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Editor Javier de Martín editor@tmbroadcast.com Editor in chief Jesús Carrillo director@tmbroadcast.com Key account manager Cristina Feduchi international@tmbroadcast.com Creative Direction Mercedes González design@tmbroadcast.com Editorial staff press@tmbroadcast.com Administration Laura de Diego Marga Quevedo administration@tmbroadcast.com

Summary

04

06 28

PAN SHOT

Renewal of TV3's news and sports section and automation of graphics

Vizrt helps bring UK General Election 2015 coverage to life for BBC News

36 TM Broadcast International #30 February 2016

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

Editorial

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Making Broadcast Business a Pleasure

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Video contribution: a changing world

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Broadcast Video Expo 2016 Preview Info

Published in Spain

Preview ISE 2016

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Editorial

Although the broadcast sector is a specialized one with high-level technicians, the technologies that will succeed in the future are going to be user-friendly ones. With this we are not saying that quality declines, it is not that. But it is important that incorporation of new technologies do not involve high costs, and very important, they have to be easy to use. This is the case of augmented reality that we see in this issue, which has managed to be simplified to the maximum with automated workflows. Systems or equipment that not contemplates that path will not succeed. Times of closed systems that requires a huge training are over.

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Imagine Communications receives 2015 Emmy® Award for Technology and Engineering Imagine Communications has been awarded an Emmy® for Pioneering Optimization of Advertising Placement in Single Channel Linear Television Programs by the Technology and Engineering Achievement Committee of the National Academy of Television Arts and Sciences. The award was presented January 8 at a ceremony at the Bellagio Hotel during the Consumer Electronics Show in Las Vegas. “We are extremely proud to be honored once again with one of the world’s most distinguished awards for technology excellence,” said Charlie Vogt, Imagine Communications CEO. “This achievement not only speaks to our rich legacy in the broadcast industry, but also validates the positive and enthusiastic reception our next-generation advertising technology is receiving from

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customers today. The media and entertainment industry is rapidly evolving and now, more than ever, requires technology partners that provide transformational innovation that is guided and informed by a long and distinguished heritage in the broadcast industry.” This recognition from the National Academy of Television Arts and Sciences is an acknowledgement of the pivotal role this technology played in shaping today’s ad management landscape. Thousands of television and radio stations, as well as content distributors and aggregators, are running automated business process systems that are based on the spot placement algorithm and related procedures introduced nearly five decades ago. The technology originally relied on mainframe and minicomputers, as well as keypunch card systems, to help automate and simplify what

had previously been a manual and error-plagued procedure. “It’s difficult to overstate the importance and the impact of this technology, a radical departure from the people-powered traffic systems that persisted well into the 1980s,” says Bridget Allen, vice president sales, advertising management systems, Imagine Communications. “Today’s media and entertainment industry owes a debt of gratitude to George Beattie and Jack Finlayson, the broadcasting pioneers who are chiefly responsible for this transformative technology.” George Beattie attended the 67th Emmy® Awards ceremony as Imagine Communications’ special guest. Jack Finlayson, who passed away in 1991, was represented by daughters Bridget Allen and Terry Grinewich, both employees of Imagine Communications.


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iPhones, LiveU and Imagination: Swiss Station Leman Bleu Creates the Local TV Station of the Future LiveU has announced that Swiss station Leman Bleu has deployed a range of LiveU technology, as well as multiple iPhone 6Ss, to bring a previously unobtainable level of dynamism to its coverage and exciting new ways of working. Leman Bleu is a local TV station based in Geneva. Laurent Keller, CEO and Editor in Chief, said, “LiveU has already been revolutionary for our TV station and we are only at the beginning of what we can do. This technology allows us to do things we previously couldn’t, making our news coverage much more vibrant and also cost-effective. Our aim was to push as far along the path of lightness – therefore mobility – and speed of deployment as possible. It allows us to be fast and to move very quickly. We are progressively rolling out this technology. We only started the iPhone experience this summer so it is an ongoing deployment. It’s the same logic with iPhones as it is with LiveU. We want to go as far as we can.” Leman Bleu began broadcasting 20 years ago, but the last 18 months – and particularly this year – have seen a sea change in the way it operates. 2015 saw the

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broadcaster adopt iPhone 6S technology, used by its reporters for capture. Initially turning to LiveU shortly after the launch of the company’s LU500 backpack, the broadcaster has expanded its LiveU use to include the ultra-small LU200 unit as well as the LU-Smart mobile app and SmartGRIP device. The SmartGRIP holds a rechargeable battery allowing broadcasters to broadcast live from a smartphone without the limitations of a short-lived cellphone battery. The SmartGRIP also includes a 3G/4G MiFi channel (or any other mobile hotspot), which is bonded together with the smartphone’s internal 3G/4G connection to combine two cellular connections. The broadcaster is also using LiveU Central, LiveU’s unified management platform for easy preview and remote control. Leman Bleu concentrates on news, specialising in politics and sport. Journalists focus on Geneva and the surrounding area. Leman Bleu has been broadcasting since 1996 with potential viewership of approximately one million people in French-speaking Switzerland and

nearby French departments. Since May 2011, it’s available on TNT cable TV, SwisscomTV, UPC Cablecom and through live online streaming at www.lemanbleu.ch. Keller said, “This is the start of a journey for us. Working this way is simply great and we are very proud to be pushing forwards using this kind of technology. It’s very efficient and also fun. To take an example, we currently have a lot of public service strikes because of cost cutting. A debate took place at the heart of one strike and we shot this live using a smartphone with SmartGRIP and a camera with a LU500.Using this technology allows us to get close to the action and bring viewers a sense of greater involvement. We did a whole 26minute live show using it!” Ronen Artman, VP Marketing, LiveU said, “Newsgathering has changed in response not only to shifting viewing patterns but also because of disruptive technology like ours. We are excited to see broadcasters working in this way, understanding that it’s an ongoing evolution. We work closely with our customers to help as they adopt our technology and open up new ways of working.”


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Danmon Asia announces Genelec Reseller Agreement with E&E Vietnam JSC Danmon Asia, master distributor for Genelec Oy in Vietnam, Laos, Cambodia and Myanmar, has appointed E & E Vietnam JSC (E&E) to be the reseller for promoting and selling Genelec professional monitoring speakers for smart homes and the music production industry in the north of Vietnam.

"This cooperative agreement will enable us to accelerate awareness and sales of this world-famed speaker manufacturer into the Vietnamese market," comments Danmon Asia’s Managing Director Bjarne Pedersen. Vietnamese musicians and quality-conscious music-lovers now have easy access to these legendary products."

Under the new agreement, E&E is authorised to sell and support a wide range of products in the Genelec portfolio including SAM studio monitors, SAM studio subwoofers, 8000 series studio monitors, 1000 series studio monitors, M series studio monitors and 7000 series studio subwoofers.

"Genelec is already established in Vietnam as a top-quality speaker manufacturer for professional use," adds E&E Business Development Director Tran Thang. "This partnership with Danmon Asia provides a solid basis from which to move forward onto other niches such as musicians and the

domestic listening market." Based in Finland, Genelec Oy produces a wide range of loudspeakers for professional monitoring, audio-visual installations and domestic audio listening. The professional monitor range includes nearfield, midfield and main monitors, and subwoofers. Genelec Oy customers include master sound studios, broadcasters and concert halls.


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TNDV Joins Forces with Skyville Live for Special Live HD Production venue needs prior to the shoot, providing video and audio support for press audio feeds and VIP parties; as well as large screen displays for audience engagement. “Mills Logan (the Grammy award-winning sound engineer for SKYVILLE LIVE) initially introduced me to Nic Dugger and his team, and it has been a dream working with them," says Wally Wilson, Executive Producer/Creator of Skyville Live. "I believe that we have created a cutting edge product that still retains a classic big time television look."

Earlier in 2015, mobile production specialist TNDV proudly managed the multi-camera production for two pilot episodes of Skyville Live, the Emmy nominated music series that brings musical performers together with an intimate audience. The success of those shoots led to an invitation to provide turnkey mobile production services for a special December program, streamed live exclusively on USA TODAY’s website with sponsorship support from Gannett Company, the national newspaper’s publisher.

can be presented as a professional broadcast TV program,” said Nic Dugger, president and owner, TNDV. “The pilot episodes proved that concept, and the distribution support from USA Today and Gannett for this special episode allowed us to deliver the quality of a national TV show to a much larger audience. The dedication to quality from the Skyville Live team assured that every production element across staging, lighting, video and audio was nothing short of exceptional.”

The December program, which featured performances from Gregg Allman, Little Big Town, Chris Stapleton and Taj Mahal, originated from the Skyville Live studios in the heart of Nashville. TNDV brought its Elevation truck to the shoot, and provided a complete technical crew for all multi-camera and multichannel audio production work.

TNDV’s compact but infrastructure-rich Elevation HD truck proved ideal for the intimate nature of Skyville Live. The end-toend architecture includes eight Hitachi HD5000 cameras, ProTools audio recording, a high-end audience response microphone kit, and a professional routing and multiviewer architecture that also supported a multi-channel intercom matrix. TNDV also evaluated in-

“Skyville Live is a shining example of how streaming video

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With another special event on the horizon for late January, Dugger emphasized that the “Live” in Skyville Live is what makes the series so special — not to mention the “amazing combination of guests” that the organizers bring together. He adds that the experience of working on the pilot episodes allowed his team to improve crucial elements of the production, from microphone locations in the crowd to a lighting design that presents exceptionally well on camera. “Skyville Live viewers enjoy watching the performances as they happen; they are not seeking an over-polished and perfected experience,” says Dugger. “The Skyville Live team understands that live performance is special and unique, and they deliver on that value. That said, the freedom of working with this team means that we have a full day of rehearsal with extra time to tune the room for broadcast audio recording, match cameras on the chip chart, and work with the lighting designer to deliver the best possible viewing experience. The extra attention to detail is absolutely evident to the live audience both online and in the venue.”


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VRT completes world’s first full IP remote broadcast production using open standards broadcaster, and supported by several broadcast technology partners, including Nevion. It is the world’s first proof of concept of a complete multivendor live production chain that relies exclusively on IP.

Nevion has assisted the LiveIP Project in broadcasting the first remote production of a live musical concert using IP and open standards throughout the production chain. The LiveIP project is overseen by the European Broadcasting Union (EBU) and VRT, a Belgian

Advantech Wireless wins key SATCOM Infrastructure Award to Construct Brazil’s Broadband Access Initiative Advantech Wireless has received an order for Ka-Band hub facilities from Telebras, the Brazil telecommunications infrastructure company, in support of the Programa Nacional de Banda Larga (PNBL), Brazil’s national broadband access initiative. “Brazil, as one of the largest economies in the world, has recognized the need for universal broadband access to continue effective growth for business, consumers, and currently underserved populations,” Steve

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This latest phase of the project demonstrates the capabilities and benefits of using IP in live broadcast, and the remote production of the concert was an extension of the LiveIP full IP local studio that was set up in August 2015. The concert venue in Bozar, Brussels, was connected to the LiveIP control room at VRT’s studios in the Belgian capital by a single, 10 km long fiber optic cable. As well as the software defined Richeson, Senior VP of Global Sales at Advantech Wireless, said. “We will be supporting new and faster broadband access to many households, businesses, broadcasters and industries, ramping up the nation’s economy.” Advantech Wireless, under the contract, will provide the hardware to build Ka-Band satellite network hub facilities at five sites in Brazil; the hub stations will work on Brazil’s strategic communications geostationary satellite (SGDC) system. This state-of-the-art infrastructure is designed to support Advantech Wireless’ award-winning ASAT-IITM HTS Satellite Networking equipment as well as legacy VSAT equipment provided by other vendors. Under the contract, Advantech Wireless will install, integrate and supervise initial operation of the provided systems. The PNBL initiative will increase access to broadband in Brazil, aiming to cover 40 million households, about 70% of the

network infrastructure which has been used in previous in-studio productions, Nevion supplied its Flashlink CWDM technology, which allowed all the optical bi-directional IP-streams to be modulated on one single 10 km long optical fiber cable. During the broadcast, approximately 25 Gbit/s of IP data were transported in each direction which was enough to connect 4 IP cameras, 10 microphones, intercom, control signals (VSM, camera control, tally and many more), camera return signals and even a visual intercom system with the LiveIP control room over at VRT. population. The state communications company, Telebras, will act as a wholesale operator, providing infrastructure and network capacity for Brazil’s broadband providers, for the federal government, states and Federal district, municipalities and nonprofit organizations including schools, hospitals, community telecenters and other points of public interest. This expands Advantech Wireless’ already significant support of Brazil’s wireless broadband infrastructure. Advantech Wireless already provides satellite communications systems to all of the nation’s mobile telephone providers, to most television broadcasters, as well as to a direct-to-home television delivery system with more than one million subscribers. In addition, Advantech Wireless equipment supports border security operations for both the Brazil Ministry of Defense and Army.


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Barix announces Subscription Model for SoundScape Music and Advertising Platform

Barix has solidified a customerfriendly subscription model for its fully integrated SoundScape business music and advertising solution. The cost-efficient starter package, which includes licenses for the first 50 audio players, eliminates expensive annual contracts in favor of monthly credit card payments and a much faster return on investment. The 50-player starter package allows businesses up and running at multiple locations to enhance sonic branding, with nominal fees for additional single player licenses as business needs expand. Based on Barix’s pioneering WAN-based Audio over IP approach, the package is ideally suited to systems integrators seeking a multi-site audio distribution and management system that accelerates launch, and minimizes labor and materials. SoundScape is quick to deploy thanks to its selfdiscovering architecture across its central management portal and remote audio players.

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“SoundScape’s monthly subscription model eliminates the upfront investment, and frees service providers and end users from the shackles of expensive contracts that have long deterred businesses from turning ‘in-store radio’ into a true revenuegenerating service,” said Reto Brader, vice president of sales, Barix. “Furthermore, since many retail and hospitality seek to outsource business audio delivery, service providers can position SoundScape as a managed service to their end customers. This allows systems integrators to capitalize on the growing demand for full service offerings.” SoundScape is an ideal platform to help retail, hospitality and other businesses – and the service providers that manage playlists and audio delivery – inspire shopper emotion, enhance the on-premises atmosphere, and reflect the business’ style and brand definition. Given its infinite scalability, SoundScape’s “pay as you go”

pricing model ensures these businesses can maintain low total cost of ownership as they strategically grow their systems to suit their needs. This includes the ability to monetize the system through dynamic ad insertion, accelerating return on investment as new locations are added to SoundScape networks. SoundScape is a fully formed software-as-a-service (SaaS) that brings together cloud-based content management, end point playout and global monitoring capabilities in a highly programmable, user-friendly package. Features include dynamic content scheduling, remote device management, system-wide reporting and monitoring, hierarchical user permissions, and options for live and scheduled streaming. Barix’s rock-solid Exstreamer SoundScape IP audio players provide high-quality multiformat playout of music and advertising.


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Globecast extends Channel One Russia’s reach across Europe and Asia Globecast has been chosen by Russian broadcaster Channel One to help them reach the European market (via HotBird) and Asia (via AsiaSat 5), extending its reach to new audiences. Globecast is providing dual illumination on HotBird with an MPEG-4 channel in addition to the existing MPEG-2 service it provides for the broadcaster. The leading Russian language channel carries a mix of news, documentaries, feature film productions, as well as entertainment content. Channel One’s existing content stream is being re-broadcast to audiences in these new territories, benefiting from Globecast’s global presence and network capacity.

The live signal from Channel One is received at Globecast’s Moscow PoP and delivered to London. From there it’s uplinked to HotBird for onward European transmission. For Asian audiences, the signal is forwarded to Hong Kong for uplinking to AsiaSat 5. The addition of an MPEG-4 channel – and the current dual illumination - means that Channel One can smoothly migrate from its existing MPEG-2 SD channel as and when required. Biliana Pumpalovic, General Director at Globecast Moskva in Russia, said, “We’re delighted to be helping Channel One make this important step in increasing its reach by delivering its content to a

new audience. This partnership is also a good illustration of how Globecast can ensure customers meet both their current and future business objectives in a cost effective way, with no disruption to their service; the dual MPEG-2 and MPEG-4 illumination means that Channel One can make the transition seamlessly, as needed.”


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Navori Labs enhances User Experience for QL Digital Signage Engine With two major trade shows on the horizon, Navori Labs is emphasizing an improved user experience for its QL Digital Signage Engine customers worldwide. At ISE 2016 (February 9-12, Amsterdam, Stand 8.N225) and Digital Signage Expo (March 16-17, Las Vegas, Stand 2218), Navori Labs will unveil a new user interface and server platform to enhance ease of use across every stage of the digital signage ecosystem. Navori Labs has created an HTML5 version of QL Manager, the intuitive content management systems at the core of QL Professional, the company’s enterprise-grade digital signage software. The HTML5 user interface delivers a template and media preview feature to improve insight into design quality, along with a more responsive user interface to simplify content creation and management. Additionally, the migration to HTML5 will support playlist and rules-based scheduling based on meta tags, enabling more effective targeting of content delivery across

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out-of-home networks. The new user interface will also extend usability across more devices due to HTML5’s compatibility with all enterprise web and mobile browsers – enabling more flexibility for users of the Microsoft Silverlight-based, previous-generation user interface, which will continue to be an option for QL customers working on Windows-based architectures. Navori Labs will also demonstrate how its new QL Server SDK can serve as the backbone for an entire digital signage infrastructure across content management, distribution, playback and monitoring. The new QL Server SDK allows for management and control of QL Professional from custom thirdparty software, providing a seamless interface to ad booking, media planning and other systems and applications. This ensures flexibility across projects of any scope or complexity. The open programmability of the QL Server SDK also ensures that systems integrators, resellers, network operators and end users

can customize the QL user interface according to the customer’s requirements and profiles. The QL Server SDK is compatible with both the new HTML5 and Silverlight user interface. The emphasis on improving the user experience aligns with Navori Labs CEO Jerome Moeri’s vision of continually evolving the QL digital signage engine portfolio based on emerging trends and customer requests. “With nearly two decades of innovation and a presence in more than 100 countries, Navori Labs continues to build on its reputation for rock-solid, Swiss-quality technology and low total cost of ownership for digital signage,” said Moeri. “By focusing on improving the user experience foremost, we have built a foundation to further strengthen QL with new features and innovations for our base of more than 15,000 customers – many of which we will unveil as we move closer to ISE and Digital Signage Expo.”


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Japan's YTV Upgrades Intercom with Riedel Artist System Yomiuri Telecasting Corporation (YTV) has deployed a new Riedel Communications Artist digital matrix intercom system at its Osaka broadcast facilities to improve communications supporting production of programming including the popular Japanese variety show "Miyane-ya." Installed as part of an ongoing upgrade of YTV's control rooms, the new Artist system in the Studio 3 control room provides the robust communications functionality needed to manage internal signals and audio contribution from a wide variety of external sources. "The Riedel Artist system provides the reliability and audio quality critical to production of news and entertainment programming, and we've already deployed the system successfully in the YTV OB van and news studio control room," said Koji Fukuda, owner at integrator Crescent Co., which worked with distributor Otaritec Corp. to supply and install the new Riedel systems at YTV. "In addition

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to enabling clear, convenient communications, the new Artist installation in the Studio 3 control room gives YTV the ability to monitor both the mix-minus feed used by presenters and the numerous external four-wire circuit inputs, which operators can stabilize as needed to ensure optimal quality." YTV is known not only for highly rated anime programs such as "Inuyasha," "Detective Conan," "Black Jack," and "City Hunter," but also for its news, sports, documentaries, dramas, and variety shows. In the newly upgraded Studio 3 control room that supports many of these shows, YTV staff members use the Artist system to keep an eye on incoming signals, which originate from sources including Japan Telecom and satellite circuits from other countries, and adjust them as they are incorporated into production communications. In addition to new Artist 64 and Artist 128 units, YTV works with an array of remote

control panels, beltpacks, and headsets that ensure comprehensive connectivity across the production team and presenters. The compatibility of this new equipment with existing Artist systems in the YTV news studio control room and OB van ensures fluid communications across all of these key production areas. Using Riedel's Director software, the YTV team can quickly and easily configure its Artist systems and communications capabilities to meet the demands of any program. "YTV is a valued customer, and we're proud to be working with Crescent and Otaritec to support the company's continued growth," said Cameron O'Neill, director, Asia Pacific, at Riedel Communications. "With an expanding network of Artist units, YTV realizes ever greater agility in producing its dynamic live news and entertainment programs."


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Calrec Audio helps Telefonica Broadcast Services raise the bar Spain's Telefonica Broadcast Services has upgraded its HD OB truck with a Calrec Summa console, making it one of the only companies in the Spanish OB market to offer a broadcast-specific audio console. "We produce events for almost all major broadcasters in Spain, as well as foreign companies. Today it's a soccer game. Tomorrow it will be basketball. After that we might broadcast an opera. We have to be able to manage any setup our clients require and guarantee their big productions will go to air with no problems," said Luis Garcia Colombo, Telefonica OB audio engineer. "The Summa ensures we can do it in a way that only a broadcastgrade desk can. We don't even

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have to think about whether we'll be able to handle the setup; we simply know that we can. It's easy to see that it's not just an audio console, but a TV audio console, and that gives us an edge in the market." The Summa's technology and functionality make it possible for Telefonica to handle larger TV productions than ever before and put the company in a better competitive position. Summa's feature list — such as 128 channels, four mains, 32 tracks, an oscillator, the number and variety of inputs and outputs, and the Hydra2 networking infrastructure — boosts the quality of Telefonica's HD OB truck and reduces setup time between productions. Telefonica primarily covers sports and Champions League football in

Spain. Calrec's Soccer Sidekick iPad® app, an assistive mixing tool that simplifies the job of tracking on-pitch audio during a football game, is especially useful. The operator uses the app to help calculate the optimal mic/fader configuration at any given moment, which makes it possible to capture important on-pitch events while minimizing the amount of crowd and venue noise. "There are not many broadcastspecific desks in the Spanish OB market, so installing a Summa is a big step forward," said Jim Green, Calrec's international sales manager. "Telefonica is making a bold statement to the broadcast marketplace about its commitment to improving quality and output."


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New AccuWeather D3 Election Analytics Ad Package is the Smart Advertising Solution for 2016 Elections AccuWeather announced its partnership with L2, America's leading provider of enhanced voter data, to identify unique insights between historical voter turnout and weather data with Superior Accuracy™ available in AccuWeather's proprietary new Data Driven Decisions (D3) Election Analytics Ad Package. Utilizing AccuWeather's robust big data forecasting and historical weather data capabilities in conjunction with voter data creates a tailored, targeted, and first to market advertising weather platform and package that ensures political advertisers deliver the right message to the right audience at the right time more effectively than ever before, taking advantage of weather's impact on voter behavior. Access to the L2 database supplies powerful big election data for AccuWeather to analyze and research voting habits and weather trends down to the zip code level. Effective election campaigning has become extremely data driven and by using AccuWeather's D3 Election Analytics, marketing

campaigns can have access to targeted voter insights never before possible. "This partnership demonstrates our commitment to providing bestin-class intelligent marketing capabilities to advertisers by having the most accurate, relevant, and accessible weather analytics for smart, consumer demographicspecific advertising," said AccuWeather's Head of Digital Advertising Sales, Karen Bressner. "We have found unique, proprietary results about how the weather impacts American citizens' participation in voting that can be applied in political advertising campaign strategies to attract more voters through targeted creatives, ad frequencies, and calls to action that are optimized to meet their forecasted behavior on voting day." Presidential and other political hopefuls will have the ability to utilize this information to make decisions on where and how to place their advertising revenue. By working with AccuWeather to analyze voter district historical behavior, campaign messaging can

focus on weather sensitive demographic groups and encourage them to get out and vote. According to L2 CEO Bruce Willsie, "Matching L2 voter and demographic segments to AccuWeather's historic weather data will give us a fresh look at some of the old assumptions about weather and voter turnout. Campaigns choose L2 because they want every advantage possible to win, AccuWeather is giving these organizations another critical piece of information to factor into their planning and strategy." With over 1.5 billion people relying on AccuWeather forecasts every day, AccuWeather is the world's #1 weather source. AccuWeather digital properties have grown at record rates, reaching a rapidly-expanding global audience with forecast and video content available through web, mobile web, apps, and emerging platforms such as wearables and smart TVs.


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ENCO DAD Radio Automation Simplifies Multi-Station Streaming for Dash Radio

Dash Radio, a human-curated streaming service delivering 65 radio stations to listeners worldwide, is automating its entire playout network using ENCO DAD automation. The customized DAD platform allows Dash Radio to drive up to 12 ad-free stations from a single workstation, dramatically reducing operational costs while enabling the same automated workflow power of a terrestrial radio network. Additionally, advanced features such as remote voice tracking and Dropbox-based file transfer eliminate the challenges of working with DJs broadcasting around the world. Launched by terrestrial radio veterans DJ Skee and John Halterman, Dash Radio brings

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traditional radio curation of yesteryear to modern internet and mobile app-based streaming. DJs build playlists without corporate interference or algorithm-based song choices, and the majority of formats are built around popular genres underserved by traditional AM/FM outlets. Popular shows include Cadillac Music, hosted by Snoop Dogg. Halterman, Dash Radio’s President of Operations, says the cost concerns of running an ad-free streaming service with the technical infrastructure of a terrestrial radio network initially seemed an impossible hurdle. Upon evaluating automation systems on the market, he was dismayed that many leading vendors were unwilling to break out

of the “single machine, single license” model – essentially requiring a dedicated automation workflow for each station. “ENCO allows us to encode and monitor 12 stations on each DAD workstation, and stream content to our CDN for delivery to the web and mobile devices,” said Halterman. “Their flexible model allowed us to launch with 50 stations – more than twice our intention of 20 – and quickly scale to 65 at a very reasonable cost. The reliability has been off the charts, considering how we run multiple live playbacks from each machine. We are pushing this System very hard, and DAD really delivers. This is a rock-solid platform.”


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DAD’s cutting-edge remote voice tracking software has been a huge benefit to the operation, given that many DJs are based outside of Los Angeles (home of Dash Radio headquarters); or are touring musicians broadcasting live from the road. “The remote voice tracking application in DAD is gamechanging in the world of radio automation,” said Halterman. “Our DJs can open any web browser to achieve voice tracking for broadcasts. We’re streaming 250 to 300 live shows a week across these 65 channels, and our DJs are doing live and voice tracked shows from all over the world. ENCO is bringing a lot of value by helping us operate a truly worldwide platform, instead of forcing DJs into the studio.” The automated workflow is further empowered through ENCO’s integration with MusicMaster scheduling software, which at once streamlines and accelerates playlist creation for playback from DAD; and ENCO’s Dropbox feature, which enables drag-and-drop file transfers of complete shows, separate songs and voice tracks, imagery and more into dedicated program folders. Halterman notes that the Dropbox

capability has become the Dash Radio production team’s favorite feature, with “hundreds” of file transfers happening each day. “A regular radio station takes months to launch; we went on the air with 50 stations in three months because of the organizational structure of features like the Dropbox application,” he said. “It’s been a real time saver for both new station launches and ongoing content management for existing stations.”

DJs add content to their Dropbox folders, and everything is organized and ready to go. The Dash Radio production staff can then export those libraries using DAD’s Cut File application directly into MusicMaster, which automatically adds song, title and other identifying data. “Because ENCO is so userfriendly and automates so many tasks, we have had new stations up and running within 12 hours,” added Halterman.


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TVU Networks to Provide Full Slate of Live Video Services During Super Bowl Week TVU Networks announced that it is making available an extensive level of video uplink and distribution services for its customers and other professional broadcasters planning to transmit live from the Super Bowl host city of Santa Clara as well as in and around the San Francisco Bay Area. Super Bowl 50 taking place on February 7 promises to be one of the most watched global events in 2016 with the golden anniversary of Super Bowl and the well-known and popular host location of the Bay Area. In addition to the on-site support TVU normally provides for major events, TVU will fully utilise its headquarters in Mountain View, CA — just 10 minutes from Levi’s Stadium and near other planned Super Bowl event venues such as the Moscone Center, Bill Graham Civic Auditorium and the SAP Center, TVU Networks is effectively positioned to provide on-location and on-demand service and support for its full line of IP based live video transmission solutions. TVU Networks has had a significant presence at prior Super Bowls. For this year’s game, TVU will offer a range of on-location services including TVUPack mobile IP based transmitters and accessories and TVU Receivers for video distribution as well as the following: - Local cellular 4G and LTE datacards; - Dedicated microwave mesh network in multiple locations in and around the San Francisco Bay Area including major venues hosting Super Bowl activities and events; - Technical support from experienced TVU personnel; - Office space with high speed Ethernet and WiFi for meetings and for use as an operational staging area.

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“We have had a number of requests and continuing strong interest from major broadcasters in terms of on-site TVU equipment and support for this year’s big game. We are prepared to meet the needs of our customers from our headquarters located near all major planned Super Bowl events. Broadcasters will find that having access to TVU equipment, engineers and dedicated workspace locally in the San Francisco Bay Area is going to be invaluable to their live video coverage,” said Ken Valdiserri, VP of Sports Sales and Business

Development, TVU Networks. More information about TVU solutions and sign up for support for Super Bowl 50 can be found at www.tvunetworks.com/SB50. TVU solutions include a full line of award-winning lightweight and portable TVUPack and TVU One cellular live video transmitters, fixed mounted TVU MLink for ENG vans and the TVU Anywhere app that turns an iPhone or Android device into a live video transmitter. TVU also has the industry leading TVU Grid, an IP based switching, routing and distribution video solution.


MediaPower Arkki now 4K ready

MediaPower’s Arkki Media Asset Management system now supports 4K. Arkki’s transcoding toolset has been upgraded to support MOV or MXFwrapped 4K files. Arkki is a simple and innovative media manager application that enables content providers to store, catalog, retrieve and manage content. It is a cost effective and easy to deploy MAM system that incorporates a powerful embedded transcoding engine along with video editing features, and provides clients local or remote web access to indexed content. As broadcasters and media content providers start supporting 4K workflows, the MAM system behind media workflows and content archives becomes no less integral than the acquisition or delivery toolsets of 4K content. This makes it imperative for MAMs to fully embrace 4K too by ensuring support of 4K files and formats in its entirety, from transcoding, to indexing and sharing. “Since its release as the first MAM-in-a-box system in 2013 where it earned a NAB Pick Hit Award from Broadcast Engineering, Arkki has grown into a robust yet cost-effective enterprise MAM system,” says CEO Marcello Dellepiane. “This new support for 4K is another testament to MediaPower’s commitment to deliver useful features that allow our customers to reap benefits from their investments in technology.” Both new and existing Arkki systems support 4K at no extra cost. Existing Arkki systems only need some additional libraries on the Arkki transcoding engine.


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2016

Qligent Transitions 1+1 Media Group to the Cloud for Multiplatform TV Monitoring

Qligent is transitioning 1+1 Media Group, a leading media conglomerate in Ukraine, to a cloud-based monitoring platform for national TV services. Based on Qligent’s Vision platform, the pure software-as-a-service (SaaS) provides a highly centralized and cost-efficient OPEX solution for monitoring quality of service (QoS) and experience (QoE) across both analog and digital DVB-T2

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terrestrial, satellite, cable and IPTV systems. Vision’s cloud-based architecture eliminates the need for expensive and proprietary hardware, allowing 1+1 Media to procure common offthe-shelf servers to support its deployment at the company’s main production and playout center in Kyiv. Operators will monitor all video-related services from production to delivery—including

baseband and IP content at its studio playout —and additionally leverage Vision’s built-in transcoding and recording capabilities for compliance monitoring. Vision makes this all possible from a single dashboard with a simple user interface, providing insight into network-wide performance from a single seat. For delivery, the initial deployment covers up to eight Ukrainian TV


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channels across each platform (analog and digital DVB-T2 terrestrial, satellite, cable and IPTV), with visibility into program quality and signal performance across 12 cities. Vision’s infinitely scalable platform allows 1+1 Media Group, which will gradually scale the system to cover additional cities around the country, to add new monitoring points to the cloud architecture within hours. Adding a new location requires an operator to load the Vision probe software on locally available hardware, and specify which channels to monitor. According to Dmytro Orkusha, Deputy CTO, New Technology Development for 1+1 Media Group, Qligent’s pure SaaS approach eliminated the need to invest in a hardware-centric system with high import taxes and ongoing technical support requirements. Qligent’s SaaS approach enables off-site

hosting and maintenance of the central servers, allowing 1+1 Media Group personnel to remain focused on QoS and QoE monitoring and compliance. “Through off-site hosting and transitioning our monitoring operations to the cloud, Qligent has delivered a true OPEX solution that reduces short- and long-term costs,” said Orkusha. “We also now enjoy a true growth platform to extend these services into new cities without time-intensive labor and support.” Moving forward, 1+1 Media Group expects to integrate other Qligent cloud services into the central SaaS solution. The media conglomerate is currently testing Qligent’s Scan fingerprint-based platform, which provides automatic content verification and ad delivery control across multiple TV delivery platforms.

2016

“With cloud-based services ranging across real-time monitoring, root-cause analysis, and content verification and compliance, Qligent is uniquely equipped to help enterprise-level media companies like 1+1 Media Group understand the true picture of their media distribution networks – and prescribe specific troubleshooting actions with immediate results,” said Ted Korte, COO, Qligent. “This highly focused, centralized and user-friendly approach allows our customers to maintain the best possible quality of service and experience across any sized deployment, with ongoing system tuning and optimization to optimize bitrates, quality, and total cost of ownership.”


In January 2014, TV3 completely changed its news section, with a brand new set, and took a major step forward towards the use of virtual and virtualized contents. It also moved towards the automation of an important part of the elements that connect, present or illustrate news. This very ambitious project was aimed at discovering new opportunities in audiovisual language that were of use to the news section. One year after, the result has proved to be very successful. Besides from day-to-day work in the news programme, the new set and virtual technology enables the development of spectacular special shows. This is why we've wanted to talk to those directly responsible for this amazing project that has meant a change in the philosophy of making TV, as something equivalent to the introduction of the tapeless concept in newsrooms.

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PAULÍ SUBIRÀ. PRODUCER AND PROJECT

MANAGER IN THE RENEWAL OF TV3' S NEWS AND SPORTS SECTION AND AUTOMATION OF GRAPHICS How does the project come up? Our first task was to take a look at the studio where the news programme was being shot, see how it was done, and then set up an improvement project that was to include the Sports section. We put all of it together towards a new way of working: taking the first step towards automating graphics to the maximum possible limit. We first

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imagined a multipurpose space, and we concluded that we did not want it all to be chroma and virtual, so we opted for a mixture of both. We visited SIC, Portugal's TV, that gave us several ideas and we then made our own version. This is a mixed studio: a part of it is a huge chroma, and the other part is a physical studio with very little chroma, something truly versatile that enables it to be used for many purposes. The previous news set was only used to shoot the news programme (Telenotícies en TV3), midday and evening news, but the new one is being used more hours every day. In fact, one of the purposes was to bring out the most in its performance. The same is applicable to the new Sports set.

What was the major challenge? Integrating everything. We've worked with brands that are known to us to conceive our own, personal idea. So, we wanted something very specific for both software and hardware, and it has been difficult to achieve. This same thing happened when we started to work with Orad. We have our own control software over Orad, so that the system is able to do what we want it to do. The reason for this is that we needed more control to automate graphics, which is done mainly with Chyron and Orad, because we do not want to do the same things over and over again. Therefore, it was important to consider every bit of it to create a virtual set with augmented reality,


How is augmented reality working?

without it, with a mix of both, with a big screen... The first step was to develop generic templates to work with augmented reality in the news programme on a day-to-day basis, and then to increase its use according to different needs. We also automated all full-screen post productions and on air graphics. We have developed a system of easy-to-use templates so that any

editor is able to create whatever is needed using INEWS, with three parameters. It's great for editors to be able to do it on their own because this way graphic designers can work on more difficult and special graphics, with technical complexity. Headings and subheadings have also been automated through INEWS.

Very well. We strongly believe in it, on the use of both virtual and augmented reality. We have been working with different virtual parameters for over 15 years now. In this sense, our electoral programmes have been a benchmark reference, as we have seen in the last regional elections or in the Barรงa's elections, so it is something that we are familiar with. We are now growing based on a mixed use, which is why I mentioned before that within this project to automate graphics, it is important to automate augmented reality: this is what will really make a difference. Even though we are implementing a lot of creativity, we

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Paulí Subirà, Marc Sansa and Paco Sánchez

have two different styles: one for news programmes, which is simpler, and one for sports, which is more daring. It is very important to maintain that perspective. To me, this change with graphics can be compared to the progression from tapes to tapeless. It's that clear.

MARC SANSA. PRODUCER AND RESPONSIBLE FOR IMPLEMENTING THE AUTOMATION OF GRAPHICS PROCESS IN TV3

What has this brought from a producer's point of view? In the past when we suggested a new programme, a set was designed, and the objects were required, because it was built. This is different: we have a setting where some things are not real, but the viewer thinks they are. This is not trivial. Firstly because although you may have really good ideas, you have a whole team of people that has to put them into practice, and a good idea in television is one that can be then broadcasted. This brings up a new important point: the production team has to have same

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knowledge and skills and the whole team has to share a common language. This implies many new languages that producers didn't have to deal with before. We are so confident on the honesty of what we do and show that we want the audience to know that even when we sometimes use false tools, objects that do not really exist, we are able to use them to show reality in the most objective possible way. What about the experience? It's being quite extraordinary. This is due to the progression that has been taking place for many years now. It all really started on an important day: 11 September 2001. That is when we realized that, according to our approach in television, the graphics department was separated from the newsroom, and that was a mistake. We realized that it had to be utterly changed, so we made the graphics area part of the newsroom. Back then software and hardware were really expensive and heavy, so we used a common software and CPU, with suite Adobe, 3DMax and Final Cut, along with render. This all was extremely useful and thanks to it, in 2003, we were able to do our first elections in augmented reality.

How far can we go? As far as we want to. During these elections we performed an interesting test that worked out well, and we call it the "invisible journalist". We placed a banner and some tickers that no one was writing. We created a data base with words, sentences and modes, connected to the data base of results. If, on a particular town, there was a party inversion, a sentence was then written saying that there was a change in trend of that town or city. Nobody was writing the messages, they were created automatically as the sentences reached the machine with Chyron, which we had previously programmed.

PACO SÁNCHEZ, HEAD OF S YSTEMS AND T EAM MANAGER IN TV3 When did the project start? This started at the end of 2012 when Paulí Subirà was tasked to renovate the news set, and within that project there was another one: automating and unifying the line of graphics in both 2D and 3D. One of the key points was to be able to


systematize the use of graphics, so that it could be used more often to create complex graphics and augmented reality on a daily basis and in an efficient way. What has been the major technical challenge? The automation of graphics creation because it caused several problems. On the one hand we had to change the working procedures: we had to move from a model where graphic designers received individualized orders in postproduction facilities, to one with templates filled in by editors, or by the use of external data, generated in real time. Moving from one role to the other was one of the problems, creating flows and implementing the whole procedure. This causes another problem: versatility. When you are at a setting where templates are used, you risk having a closed and small

Orad. Therefore, when we did the new set, we knew that we would work along those lines. They have quite a unique system with regard to tracking coverage based on infrared cameras. The problem for us was that we had never covered such a big area, it's a huge set and it has a crane that we planned to raise up to 3 metres high. Finally we placed 96 infrared cameras throughout the studio to obtain the requested coverage, specially taking into account that half of the set is virtual and half isn't, but it worked out well, with minor restrictions in some points. In order to adequately carry out computer graphics it was important for robotics to be integrated to Orad. It had to be able to read all data. We were familiar with Radamec and that was the solution used. We knew it well and we could use it to do anything that was required for it to work properly. With 2D graphics

we decided to use Chyron for the same reason: we have been working with this brand for quite a long time and we know it had the ability we requested for its integration. We installed Cameo, which allows designing of templates and works well with the news system, where data is filled in and information is processed. Its versatility is such that an editor can work on his own with the templates to do a football lineup, or an IPC graphic. We worked on these 3 areas, though our engineering department has a lot of experience in integrations, and this has all helped very much to make sure that everything worked out, we are very pleased. Did you carry out any developments? We had to perform some integrations rather than developments. One example of this is that the play out systems that we use are ours, they have been developed by us, and all that related to signage is launched live, automatically. We had to make Chyron work automatically with our system and with MAM. We have used Chyron's most advanced system, Cameo, because we are more than familiar with it.

catalogue, but we have managed them to cover practically 90% of all possible cases. When doing the news programme, we have to be very quick. News take place and you have to be on air soon with the information. What about the integration of everything? We had experience working with

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For BBC News’ coverage of the UK General Election 2015, Vizrt installed 23 Viz Engines at BBC Studios and Post Production’s Elstree Studio D, which over the space of three weeks, was transformed into the national broadcast hub for the event. These real-time compositors were responsible for delivering all of the complex virtual reality (VR) and augmented reality (AR) graphics used throughout the 24hour live broadcast. Producers were keen to build on the highly successful Scottish Referendum and Local and European election broadcasts from 2014 in which Vizrt was heavily involved. With the strong possibility of no party winning enough seats to claim a majority, the potential requirement of a coalition to form a government meant that BBC News prepared graphics and coverage for all eventualities. With AR and VR being used side-by-side, all 11,800 sq ft of Studio D needed to be tracked with a Mo-Sys Star Tracker and Space Tracker to deliver camera movement data so that no green space was visible on air. The Steadicam and crane cameras both required two Viz Engines, one for AR and one for VR, with a third in place to provide a holdout matte should any green elements, such as a reflection or item of clothing appear in shot. There was also a subtle depth effect used on the presenter’s touchscreen using the camera data, so when the cameras moved there was a perspective change within the screen. “The biggest challenge has been the sheer scale of the production. This is around three times the size of what was done at the Scottish Referendum,” said Russell Leak, project manager at Vizrt. “There have been a lot of Viz Engines to set up and cameras to calibrate in a relatively short time period, but it gives the producers pretty much complete freedom in how they analyse and present the constantly developing story.” Russell added: “In every election I’ve worked on, you’re always working against the performance of the graphics cards. This time we used the brand new NVIDIA Quadro M6000 for greater performance, with HD graphics to represent each of the 650 constituencies around the UK, as well as the Swingometer, House of Commons layout, road to Downing Street and all the lower thirds and full forms, they were performing well.” TMBi - 35


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Readers of this magazine will recall the September issue describing how Provys scaled new heights in the land of Kilimanjaro. After an intensive week prior to Christmas, the traffic system at Azam TV was up and running, bringing order and efficiency for all four channels covering the territories of Tanzania, Kenya, Uganda, Rwanda, Malawi, and Zanzibar (of course). Txt: Martin Junek

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I was assigned to run the implementation project at Azam TV’s headquarters located in the former Tanzanian capital city of Dar es Salaam. Following the old rule “business before pleasure”, I planned to spend a few days in Zanzibar after the successful implementation of our software solution. In this article, I have decided to keep to the rule and to start with the business part of my trip. Azam TV is a digital satellite service provider offering top quality family entertainment at an affordable price. It was founded in Tanzania just a few years ago with the intention of expanding across the whole of Sub-Saharan Africa in the near future. Azam produces a wide range of programmes consisting of both international and local channels suitable for families, sports fans and people of all ages. Viewers receive the programmes using the so called “AzamTV Box”, a dedicated set-top box featuring HDMI output and a USB port for recording. Currently, there are four Azam TV channels available. Azam One, a local family entertainment channel delivers news, popular drama, African movies, and children’s entertainment. Azam Two for international audiences supplies favourite soap operas, documentaries, music, and movies. The third channel “Sinema Zetu” is a Swahili movie channel available to the targeted audience 24/7. Last but not least, Azam Sports is an HD channel broadcasting not only Tanzanian Football League matches but proudly, also presenting, the British Premier League, the Spanish La Liga, and more. Initially, Provys presented the whole range of their broadcast management modules including production and resource planning, programme scheduling, rights management and advertisement sales. Azam TV selected for their

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primary installation the broadcast scheduling and rights management modules. Intrinsic parts of these modules are a content management database, a programme acquisition solution and long term programme planning. Several weeks before the Provys software package was implemented, I went to Azam TV for one week’s system analysis. It was immediately obvious that special attention must be paid to their selfpromotion workflow. It would be an unforgivable fault having four

channels and not using crosschannel promos. Moreover, there were more areas worth special care during implementation: customised EPG export, interface to Harris playout automation (today Imagine Communication), ingest list generation, ingest file metadata import (especially time codes), etc. The power of a real traffic system rests in workflow management. The ingest workflow may be a good example. According to the detailed schedule, Provys automatically sends an ingest request waiting for


a message from the playout server that the task has been accomplished. Then Provys receives all necessary metadata and the particular programme may be flagged with a green colour as ready for playout. In the beginning, Azam TV had been using standard Microsoft software in an effort to control their broadcast administration processes, but with ever increasing complexity, it soon became apparent that more sophisticated management tools would be

required. A major attribute of Provys software is that numerous operators can work in the same module, on the same project, and even on the same playlist page, at the same time. This facility enables multiple sharing opportunities and simultaneous teamwork without the usual delays. Real-time information regarding the validity of content rights is available to all users at all times. Rights contracts usually contain options to use the given content for a set number of broadcasts within a given

timeframe. Historically, it has been all too easy to miss the deadline and lose the opportunity to broadcast a re-run prior to expiry. Provys rights management software monitors all rights and deadlines and prompts the station when a rights expiry is approaching, allowing them to fully utilise the content within the validity terms. “When selecting an appropriate system for our organisation, paramount amongst our considerations was the ability of the new system to grow along with our own development objectives and at the same pace. Another important task was to deliver consistent content across all channels. Easy planning procedures including live programmes were of critical importance. Therefore, we selected Provys as the system which most perfectly matched our demands“, said Ms. Stellah Adams, Head of Planning, Azam TV. The system was commissioned on Friday 18 December (ready for its launch on 1 January 2016) after which, I was free to take a boat to Zanzibar, the island of my dreams. In December, the days are sunny with often clear skies and pleasant temperatures from the mid-twenties to the low thirties. White sandy beaches and beautiful azure-blue waters of the Indian Ocean are symbols of Zanzibar. The colours of the sea are breath-taking, especially in the morning. If swimming is the priority for you, choose your destination carefully. Not all beaches in Zanzibar comply with your requirements. An almost monolithic coral reef off the eastern coast creates a large but very shallow lagoon with wide, white sandy beaches and coastal palm groves. Wonderful scenery! It is a great place for those who like to discover the hidden life of the sea. For those who welcome the challenges and pleasures that the broadcast business brings.

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Video contribution is as old as TV and it’s easy to forget how far we’ve come. Here we’ll take a look at that journey we’ve been through and the today’s challenges in the contribution arena.

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Txt: Bernard Riera, Director of New Technologies and Innovation, Globecast

Live event broadcasting first appeared in the 1950’s with coverage of the coronation of Queen Elizabeth II in London. In 1962 TV broadcasting was enabled for the first time between US and Europe thanks to the Telstar 1 satellite. However, the real development of video contribution is associated with the conjunction of three phenomena. The first was a technology breakthrough resulting from the emergence of lighter weight electronic video cameras supporting the development of ’electronic news gathering‘, also known as ENG, a term that became common in the 1980s. The second was the growing appetite of audiences wanting to watch events live in a world where the internet and TV bouquets were the stuff of fiction. Finally, there were geostationary satellites’ abilities to easily establish a video link from just about anywhere in the world through transportable earth stations: satellite newsgathering was another major game changer. Historically, video contribution serves two main categories of programmes, namely sports and news. This is easy to understand because sports and news coverage need to be broadcast live and until a few years ago, live was the only way to supply contribution feeds. But it was always costly and often technically challenging to deliver the service on time to broadcasters. During the 1990’s technology once again changed the landscape: the advent of digital video compression and the deployment of

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fibre optics dramatically impacted the ability to set up video contribution feeds between major towns and cities all over the world at a much more affordable cost. Unfortunately, the major drawback was that this cost remained the same whether it was for a major production (e.g. sports events) or a more minor one (e.g. most news). In any case the main contribution objective was to set up on time and with the same network solution:, a video link from the remote location where the event is taking place to


the Master Control Room (MCR) at the broadcaster’s facility, whether the feed is broadcast live or not. Again, whether the cost of the

associated remote production was high or not was not something that had to be controlled. During the early 00’s the next

major technology revolution came from Internet, and more generally from the huge development of IP networks – especially in the mobile

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world. At the same time, IT had an increasingly important part to play in the production and postproduction area. Linear video editing began to be replaced by video editing software, generating video files instead of cumbersome video tapes. The business of journalism saw a knock-on effect, to the extent that now the journalist doesn’t need to wait for a limited transmission time slot to send their video material with the risk of a potential failure of the link at any time. File can be sent to the broadcaster’s premises at any time using any IP connection available onsite, including public and private (e.g. VPN) networks. There’s no longer a need to coordinate with the engineer in charge of the MCR. The file is transferred to the broadcaster’s local server and is available with exactly the same quality that the original. In the early years of IP entry in to the broadcast sphere, public networks were not able to serve with enough efficiency and quality of service the needs of broadcasters for live feeds, mainly because of the ‘best effort’ nature of IP-based infrastructure and the internet in general. For that reason internet use was limited to video files transfer; files are not affected by the erratic quality of the internet thanks to TCP/IP protocol and recovery mechanisms for lost packets of data. The only visible impact for the user of a poor quality of the internet connection is the time needed to transfer the file. Recently some innovative companies have designed solutions based on network bonding, also known as links aggregation. This consists of aggregating multiple physical network interfaces in a unique logical network interface identified with a single IP address. It could be connections through the same type of network (e.g., 3G/4G

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connections provided by different mobile network operators) or through different type of networks (e.g., 3G, WiFi, DSL and satellite networks), in this case the different latencies of each type of network are compensated for by caching mechanisms. This network bonding technology allows users to have access to enough bitrate in order to transmit video streaming feeds with an easily acceptable level of quality for live broadcasting. This opens the door to cost efficiency in live feed transmission, especially for breaking news – and/or in the case of mobility – of the remote feed point (e.g., transmission of a live feed from moving vehicles).

This dovetails precisely with the changing nature of news consumption, powered in no small part by the expanded reach of the Internet and available bandwidth for consumers. The Arab Spring is a prime example of these changes: now the desire from consumers is to be as to close to the action as possible, as it happens. While quality of footage from a technical standpoint is still an aim, these technologies allow a speed of delivery and mobility that was previously unimaginable. Does it mean the satellite is dead in the contribution world as it gets caught between the high quality


fibre networks and the internet? Satellite remains the most viable solution in many cases and still enriches the portfolio of the network solutions provider: major sporting events are a key case in point. Satellite also offers a perfect backup for optical fibre links, especially in the case of highly sensitive video feeds. This is largely because of the lack of a single point of failure between satellite and fibre. Another use case where satellite demonstrates its superiority is when the video feed has to be transmitted from a remote place where there’s no, or not enough, IP network capacity. In this case satellite can act as an

extension of the Internet for journalists with a high level of security and availability. It’s interesting to note that in the world of cellular bonding, the ability to switch between cellular and VSAT with genuinely portable systems – is now offered via Ka-band. One of the mains criticisms about satellite is the lack of flexibility associated with the high cost of space and ground segments. But that’s no longer the case as satellite is becoming more and more innovative and well adapted to modern user expectations. The development of the aforementioned Ka-band enables the size of the

antennas to be significantly reduced, while the introduction of end-to-end IP solutions simplify access and does away with the legacy manual booking systems. In the near future, High Throughput Satellites will provide more accurate footprints and the LEO/MEO constellations will make satellite latency minimal. An important point to note is the way that broadcasters want to manage their remote production. The time when broadcasters were happy with just a one-way video link and a coordination circuit is gone. Now the remote team wants to have access to the same tools and facilities they have when they are connected to the LAN at the broadcaster’s home premises, regardless of where they are. This includes access to emails, PABX, collaborative tools, archives, newsroom, etc. This ‘remote desktop’ trend can be satisfied by using IP at any level of the contribution chain. Globecast, as a leading global solutions provider for media has been present through each of these evolutions in the history of contribution, actively pushing for both quality and innovation. More recently, Globecast has been actively involved in the French collaborative R&D Project 4EVER conducting research on technologies required for the introduction of Ultra High Definition (UHD) TV services, both on the image format (UHD-TV) front and on the coding standard (HEVC) side. With its partners, Globecast demonstrated the first live end-toend operational MPEG-HEVC chain with the development of prototype real time encoders and decoders for TVs and tablets during French Open Tennis Tournament in 2013.

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BVE is the UK’s largest event for professionals involved in taking content from creation to consumption. It attracts in excess of 15,000 visitors from more than 60 countries and combines expert-led free seminars with an exhibition that features 250+ of the leading manufacturers, distributors and resellers of professional production and broadcast equipment and systems.

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ATG DANMON Stand C 14 ATG Danmon UK is a media and broadcast systems integrator based in Letchworth, Hertfordshire, providing solutions to a global market. Exhibiting on stand C14 at BVE 2016, the company will promote its range of systems planning, design, installation, configuration, commissioning and post-installation support capabilities. "BVE2016 sets off a very interesting year in the broadcast sector given the rapid technical advances taking place at almost every level," comments ATG Danmon UK Managing Director Russell Peirson-Hagger. "As a systems integrator, we need to ensure we are tuned to the latest advances in hardware, software and operational workflow. Our customers rely on us to make the right technological choices for them in order to gain maximum benefit from their investment.

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"4K is fast becoming the required standard for programme production given the affordability of latestgeneration cameras and displays. At least as significant as the introduction of 4K over the next few years will be the increasing use of IP across areas of broadcast infrastructure that have been dominated by SDI. IP clearly has some current benefits to offer but there are still plenty of reasons why we will see the continued use of SDI for the foreseeable future. Rather than IP completely replacing SDI, it is clear that a hybrid approach currently offers the best of both technologies. We can help our customers deploy the systems that best meet their requirements. "Many channels now offer catchup television services as a routine element of their activity, along with web-based news, programme guides and over-the-top supplementary programme feeds. A key element of our role is to support our customers with these new delivery options and to ensure

they can operate as efficiently as possible in an industry which demands high productivity as well as creative efficiency. "The ATG Danmon team has over 20 years of experience in designing, producing, installing, commissioning and maintaining systems that give our customers the best possible return on investment."

BLUEBELL OPTICOM Stand G49 "At BVE 2016, we're looking forward to presenting our fibrebased systems for the efficient and cost-effective transport of AV signals. In addition to our solutions to support remote robotic cameras and remote-monitoring capabilities for our BC364 and ShaxX products, we're excited to showcase ShaxX Lite — a real problem-solver in a lightweight package that lets crews use existing fibre to extend their


distance from the CCU." Paul McCann, Managing Director, Bluebell Opticom

BN385 Stand-Alone Remote Robotic Camera Interface With Dual Ethernet Ports At BVE 2016 Bluebell will feature its BN385 remote robotic camera interface. Ideally suited for links to robotic/POV cameras, the BN385 features two 3G-SDI paths from the camera position with an optional genlock return, plus a dual-port GigE link on two monomode fibres with optional single-fibre operation. A typical application would use one of the HD paths for PGM video and the other for viewfinder overlay/menus, with the GigE link used for camera control and pantilt-zoom camera operation. The unit is packaged in a robust standalone enclosure for use in an OB environment, but it also can be used with a BC series rack at the equipment room/truck end of the link. The unit has an IEC mains input (100-250 VAC) with a local DC output to power the camera.

TDM-750 HD-SDI Module With Ethernet Fibre Interface Also on display at BVE 2016 is the TDM-750, a rack-mounted module for single-direction transport of HD-SDI and 100BaseT Ethernet signals. Requiring only two fibres with an option for single-fibre operation, the TDM-750 is perfect for smaller robotic/POV camera systems that require only a single

video path and bidirectional data via Ethernet. The unit can be used widely in broadcast and security applications.

BC364 Wavelength Management System With Remote Monitoring The BC364 multiformat interface takes in multiple optical signals and retransmits them at wavelengths that can be inserted into a CWDM mux. On the other end of the link, the signals are returned to their individual state. This functionality, coupled with Bluebell's ShaxX power insertion technology, is what makes camera multiplexing possible. In this application, the BC364 is packaged with ShaxX into a flight case to facilitate the operation of multiple broadcast HDSDI camera systems over a single

fibre. New remote-monitoring capabilities make it easy and convenient to oversee the system from a distance via a network connection.

ShaxX Lite/SMPTE Hybrid Cable System for Power Insertion in Remote Broadcasting BlueBell will showcase ShaxX Lite, a smaller, lighter version of the company's ShaxX system for providing full bidirectional signalling and power for broadcast cameras fitted with standard SMPTE 304M hybrid connectors. ShaxX Lite offers outside broadcast and remote production crews the same power insertion alternatives and distance benefits as the full-sized ShaxX system, but at half the weight. ShaxX Lite works with Bluebell's Shax hybrid alternative interface to provide power and bidirectional signalling to the camera, thereby removing the expense and effort of rigging SMPTE hybrid cables. By forgoing SMPTE hybrid cables, crews can take advantage of preinstalled fibre networks on location in order to cut rigging time and position cameras freely wherever they are needed, regardless of distance or the location of mains power sources.

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CALREC AUDIO Stand F10 “We always look forward to BVE. It's a very important forum for us to demonstrate our newest innovations to a local audience, and it's also a great opportunity for us to have relaxed, meaningful interaction with our customers and partners." Jim Green, International Sales Manager, Calrec Audio

Apollo and Artemis V4.0 Software Makes Its Debut At BVE 2016, Calrec will showcase V4.0, the latest software enhancement for the company's Apollo and Artemis consoles. Building on the acclaimed software and hardware upgrades launched in V3.0 last year, this latest software version presents even more features. New features include send levels on faders that allow the user to change the path level indicators on the fader to aux send level, adminlevel protection of bus widths that are stored in the show memory for

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quick and easy changes, and meter highlighting when a fader is touched. V4.0 is available for all consoles with the Concord processor upgrade. With this hardware upgrade, Calrec made significant performance improvements in order to facilitate the many new features. Visitors to BVE will also have the opportunity to see the advances launched in V3.0 that included a new processing mode, path presets, user-configurable wild controls, multilayer routing interrogation, stereo spill, additional meter scales, and patchable oscillator sources.

Waves SoundGrid® Integration At BVE 2016, Calrec Audio will showcase an integrated Waves SoundGrid® solution for its Hydra2 platform of consoles. This powerful integration is unique amongst broadcast desks in that it uses a brand-new SoundGrid interface module on Calrec's Hydra2 network. The module provides a

direct connection between Hydra2 and the Waves SoundGrid network, allowing simple integration and introducing fewer parts into the chain for lower latency and greater reliability. Calrec customers can control Waves software, such as MultiRack, from the integrated touch display in Apollo and Artemis surfaces, which allows direct control of Waves plugins from the mix position. This capability gives Calrec users instant access to the vast range of highly regarded Waves plugins and powerful broadcast tools, such as the new UM225/226 stereo-to-surround upmixers, WNS noise reduction tools, and a wide variety of creative processors. Thanks to a direct Hydra2 connection, all Calrec/SoundGrid I/Os benefit from the powerful Hydra2 feature set, which includes source and destination protection, Hydra Patchbays, aliases, access rights, and the inherent redundancy of the Hydra2 network.


CLOUD EDITS

Aframe and upload services like WeTransfer. Cloud based editing services are developing at a fast pace and Cloud Edits is the user end of this exciting development.

Cloud Edits, the user end of cloud-based technology in the broadcast industry has announced that it will be expanding its workforce to support business growth. The collection of highly experienced editors will work remotely using the latest cloud technology.

The benefits don’t just include saving money; in this fast turnaround environment when a bookings manager needs cover, all they have to do is pick up the phone, alleviating the need to hire an edit suite or wait for an editor to travel in.. By working around the clock, across the globe, the Cloud Editors provide a flexible, convenient and cost effective service.

To meet the demand of news clients, Cloud Edits are adding 5 new editors to their team, all specialising in news. As well as having their own upload page, Cloud Editors can use any server with remote access such as Avid Interplay Sphere, Forscene or

The founder of Cloud Edits, Caroline Law who has her editing roots in news says, “The idea for Cloud Edits formed in a BBC World edit suite. The rushes came from China, the voice over via ISDN, I edited the piece and sent it up to the newsroom. Nobody came into

Stand P 43

my suite, there was no need for me to be taking up that space.” The news editors join a team already covering documentary, factual entertainment, promo and corporates. Cloud Edits hopes to continue expanding the range of productions they are able to cater for as demand for the service increases. Exhibiting at BVE 2016 for the first time this year you can visit them on stand P43.

DALET Stand Q 30 Dalet Digital Media Systems will showcase the latest release of its DPP certified Dalet AmberFin highquality ingest, transcoding and mastering platform with orchestration capabilities at the Broadcast Video Expo 2016 (BVE).

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Combined with the Dalet Workflow Engine, the Dalet AmberFin platform provides a userfriendly yet powerful solution for orchestrating media-processing operations. Leveraging a highly intuitive Business Process Model & Notation (BPMN) 2.0-compliant workflow designer, users can quickly and easily create complex workflow chains with little or no prior experience. Workflows can be modelled in detail, including user and service tasks, sequencing, task types, parallel or exclusive paths, timeout and escalation management. The visual modelling, based on BPMN 2.0 standardized notation, helps define roles, responsibilities and processes. Precise graphical representation let staff identify and correct gaps, redundancies and inefficiencies, greatly improving agility and flexibility of existing workflows and meet new business requirements. The evolving platform will boast the following new features: - Support for AVC LongG format, 4k playback of ProRes and HEVC up to 60P and J2K back to back ingest. - New “User Tasks” trigger an email notification that an action is required to resolve a problem or a review is needed before continuing on with the automation process – presenting all the available data to the user in an intuitive timeline view. Upon resolution or review, the automated process resumes from the last success point, ensuring the job completed according to plan. - New Data Push for Analytics provides users with extensive details about job performance with templates to share information across organizations. - Watch folder automation capabilities now include critical upload, download and copy functions.

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for applications where remote control and monitoring are not required.

DB BROADCAST Stand F 40

dB Broadcast Extends Cardinal MDU Range at BVE2016 dB Broadcast is using BVE2016 to introduce several additions to the Cardinal range of Mains Distribution Units (MDUs). These new mains distribution products are optimised for applications where the full feature set of high end ‘intelligent’ MDUs is not required, and will provide customers with a more cost effective option for mains distribution within equipment bays. The additions to the Cardinal range are based on two new base products: the MDU and the eMDU. In parallel with these new product introductions, dB Broadcast continues to supply the industry leading Cardinal iMDU (intelligent MDU). The Cardinal MDU provides an extremely cost effective entry level product that provides 12 individually fused IEC outlets, with options for either a single 16A input or a changeover version with dual 16A inputs, in a 1RU package. An optional meter is available to monitor the current drawn by the connected equipment. The introduction of the Cardinal MDU enables users to benefit from the high build quality and reliability of the Cardinal range at a lower price point than before, and so is ideal

The Cardinal eMDU (enhanced MDU) augments the basic MDU product functionality with the inclusion of user configurable sequential output switching, current monitoring with a user definable alarm, and an interface for connection to a dB Broadcast Cardinal iMDU (intelligent MDU) enabling remote status monitoring and control. Sequential start up protects mains infrastructure by avoiding an excessive current surge when an equipment rack is first powered up. Current monitoring provides operators with the information necessary to manage equipment power consumption, and to identify failing equipment before their end customers are impacted. By combining one or more Cardinal eMDU units with a Cardinal iMDU, broadcasters have a unique and cost effective approach to enabling multiple mains distribution units to be monitored and controlled remotely over a network using a single Ethernet connection and IP address. The Cardinal iMDU remains the product of choice for major broadcasters and network operators worldwide seeking a solution that is engineered for high reliability, and which provides comprehensive network remote control and monitoring capabilities. According to Tom Swan, Sales and Marketing Director at dB Broadcast: “We have listened to customer feedback and responded with the introduction of these new MDU products, offering our customers a choice of MDU solutions to suit their application, from a basic MDU, an enhanced MDU, through to our established flagship of the range, the Cardinal intelligent MDU.”


GARLAND PARTNERS/LIVEU Stand L 06 LiveU’s LU200 ultra-small transmission unit will be highlighted by Garland Partners on its stand. It’s compatible with any camera and is ideal for broadcasts on the fly, turning any camera into a livestreaming device. Weighing just over 500 grams (1 lb) and available in a pouch or camera-mount configuration, the LU200 provides a highly cost-effective and easy-touse unit for live video transmission anywhere in the world. This low-power unit gives users the flexibility of transmitting high-

quality video over bonded cellular or satellite/fixed link, or a hybrid of the two. The LU200 has options for LAN-only as an adaptive bitrate encoder (LU200e) or LAN plus two high-gain antenna-integrated cellular modems (LU200). Two additional external cellular USB modems can also be attached.

LU500 on show Garland will also showcase LiveU’s flagship LU500, the ultimate combination of high-performance and portability for cellular uplinking. It benefits from a small form-factor combined with exceptional functionality. Weighing approximately 1 kg (2.2 lbs), the unit is powered by LiveU’s new

multi-processor, video encoding engine and fourth-generation patented bonding algorithms, with up to 13 network connections.

LiveU MultiPoint This is a system for internal and cross-organisational professional video distribution, allowing content to be easily shared. MultiPoint seamlessly integrates into users’ daily workflow, allowing them to share incoming live feeds with multiple end-points from within the same LiveU Central interface they work with daily.

LiveU Xtender LiveU’s Xtender is an integrated antenna solution that increases

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network reception, providing additional resiliency for live video transmission in extreme scenarios. The Xtender offers users the flexibility to use cellular connectivity as part of existing SNG/ENG trucks, bonding cellular and satellite connections for ultimate live video performance, or to remotely connect to LiveU's backpack and handheld uplink units.

MILLER FLUID HEADS (EUROPE) LTD. Stand K 25 Miller Fluid Heads (Europe) Ltd., will be demonstrating its Compass 23 Fluid Head and Cineline 2090 Tripod System at BVE 2016 (Stand K25), the UK’s largest event for professionals involved in taking content from creation to consumption. The Compass 23 Fluid Head is an affordable entry model into the 100mm ball leveling range. It is intended for use with medium size large sensor cameras to provide users with the portability, rigidity and professional features they seek in a lightweight system. The complete Cineline 2090 Tripod System includes a HD Mitchell Base 1-Stage Alloy Tripod and HD Alloy Ground Spreader to complement the robust Cineline 70 Fluid Head. This system provides videographers and cinematographers with stability, plus smooth and consistent pan and tilt that are a must, while offering additional portability at an aggressive price point. “With the Compass 23 Fluid Head and Cineline 2090 Tripod System we are looking to offer BVE attendees with a range of camera support solutions from large-scale cinematic dramas all the way down to more ENG/reality style applications,” says Mike Lippmann, European Manager, Miller Fluid

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Heads (Europe) Ltd. “Regardless of the situation, users can be assured that Miller’s products are designed to meet the unique needs and challenges of these applications while always providing the ‘right feel’ that the company is known for.”

The Compass 23 100mm fluid head provides users with the capability to add more lens and rig options without completely going out of the 75mm price range. This new head within the Compass line is designed to handle a range of setups, from those that employ a


light rigging with just a camera and a lens, to a full rig adding on monitors, wireless mics, batteries and more, where standout features such as pan and tilt smoothness and multiple counterbalance selection are also required. To accommodate different setups, the Compass 23 is equipped with three selectable positions of highperformance drag plus a zero position and four counterbalance positions for payloads between approximately 4kg (8 lbs) to 14kg (30 lbs). It also has a 120mm sliding camera plate with 60mm travel for perfect balancing. The new fluid head comes equipped with readily accessible controls and illuminated bubble level, superior pan/tilt locks utilizing disc brakes and replaceable tilt end rosette. Ideal for videographers and cinematographers, the Cineline 2090’s tripod features a highcapacity leg-lock system, deploying turn-lock levers with rapid

lock/release action, as well as a heavy duty base with built-in bubble level, offering a fast and easy setup. Built with the strength and torsional rigidity to take on heavy payloads, the 2090 tripod system has a capacity from 4.5kg (9.9 lbs) to 37.5kg (82.5 lbs), providing stability and security when supporting varying rigging configurations. Designed for rapid setup and pull-down, the sturdy HD Alloy Ground Spreader easily attaches to the Alloy Tripod and is optimal for use on flat surfaces. Constructed of corrosion resistant alloy, the lightweight Cineline 70 Fluid Head of the Cineline 2090 offers advanced precision fluid drag control with ultra-soft starts, smooth stops and perfect diagonal drag transition, as well as counterbalance systems with “all-inone-location” control layout. It also features illuminated rear-mounted controls, which allow all the controls to be seen and easily adjusted on a shoot located in a

dim setting. The Cineline 70 is set to accommodate industry-leading camera mountings, including Arri, Sony, RED and Canon, and features an Arri-compatible, sideloading camera platform, along with an optional, easy-to-fit Mitchell Base Adaptor to suit traditional Mitchell Flat Base tripods. Additionally, the fluid head comes equipped with an extended sliding range to promote quick and seamless rebalancing of the rig when lens and accessory changes result in weight distribution alterations. As an added bonus, the fluid head offers dual side mounts for monitors and accessories, as well as an assistant’s box front mount.

NTP TECHNOLOGY Stand L 45 NTP Technology will introduce major enhancements to its DAD AX32 ultra-high quality audio converter, router and monitor

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controller at BVE 2016. Exhibiting on stand L45 with HHB Communications (exclusive distributor for the UK and Ireland), NTP will demonstrate the versatility of the AX32 on its own and also how the integration between the AX32 and the Avid S6 control surface provide an extremely flexible platform for audio postproduction. "We are adding two new I/O option cards for the AX32: a dual MADI I/O module plus an eight-line AES3 (AES/EBU) I/O module with optional sample rate conversion," comments NTP Technology Business Development Manager Jan Lykke. "It is possible to install up to eight of these cards. That means the AX32 can now provide up to 16 MADI I/O or 64 stereo AES3 I/O in addition to the built-in three MADI I/O and eight stereo AES3 I/O." The new cards supplement the existing eight channel analogue line input card, the eight channel analogue mic/line input card, eight channel analogue line output card and the dual 3G SDI embedder/deembedder card. The AX32 also has a 64 channel interface for Avid Pro Tools and can optionally be fitted with a Dante AoIP interface. "The addition of the new cards makes the AX32 one of the most versatile platforms for audio postproduction, whether for stereo, surround or 3D formats like Dolby Atmos," Jan Lykke adds. "The AX32's internal processing engine is now capable of providing PPMstyle audio level information and level control for all 1,500 input and outputs, viewable in the DADman v5 software available for both MAC and PC. This new functionality is in addition to the 256 x 32 summing mixer which is used to provide NTP Technology DAD Pro | Mon monitor control. We have also added a user-configurable zero-latency cue mixer, the DAD Cue | Mix."

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PIXIT MEDIA Stand K11

Pixit Media to present Data Intelligent 4K Workflo At BVE 2016 Pixit Media will demonstrate its software defined storage as a central repository to provide 4K uncompressed playback for a number of leading applications used in the broadcast and post production industries. Google, NetApp, Mellanox, Digital Vision, The Foundry and Adobe will be amongst the companies demonstrating their latest

technologies through the efficient and effective PixStor central NAS storage system on Stand K11. Highlighting PixStor users’ ability to utilise industry standard commodity hardware, Technology partner NetApp will display its latest all flash disk arrays. Mellanox, the leading supplier of end-to-end interconnect services for servers and storage will display its high speed network and switching. Software partners on the stand will demonstrate the performance and management capability of the 4K workflow, showing operators


that they can also render using Google compute through industry standard commodity hardware components. Digital Vision will display its 4K grading and restoration software Nucoda, alongside NUKE Studio for VFX Editorial and Finishing from The Foundry as well Adobe’s complete Creative Suite, which is utilised for graphic design, video editing and web development applications. Additionally, PixStor’s ability to seamlessly extend into Google cloud and store content using Google Nearline storage will be demonstrated. Visitors will benefit from a demonstration of how PixStor is able to seamlessly transfer and store data whilst maintaining file system intelligence into the Google Cloud platform. Utilising the vast resources of Google Cloud storage in conjunction with the PixCache Cloud Gateway Appliance, guests to the stand will witness PixStor’s ability to submit render jobs to cloud based render farms and return these completed jobs. “At Pixit Media we appreciate that with ever decreasing budgets companies need intelligent and data aware file systems to ensure data is stored on the most cost effective storage platforms,” said Barry Evans, Technical Director, Pixit Media. “That’s why we’re pleased to be demonstrating our relevant solutions this year at BVE, enabling customers to invest wisely in non-proprietary technology that does not lock them in to one vendor.” Demonstrating further integration, also on display will be General

Atomics data management software suite, Nirvana. This metadata centric storage management tool enables users to make secure commercial decisions on where to store data and use advanced analytics to help make decisions on where to keep it and for how long. Furthermore, Milk Studios, an award winning VFX house will be speaking about Pixit Media’s role within their recent expansion to Cardiff alongside Escape Studios at 2pm on Wednesday 24th February.

RIEDEL COMMUNICATIONS Stand M26 At BVE 2016 we will feature an array of innovative solutions that bring greater flexibility and efficiency to mission-critical media transport and management applications. We welcome attendees to visit our booth, watch a demo, and learn more about how these products can make a difference in their operations." Paul Rivens, General Manager U.K., Riedel Communications.

Riedel Products at BVE 2016 MediorNet MicroN MicroN is an 80G media distribution network device for Riedel's MediorNet line of media transport and management solutions. MicroN provides greater flexibility in building media infrastructures, from signal transport to full video router functionality, including signal

processing! MicroN is fully scalable, allowing multiple units to be integrated as a central video router for redundant processing of HD-SDI signals. A huge benefit is the inherent flexibility in system design, allowing users to extend both signal capacity and distributed system locations simply by adding MicroN nodes to the network. Working seamlessly with the MediorNet MetroN core fiber router, MicroN features a complete array of audio, video, and data inputs and outputs, including 24 SD/HD/3GSDI I/Os, two MADI optical digital audio ports, a Gigabit Ethernet port, two sync reference I/Os, and eight 10Gb MediorNet high-speed links.

Tango TNG-200 Fully Networked Platform Supporting RAVENNA/AES67 and AVB The Tango TNG-200 represents Riedel's first network-based platform supporting RAVENNA/AES67 and AVB standards. With its own dedicated intercom application, the platform can be turned into a flexible, cutting-edge solution for a variety of communications scenarios. The unit itself is equipped with a highresolution, full-color TFT display that ensures perfect readability at all times. Intuitive front-panel controls simplify the recall of presets and adjustment of audio levels. Along with powerful processing capabilities, the Tango TNG-200 features two integrated Riedel digital partylines, two RAVENNA/AES67- and AVBcompatible ports, two Ethernet ports, one option slot, and

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redundant power supplies. The dedicated intercom application, "My First Riedel," turns the Tango platform into an efficient intercom system that users can tailor according to their needs. The asymmetric 40 x 80 matrix size is another Riedel innovation, allowing for standard premium-quality stereo audio connections to panels.

RSP-2318 Smartpanel The new RSP-2318 Smartpanel

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offers features and capabilities that will enrich the user experience and change the way broadcasters and AV professionals communicate. The world's first control panel designed to serve as a powerful multifunctional user interface, this Riedel device boasts a unique feature set that includes three highresolution, sunlight-readable, multitouch color displays; premiumquality stereo audio; a multilingual character set; and 18 keys in just 1 RU. These features make Riedel's

new Smartpanel a powerful user interface that can be further expanded through the use of apps. Riedel's first app for the RSP-2318 turns the Smartpanel into an innovative and smart intercom panel. AES67 and AVB connectivity are standard, with AES3 over CAT/coax optional. Additional features include exchangeable headset connectors for mono or stereo applications, an integrated power supply, individual volume controls for each key, two USB


ports, two Ethernet connectors, GPIO, audio I/O, an option slot, a removable gooseneck microphone, an SD card slot, and an HDMI output.

MediorNet MetroN The MediorNet family of real-time networks has been expanded with the addition of the 2-RU large-scale MediorNet MetroN core router. In enabling Riedel's acclaimed networked approach to signal distribution and routing, the new MediorNet MetroN provides a realtime routing capacity of 64x 10G ports. During BVE 2016, Riedel will demonstrate how, with these capabilities, the new frame can function within a larger MediorNet installation, interfacing with other MediorNet frames via fiber.

TELESTREAM Stand K 06

Telestream Demonstrates Advances in Enterprise-Class Video Transcoding & Workflow Automation at BVE 2016 Telestream® will use BVE 2016 to provide worldwide debuts for significant new functionality within its enterprise-class software products. Forming the centerpiece of its technology

showcase,Telestream’s Vantage® media processing platform is the foundation for a broad range of enterprise-class transcoding and workflow automation software products that allow content owners, producers, and distributors to quickly, easily and efficiently ingest, edit, transform, package, monetize and distribute their media. Exhibiting together with its UK channel partner, Boxer Systems, at BVE Telestream will demonstrate new adaptive bitrate optimization capabilities within Vantage. Alongside this, the company will demonstrate new market-leading closed captioning and subtitling services within Vantage. The product of a major development initiative within Telestream, these two functionality developments are the result of customer feedback. “We live in a period of rapid change where every year we see quantum progression in the integration of moving video within our personal and business lives,” commented George Boath, Vice President International Sales at Telestream. “It is our responsibility

to keep abreast of these market dynamics and to respond with new features and functionality within our core products – this is what visitors to our BVE exhibit will see and hear.” Telestream arrives at BVE on the back of strong sales performance throughout 2015. At a time when many broadcast technology vendors struggle to achieve profitability, Telestream has maintained a long-term trend of reporting profits for each of the last 17 years. The company reports profits in every geographic region and across every division of the company. In particular, Telestream reports double digit growth in sales of its flagship Vantage software suite. “2016 will be a key year in Telestream’s development with major exhibits at NAB and IBC. BVE provides us with an ideal opportunity to kick the year off and we’re excited at the prospect of revealing some really significant new product news there,” commented George Boath.

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THE STRONGEST ISE EVER! Since its launch in 2004 ISE has grown at a phenomenal rate with each event delivering higher numbers of exhibitors and attendees. At the close of ISE 2015, over 100% of this year’s sold floor space had been confirmed for the 2016 event. This provides a ringing endorsement for an exhibition that was attended by over 59,000 people, an increase in visitors of over 16% on the previous year. Over 1,000 companies exhibited at ISE 2015 and this rapid growth is one of the primary for the decision to expand to a four day event in 2016. TMBi - 61


ISE 2016

APANTAC

AUDINATE

Stand 10-S114

Audinate Ramps Up In-Depth Dante Training at ISE AV Networking World

Universal (Multimedia + Video) Multiviewer for openGear Debuts at ISE 2016

Apantac is launching its new openGear Multiviewer card with HDMI and DVI Inputs at ISE 2016, stand 10-S114. This new openGear multiviewer card with HDMI/DVI inputs (Model: OG-MiniDE-II) complements Apantac's existing multiviewer card for SDI inputs (Model: OG-MiniQ). Together, these two cards allow you to monitor Multimedia + Video signals / inputs on a single display. This combination creates a truly Hybrid Modular Multiviewer Solution - a first of its kind for the openGear platform. The new Multiviewer card (Model: OG-MiniDE-II) is designed for the openGear® Platform, an Emmy® award winning, open and modular platform for broadcast and professional AV solutions. Each card has four HDMI/DVI inputs, an HDMI and a SDI output. Each window can be freely sized and positioned, and OSD (On Screen Display) such as borders, labels, markers, audio meters, analog and digital clocks etc. can be added. The OG-MiniDE-II cards are front accessible and hot swappable, and ten of these cards can fit into the 2 RU openGear frame, which makes it the most compact Hybrid Multiviewer solution available. The new Multiviewer is ideal for any visual monitoring applications that require support for both multimedia and video inputs.

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Audinate® will be hosting the annual Dante AV Networking World education event during Integrated Systems Europe 2016 on Monday, 8 February 2016. The workshop and seminar program will be held at the Amsterdam Holiday Inn near the RAI Convention Center. Returning for its sixth consecutive year, the event will feature an increased emphasis on Dante training, giving design consultants, system integrators, audio engineers and IT managers the tools and information they need to get started with Audinate’s revolutionary audio networking solution. With over 250 OEM licensees and over 600 Dante-enabled products now available on the market, Dante has become the de facto standard in audio networking. The free all-day conference will feature industry trends and research, insight from leading audio manufacturers, in-depth training sessions and real-world case studies. Co-sponsoring the event are 25 of the AV industry’s leading companies who will be featuring their Dante-enabled products in an extensive, hands-on Dante interoperability demonstration. These manufacturers include: AKG, Allen & Heath, Ashley Audio, Attero Tech, Audinate, Auvitran, Bose Professional Systems, Bosch, BSS, Crest Audio, Extron, Focusrite

RedNet, Harman, Nexo, Peavey MediaMatrix, Powersoft, RDL, Renkus-Heinz, Roland, Shure, Soundcraft, Stewart Audio, Studer, Symetrix and Yamaha Commercial Audio. Media sponsors include AV Magazine, rAVe Publications and rAVe Europe. The presentations and training sessions will include: - The Latest Trends in Audio Networking - Understanding Standards, Protocols and Solutions - Making the Leap from Analogue to Networked Audio - Setting up and Deploying Dante Networks - Networking Fundamentals for Audio Professionals - Dante Case Study: Networked Audio System at Frankfurt Kap Europa Convention Centre - Dante Case Study: Networking Stadiums with Broadcasters for the Rugby World Cup - Dante Via and Software-Based Audio Networking - Dante Labs: A Sneak Peek at Future of Dante The event runs from 9:00 to 16:00 and will include a sponsored lunch for all attendees and a hosted networking cocktail reception to conclude the day. Seating is limited, so register now to reserve your spot. To register, visit www.audinate.com/ise16


ISE 2016

BLUEBELL Stand 11 C65

WB170 for Compact, 1RU 3GSDI, HD-SDI, SD-SDI, and ASI Transport The WB170 is an ultra-compact, 19” rack-mount media converter for the conversion of up to 32 independent 3G-SDI, HD-SDI, SDSDI, or ASI signals onto fibre. The WB170 can be populated with either WB172 transmitter or receiver cards that are inserted in the front of the frame. Each

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incoming signal on a WB172T is auto-sensed, equalised, and then reclocked prior to conversion and transmission onto a separate single optical fibre. The WB172R receives the optical signal and electrically reclocks it. The WB172 is available in multi-mode, single-mode, WDM, and CWDM variants to suit any fibre application. Bluebell Opticom will also be introducing the new WB172-63 cards that allow for format conversion and HDMI monitoring within the WB170 frame

DIGICO Stand 7K 175 ISE 2015 will see DiGiCo consoles connected across multiple booths via a DiGiCoOptocore/Broaman network, demonstrating the system’s suitability for transporting a number of different signal protocols to multiple locations. “This year, we will be showing a DiGiCo SD7, SD10, SD5, SD9 and SD11, which will connect to a number of different locations,” explains Jaap Pronk from DiGiCo’s


ISE 2016

Dutch distributor TM Audio, on whose booth number 7-K175 DiGiCo will be based. “We will connect the SD7, SD5 and SD10 together on an Optocore loop. We will have a laptop with multitrack (simulating a live band) connected via a DiGiGrid MGB coaxial MADI interface to the SD10, which in turn will connect via Optocore to the SD5 and SD7.” The ring starts at the three DiGiCo consoles and continues to the Martin Audio booth, where an Optocore DD32R digital interface will be situated to connect Martin Audio loudspeakers via AES EBU. An Optocore DD4MR will be located on Allen & Heath’s booth to copy the multitrack via the MADI protocol, with an Optocore X6R AES EBU unit on the Renkus Heinz booth. A second DD32R AES EBU unit will be placed on the Powersoft Booth and finally, on the Optocore booth itself, the ring will connect to a Broaman MUX22 unit which will be connected to another MUX22 unit on the DiGiCo booth to close the ring. “The multirack on the DiGiCo booth can be mixed on the SD10, the SD5 and the SD7,” Jaap continues. “This simulates, for example, FOH, monitors and on-air broadcast, all happening at the same time. The mixes will be sent to Powersoft’s newest amps, Martin Audio and Renkus Heinz loudspeakers in different locations, while the multitrack is copied to an Allen & Heath mixing system, which can do a separate mix for another room. “The Broaman units on the DiGiCo and Optocore booth not only tunnel the Optocore/DiGiCo ring, but are also connected to camera's and HQ video screens on both the DiGiCo and Optocore booth. This results in a powerful combination of multiple high quality video lines, intercom systems and hundreds of audio channels

between all these booths. On the Optocore booth, you can see and hear what is happening on the DiGiCo booth, and the other way around.” DiGiCo is the only console manufacturer to benefit from OEM Optocore and is running the native 2.21 Optocore protocol. Users can see each Optocore interface as a part of the DiGiCo/Optocore network, showing how their X6R mic preamp can be controlled directly from the console. Using the fibre connection between the DiGiCo booths, all visitors will be able to see the real remote preamp application. “Together with Optocore, DiGiCo provides a connected system that can now be found in many installations such as multi room theatres, multi room studios, Houses of Worship, sports and live venues,” says Jaap. “The key advantage is a non compromised, fully redundant and synchronous network without any added latency for every extra unit on the network. Latency and clock problems belong to the past with a network like this. “The system is really easy to use and having this extensive network on show at ISE will enable our customers to experience just how simple it is first hand.”

MNA AT ISE REFLECTS GROWING IMPORTANCE OF NETWORK INTEROPERABILITY IN AV With the ever-increasing pace of adoption of IP based networking in AV, there is a mounting lobby for standardization and interoperability based on open standards. Consequently, the Media Networking Alliance (MNA) – the

professional AV industry alliance, charged with promoting awareness and adoption of AES67, the open standard that provides for the common interchange of digital media between different IP networking platforms – is exhibiting for the first time at ISE. MNA members and member manufacturers will be undertaking a program of educational and communication activities and events throughout the exhibition. Of major interest, to AV manufacturers, integrators and end users alike, will be a live demonstration of audio networking interoperability on the MNA booth (7-X230), featuring 22 commercially available networked-audio products from 11 different manufacturers, employing various market leading audio networking technologies. AES67-specific extensions to the different network platforms enable the common interchange of digital audio between them. The demonstration features products from ALC NetworX, Archwave, Axia Audio, Digigram, DirectOut, Focusrite, Lawo, Merging Technologies, QSC, Solid State Logic, Telos Systems Inc. and Yamaha, between them employing Dante, Livewire, Q-LAN and RAVENNA AoIP protocols. These are a mixture of hardware devices, software products and hardware development kits, with the predominance of hardware products reflecting the accelerating trend of manufacturers readily enabling AES67 in existing network devices. Primarily a multicast demonstration, devices are connected to a simple network with a single Ethernet switch; AES67 can transport high quality audio, via Ethernet and layer 3 network connectivity, over any VoIP capable network infrastructure. Speaking for the MNA, Solid State Logic product manager Tom Knowles, coordinating the

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ISE 2016

demonstration at ISE, says, “Following on from our first public demonstration at last year’s AES show, the MNA believes it is important and impressive to demonstrate interoperability at trade shows and in other ‘public’ arenas, enabling manufacturers and potential end users to experience, first hand, the power and versatility of AES67.” In addition to audio transport, some of the manufacturer-specific discovery, control and monitoring functions, that augment AES67 audio interoperability and coexist on the same network, will be demonstrated. MNA members will be on hand throughout ISE, including representatives from member

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companies with extensive experience of deploying AES67 in the field, to discuss all aspects of AES67 implementation and answer queries from AV industry professionals. In addition, on Wednesday 10 February at 13:0014:00 in Room D403, Rich Zwiebel MNA Chairman and Vice President, Systems Strategy QSC, will moderate How Will AES67 Affect the Industry?, an open discussion with a panel of network audio specialists. Zwiebel will also present two InfoComm FlashTrack sessions – entitled Using AES67 – on Booth 12-N100. The 20 minute sessions are on Wednesday 10 February at 14:00 and Friday 12 February at 14:00.


ISE 2016

NAVORI LABS Stand 8.N225

Navori Labs Enhances User Experience for QL Digital Signage Engine With two major trade shows on the horizon, Navori Labs is emphasizing an improved user experience for its QL Digital Signage Engine customers worldwide. At ISE 2016 (February 9-12, Amsterdam, Stand 8.N225) and Digital Signage Expo (March 16-17, Las Vegas, Stand 2218), Navori Labs will unveil a new user interface and server platform to enhance ease of use across every stage of the digital signage ecosystem. Navori Labs has created an HTML5 version of QL Manager, the intuitive content management systems at the core of QL Professional, the company’s enterprise-grade digital signage software. The HTML5 user interface delivers a template and media preview feature to improve insight into design quality, along with a more responsive user interface to simplify content creation and management. Additionally, the migration to HTML5 will support playlist and rules-based scheduling based on meta tags, enabling more effective targeting of content delivery across out-of-home networks. The new user interface will also extend usability across more devices due to HTML5’s compatibility with all enterprise web and mobile browsers – enabling more flexibility for users of the Microsoft Silverlight-based, previous-generation user interface, which will continue to be an option for QL customers working on Windows-based architectures. Navori Labs will also demonstrate how its new QL Server SDK can serve as the backbone for

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ISE 2016

an entire digital signage infrastructure across content management, distribution, playback and monitoring. The new QL Server SDK allows for management and control of QL Professional from custom third-party software, providing a seamless interface to ad booking, media planning and other systems and applications. This ensures flexibility across projects of any scope or complexity. The open programmability of the QL Server SDK also ensures that systems integrators, resellers, network operators and end users can customize the QL user interface according to the customer’s requirements and profiles. The QL Server SDK is compatible with both the new HTML5 and Silverlight user interface. The emphasis on improving the user experience aligns with Navori Labs CEO Jerome Moeri’s vision of continually evolving the QL digital signage engine portfolio based on

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emerging trends and customer requests. “With nearly two decades of innovation and a presence in more than 100 countries, Navori Labs continues to build on its reputation for rock-solid, Swiss-quality technology and low total cost of ownership for digital signage,” said Moeri. “By focusing on improving the user experience foremost, we have built a foundation to further strengthen QL with new features and innovations for our base of more than 15,000 customers – many of which we will unveil as we move closer to ISE and Digital Signage Expo.”

NEWTEK Stand 11.E58

NewTek Brings Professional, Easy To Use, and Affordable Video Production Solutions to ISE 2016 At ISE 2016 NewTek will demonstrate how easy and

affordable it is to create and publish professional video content, with simple-to-use tools that eliminate the need for expensive outsourcing. Companies around the world are already using TriCaster™ multicamera video, 3Play™ sports and TalkShow™ video calling production solutions to create effective communication for staff and customers, provide remote training, live-stream conferences and produce engaging marketing messages. “It’s a common misconception that making video is difficult and expensive, or requires specialist skills to make it look professional, but with NewTek solutions anyone can create broadcast quality content,” said Chuck Silber, chief operating officer for NewTek. “2016 will also see the beginning of a major transition towards IP-based production workflows, of which NewTek is at the forefront. Our Advanced IP Workflow will work with existing SDI cameras while leveraging existing networking


ISE 2016

infrastructure giving producers truly game-changing benefits.” NewTek will demonstrate a range of its creative solutions and workflows on Stand 11.E58: - The flagship TriCaster 8000 provides the most complete multicamera production capabilities for anything from big live shows and sophisticated web programmes to branded content for crosschannel delivery and multi-screen experiences.

any device to be seamlessly integrated as guest speakers into any live production. Ellen Camloh, senior director of Global Product Marketing for NewTek, will also present two conference sessions during ISE 2016. Enterprise Video—from streaming AV to business TV (Tuesday 9 February, 13.30, Commercial Solutions Stage) will examine how to build a single video strategy to propel multiple business

objectives, from marketing to internal communications to HR needs, identifying best practices and technology solutions. The Town Hall Goes Global - Corporate meetings that put remote participants front-and-centre (Tuesday, February 9, 15.00, Unified Communications Theatre), discusses the technical challenges and solutions for delivering high quality and collaborative online company meetings to a scattered workforce using disparate devices.

- At the other end of the spectrum, TriCaster Mini combined with everyday camcorders can create and publish great video content in minutes, stream it live, and make even the smallest presentation captivate audiences like networkstyle TV. It also fits into a backpack for unparalleled portability and compact set-up. - 3Play sports production solutions makes instant replay and slowmotion capabilities available to everyone, not just those with broadcast-sized budgets; minority sports are now able to grow their global audiences with professional-looking coverage, while often transforming match play and refereeing decisions with the use of multi-angle replay. - In addition TalkShow, NewTek’s professional video calling production system, enables Skype users calling from almost

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TM Broadcast International 30, February 2016  

In this issue: . Renewal of TV3s news and sports section and automation of graphics . Vizrt helps bring UK General Election 2015 coverage to...

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