal capacity with high definition performance. This Enterprise Class storage solution is configurable in RAID 0, 1, 5, 6, 10, 50, & 60 and uses Thunderbolt 2 technology for ultimate speed. Easily support multistream compressed 4K workflows with large volumes of data at transfer rates of up to 1350MB/sec and with dual Thunderbolt 2 Ports, you can daisy-chain additional Thunderbolt enabled devices. The G-SPEED Studio XL features a sleek black enclosure, smart fan technology, Enterprise Class hard drives and a 3-Year limited warranty—providing the ultimate storage solution for demanding Video and Photography based workflows.
G-SPEED at LA Kings With the help of G-Technology’s G-SPEED Studio XL, the LA Kings enjoy a much more streamlined, productive process. The crew has redundancy, archiving, geographic production flexibility, and increased peace of mind that both their assets and deadlines are covered. Even still, Brenner is quick to point out that his group is assiduous about backing up active content on their G-Technology drives — not because he doesn’t trust their integrated RAID protection, but because he doesn’t rely solely on operators, courier services, or other sources of potential mishap. No solution is perfect, so plan accordingly. That said, Brenner believes that G-Technology solutions are as good as storage gets. “We’ve been using smaller products in the field, in production, on the range of our shoots,” he says. “We do all of our on-set DIT work using G-Technology drives, and
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we’ve enjoyed several of their products for years. We’re always impressed with the quality, speed, the products themselves, and the way that the company stands behind them. Naturally, when we were looking for a big solution that was fast and reliable, that put GTechnology on the top of our list.”
Small Window, Big Difference One GB is equal to one billion bytes, and one TB equals 1,000 GB (one trillion bytes). Actual capacity will vary depending on operating environment and formatting. GTechnology external hard drives serve as an element of an overall backup strategy. It is recommended that users keep two or more copies of their most important files backed up or stored on separate devices or
online services. In the end, perhaps the greatest contribution of the G-SPEED Studio XLs to the LA Kings has been a shift in where bottlenecks happen. For years, their external storage was the slowest element, the weakest link in the production chain. Now that editors can work natively with high-resolution files and formats over Thunderbolt 2, external storage is no longer the bottleneck. Instead, the burden falls back on the workstation, in particular its graphics subsystem, and that’s an easy enough item to upgrade. If nothing else, it sets a much higher ceiling for total editing solution performance. That, in turn, translates into the LA Kings getting more of the results they desired from the Stanley Cup Moments project.
Grass Valley - LDX 86 Universe The LDX 86 Universe is specifically designed for live broadcast UHD/4K, especially sports productions, where the use of traditional B4 mount HD lenses instead of PL lenses enhances the producer’s and director’s ability to tell compelling and engaging stories, without any loss of sensitivity. With the LDX 86 Universe system camera, you no longer need to choose between a higher frame rate like 6X, or higher resolution for 4K — you can have both in a single camera. This advanced multiformat (HD/3G/4K) and multispeed (1X/3X/6X) content acquisition system is combined with outstanding image performance, excellent light sensitivity and the ability to use
standard HD lenses. This allows broadcasters and content creators to use the same workflows they use for HD, while delivering the best HD/3G high-speed slow-motion or 4K viewing experience possible. Plus you also get extended colour gamut supporting ITU-R BT.2020 and the option to software upgrade to enable 15 F-stops of high dynamic range (HDR) in singlespeed operation. User can even upgrade to LDX 86 Universe features from other LDX 86 Series cameras when you need to. They are integrated with all the LDX 80 Series and LDX 86 Series of cameras, so they share the same camera accessories and use the same camera control sys-
tem, including full support with the Connect Gateway for the best possible integration into external control systems.
TV Skyline For TV Skyline, the LDX 86 Universe 4K/UHD and XtremeSpeed-capable fiber camera system was chosen to give the company everything they need to take its business to the next level. As one of the largest OB van companies in Germany, TV Skyline has been serving clients with a full range of on-site broadcast services for more than 20 years. The new equipment gives the company everything it needs to remain a leader, with the new van already in service since September 2015.
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Imagine Communications - Versio Imagine Communications - Versio™ Integrated Playout for On-Premise, Hybrid, or Cloud Deployments Versio™ is the product from Imagine Communications that combines video server, branding, master control and automation functionality into a fully integrated playout solution. In September 2015, the company introduced a groundbreaking new release of Versio — delivering an all-new foundation for how broadcast programming can be made, moved and monetized. The latest version of Versio (3.0) is 100-percent software-based and malleable to any operational model or architecture. Its unique flexibility enables the industry’s widest range of operating options — from traditional, integrated playout appliance to premises-based COTS hardware or board and bundle to a fully virtualized or cloud-enabled model. Versio is the first integrated playout solution able to transport highbit rate signals over IP networks and support compressed and uncompressed video over IP signals (SMPTE 2022-6) entirely in software — reducing latency and improving quality. With one code base and one user interface — regardless of input and output or network type — Versio delivers unprecedented investment protection in a solution that thrives in any operational environment: - Premises-based model — supports traditional channel-in-a-box deployments with baseband connectivity - Hybrid IP model — supports a hybrid IP/SDI deployment with both IP and baseband connectivity
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- Virtualized or Cloud model — supports virtualized and/or clouddeployments with SMPTE 2022 or compressed input/output Deployable in private data centers or public cloud environments, Versio can be used to accelerate the launch of new services, ensure business continuity, reduce infrastructure costs and virtualize master control. Media companies can leverage the software-only architecture to cost-effectively launch specialty or “pop-up” channels to enhance coverage of special events, such as the Olympics or World Cup matches, or to tap into new geographies or special interest groups. The latest version of Versio is powered by the Zenium™ workflow management platform. An agile software engine for designing, deploying and managing extensible software-defined workflows, Zenium enables Versio to quickly address complex infrastructure challenges — overcoming workflow issues in a matter of weeks rather than years. Because Versio has automation as its foundation, it can interact with a vast array of sales, traffic and billing systems. It also offers connectivity with Imagine Communications’ Magellan™ SDN Orchestrator control system, ensuring hybrid IP/baseband solutions can be transparently integrated. Control of asset workflows across broadcast facilities or cloud infrastructure is enabled via integration with Imagine Communications’ sophisticated MAM tools, allowing broadcasters to trigger complex
workflow tasks, manage content approval, view and prepare content quickly and easily. By enabling a hybridized playout environment that uses the same software for premises or cloudbased implementations, Imagine Communications has made it possible for media companies to maximize existing investments while making a gradual, disruption-free transition to the future of channel launch. Imagine Communications Implements Cloud Playout Service for Al Rayyan in under 48 Hours Imagine Communications has implemented an end-to-end integrated cloud playout system running on COTS hardware for leading Middle East broadcaster Al Rayyan. The deployment, implemented in just 48 hours, provides Al Rayyan with a completely software-based and virtualized business continuity solution that delivers significant improvements in agility and cost efficiencies compared to premisesbased backup facilities. The installation uses Imagine Communications’ Versio™ software playout system, running in a virtual machine environment on an HP compute and storage platform. Currently a proof-of-concept installation, the system is shadowing the main Al Rayyan Europe channel, providing disaster recovery services to ensure business continuity in the event of a service disruption. It shares all the metadata and media, with HD content stored as DVCPro 100 Mb/s. The Versio software
enables comprehensive playout functionality, including animated branding and live switching.
sharing data to ensure that the cloud disaster recovery system is synchronized at all times.
The implementation also includes the Imagine Communications Magellan™ SDN Orchestrator software control system, deployed with Selenio™ video processing and compression equipment. This ensures that the playout system is fully self-contained, including the transparent management of hybrid SDI, ASI and IP content with all the necessary on-ramp and off-ramp translations for an all-IP internal architecture.
“As a leading broadcaster, we need to innovate technically to ensure we best serve our audience,” said Haitham Zaidan, acting director of engineering at Al Rayyan. “Our strategy is to move towards an all-IP infrastructure in due course, and this installation of a playout channel in a data centre is an important step along the way. Imagine Communications showed that they could do it today, and our proof-of-concept installation is now part of our architecture.”
Al Rayyan, based in Doha, Qatar, and a long-time technology partner of Imagine Communications, installed a comprehensive traffic, planning, scheduling and playout system in 2014. The Versio software integrates transparently with the existing systems, continually
“We are leading the way in creating complete solutions for the IP transition, and implementing this first proof-of-concept in the MENA region is an important demonstration of our comprehensive abilities,” said Paul Wallis, sales director for
Middle East and North Africa (MENA) at Imagine Communications. “Playout in the cloud leads to real economies, not just by using virtualized systems on standard hardware, but in the reduced cost of machine rooms, power and cooling. We congratulate Al Rayyan on recognizing the way forward, and we are proud to have worked with them on this huge advance.” The Versio implementation at Al Rayyan was completed in 48 hours in June 2015, and it went live in early July in parallel to the existing facility. As well as providing business continuity, it also allows Al Rayyan engineers to make direct comparisons with the traditional system, comparing functionality, performance and resilience.
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J端nger Audio - MMA MMA Multichannel Monitoring & Authoring Unit (Concept)
The next generation immersive audio formats will require changes in the audio production workflow. Monitoring the audio along with authoring and verifying of dynamic metadata will become a new challenge. A Multichannel Monitoring & Authoring Unit (MMA) must be compatible with upcoming immersive multichannel 3D formats and should offer a platform to host all the emerging immersive 3D audio encoding formats from different vendors. A key requirement for broadcasters adopting these new formats will be to author the appropriate metadata and monitor complex audio mixes to ensure a predictable end-
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user experience, and to maintain compliance with relevant loudness regulations. The MMA wil make easy to incorporate the new formats to production workflows in existing facilities and infraestructures. All system parameters are remotely accessible allowing the unit to be remotely operated by production control systems. And advanced buil-in Event Management tool allows the remote loading of complete panel scenes either by remote panel or even by network commands using the Ember+ control protocol. This helps users to apply individual configurations to their existing production
plant layout, a key feature for quick and cost-efficient introduction of the new audio format. A web interface allows easy and intuitive setup and configuration from anywhere in your network. On screen metering and measurements are available for easy reference and a dedicates mobile operator UI is aimed specifically at touch screems. The MMA concept will be built by using a new technical and modular hardware platform. This way scalable I/O range from AES3 to 3G SDI including video delay, MADI, Dante.
Lemo - 3G Serbal The LEMO 3G SERBAL is a 4 channel multiplexer that makes 3G/HD-SDI to fibre conversion possible. The 3G SERBAL TM is a compact conversion unit which allows output from up to 4 cameras to be transmitted over a single standard LEMO 3K.93C SMPTE cable. The optical multiplexers of the 3G SERBAL use Wavelength Division Multiplexing (WDM). Each signal within a fibre has a different optical wave length, enabling interference free transmission over longer distances than copper cabling. The system automatically senses video signals, each channel can be defined as an input or output, allowing four channels of 3G/HD-SDI to be used in either direction. It is possible to transmit 4K video using this system.
Applications - Golf, skiing, auto racing, olympic games - Pre-fibred venues - Stadiums, racing tracks - 4K video compatible
Advantages - Plug & play solution - High quality signal transmitted over fibre - Compact
Features - Converts from Coaxial BNC input to transmission over standard
3K.93C cable assemblies - Audio/Data: passes pre-embedded Audio - Each channel supports all SDI video formats from 270 Mb/s to 2.97 Gb/s - Signal format : SMPTE 424M, SMPTE 292M and SMPTE 259M compliant DVB-ASI at 270Mb/s
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LiveU - Multipoint LiveU's MultiPoint is an internal and cross-organizational IP video distribution service, enabling broadcasters to distribute live video to a wider audience, optimize their workflow and make the most of their content. Broadcasters can share live feeds simultaneously between multiple broadcast facilities worldwide over the public Internet. The service presents broadcasters with a highly costeffective way of sharing content, without the expense of satellite retransmission. The cloud-based MultiPoint service seamlessly integrates into LiveU's Central unified management platform so broadcasters can use the same interface
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they are accustomed to. No additional hardware is needed. Features: - Large-scale, cloud-based distribution - up to 100 concurrent destinations • Cost effective solution over public Internet for distribution of Live media to any destination • Adaptive video streaming using LRTTM (LiveU Reliable Transport) • Based on existing HW using LU2000 deployed server with software license • Easy setup & operation - based on LiveU Central; fast setup and familiar
workflow • Low Delay – 0.5 second distribution delay • Pay per usage or fixed rate option - for maximum flexibility
Multipoint at VG Norway VG, Norway’s leading newspaper, news website and online video news site, is an early adopter of LiveU's portable video transmission solutions, using the technology since 2010. VG deploys LiveU's MultiPoint for breaking, and developing, news and events. When a major incident happens, VG uses the cloud-based MultiPoint service to share the live content with other news agencies in Norway.
MOG Technologies - mxfSPEEDRAIL Xpress 2U
The mxfSPEEDRAIL Xpress 2U adds storage capabilities into a fully featured toolset that includes ingest, capture, playback, file conversion and transcoding services featured on a single and configurable platform with only 24 cm/9.5 in deep.
storage (up to 16TB) and local storage (up to 8TB) mxfSPEEDRAIL Xpress 2U reduces the time to access the contents and enables a full collaborative environment among editorial team and creative professionals from the moment of acquisition into its distribution and archiving.
Fully Collaborative Environment
Keeping track of all assets
Broadcasters and post-production facilities will highly benefit from the ability to integrate different ingest and storage services into a single interface. By integrating shared
With the same affordable and compact unit, users are able to cover all their production needs, managing different formats and standards and different solutions, from different vendors, while storing
and keeping track of all assets.
Boosted by Bluefish Boards mxfSPEEDRAIL Xpress 2U is also boosted by Bluefish boards for capture modules, and is perfectly configurable. User can define its workflow needs and start building the system.
Main Applications - Dynamic Workflows - Simultaneous Production Services
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NewTek - 3D Storm TriCaster Mini SDI: The most complete compact multimedia studio in the world TriCaster Mini SDI, the world's most complete and compact multimedia studio, now features HD-SDI hardware. The new model provides customers a choice between professional SDI I/O and the highly popular, ultra-portable HDMI version of TriCaster Mini allowing even more users to transform their ordinary presentations into engaging multimedia content that looks like network-style TV. The TriCaster Mini sports all the functions inherent to any TriCaster
Pro, such as Mix effects, Digital Disk Recorders, Recording capacity, IP input and output, graphics capabilities for titling and transitions, an integrated streaming engine and social network publishing systemâ€Ś TriCaster Mini integrates a studio full of production capabilities into one compact device, giving anyone the ability create content that looks like professionally made television in minutes.
Turkish Euroleague The 2015 Turkish Airlines Euroleague Final Four offered a
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unique experience to the viewers on site, as well as followers, fans and viewers in front of their screens. Multiwebdia, the production company in charge of the event's video production, chose TriCaster Mini, the ultra compact production system from NewTek, to produce The Insider, a behind-the-scene exclusive content. The technical setup included 5 GoPro cameras placed all around the field, in order to have different views of the game, and button cameras hung on the referees' shirts to get a closer look at the game. The
signals of multiple cameras were carried over 500 meters, through fiber optics and a set of converters, to feed the 2 TriCaster Mini with optimized video signals. The final program was sent to feed the in-house channel of the arena, and streamed live full HD on a YouTube channel, using the integrated streaming engine of the TriCaster.
SPECS Video & Audio Video Input* Plugand-play input of up to 4 live cameras
Network Inputs Choose from any number of supported devices on the same network, including computers, IP sources, wireless Apple® AirPlay® devices, NewTek TalkShow TM, 3PlayTM, webcams, and more Audio Inputs* Embedded audio from each of the 4 live video inputs, plus 1/4” jacks for a microphone and stereo audio mixer Video Outputs* Deliver to 4 different destinations, with 2 live video outputs and 2 video-only display ports (HDMI and DVI) Network Outputs Ethernet port for HD streaming live to the Web, publishing to social media platforms, distributing content to servers and storage locations, and output to other TriCaster systems Audio Outputs* Embedded audio on both video outputs, plus 1/4” jacks for stereo output and headphones Video Resolutions NTSC: 1080/30p, 1080/60i, 720/60p, 720/30p, 480/60i (Multi-Standard
also includes: NTSC-J 1080/30p, 1080/60i, 720/60p, 720/30p, 480/60i; and PAL 1080/25p, 1080/50i, 720/50p, 720/25p, 576/25i) HD live streaming with presets up to 720p, support for most common streaming profiles and custom multi-bitrate streaming profiles (including RTMP streaming and browser-based streaming applications), and auto-save of Webready stream file for video on demand (VOD) upload Full-resolution recording of up to 4 simultaneous video input or output signals in QuickTime®, MPEG2, AVI or H.264 file formats Upload video and images directly to YouTube, Facebook and Twitter, export content to FTP servers, and copy files to storage locations Video Switching 16-channel video mixer with 2 overlay channels for mixing sources and creating multilayer compositions Audio Mixing Multi-channel software audio mixer for managing
camera audio plus internal and external audio sources, outputs, recorded audio, stream audio, and headphones Multimedia 5 digital media players for video, graphics and sounds, plus 15 buffers for still images and titles Mix Effects 4 M/E channels, each with independent switcher and key layer, for advanced video mixing, compositing, effects and virtual sets Transitions & FX Built-in effects engine for transitions, animation stores, and real-time 3D video warping, plus included Animation Store Creator for custom effects Virtual Sets 30+ HD live virtual sets with multiple camera angles, shot presets, realistic virtual camera movements, and real-time reflections, plus support for custom holographic virtual sets Macros Record your favorite goto settings, commands, or operation sequences, then create custom one-step shortcuts to simplify or automate control
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Norwia - miniHUB
The miniHUB concept is the next generation for Optical video distribution. Norwia has developed an innovative platform that gives so many features that are currently not on the market today. Industry research and talking to the front line of broadcast intelligence with our own broadcast expertise to bring to market the miniHUB system. The miniHUB system can bring immense cost saving to everyone, this covers all sectors of your business from purchase, to installation, to operational flexibility and maintenance simplicity. This enables your Total Cost of Ownership to be lower than others in the market.
Formats supported 4K/12G-SDI, Dual and Quad Link 4K, 3G-SDI, HD-SDI, SD-SDI, RS422, GPIO, DVB-ASI, MADI, AES Audio, Analogue Video, HDMI input, HDMI output, Ethernet (Gbit), Intercom AES and Sony Optical /Electrical remote CCU.
to be anyone of the more then 200 combinations that are available to you. Insert a dual optical transmitter SFP, then you will have a 2 channel transmission card. Take the same Optical interface card and remove the dual optical transmitter SFP and replace this with a dual channel receiver, then Norwia’s AutoSFP® technology will automatically setup the Optical interface card as a dual channel optical receiver.
Point to Point & CWDM Mass signal distribution miniHUB has the best density for ‘Frame/Card Based systems” on the market today. Compared to general 2RU system miniHUB can provide 32 reclocked point to point (P to P) 3G-SDI signals. Compared to Compact based systems you also gain the benefits of having mixed signal formats, easy maintenance and quick replacement of spares. Also adding Norwia’s exclusive AutoSFP® technology the customer gains a flexible and easy way of distributing signal where users can change signal direction in the matter of seconds.
Auto SFP Manufactured and Developed in Norway to preserve quality and reliability.
32 SDI in 2RU CWDM signal distribution
Think of the Optical interface card (OC-4B-SDI) as being a one stop optical shop, and by using a simple key (SFP) you can unlock the card
CWDM or Course Wave Division Mulitplexing in the MiniHUB platform can have up to 18 channel but more commonly 16 channels is
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used within the miniHUB CWDM system. CWDM brings signal density when customers don’t have the necessary fiber count or maybe the distance is to large and compared to fiber cost makes CWDM a viable solution. The miniHUB system delivers un-compressed signal ‘Bit for bit’ quality with virtually zero latency.
16 SDI on 1 Fiber CWDM signal distribution with multiple formats Norwia’s miniHUB Platform can be adapted to perform different signal format without removing the main optical cards. The main optical cards can be removed from the front of the unit for maintenance purposes. Signal configuration can be changed on the fly by changing the SFP types and letting Norwia’s AutoSFP® technology take care of the configuration automatically. Below is just a few of the many different configurations that can be achieved so that your investment can be used more frequently or changed later on in your organizations development. Same card, just change the SFP and let AutoSFP® do the work.
Fiber Rings Add, Drop and Pass circuits can be designed and implemented for more complex applications. Metro
ring systems, Inter building networks, Stadiums and Outside Broadcast are perfect applications for ring based networks using the Norwia miniHUB platform. The miniHUB node will allow you to add signals or drop signals coming from another node in the ring. You can also decide to just pass
signal through a node if required. With the miniHUB platform, optical ring structures can be designed to provide optical redundancy on two fiber, so called east/west redundancy and incorporate CWDM structures to minimize fiber and installation cost. Using the optical change over function networks can be easi-
ly managed in case of fiber breakage. Any amount of fiber circuits can be used but most commonly used is a fiber pair. The Add/Drop/Pass functionality is already built into the standard product offering of the Optical interface card (OC-4B-SDI).
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Provys - Stream Circle Stream-Circle is a cloud service for companies or organisations for broadcasting video content on line in a scheduled manner, enriched by graphics and accompanied by social communication. This perfect and inexpensive solution allows TV operators to increase the number of channels. Corporations, store chains, universities, local government, film distributors, clubs, associations, churches, unions and all organisations can now run their own TV. This facilitates economical streaming of linear, and even live broadcasts via the internet. The Stream-Circle platform is a cloud based service; users have secure access to their content uploaded in the cloud storage, and to their on line CG playout schedules and playout control. For streaming via any streaming service (such as YouTube), users simply specify their service live stream address as provided together with the stream parameters. For social media and message distribution, users specify the credentials for the Facebook, Twitter, and Google+ services. The Stream-Circle service may be used whenever there is a need to cast media content (or live video) enriched by CG and social media messages into the Internet while keeping control over the content composition, timing, and delivery. Stream-Circle is a smart add-on to standard streaming and VOD services such as YouTube where the viewers have to actively search in order to play the content. The Stream-Circle service builds on top of this concept and gives users control of what will be presented and when (and seen by the viewers). It combines traditional linear
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broadcast planning with Internet delivery at an extremely low cost. There is a virtually unlimited choice of media that can be streamed. Video clips may be used in different formats, including mpeg4, mpeg2 and AVC (the format and container list are regularly updated) and Stream-Circle now even allows live streaming. Initially, the media files are uploaded into the secure Stream-Circle automation cloud. The automation software first analyses the media files and returns specific useful metadata. In addition to video clips, it is possible to use a wide range of CG compo-
nents, such as logos, 3D objects, multiple video panels, overlay graphics (examples in photos), etc. The CG component templates provide for smooth parametrisation and placement into the stream. For 3D graphics, the upload format definitions are provided and it is possible to test them before they appear live on the screen. Up to 4 HD streams can be played at the same time; the number of HD streams played sequentially is not limited. Stream-Circle automation facilitates event scheduling precision (granularity) to one millisecond (which is usually not needed).
Stream-Circle also allows a loop playlist; this playlist is editable and the new version of the loop playlist is applied in the next coming loop.
Users may play a sequential playlist running forward into the future. It requires preparation of the playlists and the streaming stops if no playlist is available. The playlists can be organised by days; the currently playing playlist can be edited on-
line. It is possible to play a named playlist (selected manually). The playlist will be played from the current time; users may edit the currently playing playlist online. The broadcast will end when the playlist is finished.
For control of the playlist over the Internet, users may choose their preferred web browser. Internet Explorer, Google Chrome, and other popular browsers are supported. Mobile devices including iPads and Android tablets are supported as well. The usersâ€™ content is well protected; every user of the Stream-Circle service has unique access rights to control the content and operate the playout.
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QUALES is a fully featured, comprehensive Video Quality Check system with the best cost-effective value proposition intended for small, medium, and large environments. Suitable for online or broadcast content; provides a straightforward web-based and visual
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health check system for media, ensuring content readiness in all phases of your workflow. The QC for all covers more than 50 countries, represented by more than 30 worldwide distributors at the end of 2015. QUALES has recently consolidated as the pre-
ferred Content Quality Check system for the Cinema and Production Industry focusing core business on the transformation of contents to assure content quality throughout workflow. More information and demo requests at: www.quales.tv.
Riedel Communications - MediorNet MicroN
The MediorNet MicroN system provides video and audio ports for smallest rack space. In combination with MediorNet MetroN the units are a solution for large sized Media Networks. Directly connected to each other, the units are an economic solution for small to medium sized networks. The units are fully compatible to all other MediorNet devices. Cologne outside broadcast specialist RecordLab TV & Media GmbH (NEP Group) has outfitted its new OB van with Riedel Communications’ MicroN 80G media distribution network devices. Their 5 units can be used as a decentralized 60x60 3G video router system with distributed intelligence and future expansion options, demonstrating MicroN's flexibility. Designed for use with Riedel’s MediorNet line of media transport and management solutions, MicroN has an extremely compact and versatile high-density signal interface with a complete array of audio, video, and data inputs and outputs that enable the high degree of agility and scalability necessary in live production.
Main System Characteristics Compact 1RU Design for rackmount applications - Integrated Video, Audio and Data Router - 10G Highspeed Links - Sync Reference Input and Output (BB, Tri-Level, WC) - 3G-SDI video, MADI audio, Gigabit Ethernet ports - Redundant Wide Range AC Power Supply - Temperature Monitoring and adaptive Fan Control - 160 x 49 px color OLED Display Signal Inputs and Outputs 12× SD/HD/3G-SDI Video Inputs - 12× SD/HD/3G-SDI Video Outputs - 2× MADI Digital Audio Ports (Optical) - 1× Gigabit Ethernet Port - 1× Sync Reference Input/Output (switchable) - 1× Sync Reference Output - 8× 10G SFP+ Highspeed Ports Video and Audio Processing
Features Automatic Format Detection - Frame Synchronizer & Framestore on all Video outputs - 16 Channel Audio Embedder / De-Embedder - Test Pattern Generator - On Screen Display (OSD) - System VITC Display - Built-in Sample Rate Converter - Audio and Video Delay Line User Interface (on the front side) OLED display with 2 integrated buttons (left, right) - Rotary encoder with push-button - LED indicators for - PSU status - Fan status - Sync master MicroN videos from Riedel: https://www.youtube.com/watch?v =i6KnD73j4q0 https://www.youtube.com/watch?v =5TTEvX197BU
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Ross Video - Ultrix
Ultrix is a market disruptive new product from Ross Video. The entire family uses as its base a new router platform. The router is compact but incredibly powerful, ranging from a 1RU 16x16 with 2 additional Auxiliary I/O up to an 2RU 64x64 with 8 additional Auxiliary I/O, capable of switching signals from 270 Mb/s to 12Gb/s. The unique, FPGA based design allows users to license additional capability over and above simple routing. Advanced audio processing, integrated multi-viewers, and 12Gb/s signal-switching capability can be purchased at the time the system is bought, or simply by ordering the appropriate software license. No special hardware is required for any of these features. - Incrementally add UHD signals as requirements arise with software licensing - Integrate or add multi-viewer capability in the same platform with software licensing and no additional hardware - Perform complex audio processing in the same platform with software licensing and no additional
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hardware - The modular architecture of the frame provides easy expansion of base I/O as required - Route 270 Mb/s, 1.5 Gb/s, 3 Gb/s, and 12 Gb/s video signals in the same system - Use a combination of single link and multi-link interfaces for UHD - Choose from embedded or discrete audio (Analog, AES, or MADI) to fit a range of requirements - Connect with various video interfaces such as HDMI, SDI, Analog, IP, and Fiber to maximize flexibility Ultrix is a state of the art platform that uses a variety of great technologies to provide users with a flexible, fast, and intuitive router that improves workflows, save costs, and provides the satisfaction that comes with a reliable system designed with the future in mind. Ultrix is finding a home in a wide range of place, but OB VANS and Fly Packs seem to have latched on to using the system very quickly.
The most common reasons sighted are the following: - Size. At 1 or 2RU, it takes up very little space, power, and cooling in their systems, which allows them to reduce the overall size of the system. This is important for several reasons, but a big one is weight, especially with flypacks. Reducing weight and overall size drastically reduce the shipping costs for moving these kits around. - Integration. Having the router, Multiviewer, and Audio Fabric all self contained reduces overall system complexity. One customer has commented that this product replaces 30RU of kit from previous designs. - Flexibility. Software Licensing allows them to add features as required. This has been seen as a great and easy way to modify the kit as their clients needs change.
SAM - Kahuna IP
SAM’s Kahuna IP production switcher range delivers all the power, processing and multi-format capabilities for which the Kahuna is renowned, with a full complement of IP inputs and outputs. The Kahuna IP range enables users to transition to IP at a rate which suits their developing business needs, by allowing individual input and/or output ‘fins’ on a standard SDI Kahuna system to be replaced with IP fins. Kahuna IP is available in a range of three models - 4800 IP, 6400 IP and 9600 IP - to support the needs of every scale of production, from OB/remotes to the largest broadcast operation. Kahuna IP systems incorporate SAM’s Make M/E technology, which enables the user to create a tailor-made M/E for specific requirements. SD, HD, 1080P
and 4K signals are supported simultaneously thanks to SAM’s
FormatFusionTM3 multi-format technology.
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Screen Systems - Wincaps Q-Live The key to a successful implementation of such live/news subtitling is to make best use of the available text (e.g. newsroom scripts, repeat content, pre-transcribed video clips) and then to make best efforts to cover only the remaining (live) content using realtime, fast audio-typing skills or speech recognition (with a respeaker). Screen’s WINCAPS Q-LIVE software supports subtitling for all live and fast-turnaround programmes, blending together live and offline subtitling techniques in a single package. So, whilst it is possible to subtitle a whole programme “as live” (transcribing the audio as quickly and as accurately as possible), you can also improve text and timing accuracy by using available scripts and quickly transcribing video packages in advance.
Q-Live at Deluxe Media Deluxe Media have used the Quantum live platform for several years. In 2015, Deluxe provided live
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subtitling for events ranging from the UK General Election to the Rugby World Cup. The integration with Dragon Naturally Speaking and various broadcasting platforms ensure that our respeakers are able to produce the highest quality output. Q-Live also controls the rate at which subtitles are delivered to the transmission chain, allowing the
operator to focus more closely on maximising accuracy. A key feature of our partnership with Screen is their ongoing commitment to developing the platform to meet the everchanging access-services needs of broadcasters, whether that is delivering to new platforms or meeting changing regulatory guidelines.
Sennheiser - AVX AVX wireless microphone systems for video cameras Sennheiser’s AVX microphone systems have been fitted with the very latest RF wireless technology to take the workload off the shoulders of videographers. Complex on the inside – simple to use on the outside: an amazingly compact receiver plugs directly into the camera XLR and instantly pairs with the transmitter, automatically selecting a frequency in the license-free 1.9 GHz band and inaudibly shifting to a new one in case of interference. Additional features include adaptive transmission power for a stable link, automatic gain control once matched to the camera, straightforward USB recharging, and a wide variety of (including DSLR) accessories.
Recent application AVX was used for Hopscotch, an opera that was spread over all of L.A., as the action took place in 24 limousines driving on three different routes through the city. AVX was used in conjunction with a smartphone to transmit audio and video to a central hub with giant screens, where “operagoers” could dial in to the screen they wanted to listen to. It’s a completely new way of staging an opera.
AVX technical data - System data - Frequency response 20 – 20,000 Hz - Dynamic range: > 120 dB(A)
20,000 Hz, line: 20 – 20,000 Hz - Max. input level mic: 2.2 Vrms, line: 3.3 V rms - Input impedance: 1 MOhm - Input sensitivity: automatic sensitivity adjustment - Power supply BA 30 (li-ion, 3.7 V) or 2 x AA batteries (1.5 V) via battery holder (not included)
- Modulation: GFSK with return channel - Diversity: TDMA fast switching antenna diversity - Latency: 19 ms - Range: typ. 30 m - Temperature range: -10°C to +55°C (operation), 20°C to +70°C (storage) - Battery specifications may limit temperature range
EKP AVX camera receiver - RF sensitivity < -90 dBm - Transmission power (return channel) typ. 15 dBm e.i.r.p. - Audio output XLR-3M, balanced - Audio output level: -30 dBu 0 dBu in 4 steps - Power supply BA 20 (li-ion, 3.7 V), alternative: USB - Operating time: > 4 hrs - Weight: 87 g with rechargeable battery pack
- THD (1 kHz) typ. 0.1%
SK AVX bodypack transmitter
- Audio sampling: 24 bit / 48 kHz
- Transmission power 100 mW average (250 mW peak), countryspecific - Frequency response mic: 50 –
- Signal-to-noise ratio
> 90 dB(A)
- RF frequency ranges 1880 – 1930 MHz (country-specific)
- Operating time: typ. 15 hrs with BA 30, typ. 11 hrs with alkaline primary cells - AF input: 3.5 mm jack - Weight: approx. 130 g with rechargeable battery pack
SKM AVX-835 handheld transmitter - Transmission power 100 mW average (250 mW peak), countryspecific - Frequency response 50 – 20,000 Hz - Input sensitivity: automatic sensitivity adjustment - Power supply BA 10 (li-ion, 3.7 V) or 2 x AA batteries (1.5 V) via battery holder (not included) - Operating time: typ. 15 hrs with BA 10, typ. 11 hrs with alkaline primary cells - AF input: 3.5 mm jack - Weight: approx. 315 g with mic head and rechargeable battery pack
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SGL - FlashNet
SGL’s FlashNet content storage management system delivers unrivalled levels of resilience, flexibility and adaptability. Regardless of the size or environment, FlashNet's clustered architecture and open approach provide secure, futureproof business solutions that grow with the customer. FlashNet can control and manage all aspects of attached storage systems, whether to near-line, disk, tape or optical disk or the cloud. The software presents the broadcast archive as a single storage repository, ensuring a seamless integration into all types of workflow. With a mature network of both hardware and software partners,
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SGL has developed an unrivalled integration programme providing broadcasters and content owners with a truly adaptable and flexible video archiving solution. SGL ensures that all of its customers’ assets are fully protected. The company has many archives installed around the world where Disaster Recovery workflows are either in use or can be made DRcapable quickly and easily. Its scalable FlashNet architecture provides a clustered system of multiple servers, or nodes, each in constant communication. Each cluster node has identical software installed, and each is connected via a fibre channel into the archive devices - gen-
erally disk storage and one or more tape libraries. At the heart of the cluster is a Microsoft SQL database, which is usually installed across two servers running a Microsoft cluster for automatic failover. SGL has strong industry partnerships with leading key players including: Avid, Grass Valley, Marquis, CatDV, Aspera, VSN and more. Using SGL’s XML-based API (Application Programming Interface) users are able to create integrated applications to access the SGL content storage management system.
Zylight - Newz
Designed for broadcast news and other run-and-gun shooting situations, the Newz compact on-camera light features custom barn doors and a unique integrated articulated arm that allows shooters to easily adjust the height and angle of the light. With its proprietary LED matrix, the Newz is a fully dimmable white light with variable color temperatures from tungsten (3200K) to daylight (5600K), producing a soft yet punchy light with
true color reproduction. It includes a worldwide AC power supply, but can be powered by 7.2V or 14.4V camera battery through its integrated D-Tap cable. The Newz features an integrated one-touch quick release mount for more efficient setup and breakdown, and is water resistant (IP54 rating) for reliable operation in extreme weather conditions.
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How to achieve seamless collaboration between editors that work remotely Txt: André Kamps
Establishing and maintaining a well-organized file system in a shared media environment in the
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professional post-production and broadcast industry is not always an easy task. With multiple editors accessing the same video content simultaneously, hence numerous editing versions adding up quickly, the review and approval processes become very challenging – especially the communication between director, editor, producer and customer. For the constantly increasing number of projects that are handled by an international team of editors and producers, working remotely from various locations across the world, this task becomes even harder to achieve. Due to physical distance and time differences,
decentralized workflows pose additional challenges, as "talking" about images and visuals becomes an unconquerable task – or extremely difficult at best. Since the most promising solution to this problem - getting everyone involved with the project into the same room at the same time – is oftentimes impossible or comes at a great expense for travel, the second-best remedy would be to leverage the cloud. However, utilizing the cloud still has significant downsides such as time consuming uploads and transcoding tasks and considerable risks regarding data security.
An intuitive and easy-to-use portal that allows sharing of media assets and entire projects directly and in real-time, while guaranteeing the highest levels of data security, is at least part of the antidote. The German solution provider ELEMENTS has not only developed just that, but has elaborated their Media Library to go far beyond, closing the gap between an ordinary Media Asset Management (MAM) tool, a professional project management, and a secure cloud application â€“ even including an extensive editing application, the rough-cut editor, enabling operators to create roughcuts of the original film material remotely via the HTML 5 platform without performing any time consuming transcoding or copy tasks first. Basically operating like every other professional editing tool available today, the features provided in the embedded editor cover virtually the full spectrum of editing functionalities.
In addition, ELEMENTS Media Library provides a sophisticated communication portal, allowing users to communicate visually, all of which are standard components in the Media Library package and can be accessed from any standard PC or Mac anywhere on the globe.
By providing secure access to the shared storage, the Media Library allows authorized users to preview and select shots and sequences for editing and create rough-cuts from anywhere on the planet. Based upon the wish lists of countless video professionals in the M&E field, ELEMENTS has implemented
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enhanced features into the Media Library though that support and simplify the editing process every step of the way:
professional editing application of choice.
COMMUNICATE – ACCURATELY TO THE
Besides rendering Proxy files automatically, the Media Library systematically detects contrast changes in the picture, suggesting potential in and out points for the cut. This useful feature enables editors to navigate quickly through the footage, using the same keyboard shortcuts that they are familiar with from working with other professional editing applications.
Authorized users can leave comments and notes for any frame or clip, rendering complicated expla-
Even more importantly though, the rough-cut executed within the Media Library can be exported to virtually every editing application available today, incl. Avid, Final Cut and Premiere. By being accessible from any device (PC, Mac, tablet etc), the Media Library allows for creating the rough-cut at any given location and simply finalize it in the
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nations or potentially inaccurate time code references obsolete. The Media Library also provides the option for “star rating” any clip or sequence which streamlines the review and pre-selection process noticeably. All comments, notes and ratings are visible and accessible from virtually any other editing workstation such as Avid, Premiere or Final Cut Pro.
- "Send email to the director new edit has been written to folder xyz" - "Customer feedback has been submitted" As soon as files or clips have been written to any specific folder, the Media Library will execute the defined action set to follow the event, immediately and automatically. Sending automatic email notifications to an unlimited number of recipients is a frequently used option in the Media Library's event trigger feature. Simply set up a list of email addressees, determine the notification to be emailed and link it to the appropriate event. “The Media Library enables editors and directors to collaborate easier and faster than ever before, reducing the time to completion significantly,” said André Kamps, CEO of ELEMENTS. “The entire set of editing functionalities embedded in the Media Library is fully intuitive to use, rendering virtually any training or orientation obsolete.”
VISUAL COMMUNICATION – SIMPLY SHOW ME WHAT YOU MEAN ! ELEMENTS Media Library even allows for on-screen drawings from anywhere, at any time – simply use a mouse or touch screen on any standard PC, Mac or tablet to point out issues with a certain image. Adding a comment to the drawing enhances and simplifies approval and communication processes significantly. All drawings and comments will be visible in any device or application.
AUTOMATED EMAIL NOTIFICATIONS During the various stages every project goes through, new editing versions need to be reviewed by several different people. ELEMENTS Media Library provides the option to set event triggers that will automatically initiate customized actions. Depending on the individual project folder structure within the Media Library, useful event triggers could be: - "Clips/sequences have been selected/approved/disapproved" - "Move approved files/clips to folder xyz"
In addition, ELEMENTS’ set of workflow management features embrace a wide range of other useful tools, such as an intelligent task manager for customized workflow automation, a full text search engine for both the online storage and any LTFS archive, a file manager, and a comprehensive user and rights management feature. ELEMENTS ONE, an all-in-one SAN/NAS server and storage appliance combines all these features – and even supports sharing of media files natively across all platforms and applications, even embracing those not allowing native project and media sharing like e.g. AVID including AVID bin locking.
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In this issue we make a selection of the best products of 2015, more than forty pages with the most interesting information about the audiov...
Published on Dec 30, 2015
In this issue we make a selection of the best products of 2015, more than forty pages with the most interesting information about the audiov...