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Infostrada achieves first IP-based live television broadcast
Routers: from SDI to IP and Back Again
48 TM Broadcast International #31 March 2016
BITAM 2015, the event that is constantly growing
Global TV production made easy: "How to manage decentralized workflows remotely"
Considering the Implementation of High Dynamic Range Video
Test zone: AJA CION Published in Spain
We are already seeing several examples where IP protocols, both video and audio, seamlessly integrated into traditional broadcast workflows. But not as strongly as some predicted. There are two problems with all this; on one hand we are professionals who have announced the death of traditional video, auguring a present IT for Broadcast, where computer and its protocols were going to invade absolutely everything. On the other hand, the amount protocols are too many, and bring us back to a stage of closed solutions where every developer wants to be certainly right. In the end all this translates into a halt, thereÂ´s no global bet on a specific protocol and thatâ€™s counterproductive. It is absolutely necessary that all parties talk to each other, because what is at stake is the future and viability of something that can positively influence in the industry.
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PA N S H O T
SAM launches Kula SAM announces the brand new Kula range of multi-format production switchers, combining SD, HD and 4K capabilities. Built on the heritage of SAM’s awardwinning Kahuna switcher, Kula uses innovative FormatFusion3 technology to seamlessly mix any format, up to and including 4K, eliminating the need for external conversion equipment. The new Kula switcher combines a powerful feature set with a market leading price point, while easy installation and set-up means operators can work quickly and efficiently, focusing on high value creative tasks. Ideal for multiple applications, from live events (flyaway packs, OB vehicles), broadcast production, sports and house of worship to entertainment and conference/events, Kula has been designed to meet a wide range of production needs.
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Capable of handling 4K/1080p/HD and SD in 1M/E and 2M/E versions, Kula can handle multiple formats making it both future-proof and adaptable for today’s production environment. The 2M/E HD/SD version can be switched to 1M/E 4K mode, allowing users to benefit from higher production values. Kula provides a choice of three easy to operate control panels for maximum flexibility and these are in turn expandable with additional control modules from the Kahuna Range. Kula also delivers up to five key layers per M/E, 20 channels of DVE and floating/auxiliary keying resources and up to 36 inputs and 18 assignable outputs, plus an extensive internal clip and still store to guarantee high impact productions.
broadcasters face a situation that can only be described as challenging; content is being captured and delivered in a wider range of formats than ever before and all of it within the same production workflow. Kula addresses this need by drawing on the heritage of Kahuna – namely its ability to handle any format. Added to this, we’re seeing content creation explode beyond the traditional broadcast sphere, so there are a growing number of organizations that want to benefit from high production values in order to achieve the flexibility and onscreen result they desire. Kula is an ideal solution for any of these applications, offering marketleading features at a remarkable price point.”
Tim Felstead, Head of Product Marketing at SAM, said, “Today’s
Kula will ship in May 2016, priced from $17K USD.
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Mobilimage Adds IP Live Production Capabilities with Canada’s First Installation of GV Node and GV Convergent
Mobilimage has made a significant investment in IP capability with its new GV Node and GV Convergent solutions from Grass Valley, a Belden Brand. The company will use the IP networking solution for its Mi3 HD OB van. “We’ve been considering our options for moving to an IP workflow, and the Grass Valley solution really meets all our needs, giving us the right equipment to operate our mobile production business more efficiently,” said Benoit Chartrand, director of engineering, Mobilimage. “This will greatly enhance the connectivity for our truck, and we can scale the technology as our needs change.” GV Node is a true real-time IP processing and routing platform, offering multipurpose IP processing, IP aggregation and vertically accurate switching capability for live applications. When GV Node is combined with common off-theshelf (COTS) IP switches,
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extremely-large-capacity routing systems can be created with thousands of I/O. GV Node is designed to handle deterministic vertically accurate switching within IP, supporting SDI, MADI and SMPTE 2022-6 IP inputs and outputs, as well as TICO visually lossless compression for 4K applications. For OB vans, GV Node offers a compact footprint, flexibility to capture in 2K or 4K as needed, distributed architecture, and built-in multiviewing.
and provides easy integration and
The GV Convergent IP router control and configuration system transparently manages facility routing as the industry migrates from SDI to IP infrastructures, maintaining familiar control interfaces as well as introducing intuitive new GUIs for configuration, management and control through software-defined networking (SDN). GV Convergent is both infrastructure and signal format agnostic for easy system scalability
smooth transition to IP,” noted Kyle
control of IP edge devices and third-party IP devices. Mobilimage worked closely with Applied Electronics Limited, a Grass Valley reseller and integrator, to select and install the new IP solution. “We’ve designed GV Node and GV Convergent to help broadcasters make a seamless, Luther, vice president of sales, North America, Grass Valley. “Most importantly, the solutions are based on open standards, so customers can leverage existing infrastructure to minimize costs. This is the beginning of a major shift from SDI to IP, and we are committed to eliminating the obstacles many operations face.”
Crestron appoints Head of Operations and Logistics EMEA Stefan Bendfeldt joins company Crestron has announced it has appointed Stefan Bendfeldt as Head of Operations and Logistics EMEA, effective immediately. Stefan is a multilingual Supply Chain professional with a successful career spanning over 20 years. He has a wealth of international experience having worked both in the US and Europe and has worked both on the customer and supplier side of logistics management in a wide variety of sectors. Based in the EMEA Headquarters in Rijmenam, Belgium, Stefan will be responsible for a team of 16. He joins Crestron from Mölnlycke Health Care where he was instrumental in the centralisation of their EMEA distribution footprint and management of their global seafreight. Stefan says: “I am looking forward to bringing my experience to Crestron and delivering innovative logistical services that support our business needs. As a market leader in the advanced control and automation market, Crestron has a relentless focus on providing a world class logistics capability. My role will be to support that ambition by meeting with our suppliers to develop long-term mutually beneficial relationships and implementing new ways of working to further improve our productivity.” Robin van Meeuwen, CEO Crestron EMEA, adds: “I am delighted that Stefan has joined us in this crucial position of Head of Operations and Logistics EMEA. His wealth of experience will be invaluable in helping us to continually improve the service we offer to our customers.”
PA N S H O T
AJA Introduces Mini-Connect: Network Interface Box for Multiple AJA Mini-Converters AJA Video Systems announced Mini-Connect, a small device with four USB connections and a built-in web server providing network control of up to four different AJA ROI scan converters simultaneously from anywhere, using any standard web browser. Mini-Connect extends AJA's efficient and powerful Mini-Config software UI across the network for access anywhere, allowing speedy and complete configuration of up to four ROI scan converters per MiniConnect device. Once connected, users can easily configure ROI's great features and update firmware remotely, across a LAN or across the web, using a standard webbrowser. AJA's line of ROI scan converters allows exceptionally high quality conversion of computer-based content to professional SDI video at an affordable price and a very portable size. With incredible region of interest image scaling, extensive aspect ratio and frame rate
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conversion, and flexible audio features, ROI fulfills the growing need to incorporate computer signals into high quality video production without sacrificing budget or space. "Our customers have been asking us for a network interface for our Mini-Converter products, and we're coming out of the gate with support for our popular ROI line of scan converters," said Nick Rashby, President, AJA Video Systems. "In addition to local control, now AJA customers can also control and configure multiple Mini-Converters, across a local LAN or even across the web."
Mini-Connect Features Supported AJA Mini-Converters -- ROI -- ROI-DVI -- ROI-HDMI -- ROI-DP -- Future updates will include
support for additional AJA MiniConverters Network Interface -- 10/100/1000 Ethernet (RJ-45) -- Embedded webserver for remote control -- Configuration and transport control via web-browser interface USB Configuration -- Configuration and device control of up to 4 ROI Mini-Converters via web-browser based UI Physical -- Width: 4.6" (109mm) -- Depth: 2.4" (78mm) -- Height: 1" (25mm) -- Power: Uses AJA Power Supply model DWP-U-R1 (included with purchase) -- 100-240V, 50/60Hz Universal Input -- +5 to 20V DC regulated, 8 watts max
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Extensive Lawo deployment in new 31-camera Al Kass OB Van Control made by Lawo
With three OB vans already equipped with Lawo systems, six mc²56 mixing desks installed in OBs and Studios and several VSM Control Systems, Al Kass is Lawo’s most loyal customer in Qatar. Now, German system integrator Broadcast Solutions completed the construction and commissioning of OB-10 – the latest addition to the sports channel’s road fleet. Delivered in January 2016, the 31-camera OB-10 truck makes extensive use of Lawo equipment to serve the sports channel’s coverage of the largest events in the region. Central to the audio setup is a 48-fader Lawo mc²56 audio mixer fitted with local I/Os and 384 DSP channels, allowing OB-10 to handle the most demanding productions. Its connectivity includes 96 AES in/outputs and two DALLIS modular stageboxes. The stageboxes provide 48 mic inputs and 16 line outputs each, plus Riedel Artist intercom interfaces.
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Three Lawo V__pro8 8-channel video processing units provide the video tools necessary to support a variety of different video formats, as well as to bridge between audio and video. High-quality format conversion, color correction, and audio embedding and deembedding make the V__pro 8 a powerful tool for the use of different standards and formats as part of an integrated broadcast setup. Being a flexible matrix system, its 8x8 video matrix and 384x384 audio matrix allow switching of any signal to any other. The V__pro8’s DOLBY E® encoding/decoding option provides up to four DOLBY E® en/decoders for fully compatible en-/decoding of professional quality multichannel audio, complete with Dolby E® metadata handling. In combination with the unit’s DOLBY E® Auto Aligner, the V__pro8 becomes the perfect transmission path gateway for multichannel productions. A modern HTML5-based GUI allows easy handling of day-to-day operation.
Working as the overall control system in the Al Kass OB-10, Lawo’s VSM Broadcast Control & Monitoring system offers unmatched workflow flexibility and faster operational preparation. VSM is an IP-based control system and interfaces to all common hardware on the market, and has access to all relevant equipment within OB10. As a hardware-independent control system, VSM connects to third-party manufactured equipment using proprietary protocols, as well as open standards. Using this combination, VSM controls the crosspoints within the truck’s Grass Valley NVISION router and Nevion Sublime video router, with access to crosspoints, Tally and labeling of the Grass Valley multiviewer. VSM includes a sophisticated Tally logic, with red/yellow/green light and UMD control, with no need for an additional Tally system. Interoperability with the audio equipment is even stronger, with VSM having direct access to the crosspoints of the Lawo Nova audio router, plus direct parameter control. Running on redundant servers with Master-Master logic, the system provides maximum reliability and fail-safety, as well as links to the video and audio routers via redundant connections. Lawo is exhibitor at CABSAT in Dubai in Hall 1, D1-51, presenting its solutions for IP video infrastructures, video processing and routing tools, audio-to-IP interfaces as well as digital audio mixing consoles and audio routers. Furthermore, Lawo is showing the leading broadcast control system VSM, worldwide in use in the most complex production environments.
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Mirada announces its partnership with XroadMedia Mirada's Iris TV Everywhere solution includes Iris client apps for the set-top boxes, smartphones, tablets and PCs. All of them work seamlessly through Inspire, a stateof-the art user interface with a strong focus on promoting the operators’ rich content library. Inspire offers a new and innovative approach to content discovery, with features such as personalised virtual channels, highlights magazine, remote recordings and a smart search engine. XroadMedia's product Ncanto is a cloud- or server-based content discovery and recommendation backend solution that helps to deliver the right content to the right audience, based on their watching behaviour, interests and social graphs. Thanks to this partnership Ncanto
is seamlessly integrated with Mirada's end-to-end solution Iris through Mirada’s backend product, Iris Service Delivery Platform, and easily deployable on any operator's platform. The newly created combination of XroadMedia’s Ncanto and Mirada’s Iris TV Everywhere solution in an attractive end-to-end solution to deliver content of interest to users in an intuitive and user friendly way. At the same time the joint solution allows the operator to efficiently promote content based on their business requirements and aligned with their business goals. Mirada and XroadMedia are already working on the first customer project, which will see the Iris TV Everywhere solution personalised by Ncanto deployed later this year.
“We are extremely proud that Mirada has selected Ncanto to personalize their Iris TV Everywhere solution. Together we help operators to offer new and innovative services that result in higher user engagement and satisfaction rates, but also allow them to monetize their assets and content libraries more effectively.” said Adolf Proidl, CEO and CoFounder of XroadMedia. “We're delighted to partner with XroadMedia. Thanks to the integration with Ncanto, we will be able to offer our customers an even better content discovery experience and personalized recommendations across live, on-demand, recorded and online content.” said Jose Luis Vazquez, group CEO at Mirada.
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Telestream and NewBlue Partner to Create Post Producer Titler Engine
Telestream® and NewBlue® announced the release of Post Producer Titler Engine. Developed in partnership between the two companies, Post Producer Titler Engine is powered by NewBlueFX and runs on Telestream’s file-based content assembly service, Post Producer™, part of the Vantage media-processing platform. The new Titler Engine automates the creation of rich, animated, highresolution titles and graphics when creating uniquely branded versions of the same package. Titler Engine will be shown at NAB 2016 on the Telestream booth (SL 4525). The creation of hundreds of regional variations required for national spots can be a daunting and expensive task and is frequently referred to as bagging and tagging by any editor unlucky enough to be asked to do it. Telestream’s Post Producer Titler Engine automates the creation of these numerous assets, inserting appropriate local content and outputting unique versions, often numbering in the hundreds without any human intervention. “The Post Producer Titler Engine does for file-based content creation
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what broadcast titling systems do for live over-the-air broadcasts,” said Paul Turner, Vice President of Enterprise Product Management at Telestream. “However, in the world of multi-platform distribution, automation not only drastically speeds up what was previously a tedious process, but it also reduces the possibility of error significantly.” With the new Titler Engine running in Post Producer, a new level of title quality, style, and variation is available to this automated process. NewBlueFX, a leader in title creation software, provides easy to use editing tools that can save title templates that are then fed into the Titler Engine to leverage complete control of color, animations, fonts and positional data. Titler Engine utilizes metadata to create dozens or even hundreds of full resolution, animated textoverlay, partial or full-screen elements that are assembled in a dynamic fashion as part of a Vantage Post Producer automation workflow. “Vantage Post Producer is currently in use at dozens of customer locations, driving highly efficient automated production
workflows,” said Turner. “Now, Post Producer users can leverage that same level of automation for their title and slate productions, as a highly efficient part of the overall Vantage-Post Producer workflow.” With Post Producer Titler Engine, editors and other personnel can submit an Excel CSV file that may contain hundreds of text variations, into a Vantage workflow, and sit back and watch Post Producer create individual files for each iteration, and deliver them for playout or for use in other Vantage workflows. Title templates are created with the NewBlueFX Titler Pro title editing software, which is available as a plug-in for popular non-linear editors, like Adobe Premiere CC and Avid Media Composer, or as a multi-platform standalone editing tool. The high resolution, sophisticated motion graphics created by Titler Pro’s easy and intuitive interface ensure a consistent design, look and feel whether the title originates in the edit suite or via Vantage Post Producer’s automated output of hundreds of regional variations.
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Ikegami announces UHK-430 4K/HD Portable Camera System supported in HD modes and can also be switched in during 4K operation. The processor also contributes to low power consumption."
Ikegami has chosen CABSAT 2016 as the launch venue for its new UHK-430 4K/HD portable camera system. First in Ikegami's next-generation Unicam XE series, the UHK-430 employs three newlydeveloped 4K-native 2/3 inch CMOS sensors which provide full 3840 x 2160 ultra-high definition resolution plus the depth of field required for studio and outdoor production. The camera is equipped with a B4 bayonet mount compatible with 2/3 inch HD lenses. An optional SE-U430 expander accommodates large studio or OB lenses.
gigabit/s uncompressed baseband video transmission.
Two piece construction allows the UHK-430's sensor and lens head to be detached as a compact unit for easy deployment on a support devices such as long-reach manually-controlled camera poles. In this mode, the head can be operated up to 50 metres from the camera body. The head can also be replaced by other assemblies such as a Super 35mm largesensor front-end. This will be compatible with Positive Lock lenses. Camera heads for special applications will become available as part of the UHK-430 product range, including a high frame-rate version.
"In its standard form, the UHK430 weighs just 4.5 kg and comes with a 2 inch viewfinder and portable lens. Dimensions are 149 mm wide x 243 mm high x 340 mm front-to-back. The camera's integral B4 bayonet mount allows direct docking with conventional 2/3 inch HD lenses. 4K content can be produced for demanding applications such as live remote, sports or events just as easily as for conventional HD programmes.
Additional features include 12G and IP CCU outputs and a new Ikegami processor which allows 40
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"The UHK-430 is one of the most important additions to our product range in recent years," comments Masanori Kondo, President of Ikegami Europe. "It allows very high quality UHD and wide dynamic range production while at the same time interfacing easily with current HD systems. The high frame-rate option will be particularly appreciated by OB production companies as it provides easy access to slow-motion effects both for sports and stage-event coverage.
"The new processor enables the UHK-430 to deliver a wide range of features including a 16-axis colour matrix and focus-assist for 4K and HD video modes. BT.2020 extended colour space specification is supported in 4K mode. BT. 709 colour space is
Designed for use with the UHK430, the compact 3U 18.5 kg model CCU-430 camera control unit supports easy migration from HD to 4K live production. Features include switchable 4 x 3G-SDI 4K output as well as HD output. An optional plug-in board makes 4K video, HD video, and HD cutout from 4K available simultaneously. 12G-SDI and Video over IP interfaces will be introduced in the coming months. Also being introduced is the SE-U430 system expander which will allow the use of studio viewfinder and large studio lens with digital interface on Unicam XE series cameras. A built-in 40 gigabits per second optical transceiver enables full bandwidth 4K resolution signal transmission between camera and CCU. Uncompressed RGB 4:4:4 signals allow very high quality chroma keying. Dual HD outputs are provided for teleprompt and talent monitor plus return video lines from studio to viewfinder. The camera also has a Gigabit Ethernet data port to allow networked control. Also integral to the camera is Ikegami's newly developed iLog which can be used to achieve high contrast to handle wide dynamic range. Based on logarithmic gamma processing, it allows more image information to be retained for greater headroom and colour grading. The UHK-430 will be demonstrated on the Ikegami stand (B1-40) at CABSAT 2016 in the Dubai World Trade Centre, March 8-10.
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SGL increases archive flexibility with new flashnet features and announces support for LTO-7 SGL has announced the latest version of its FlashNet, flagship content management system as well as support for LTO-7. This new version of FlashNet provides media companies around the world with additional workflow opportunities and greater flexibility and is a precursor to SGL’s big FlashNet launch at NAB 2016. New FlashNet now supports reading and restoring from SMPTE’s Archive eXchange Format (AXF). FlashNet can read and process AXF objects providing greater flexibility for customers, ensuring long term availability of content in the future regardless of technology evolution. Additional FlashNet features also allow customers to allocate a pre-defined number of drives within their library for a specific role, such as archiving Avid jobs only, or restoring/archiving material at a certain time of day. This allows larger broadcasters with multiple drives to further improve operational procedures.
SGL’s support for LTO-7 specifications enables tape cartridge native storage capacity of over 6TB, which is more than twice the compressed capacity of the previous generation. Tape drive data transfer rates also double those of LTO-6. As with previous generations, LTO-7 drives will provide backward compatibility with the ability to read and write LTO generation 6 cartridges and read LTO generation 5 cartridges, helping to preserve media investments and ease implementation. “This latest version of FlashNet further improves productivity for customers and is a warm up to the big FlashNet launch at NAB 2016. This will include an elegant new user interface that will be incrementally rolled out over the next 12 months. The new dashboard will further simplify archive procedures with sophisticated tools for archive and restore functionality, system health, monitoring, analysis and more,” explains Lee Sheppard, Director of Product Management, SGL.
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StreamGuys Brings Expanded Audio and Video Cloud Streaming Suite to Proclaim 16 opportunities to reinforce and expand the reach of the worship message across geography and time, often in ways that are impossible or unaffordable through traditional media,” said Kellogg. “From bringing video sermons to congregants unable to attend services, to making podcasts accessible 24/7 whenever and wherever worshipers want it, StreamGuys has a long, proven history of delivering the benefits of live and on-demand streaming to faith-based organizations large and small in the US and internationally. StreamGuys understands both the evolving technology and changing needs of religious broadcasters, and I’m excited to share this knowledge with attendees at Proclaim 16.” Matt Kellogg
StreamGuys will come to Proclaim 16, the NRB International Christian Media Convention and Exposition, with an expanded team and suite of cloud services to help worship communities extend their reach through live and on-demand streaming media. StreamGuys will share its expertise in premiumquality, multi-format audio/video streaming and podcasting with attendees, highlighting how religious broadcasters and communities can cost-effectively deliver content to worshipers across a growing array of Internetenabled media platforms and devices. StreamGuys’ presence at Proclaim 16 will be led by new sales executive Matt Kellogg. Matt joins StreamGuys from the recently shuttered Live365 streaming service, and will lead the company’s engagements with houses of worship and religious organizations. “Streaming media offers powerful
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StreamGuys will highlight a comprehensive suite of cloudbased audio and video streaming services and tools at Proclaim 16. The SGrecast podcast recording platform will interest religious radio broadcasters and worship facilities alike for its flexibility in quickly turning live-streamed sermons, special events and broadcasts into podcasts for on-demand consumption. Featuring a full suite of scheduling tools, automated delivery, and compatibility with iTunes and popular syndication services, SGrecast records live streams into podcasts of any length and makes them available for download, distribution or rebroadcast within minutes. SGrecast is complemented by StreamGuys’ podcast hosting service, which delivers podcasts to subscribers, amplifies publishing, and streamlines the posting of podcasts on websites as RSS feeds. “By eliminating the need for dedicated equipment, software or expertise, SGrecast makes
podcasting a practical, affordable reality for more worship communities, while its efficiency and rich capabilities enhance the process even for podcasting veterans,” said Kellogg. “Thanks to SGrecast’s fast turnaround, parishioners can catch up on a sermon they missed almost immediately after the live broadcast is over.” SGrecast is just one valuable tool in StreamGuys’ complete SaaS toolset, which makes content management and delivery affordable and accessible to religious broadcasters and worship facilities. Other cloud-based audio and video services include: - Remote Encoder Lite, supporting linear live content delivery via a playlist or single, looping file - Transcoding Services, empowering religious TV and radio broadcasters to manage multiple formats, codecs, bitrates and transport containers from a single SaaS platform StreamGuys’ renowned content delivery network is used for both live and on-demand/podcast delivery of audio and video worldwide, eliminating costly bandwidth consumption and performance impacts on the worship community’s website and network. StreamGuys’ flexible platforms enable religious broadcasters and worship facilities to tailor the best solution for their budgets, while the company’s robust content delivery network and cloud-based, redundant architecture ensure consistent delivery of high-quality streams for engaging audience experiences. StreamGuys’ services are backed by expert customer support, providing confident reliability for worship facilities with limited inhouse technical resources.
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SAM appoints Naresh Subherwal as Managing Director, Middle East SAM announce the appointment of Naresh Subherwal as Managing Director, Middle East, effective immediately. Based in SAM’s new Dubai office, Subherwal will assume responsibility for sales and business development across the Middle East region. He brings 25 years of experience to SAM, including several years with Snell where he most recently held the position of President, Asia Pacific & Middle East. Tim Thorsteinson, CEO at SAM, said, “With his 25 years of experience in global sales and spearheading business development initiatives — including many years with Snell — Naresh has the knowledge and expertise necessary to strengthen our
footprint in the Middle East and drive the business forward. It’s a privilege to welcome him to our team as we continue to expand our reach in the region.” Prior to his last role with Snell, Subherwal held the post of Vice President, Business Development at AmberFin Ltd. He also worked as Global Sales Director at Snell and Chairman for Applied Media Group. Subherwal holds a degree in Pure & Applied Physics from Queen’s University Belfast. Subherwal said, “I’m delighted to join SAM at such an exciting time in the industry. There’s real momentum regarding the transition to IP, the move to virtualized services, and 4K and HDR. This is
a great opportunity for me to give SAM continued success with these emerging technologies while carving out a path in the Middle East — which is a strong and growing market for the company. I’m eager to help SAM further define its strategy and deliver the highest quality products to its customers in the region.”
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LiveU’s Technology Reaches Far and Wide with Deployments in Iceland, the Faroe Islands and Greenland interesting live interviews, including from abroad, avoiding very expensive satellite costs.” Headquartered in the Faroe Islands’ capital Tórshavn, KFV is using solutions from across LiveU’s range, including LU500, LU400 and LU-Smart, as well as LiveU Central. The Faroe Islands are rugged and mountainous so KFV needs highly stable and robust technology to bring live news – and sometimes sports content - to its viewers. Eyóbjørn Skipá, Technician with KFV, said, “As LiveU says, this allows you to go live anytime, anywhere. It’s very stable and easy to use and they have provided excellent support. We also use LiveU for online coverage of sports and cultural events.” KFV has never had a satellite truck so previous live transmissions had to use old analogue point-topoint equipment or expensive phone lines.
LiveU has announced that RUV, KFV and KNR – the public broadcasters of Iceland, The Faroe Islands and Greenland, respectively – have all turned to LiveU in order to significantly increase their ability to provide live content to their viewers. The KFV and KNR deals have been overseen by LiveU’s partner in the region, Avit Systems. RUV, based in Reykavik, Iceland, and distributed by DTT, IPTV and over the internet, is using LiveU’s
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flagship LU500 solution. Gunnar Gudmundsson, CTO with RUV, said, “We are always looking for effective ways to provide live content to our viewers. We were recommended this solution by our sister Scandinavian stations. LiveU’s technology allows us to transmit from places that are otherwise too expensive, or have been too hard to reach using traditional methods. It’s so easy to move around with this system and to enhance our news coverage with
Meanwhile, the Greenlandic Broadcasting Corporation – KNR, based in the capital Nuuk – is using small form factor LU200 technology to allow the broadcaster to operate live from anywhere in the city. Flemming Anderson, Head of Technical Services, said, “We can now broadcast without cables so easily. We simply turn on the LiveU technology – which is so easy for the user in the field. - and it just works! We use it for our news output several times a week.” Ronen Artman, VP Marketing, LiveU said, “It’s simply brilliant to see our solutions being used in such beautiful, remote places. As we have said before, the stability, ease-of-use and cost-effectiveness of our technology is fundamental to our success and we’re very glad to see that being recognised. High quality live content shouldn’t just be the preserve of major broadcasters or news organisations.”
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DirectOut presents several new updates at ISE 2016 The first is updated firmware for DirectOut’s MONTONE.42 MADI-toAoIP bridge based on RAVENNA audio networking technology. Fully AES67 compliant, the device is equipped with four MADI and two gigabit network ports. The new firmware supports 32 RAVENNA/AES67 compliant multicast streams. Up to 256 channels are available per stream and up to 256 channels are possible, making MONTONE.42 a highly versatile link for broadcast, live sound and studio applications. New firmware is available for the M.1K2 scalable 16-port MADI router. M.1K2 offers a powerful routing matrix for up to 1024 x 1024 audio channels that fills the gap effectively between small-scale
routing devices and large cross bar solutions. The new firmware now supports SNMP Simple Network Management Protocol (v1/v2). SNMP is used for monitoring essential device information such as power supply state; temperature; MADI signal/synchronization state. Finally, a new version of the ANDIAMO Remote software is available, ANDIAMO Remote for OS X® with support for Avid’s EuCon protocol for Pro Tools users. While the ANDIAMO.MC may already be controlled via Pro Tools using the PRE protocol, integration of EuCon support provides enhanced parameter control for even greater versatility. For example, an S6 or Artist console from Avid now has access to
phantom power, plus pad and gain control in 1dB increments as well as status feedback from the device. ANDIAMO.MC is a high-end 32channel mic preamplifier and AD/DA MADI converter. Featuring 32 line level outputs and a full MADI routing matrix, mic level signals are converted into AMDI digital format before being output in balanced line level analogue format for monitoring or stage returns. Sophisticated design and a high level of integration have resulted in a compact, easy-to-handle 2U 19” form factor, ideal for studios, OB vans or other live recording environments where rack space is limited.
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Avid Customers Bring Home BRIT Awards with the help of Award-winning Audio Solutions
Avid® congratulated its many customers recognized for their craft as winners and nominees at this year’s BRIT Awards, held at The O2 Arena in London on Wednesday, February 24. An overwhelming number of the world’s most respected artists embraced Avid EverywhereTM, using Avid Artist Suite creative solutions, including the industrystandard digital audio software Avid Pro Tools®, to craft internationally acclaimed songs and albums.
Blue, How Beautiful.
Adele took home the British Album of the Year award for 25. Fellow nominees who also relied on Pro Tools include Coldplay for A Head Full of Dreams and Florence + the Machine for How Big, How
Other BRIT Award-winning projects by artists, producers and engineers who use Avid solutions in their studios include, Coldplay (British Group), Bjork (International Female Solo Artist) and Tame
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British producer and Pro Tools user Charlie Andrew was presented with the first 2016 BRIT Award for British Producer of the Year earlier this month at the annual Music Producers Guild (MPG) Awards ceremony in London. Andrew collected this year's Best Producer Award for his work with Alt-J, Marika Hackman and Sivu. Pro Tools user and rock producer Tom Dalgety was also acknowledged with a nomination in the category.
Impala (International Group). Adele also took home three more awards, British Single for huge number one single Hello, Female Solo Artist and the converted Global Success Award. “Once again, we’re honored that the world’s most talented music professionals continue to choose Avid’s industry-leading audio solutions to record and produce the best music in Britain and across the world,” said Avid Chairman, President and Chief Executive Officer, Louis Hernandez, Jr. “We congratulate our BRIT Awardwinning and nominated customers who inspire us with their outstanding artistic and technical achievements.”
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NASA Expands Dalet Installation Dalet Digital Media Systems announced that NASA has expanded its Dalet installation, located at the Johnson Space Center (JSC). The expansion includes the addition of the awardwinning IT-based Dalet Brio video server platform and Dalet Xtend, providing seamless integration with Adobe Premiere Pro non-linear editors (NLEs). These new tools integrate with the existing Dalet installation, which was implemented in 2013 and automates capture and archive of 10 SD/HD space station cameras, 24 hours a day, seven days a week, 365 days a year. Using Dalet Xtend for Adobe Premiere Pro and Dalet Brio, NASA can facilitate the production and broadcast of daily and weekly NASA TV wrap programs, which feature a mix of space station activities and interviews. The expansion also supports live broadcasts of events held at the JSC to NASA TV, recording material direct to the archive. “There is a tremendous amount of footage recorded from the space station and JSC cameras into the NASA media database,” comments Julien Decaix, general manager of
Americas for Dalet. “To efficiently store the content, we leveraged the Dalet API to integrate the NASA database with the Dalet Media Asset Management (MAM). This allows NASA to index the incoming footage and track metadata, which is key when searching for specific content such as an astronaut’s commentary from the space station or say footage from a press event held at the JSC. The expansion of the Dalet installation adds another layer of efficiency. The new tools let non-production staff browse and retrieve content from the archives without the aid of an NLE while Dalet Brio and Dalet Xtend facilitate content editing and program
distribution with full metadata tracking from ingest to playout. The design maintains the integrity and security of the content.” Dalet search and retrieval tools let authorized staff access media archives and browse content while the Dalet Xtend for Adobe Premiere Pro connects editors directly to the central database for efficient show creation and metadata continuity. Finished packages are put into the Dalet rundown management module and distributed via Dalet Brio to the NASA TV channel, which broadcasts every weekday from the NASA Johnson Space Center control studio located in Houston, TX.
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ATHENSA: The game-changing broadcast platform their full scope and brilliance. This is why we felt the need to launch ATHENSA – a whole new eco-system of business partners that offer integrated products and services, fine tuned to the specific requirements of different market segments and regions. The ATHENSA software solutions have a way more advanced structure and architecture which can now be delivered to the market areas that traditional PlayBox offices were never able to reach.”
ATHENSA LLC introduces an ingenious new business model which offers the next generation of innovative technology for channel origination and media workflow automation. “ATHENSA is the next indisputable logical step in the further development of PlayBox Technology”, says Vassil Lefterov, Founder and CEO of ATHENSA. “Today, broadcast technology standards and demands are rapidly changing and that change also applies to the way any business is conducted. In response to these demands, we launched the ATHENSA business model where we now delegate the system integration part of the business to be handled by our Certified Partners. This allows us to focus all our energies and expertise entirely on the development of our next generation of cutting-edge technology and substantially extend the variety of broadcast solutions provided ultimately to our customers.” “With its USA based headquarters, ATHENSA is purely a software development company. This makes us much more agile and flexible and allows us to go beyond the old PlayBox worldwide offices structure and replace it with a greater number of independent system integration companies, previously known as PlayBox dealers.” ATHENSA offers its partnering companies equal opportunities with its pricing structure. The “No Geography Constraints” policy lets end users pick their integration vendor from anywhere in the world and allows them to use both ATHENSA certified, as well as proprietary certified hardware server configurations. All the
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resulting end user bundles and products are powered by ATHENSA software modules and this is our inventive way of providing a huge variety of flexible server solutions, uniquely adapted to the various market niches. “To further facilitate our partners, ATHENSA offers them the PlayBox Technology Franchising model”, comments Kamen Ferdinandov, Founder and CTO of ATHENSA. “Essentially we are passing on the system integration part of our business, namely PlayBox, to our ATHENSA Business Partners which allows them to use the PlayBox brand when naming their companies or branding their servers.” “The old PlayBox business model was a very limited format, it restricted the customer to a set operational structure often affecting their potential to expand. It prevented a complete technology exposure and application being achieved, resulting in developments which could never be unrolled to
ATHENSA operates three R&D centers in: Tijuana Mexico, Sofia Bulgaria, and Atlanta Georgia USA. These centers are fully dedicated to developing, improving and evolving further the amazing technology that already powers more than 16,000 TV channels worldwide. As of February 2016, ATHENSA already delivers more than 75% of the newly sold PlayBox products to the worldwide market. These include Subtitling, DVB and IP streaming solutions, data-driven process automation system models and a unique script-programmable CG architecture, by far exceeding the features offered by mainstream CG providers. ATHENSA has solutions suitable not only for the broadcast industry, but for all media industry fields, dealing with data and process management, signal and data processing, automation and many more. Our product lines are oriented towards a wide variety of broadcast users from demanding top tier professionals to startup WebTV channels. ATHENSA partners with some of the best complementary technology providers in the market, including APACE Systems, ISID MAM, and Tulix CDN.
Dejero to Provide Remote Broadcast Connectivity for Live Coverage Throughout the Summer Games Dejero will once again be providing on-site support at the major sporting event of the year, in Rio de Janeiro. Broadcasters will be able to rent, lease or buy systems to boost their coverage. With athletes from 206 countries competing, this summer’s Games will demand rich coverage from all of the broadcasters in Rio. Dejero helps get the right shots in the right places through its IP network connectivity options, allowing camera crews and journalists to pick their best locations to deliver live feeds back to their broadcast facilities and to viewers around the world. Dejero will be establishing its own private Wi-Fi hotspots in key locations to secure the bandwidth required for its customers. Packages available to broadcasters include access to these hotspots and cellular coverage using mobile transmitters certified by Anatel, the Brazilian telecoms authority. They can connect using LIVE+ mobile transmitters, allowing crews in the field to acquire and transmit broadcast-quality video over cellular and Wi-Fi networks.
“Because of our experience in providing broadcasters with connectivity and support services going back to Vancouver in 2010, London in 2012, and Sochi in 2014, we understand what is really important to them as they look to create their own unique take on the event,” said Brian Cram, CEO of Dejero. “What gives the coverage its character are the interviews, the reviews and the color pieces surrounding the Games.” “We give our customers the ability to go out and shoot what they want, where they want it, with
the full knowledge that our technical experts are available on location to support their needs from the moment they arrive for set up, through to the closing ceremonies and wrap-up reports,” Cram added. “Our 24/7 comprehensive technical support gives broadcasters peace of mind, allowing them to focus on creating the best visual content using our simple and reliable technology wherever they need to go, and counting on Dejero to get the content back at a fraction of the cost of traditional and less flexible technologies.”
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GatesAir to Showcase Efficiency and Performance Gains for the Future RF Plant at the 2016 NAB Show GatesAir’s innovations in RF plant efficiency go back decades, but made an especially big leap with the integration of 50-volt LDMOS technology in its PowerSmart® transmitter architecture, introduced nearly 10 years ago. The company has continued to make annual advances in transmitter efficiency, with the latest big leap three years ago via PowerSmart 3D. Powered by true broadband amplification, PowerSmart 3D can increase AC to RF efficiencies for ATSC operations from nearly 30 percent to approximately 40 percent, and reduced power consumption by up to 50 percent. At NAB, GatesAir unveils PowerSmart Plus, the nextgeneration of GatesAir’s PowerSmart innovations. Designed for the green economy, PowerPlus can raise AC to RF efficiencies up to industry-high levels of 50 percent ATSC. At this level, GatesAir Maxiva™ ULXT liquid-cooled and UAXT air-cooled TV UHF transmitters can operate with 20 percent more efficiency than the leading competitive offerings; and 170 percent more than legacy aircooled UHF transmitters in operation today, without performance compromises.
In anticipation of the TV spectrum repack and ATSC 3.0, GatesAir, a global leader in wireless, over-theair content delivery solutions for radio and TV broadcasters, will unveil its next-generation solutions for the RF plant at the 2016 NAB Show. The demonstration will showcase advances in transmitter and exciter technology, as well as multichannel signal monitoring that help drive efficiency and performance in the RF plant to powerful new heights.
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PowerSmart Plus achieves its latest efficiency gains through newly available, next-generation LDMOS power amplifiers that additionally further reduce power consumption and transmitter footprint. GatesAir customers can order new Maxiva UHF transmitters with either PowerPlus or PowerSmart 3D. Both design architectures provide the benefits of wideband amplification (fewer spare parts, simplified maintenance and modulation adjustments) that can further lower overall total cost of ownership, and accelerate ROI. “PowerSmart Plus goes above and beyond the efficiency attained by
GatesAir’s previous energy-saving technologies,” said Rich Redmond, chief product officer, GatesAir. “This higher level of efficiency translates directly into less energy consumption, resulting in much lower power bills for our customers. Along with our software-defined Maxiva exciters, TV broadcasters now have the industry’s highestefficiency, highest-performance over-the-air solution for today and tomorrow’s opportunities.” These opportunities include ATSC 3.0, which continues to gain stream as a next-generation TV standard in the US and some international regions. Further boosting performance is Maxiva StreamAssure, a first-of-itskind QoS and QoE solution for the RF plant. Based on software from cloud monitoring visionary Qligent, StreamAssure gives broadcasters a way to visualize multiple transport layers and streams coming in and out of the transmitter, giving users a clear picture of signal quality and compliance from the time they leave the studio. Scalable from single transmitter deployments to large-scale, national over-the-air networks, StreamAssure is built to help RF engineers quickly identify and address the source of the problem, which more often than not originates outside the transmitter. The end benefit is improved visibility and quality control across the air chain. GatesAir will showcase these advanced technologies for the RF plant, and provide insight on managing the challenges and opportunities associated with TV spectrum repack and ATSC 3.0, at the 2016 NAB Show, taking place April 18-21 at the Las Vegas Convention Center. GatesAir will exhibit at Booth N2512.
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VRT completes world’s first full IP remote broadcast production using open standards 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 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. 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 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.
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AVT delivers MAGIC ACip3 Audio Codecs to radio NRW
Radio NRW being the framework programme provider for 45 local radios in North Rhine Westphalia, Germany, is using the new AVT MAGIC ACip3 as central backup and distribution system. If the main satellite link fails, two redundant systems in the central location of radio NRW in Oberhausen allow the distribution of the framework programme to individual or to all local studios at the same time. The backup is implemented via an “Audio over IP“ SIP dial-up
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connection which is established automatically within seconds from the local radios‘ side in case of an alarm signal. To compensate different delays via IP between the individual local studios, all MAGIC ACip3 systems in the local studios – and with this also the Audio signals – are synchronised in time using NTP. Via an integrated data channel additional switching commands can be transmitted from the central location to the local studios. The central monitoring and
management software allows a fast overview of the complete system status. To ensure a flawless functionality in the - hopefully rare - case of failure, an automatic daily test of the backup path is executed during the regional times. Of course, a complete monitoring via SNMP is also possible. As special advantage, all local radios can use their MAGIC ACip3 system as normal Audio Codec if no error happens.
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Grass Valley Celebrates Important Milestone as 200th GV STRATUS System Enters the Market Since 2011, GV STRATUS from Grass Valley, a Belden Brand, has been helping broadcasters simplify and automate production workflows to produce highly creative content for a more rewarding viewing experience. Now, five years later, 200 systems have been installed— almost one per week since the launch. Customers have relied on GV STRATUS to provide complete and adaptable production workflows, with media production tools to assist ingest, editing, content aggregation, logging, transfer and playout. With version 4.5 recently released, the GV STRATUS Video Production and Content Management System is one of the most widely used systems for live programming. Roughly half are used in news environments, with the other half serving sports, production and play-to-air applications. Designed for simplicity, efficiency and speed, it is a full set of production tools in one application that helps broadcasters better manage entertainment, on-air operations and production media workflows to stay competitive. Leading companies such as Los Angeles-based KCBS, Shaw Communications Inc., the Pepsi Center, Sky Racing, Māori Television, Tencent, TV Cultura, TV Nova, VC Medios and Canal 9 are using the more than 6,000 seats of GV STRATUS around the world to help create and deliver breaking news and live programming quickly
by taking advantage of improved operations management, either in the field or in the newsroom. Users are able to work more efficiently with remote collaboration features and by utilizing the sophisticated rules-based workflow engine to automate complicated tasks. “In everyday life, GV STRATUS enables us to increase efficiency either for live production or for our management system. With multiple rules and configurations, Grass Valley allowed us to go further, even in a small infrastructure like ours,” explained Joël Antonin, coCTO of Canal 9 in Switzerland. Tencent Video, China’s largest and most used Internet service portal, and the country’s biggest video website, relies on GV STRATUS to meet the everincreasing demand for online video content. “For our show The 15 of Us, we researched and tested a number of solutions. We found GV STRATUS to be the most appropriate for our program workflow because of its program management, acquisition, editing and playout tools,” said Chang Shu Lei, technical director, The 15 of Us, Tencent. TV Cultura in Brazil has 30 GV STRATUS seats. “By going with GV STRATUS from Grass Valley, we’re getting much more than an upgrade for our production system,” noted Gilvani Moletta, technology director at TV Cultura. “In addition to improved connectivity and GV
STRATUS being a future-ready application, we chose this solution because it will also help us reduce operational costs and create a more agile production environment.” With so many customizable features and the ability to scale or expand seamlessly as production needs change, GV STRATUS is an ideal solution for broadcasters looking to be more efficient. It integrates easily with other equipment in the workflow and is very easy for operators to learn, which reduces operational costs and creates a more agile production environment. “The task-driven tools in GV STRATUS operate in a wide variety of environments and can be tailored for each user’s job function, so collaboration becomes easier throughout the entire production lifecycle,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “The fact that 200 broadcasters are now relying on GV STRATUS to get programming to air every day says a lot about the system and its ability to meet the individual needs of so many different kinds of operations. We expect to see continued growth and adoption of GV STRATUS as more and more broadcasters discover the advantages and longterm benefits. This is an exciting milestone for us and a testament to the outstanding work done by our team of passionate engineers.”
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PA N S H O T
mxfSPEEDRAIL and GRB - a long lasting relationship MOG Technologies announced that GRB Entertainment, a global reference in reality show production has been using mxfSPEEDRAIL within their production workflows for more than two years. During this time, mxfSPEEDRAIL has proven to be a critical part of the ingest workflow, having a major role in the process that allows GRB to continue its endeavor to challenge viewers with programming geared to the highest common denominator. “…mxfSPEEDRAIL has been taking care of our ingest workflows for all of our past and current productions, supporting all of our camera formats and interfacing seamlessly with our Avid production workflow”, said Tim Cunningham – Lead Assistant Editor at GRB Entertainment. On a reality show production workflow, flexibility, reliability and ease of use are key factors and mxfSPEEDRAIL accomplishes all of them. - The flexibility brought by the wide range of supported input formats (typical on reality TV) allows one tool to manage the whole ingest process; - The ability to automate the ingest process and manage file renaming, media metadata, media destinations and cleaning the sources automatically; - The ability to transcode media, create multiple resolutions simultaneously and automatically, placing each resolution in its proper workspace; - More than 10 years of experience in the video Ingest market are built into mxfSPEEDRAIL, making it stable, reliable, and trustable!
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Qvest Media is Avid’s Strongest Partner Worldwide As part of the Avid Global Sales Conference in Los Angeles, Qvest Media was given the award “World Wide Channel Partner” for 2015. Among several hundred Avid partners worldwide, Qvest Media has risen to be the bestselling one. The award confirms Qvest Media’s strategy of co-operating with leading manufacturers like Avid to jointly implement pioneering technology projects in areas such as broadcast, media and telecommunication. Konstantin Knauf, Managing Director at Qvest Media in Singapore, accepted the award on behalf of the whole Qvest Media Group in Los Angeles. “We are very pleased about the award. It first and foremost reflects the satisfaction of our customers, for whom we implement highly-developed broadcast infrastructures, production and newsroom systems with Avid solutions”, said Konstantin Knauf. “It is also proof of the successful partnership which our companies have developed over the years and which is today globally reflected in joint broadcast and media projects.” One of the latest major projects for both companies is that of equipping the new broadcasting centre of MediaCorp in Singapore. One of the most modern broadcast end-to-end infrastructures in which Avid solutions play a central role in Qvest Media’s technology concept is currently being developed there. At the same
time, Qvest Media also relies on Avid’s product portfolio in other international projects. Some of the projects the companies cooperate on include renewing the German public broadcaster Rundfunk Berlin-Brandenburg in Berlin and Potsdam, the integration of a production platform for beIN Sports with more than 40 sports channels, as well as the modernisation of the system architecture for Dubai TV and Al Jazeera. In the growing business area of Managed Services, Qvest Media was able to negotiate long-term contracts last year with a number of large TV channels and telco providers for the ongoing maintenance of Avid installations. The company also extended its Avid sales quantity in commercial business and paved the way for the integration of make.tv, a startup investment of the business group, in Avid MediaCentral. Thanks to the plug-in specially designed for the integration, users of the Avid MediaCentral platform have access to the make.tv Live Video Cloud and the associated features. The partnership between Avid and Qvest Media has existed since 2001 and has been gradually stepped up throughout the years. The training program has been expanded steadily, meaning that Qvest Media today employs a large team of Avidcertified ACSR specialists which promotes the sales, integration and service activities of Qvest Media internationally.
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Lawo at CABSAT 2016 Lawo, German manufacturer of network, control, video and audio technology for broadcast, live and theater applications, will be presenting pioneering solutions for IP video core infrastructure, video processing and routing tools as well as IP-based digital audio mixing consoles and audio routers in Hall 1, Stand D1-51. Also being showcased: Lawo’s world-renowned VSM control system, currently used in the most complex production scenarios around the world including Al Kass’ latest OB van and BeIn Sports’ Playout Center.
studio infrastructure via highdensity audio connections. The V__pro8’s new DOLBY E® encoding/decoding option offers up to four DOLBY E® en/decoders for fully-compatible en/decoding of professional quality multichannel audio on a single AES3 connection with Dolby E® metadata handling. In combination with the unit’s Dolby E® Auto Aligner, the V__pro 8 is the perfect transmission path gateway for multichannel productions.
Control solutions by Lawo
In addition to its renowned mc2 consoles, Lawo introduces its A__line series of high-quality
With Lawo’s VSM System (Virtual Studio Manager), Lawo will demonstrate sophisticated and flexible broadcast control and monitoring for both baseband- and IP-based broadcast installations. VSM allows for managing all TV and radio production equipment within a single system, providing unmatched benefits in advanced workflows and simplified production operation. The system controls all major brands and models of video and audio routers, video and audio mixers, intercoms, under-monitor displays (UMD) and multiviewers, glue equipment, and other thirdparty devices.
19”/1RU audio-to-IP interfaces, providing easy and reliable solutions for transporting analog and digital audio signals using IP network environments in broadcast, live and install applications.
Further Exhibits Exhibits include the Lawo crystal and sapphire consoles, designed for optimized workflows in radio production, as well as the Nova audio router series. Like Lawo’s audio mixing consoles, these routers provide native integration of AES67/RAVENNA audio-over-IP technology, making them a futureproof investment.
Video processing and routing Also on show are Lawo’s IPbased V__line video interfacing, processing and routing devices. The V__remote4 is a bidirectional multichannel video/audio to IPinterface for remote production. It is designed to provide a one-box solution for all the requirements of video and audio signal transport and processing in WAN-based remote productions, including everything from Video-over-IP coding to various monitoring and processing tools. The V__pro8 provides video processing, interconnecting signals in different video formats, as well as bridging between audio and video within a
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AccuWeather Announces StormDirector+, New Weather System to be Unveiled at 2016 National Association of Broadcasters (NAB) Show AccuWeather announces the launch of StormDirector+, the all-new weather system that provides the most interactive, customizable, and complete weather presentations to television stations worldwide. The transformational, turnkey weather presentation system will be showcased during live demonstrations at the 2016 NAB Show April 18-21 in Las Vegas, NV in AccuWeather Booth #SL6010. Direct local, regional, and national weather coverage onair first and fast with StormDirector+... plus much more! Quickly and easily create customized local weather forecasts using mapping with radar, satellite, severe weather watches and warnings, comprehensive model data, health indices, hourly and extended forecasts and more, in an engaging presentation that will connect with the audience. Seamlessly integrated with Baron's radar and severe weather products for breaking storm coverage, weather alerts, and updates, StormDirector+ offers broadcasters the next level of real-time storm tracking and weather graphics to best inform, attract, and engage viewers. Also, set weather coverage apart from the competition and provide forecasts that matter most to your audience with AccuWeather's patented MinuteCast速, the world's only minute-by-minute hyper-local precipitation forecast for an exact street or GPS location, available in StormDirector+ to
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Audience Building Partnership stations. StormDirector+ provides an easy to use, affordable networkquality solution that transforms weather presentations. Its intuitive, user-friendly interface makes it easy for anyone to customize and present the most engaging local weather presentations, complimenting a stations' branded look and feel. "With other companies being broken up into parts and pieces, AccuWeather remains the one constant and quality leader in the weather field globally," stated Dr. Joel N. Myers, Founder, President, and Chairman of AccuWeather. "Television stations are looking for the complete weather solution from a company they can trust. AccuWeather is the world's most accurate, best known, largest, and most successful weather content and distribution company, with the same stable family ownership group for over 50 years. They can rely on StormDirector+ by AccuWeather." Available as a stand-alone turnkey weather system, StormDirector+ is also fully compatible with the revolutionary StoryTeller Interactive Touchscreen Solution, seamlessly integrating with the complete, interactive touchscreen solution for the entire news presentation. Utilize StormDirector+ within StoryTeller by AccuWeather to cover breaking news, live polling, social media, elections, traffic, and much more.
AVIWEST Teams Up With Globecast to Optimize IP Video Contribution AVIWEST a leading provider of global content delivery services for broadcasters and content creators, has deployed AVIWEST's DMNG StreamHub receiver, decoder, and distribution platform at its Paris hub. Utilizing the digital, mobile ENG application, common customers of Globecast and AVIWEST now have an enhanced and effective way of sharing high-quality live HD video content with other broadcasters around the world. "With 35 points of presence and 12 teleports worldwide, Globecast is dedicated to helping broadcasters deliver content across five continents. In keeping with its technology-agnostic approach, Globecast has extended and enhanced its offering to incorporate IP solutions while continuing to supply the high qualityof-service it is known for," said Marc Logez, head of marketing, global contribution at Globecast. "Adding AVIWEST technology to Globecast's arsenal of contribution and delivery services gives our customers access to alternative solutions for streaming superior quality live video." The DMNG StreamHub supports a rich set of input IP protocols, enabling reception of up to 16 concurrent incoming streams from remote AVIWEST DMNG PRO transmitters, DMNG smartphone applications, or third-party systems such as IP cameras. In addition, the DMNG StreamHub platform offers support for multiple output streaming protocols (e.g., RTMP, RTSP/RTP, HLS, TS/IP), allowing video content to be distributed over virtually any IP network. Up to 16 IP outputs can be utilized to enable re-streaming of video content over LAN or WAN to CDNs, media servers, streaming platforms, IRDs, or other DMNG StreamHub platforms.
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Blackmagic Design announces deal on ATEM Production Studio 4K and HyperDeck Studio 12G
Blackmagic Design announces a new ATEM Production Studio 4K and HyperDeck Studio 12G package deal for only $2,495, making it possible for customers to get a live production solution that’s future proof because it’s designed for Ultra HD. This special offer is targeted at customers who are considering the purchase of Blackmagic Design’s ATEM Television Studio live production switcher, and will allow them to obtain a more powerful switcher for a similar price. It’s very common for customers to buy both a live production switcher and a broadcast recorder as a combination. When purchased together, the ATEM Television Studio switcher and HyperDeck Studio recorder would normally cost $1,990 in total. With this special deal, customers can
choose to buy the much more powerful ATEM Production Studio 4K and HyperDeck Studio 12G which are Ultra HD models and include additional features, even when used in HD video formats, for only $500 more. Normally this combination of powerful Ultra HD live production switcher and Ultra HD broadcast recorder would cost $4,190, and this deal represents a saving to the customer of $1,695. Because both of these more powerful models support instant switching between SD, HD and Ultra HD video formats, it means they are a drop in replacement for the ATEM Television Studio and HyperDeck Studio models. These more powerful models will support the same video standards as well as the high frame rate HD rates up to 1080p60 plus Ultra HD video formats. “I am very excited that we are able to offer ATEM Production
Studio 4K and HyperDeck Studio 12G together at this special price,” said Grant Petty, CEO, Blackmagic Design. “Demand for Ultra HD production is growing and customers have been asking us for an affordable way to move up to Ultra HD that’s compatible with their existing HD workflows. This limited time combination, for only $500 more than our 1080 HD solution, makes it so much easier for customers to get a more advanced live production system as well as Ultra HD compatibility!”
Availability and Price The ATEM Production Studio 4K and HyperDeck Studio 12G package deal is available for $2,495 for a limited time from Blackmagic Design resellers worldwide.
New IDX ‘DUO Compact’ offer more power, less weight The new ENDURA™ DUO Compact batteries are a pair of new batteries from IDX which offer significant savings in size and weight. Making their debut at the BVE exhibition in London, UK, the two new batteries are truly more compact. More energy density is the holy grail of battery manufacturers. The DUO-C95 packs 93Wh capacity into a slim form factor weighing just 1.3 lbs. For those needing even longer run times, the DUO-C190 weighs just 2.3 lbs. with a capacity of 185Wh and supports a continuous load of 11A/120W, ideal for high power demanding LED lights and digital cinema camera setups. In common with the other IDX DUO batteries, these batteries are feature rich with 2x D-Tap and a USB power output to power ancillaries that are common on today’s camera systems. Always innovators, IDX have given one of the D-Taps a D.C. in pin. This ‘D-Tap Advanced’ socket will permit the battery to be charged from a low cost and lightweight travel charger that IDX will introduce at NAB 2016. Quality is assured through the partnership with Panasonic Sanyo who work closely with IDX in the design of the battery protection circuitry and supply the Lithium Ion cells best suited for demanding broadcast, video, and digital cinema applications. Continuing the trend seen in the CUE battery range the DUO Compact batteries are designed to meet stringent PSE safety regulations. Currently Japanese specific but likely to be adopted worldwide, the regulations demand that individual Lithium Ion cells are isolated from each other within the battery in a honeycomb like structure.
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AJA's New RovoCam Integrated UltraHD/HD Camera with HDBaseT Delivers Single Cable Support for Video, Audio, Control, and Power AJA Video Systems announced RovoCam, the company's first compact block camera for industrial, corporate, security, ProAV and broadcast applications. Gorgeous UltraHD and HD imagery is captured with superior Sony optics with built-in 12x optical and up to 20x zoom with Sony Super Resolution Zoom. What sets RovoCam apart from other cameras in its category is an integrated HDBaseT interface supporting uncompressed video, power, stereo audio and RS-232 control over a single CAT 5e/6 cable running at lengths of up to 100 meters. Delivering this much functionality and power with single cable connectivity dramatically simplifies installation, camera setup and footprint requirements. RovoCam is built around Sony's 4K FCB-ER8300 Functional Camera Block featuring the back illuminated CMOS sensor technology and Sony image processing for excellent performance. Reliable, practical and compactly encased in rugged and durable aluminum, RovoCam's small and light form factor allows simple mounting in a wide range of scenarios. RovoRx-HDMI, the companion receiver unit, offers the simplest integration for RovoCam with an HDMI output, and all video/audio signals, power, and control over HDBaseT. RovoCam is also compatible with select third party receivers. "Sony is proud to have collaborated with AJA on their innovative new RovoCam system development using the 4K FCBER8300 Functional Camera Block. We anticipate RovoCam will find homes in many ancillary video capture applications within the broadcast, content creation, security, corporate campus, and remote learning vertical markets,"
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commented John Monti, Director, Sony Visual Imaging Solutions. "AJA has always been known for supporting open standards with highly functional, flexible and reliable technologies, and the release of RovoCam continues this trend. Marrying our HDBaseT interface technology with Sony's compact 4K camera delivers incredibly powerful camera acquisition with very simple single cable setup and operation," said Nick Rashby, President, AJA Video Systems. "We've partnered closely with Sony for many years and RovoCam comes as the latest in a long line of collaborations with them." RovoCam Features: - HDBaseT interface supporting uncompressed video, stereo audio, control and power over a single CAT 5e/6 cable
- Integrated image processor with extensive automatic and/or manual control - Additional on-camera power and RS-232 connections for maximum flexibility - Supports Sony VISCA camera control - Stereo mic input supporting PiP power - Machined aluminum case with standard mounting options on each side - Compatible with Sony's SNCUNIHB/1 outdoor housing RovoRx-HDMI Features: - HDBaseT receiver supporting video, stereo audio, control and power over a single CAT 5e/6 cable - UltraHD and HD resolutions
- "4K" UltraHD and HD resolutions
- 1 x "4K" UltraHD/HD HDMI output
- 1/2.3 type 8.9 megapixel back illuminated CMOS sensor
- 1 x RCA audio output
- Integrated zoom lens, 12x optical (20x with Super Resolution Zoom)
- 1 x USB for firmware updates and additional control - 1 x RS-232 output
PA N S H O T
EditShare to Unveil High-bandwidth Storage plus Collaborative and Remote Production Workflow Solutions for 4k and Beyond EditShare invites NAB 2016 attendees to meet with EditShare media workflow experts to discuss their production infrastructure migration strategy to 4k/UHD and multi-team, multi-location collaborative workflow needs at EditShare booth SL9716.
latest Native Client support delivering significantly increased performance for Windows, OS X and Linux users, EFS is the only platform to combine efficiency, high bandwidth and extensive fault-tolerance (metadata, media data and hardware redundancy).
“The external forces driving the move to 4k/UHD are far greater today than when the industry made the leap from SD to HD a decade ago. The race to monetize this 4k/UHD content is well underway and the time to invest in a scalable infrastructure that delivers is now,” comments Andy Liebman, CEO, EditShare. “This year at NAB we will showcase new XStream EFS storage solutions that provide a clear path for facility owners to support these emerging production needs with 4kready storage that can be deployed in incremental steps, along with clever new Flow production tools that scale collaboration by connecting resources into the production pipeline regardless of whether they are located down the street, across the country or on the opposite side of the world.”
Building on the performance of the proven EFS architecture and file system, EditShare will unveil at NAB 2016 the newest member of the XStream EFS family that is designed to support incremental migrations to 4K/UHD.
XStream EFS – High-Performance storage platform for all your Workflow needs Since its launch at NAB last year, the XStream EFS high availability shared storage solution has become the core storage platform of choice for many of the world’s most successful facilities and productions. Powerful, easy-to-manage, highly reliable, highly scalable (5PB+) and highly affordable, XStream EFS online media storage can cope with exploding media volumes, ultra high data rates and the complexities of today’s collaborative production workflows. With the
EditShare Flow: Managing media for collaborative productions and remote workflows As productions become ever more complex, EditShare understands that facilities need an asset management platform that can be scaled for all inhouse and remote media sharing scenarios. Available with all EditShare storage systems and available for third-party storage solutions, EditShare Flow MAM contains a range of applications providing media ingest, key asset tracking, transcoding and automation capabilities. Now with the web-based application, AirFlow, EditShare has made it easy and secure for production teams to take that first step into a “cloud” environment for remote and collaborative workflows. AirFlow utilizes on-premise storage already used for high bandwidth workflows to provide secure and costefficient access to media from anywhere in the world via a basic Internet connection and standard web browser. No need to pay extra for cloud services or waste valuable time uploading content to an external location such as Amazon or Google.
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PA N S H O T
Gearhouse Broadcast purchases SAM Alchemist for upcoming Rio 2016 and UEFA Euro 2016 coverage
Building upon its longstanding relationship with SAM, global rental house, SI and OB provider Gearhouse Broadcast has announced the purchase and availability of 14 Alchemist HD SDI converters for its customers. These are in strong demand by broadcasters for HD coverage of the upcoming Rio 2016 Olympic Games in Brazil this summer and the UEFA Euro 2016 football championships being held in France in June. This recent purchase adds to Gearhouse’s existing fleet of nine Alchemist units, which now total 23. Headquartered in the UK, Gearhouse Broadcast has been serving the broadcast market for 20 years with offices in Paris, Qatar, Australia and the United States. The Alchemist converter delivers unrivaled quality that puts Gearhouse ahead of its competition
and gives its customers the best possible options within their HD productions. This is hugely impactful in a live sports production context. Edward Tischler, Head of Projects at Gearhouse Broadcast commented: “We’ve used Alchemist for several years and we’re continually impressed with its clean and detailed format and framerate conversions. We’re delighted to continue our relationship with SAM. We’ve had a significant number of broadcasters contact us to rent Alchemist, and we expect that interest to grow as these two major sporting events draw closer.” Alchemist Ph.C-HD provides broadcasters with a complete, onebox system solution that seamlessly converts between 1080p, HD, and SD broadcast standards and formats. It relies on SAM’s
proprietary Ph.C motion estimation technology to deliver the best possible quality in a live broadcast environment. Neil Maycock, EVP Marketing at SAM commented: “A great standards converter is essential to a live sports broadcast because the quality of the final broadcast output needs to be perfect. The fact that broadcasters around the world are entrusting their content to SAM’s Alchemist for HD coverage of the Rio 2016 Olympic Games and the UEFA Euro 2016 football championships is a testament to the product’s performance and the stunning picture quality it generates. We’re delighted that working with Gearhouse ensures they are able to satisfy the demands of their customers and provide them with the high level of service their customers have come to rely on.”
Audio-Technica Microphones Employed at 58th GRAMMY® Awards Audio-Technica once again provided a number of microphones for the GRAMMY® Awards telecast, which this year took place live at the Staples Center in Los Angeles on Monday, February 15, 2016, and was broadcast live in all four continental U.S. time zones on the CBS network. Pictured is country artist Sam Hunt, who performed in a duet sequence with Carrie Underwood, utilizing an Audio-Technica 5000 Series wireless microphone system with AEW-T5400a microphone/transmitter for his lead vocal. Photo by Matt Sayles/Invision/AP. (This photo is the property of Matt Sayles/Invision/AP and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)
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PA N S H O T
Mumford And Sons Tours South Africa With ATEM Multicam Workflow Blackmagic Design has announced that Mumford and Sons six show tour of South Africa, directed by Steve Price, featured a live to screen fiber optic workflow incorporating Blackmagic’s studio cameras, ATEM 1 M/E Production Studio 4K and HyperDeck Studio Pro. For the band’s first ever tour of South Africa, promoter Hilltop Live approached local specialists Militia Broadcast, with nearly 150 live shows under their belt, about supplying the IMAG projection, PPU, camera packages and crew during the band’s Cape Town, Durban and Pretoria gigs. Armed with the tour’s technical rider, Eban Olivier and the Militia Broadcast team specced out the tour’s production requirements. “We spoke with Steve Price, the live show director, via Skype and ran through our workflow using a wall to
wall Blackmagic solution, which reassured him that it would deliver on all his expectations, including tally, program return for monitoring in camera and remote shading to address any shifts in color when using pyrotechnics,” explains Olivier. Coverage of the shows consisted of five ground positions, including two Blackmagic Studio Camera 4K with 400mm and 600mm long lenses, two 24-105mm pit cameras on dollies as well as an interchangeable, shoulder mounted stage camera for capturing any down the line shots and pick ups. A Micro Studio 4K was also used to capture a reverse shot of the piano, alongside two Pocket Cinema Cameras on the drum kits. Militia Broadcast ran optical fiber feeds back into the eight channel ATEM Talkback Converter 4K and then split each ISO signal to its
own HyperDeck Studio Pro for recording while also routing them to the ATEM switcher, where Price produced the live feed for the two big screens, flanking either side of the stage. A pair of 17 inch SmartView 4Ks were used for monitoring, whilst shading ran through the ATEM’s Software Control on a laptop. S1 Sennheiser Aviator Headsets were used for program audio and show calling. “The all in one modular approach of Blackmagic’s studio cameras means they are pure utopia for a traveling tour such as this. You simply drop down one fiber cable per channel and that gives you camera control, tally and talkback as well as shading,” explains Olivier. “The cameras themselves are robust, take up a fraction of the storage space and can effectively become any shot you want, at any given time.” Militia Broadcast was confident from the outset that a Blackmagic multicam workflow would meet the rigors and demands of a six date tour in South Africa. “Eban’s confidence and enthusiasm helped to allay any initial concerns I had coming into this leg of the tour,” explains Price. “He went out of his way to ensure that I had everything I needed to do my job well, and unimpeded.” “Having never worked with Blackmagic’s ATEM switchers before, I found it simple and intuitive to operate, while the camera crew supplied by Eban were all first rate,” concludes Price. “Regardless of the camera system you use, it will only ever be as good as the crew you have operating them, and these guys were good.”
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Sirius routers, Kahuna switchers and IQ Modular infrastructure lie at the heart of Dutch media giant’s Cloud Production platform
Leading Dutch media group, DutchView Infostrada, part of the NEP worldwide network, has successfully broadcast its first live, IPbased multi-camera broadcasts using its Cloud Production platform, which is based on SAM’s unique SDI to IP transition solution. The two shows, ‘Carlo’s TV Café’ and ‘Voetbal Inside’ were aired in late November by the leading Dutch commercial channel RTL4. By making use of the Cloud Production Platform and IP connectivity, DutchView Infostrada is able to dramatically reduce onlocation and in-studio resources, eliminating the need to commit dedicated studio suites, OB trucks and production teams to each
individual project. Instead, all production operations were centralized on the company’s own data centers at the Media Park in Hilversum, fed by IP-streamed media over its own dedicated dark fiber-optic network links directly from the event, studio and centralized galleries. From the new Cloud Production suites there is complete control over the production process – just as there is traditionally. Depending on the type of production, the director can either direct from a location near the studio or from the new galleries and the directing, audio and shading suites. Peter Bruggink, CTO DutchView Infostrada,
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said: “While many media companies and broadcasters are working on remote production and video over IP, we have made the leap to a cloud platform on which resources are available on demand. We researched all propositions of the main vendors. One of the key factors in our decision to choose SAM was that its solution provided the most risk-free way to continue the transition to IP in the future. I am extremely proud of this world first!” A part of the infrastructure within DutchView Infostrada’s initial deployment of its Cloud Production platform is based on SAM’s Sirius 800 routers and Kahuna switchers. This approach allows the company to realize both its early production requirements and deliver a seemless transition to an IP routing infrastructure as more IP sources become available. This will be achieved by deploying SAM’s iQ Modular units to ensure SDI sources are available to the IP router and IP sources are available to the Sirius router whilst presenting a unified control experience to the users. This delivers the company’s goal of transitioning to an IP future, while minimizing risks to its day-today operations. This is unique to SAM’s technology and one of the driving forces behind DutchView Infostrada’s decision to select its solution. Tim Felstead, Head of Product Marketing at SAM, said, “We’re delighted to have been such an integral part of DutchView Infostrada’s first live IP-based multi-camera broadcasts. Using our technology DutchView Infostrada has complete confidence that they can maintain the high production
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values they pride themselves on, with no interruption as they make the transition to IP.”
FUTURE PROOF SOLUTION . Kahuna allows media organizations to maximize both productivity and ROI. Available in 9600, 6400 and 4800 versions, Kahuna has been built from the ground up to support mission critical operations and is the ideal switcher for sports, music, news, live events or multiple site applications. Its advanced file workflow tools enable content to be turned around in seconds. The Kahuna 9600 is available in SD, HD, 1080p, 4K and IP. SAM’s unique Make M/E technology allows resources to be shared to get even more from the switcher. Kahuna offers built-in intelligence and completely interchangeable configuration depending on production needs. SAM has also recently launched the Kahuna IP production range delivering all the power, processing and multi-format capabilities for which the Kahuna is renowned, with a full complement of IP inputs and outputs. Kahuna allows the production team to concentrate on high value tasks that make a production stand out. It provides fast set up time, and combines mixers, keyers and DVE effects in a way that fits broadcasters’ on-air style. Kahuna’s built-in intelligence allows the switcher to handle the mundane, freeing time to create great productions.
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Txt: Sara J. Kudrle, Product Marketing Manager, Infrastructure and Chris Merrill, Senior Product Manager, Routing, Grass Valley
As the broadcasting world shifts from Serial Digital Interface (SDI) to Internet Protocol (IP), transitional devices to transport video and audio seamlessly and transparently between these domains are needed. Just as we needed A-to-D and D-to-A converters when we transitioned from analog (A) to Digital (D), we will need SDI-to-IP and IP-to-SDI conversion devices, which are often called gateways. At Grass Valley, a Belden Brand, we recognize that customers have different production environments, operating requirements, and levels of comfort with new technology. To that end we have created several SDI/IP hybrid solutions designed to fit customer requirements, regardless of where they are in their transition.
EXTERNAL CONVERSION The simplest transition path uses external IP Gateways, such as those found in our Densité series modular gear. Grass Valley’s Densité IP Gateway enables seamless bi-directional bridging of hybrid SDI/IP production workflows. Compatible with the Densité modular framework, the space-saving, low-power card converts real-time, uncompressed baseband video using SMPTE 2022-6 protocol for distribution over 10 Gb Ethernet networks, and vice versa. As production migrates to IP-based transport, Densité IP Gateway modules can be added easily to existing Densité frames in small increments. This allows IP-enabled products to connect to existing SDI infrastructure, while also allowing SDI devices to connect to a video-over-IP infrastructure. With this approach, broadcasters can protect investment in installed equipment and established operational methods, thereby reducing risk associated with such transition.
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INTEGRATED IP GATEWAYS For superior control over both IP and SDI signals, Grass Valley offers IP Gateway input and output cards for the industry-proven NVISION 8500 Enterprise router series. Recognized as a leading SDI router, the NVISION 8500 router is also a hybrid video and audio router, with built-in TDM matrix for handling the audio, whether it is embedded or discrete. Each of the NVISION 8500 Hybrid series router frames can provide full or partial Ethernet input/output support as required by the user. NVISION 8500 IP Gateways are commonly used by Grass Valley customers for long-distance tielines between IP Gateway-enabled routers. Video signals are transmitted between routers over over 10 GbE Ethernet networks using SMPTE 2022-6
signals for transport, then converted into SDI signals for frame-accurate switching locally within the router. The NVISION 8500 IP Gateway outputs converted and packetized real-time, uncompressed, baseband SDI video signals using SMPTE 2022-6 for transport to other destinations. For added efficiency, several uncompressed SDI signals fit into a single IP stream, reducing cabling when used for tielines between routers. Once Ethernet tielines are established, each SDI output is mapped to an IP stream, with multiple IP streams per Ethernet port. This provides the benefits of channeling numerous packetized streams through each port with inherent efficiency and extensive flexibility for everything from current production requirements to 4K UHDTV and beyond.
Ideal for live environments, one of the additional strengths of this design is that the operators do not have to concern themselves with the provenance of a signal. They continue to use the same control panels and control system, yet they can now control both SDI and IP signals seamlessly.
FULL IP ROUTING Finally, knowing that gateways may not be enough, we have created a whole new IP processing, aggregation and edge routing platform, GV Node. GV Node was designed to be the basic building block of our IP Broadcast Data Center, aggregating and processing video over IP signals. However, we also understood that we would still need to support SDI, as the move to IP is most likely a migration rather than an abrupt change. In this model, the hybrid configuration
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is much more flexible, with GV Node supporting I/O cards that will bring in SDI signals or IP signals. As the migration continues, it is anticipated that SDI cards could be replaced with IP cards, allowing our customers to migrate at their own pace without disrupting their workflows. GV Node can be added to both
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existing facilities as a â€œtop of rackâ€? expansion, and as a scalable standalone system that can grow as your needs increase, and as new technologies become available. GV Node provides a small scalable footprint for the transition to IP. For large productions which need lots of I/O to support all of their
audio, video and monitoring needs, multiple GV Node IP edge routing and processing nodes can be readily connected to a common off the shelf (COTS) switch, using a mix of I/Os to create large and flexible monitoring, switching and processing systems. This flexibility allows customers to not only produce live content locally over an
CONTROL Critical to any routing solution’s success is a control system that is easy to learn and use. The Grass Valley solutions discussed above interact with the proven iControl systems and NV9000 routing control systems for traditional routing control. In addition, the NV8500 IP Gateway, Densité IP Gateway and GV Node integrate with the advanced GV Convergent control system. GV Convergent’s drag-and-drop graphical user interface is matched with a powerful Software Defined Networking framework that offers a single, unified control across COTS switches and SDI routing/processing infrastructures. GV Convergent is both infrastructure and signal format agnostic for easy system scalability today and far into the future. Mobilimage, a leading provider of on-location services for telecasting and recording entertainment, sporting and cultural events in North America, has made a significant investment in IP capability with its new GV Node and GV Convergent solutions from Grass Valley, a Belden Brand. The company will use the IP networking solution for its Mi3 HD OB van.
IP infrastructure, it also enables distributed content production with sources shared globally over a network. GV Node is designed to handle deterministic vertically accurate switching within IP, supporting SMPTE 2022-6 IP inputs and outputs, as well as TICO visually lossless compression for 4K
applications. For full broadcast capabilities, GV Node also supports the extensive range of Densité signal processing modules along with a fully integrated and highly scalable Kaleido multiviewer to deliver the highest quality monitoring with the most flexible layout available.
“We’ve been considering our options for moving to an IP workflow, and the Grass Valley solution really meets all our needs, giving us the right equipment to operate our mobile production business more efficiently,” said Benoit Chartrand, director of engineering, Mobilimage. “This will greatly enhance the connectivity for our truck, and we can scale the technology as our needs change.”
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The third edition of BITAM SHOW and the first edition of MAM TV were held on 24, 25 and 26 November, organized by the magazine TM Broadcast at the Pabell贸n de Cristal of Casa de Campo de Madrid. Most exhibitors and visitors believe that the event has improved in an amazing way as to framework and organization. This has been reflected in the exponential growth of visitors and represented companies. The first edition welcomed 2,724 visitors, and 67 represented companies along 47 stands. In 2015 4,772 professionals visited the Pabell贸n de Cristal of Casa de Campo, where 119 companies were represented along 80 stands. The trend is clear, the need to hold an event adapted to the real market demands is constantly growing as to quantity and quality. In parallel with it, technical sessions were organized with high-profile individuals of the sector, where they spoke about 4K, Branded content, 3D Audio and different market and current technology challenges. The team of the publisher Dar贸 Media Group is already working on the forth edition of BITAM Show, that will bring pleasant surprises. That is why, kind readers, pay attention to the news that we will shortly be presenting. Below is a summary on the latest developments that were presented at international level.
ABACANTO SOLUCIONES (TEKTRONIX, QUANTUM DATA, EMOTION SYSTEMS) The company was set up in 2003 and it exhibited different solutions of the companies it represents: Tektronix, Phabrix, Quantum Data, Emotion Systems and Albal谩 Ingenieros. One of the stars of the stand was undoubtedly Tektronix's Aurora file-based quality control system. BITAM showed a wellrunning model of it, with its integrated Hydra player, and visitors were able to see firsthand its high detection capacity and error correction.
AJA VIDEO SYSTEMS AJA Video Systems presented the solutions and products
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announced in IBC 2015 / NAB 2015: FS3: 4K SD/HD video scaler with frame synchronization.
ROI family, DVI converters, Display Port and HDMI to SDMI with area selection. HDBaseT - HD extendors and
UltraHD via Ethernet - SDI, HDMI, RS-232 and IR. Opengear: New range of rack cabinets and converters compatible with OpenGear standard. Workflow solutions / UHD / 2K / 4K HD.
AVCAST (FORSCENNE, SWIT) AV Cast presented Forscenne, a cloud editor. The system works with a regular computer with Internet connection, it does not need special features, not even optical fiber. The different files are found in
folders, just as in any usable editor. We then can access the content to reproduce it or to choose the valid material, which is then cut and dragged to the timeline for its edition. Video tracks can be included, along with signs, subtitles, and effects. The same applies to audio. Once the content has been edited, it is exported to high resolution, even 4K, in multiple codecs. Content can be exported anywhere, even Facebook or Youtube. Forscenne has two main uses: editing material that will then be published in a website, for obvious reasons, and to assist you in making a production. You can work with it as the material is being
uploaded, and collaborative working groups can be created.
CSS AUDIOVISUAL TECHNOLOGY (AVID) At BITAM 2015 they showcased the Avid S6 console, with the monitoring control system TCM-1S6 and PD-1 S6 DAW Monitor Controller of CB Electronics (Colin Broad). We also saw VCM-102 Studio Monitor Controller of TAC System and AD/DD/DA high quality converter and DAD AX32 monitoring matrix and DAD DX32 digital audio de DAD along with several TC Electronic devices.
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DISEFOTO (MANFROTTO, SCHNEIDER) Disefoto are importers of Manfrotto and Schneider. At the show they presented a range of Manfrotto's video and broadcasting products, along with Schneider's
new video optics both for DSLR and Super 35 cameras. This brand also had in its stand Disefoto's cinema and video filters. Both of them are new in Spain and they were presented at BITAM. As for the show, the heads of Disefoto said: "It is being a fantastic show with a high number of final users and professionals".
FOTO TÉCNICA IMPORT (ATOMOS, ZEISS, SHAPE) Foto Técnica Import exhibited several products of the companies that it represents. We saw Atomos's latest models for Shogun and Assassin, with IPS screens. As for the optics of Zeiss, we saw Loxia's line for Sony α7 with different focal points. We also saw Otus's line, which is the best of the brand. As for tripods and supports, Berno, manufacturer with a great qualityto-price ratio, was present. We can stand out Shape's statives and the new Gimball's line. Photosol's cleaning systems also participated.
GLOBAL DISTRIBUTION Global Distribution presented its new catalogue, which includes brands like: Accusys, AngelBird, ASG Atempo, Atomos, ATTO Technology, Corning Optica, Cables, Cambridge Imaging Systems, DataDirect Networks, Glyph Production Technologies, GTechnology, HGST, Infortrend, Magma, mLogic, Panasas, Promise Technology, QLogic, Quantum, SGI, Solarflare, Spectra Logic, Tiger Technology, XenData, and YoYotta.
JVCKENWOOD JVC performed several shows with HD and 4K production cameras, and presented its solutions for automated production systems, together with Bradley Engineering, with its PTZ camera systems for TV studios, and Streamstar, for streaming content distribution from JVC cameras. Thanks to the close collaboration between JVCKENWOOD and Streamstar, BITAM 2015 hosted the presentation of a complete control
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solution with parameter configuration of the JVC camera, with the Streamstar software itself, thus opening a new era of possibilities in live broadcasting. This software has IP video exclusive inputs, which enables those JVC cameras placed anywhere in the world to be used for live production, and makes this style of live and distance production
available to all professionals. This solution also includes control parameters and functions through LAN or WiFi, plus Tally camera control and Intercom solution. An important part of JVC's studio solutions have been achieved thanks to the company Bradley Engineering. Both companies announced at IBC a collaboration agreement through which JVC
would market different PTZ camera remote control units with HD GYHM650/600 cameras and 4K GYHM200/170 cameras, along with some of Bradley's components to set TV studio cameras. Most of this was seen at BITAM.
MAGNETRON (SENNHEISER, RYCOTE) The star of BITAM was Sennheiser's new digital wireless system AVX, specially designed for small audio production devices for video, Sennheiser's new portable audio solutions for ENG ClipMic digital and MKE 2 digital, that connect directly to tactile devices (iPhone, iPad or iPod). TM Broadcast International has awarded this system â€œThe Best of 2015â€? award. Likewise, Neumann presented some of the brand's most successful microphones, such as BCM 104, TLM 102, TLM 107 and U87, and studio monitors KH 120 and KH 310. FBT presented a wide range of surround speakers, both for real time sound applications and fixed installations. As for Rycote, it presented CYCLONE, a microphone noise reduction system, along with a new line of windshield microphones, SUPERSOFTIE, designed with the new material 3D-Tex.
MEYER SOUND (DIGICO) The big novelty in Meyer Sound's stand was the new member of LEO's linear loudspeaker systems: LEOPARD; along with the new subgrave 900-LFC. As for the company it represents, DiGiCo (digital mixing consoles), the new S21 model was presented, a console that has a high performance at a low cost. Fernando Delgado (DiGiCo UK)
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carried out free 3-hour seminars at BITAM's DiGiCo room.
MONCADA Y LORENZO - (CANON, TERADEK, CHROSZIEL) In BITAM 2015, Moncada y Lorenzo introduced CHROSZIEL's new products. This is the name of the brand that they have just incorporated to our product portfolio and it manufactures wireless lens control systems, as well as matte box, follow focus and other mechanical precision products. It was possible to test this wireless control system at BITAM, with a C300 Mark II and Canon's new 4K monitor (watch video): http://on.fb.me/1ZLUwdG. Visitors could also learn about TERADEK's products: Cube 600, Bolt and Bond, wireless h.264 encoders and transmitters, and the bonding devices of this brand. We also saw an E-jib, PROSUP's crane for cameras weighing up to 15 kg, and the Tango Roller, a 1.20 m extensible slider with magnetic stops. Lighting was also present at BITAM with Litepanels Caliber fresnel light kit and Astra LED panels, the latest lighting products in cinema and television, which are up to four times brighter and have very affordable prices. You can watch a video on the three days of show, with these and some of Canon, Sachtler and Vinten products in the following link: https://youtu.be/FX9taya4a0A “Despite its short lifetime, BITAM is one of the leading shows within our industry. We, Moncada y Lorenzo, believe that these kinds of events have to be held, so that companies like us are able to get close to our clients and to perform live product presentations. Our wish is for you to continue holding it for the next several years”, said Manuel Canal.
NEOVIDEO – (IEZ, APTARIS, BLUEFISH, STARDOME, G-LABS) Neovideo brought several novelties to BITAM. As to monitors, they presented the brand IEZ, with a range of products from 540 euros
onwards, HD-SDI input and a 21.5 inch full HD panel. They also offered professional monitors of 24 inches with 8 and 10 bits, with a price between 1,800 and 2,200 euros. Aptaris Universal XL and Universal Frame were the novelty as to camera cages. They are
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adjustable, and can be adjusted to work with basic DSLR cameras, RED cameras, etc. Their advantage is that a video monitor of any kind can be incorporated, and with handles it turns into a field monitor. As to gimballs we saw two proposals: Husky, which brings the added benefit of being very cheap but versatile, with a good lightweight stabilizer. And Big Balance, that can work with DSLR cameras. One of its interesting uses is to work with luts, so that you can picture it on a monitor. As to storage, Neovideo presented at BITAM Areca's 8 bay Thuntherbolt 2, at over 1300 Mb/s.
3D STORM (NEWTEK) The new products of TriCaster, seen at the last edition of IBC in Amsterdam, were presented at BITAM along with 3Play, an instant replay system and a professional slow motion camera at a low cost. We also saw the solutions of Live CG Broadcast in creation and display of graphics for live productions, including connection to the most popular social
networks. And of course, TalkShow, NewTek's program to mainstream Skype videoconferences in live production. Lastly, 3D Storm's stand showed a model of Live CG Football, a tool used to work with real-time motion graphics in stadiums screens and production environments during football matches.
NRD - (AVIWEST) Aviwest's stand presented its 3G/4G transmission systems, including encoders, receptors, and a management software of an IP contribution network. Plus, a low cost automatic video system in IP and HD-SD/SDI environments with recording system and streaming, ION. Including Public Administration, Worship Centers, Events and Company Events.
PARK7 TECNOLOGĂ?A (LIVEU) Park 7 is LiveU's official distributor in Spain, and we were able to see some of their products at BITAM. It is worth pointing out
the new LiveU 200 that supports 2 systems with 2 modems, which makes it small and easy to carry, but as robust as the rest in this product range. Also new is Smartgrip, which is being used for interviews because it helps interviewees to feel more comfortable, as it avoids having a camera and a flashlight in front of them. In addition to this, Park 7 brought ABonAir to BITAM, which has recently arrived in Spain. It's a system with an audio and video transmission of up to 2.5 km, and works like a FM walkie talkie, unlicensed frequencies.
QINMEDIA (QUICKLINK) QinMedia presented Quicklink, a video broadcasting system with IP and two products in the range. One of them provides HD-SDI outputs and inputs as to integrate Skype signals within any broadcast. And their top of the line: a backpack with connections through 3G/4G and Ka band. This product works with a server located in the installation as a receiver, with 4 output ports for different formats. QinMedia's stand also showed a short link transmitter, Visking has integrated GoPro, HeroCast, and offers an ultracompact product that can use same fixing accessories, when integrated with the brand's small cameras. The signal reaches one of Vislikn's Diversity receivers, which delivers it in HD-SDI or ASI, so that it can be used instantly or transmitted to another place with no need for it to be re-coded.
SESAUDIO - (AVID) We were able to see the whole range of solutions offered by AVID: HDX, Native, interfaces, Pro Tools 12. Furthermore, exclusively for Madrid and the central area, AVID S6 was present, of which several presentations were made at BITAM.
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For the first time in Spain AVID ISIS 1000 storage and S3 Control Surface were presented. Besides from the Complete 64 bits solution, by Mac Pro 64 bits, ANTELOPE's 64 bit Clocking and Pro Tools 12 64 bits. Loundness EBU 128 was another control and broadcast complete solution. Formed by Electronic DB6 mediator, TM9, radar loudness, as well as an end processing solution, with Mastering 6000.
VIDIEXCO - (VIDEO DEVICES, ESTRUCTURE) Vidiexpo presented an integrated news production system by Estructure Media. This system not only includes the traditional press area, but also has everything related to social networks. This system is linked to all modules in order to build a global solution. Luxor, an archiving and management system as well as a continuity and delivery system, were also showcased at BITAM. All of these devices are connected through one same network. On the other hand, Vidiexco presented Video Devices Pix270, a portable recorder that is mainly used in mobile units that work with SSD disks.
WSDG - WALTERS STORYK DESIGN GROUP The company presented a highly skilled team of engineers, acoustic consultants and experts in the integration of audio, video and other systems that WSDG has available in Spain and in the rest of the world. In their stand we were able to see some of their best projects, drafts, calculations and, specially, results. They also gave a
presentation entitled "Design of ESPN Broadcast stations - QATAR TV (a tale of two cities)" at the technical sessions of BITAM.
XELTEC - (ROSS VIDEO, FUJI) XELTEC presented at their stand in BITAM 2015, for the first time in Spain and with a great welcome, the new media server Harmonic, Spectrum X, with Polaris automation. This new system stands out for the intake and playout of SDI and IP, which enables shift to workflows IP Broadcast and facilitates its migration with integration of SDI and IP I/O in the same connector. It has new codecs, based in software, with simulcast outputs, and enables graphics, branding, DVE, master control and audio mix. Spectrum X supports SD and HD formats up to 1080p (3G), with the possibility of escalating it to Ultra HD, in 1 RU with a playout capacity of up to 4 channels. This means that it can easily integrate an SDI server within the same broadcast platform, a system based in IP, transcoding features, and graphics and branding, or a combination of them both. The new video server Spectrum is part, along with Electra, of Harmonic's X platform. Similarly, Xeltec presented the mixer Carbonite Black along with one of its Panels, C3x. Ross expands its Carbonite mixer series with the Black model, which increases the number of inputs (36), outputs (22) and M/Es (3), while maintaining the high performance of the Carbonite family, such as MiniMEs, MultiScreen, 3G and UHD (4k). It is also important to mention the new Fujinon 4K UA22x8 and UA80x9 lenses, within the wide representation of Fujifilm's broadcast and cinema optics.
These new Broadcast 4K U-HDTV lenses are ideal for Ultra High Definition environments, achieving excellent results as to high resolution, high contrast images and wide zoom range. UA22x8 lenses are lightweight and compact, with a 22x zoom and a focal length of 8mm. Its encoder of 16 bits is capable of making a highresolution output of lens data including zoom and focal position information. On the other hand, Xeltec presented some of its new products: Mix Dante and Ravenna to monitor IPs, from the manufacturer TSL. It can be used to monitor audio precision in stereo, multichannel, multilanguage and surround sound.
YAMAHA For BITAM 2015 3rd edition Yamaha has had a 24m2 stand, where they have presented their most representative products, especially those devices for broadcast and mixing consoles. Visitors had the chance to see the CL5 model, the new 3.11 version that has, among other functions, Sourround 5.1 and n-1 sound. Other consoles like QL5 and QL1 were also presented, and we were able to see the automixer Dan Dugan, so demanded by event and broadcast operators. Nuage's postproduction system could no be missing, based on Nuendo software, with its new version 7. The great news of this edition was the exclusive presentation of the TF series digital consoles, with models TF5, TF3 and TF1, very compact mixers that provide incredible output.
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A multitude of editors, spread across 24 countries. Enormous quantities of footage, captured with over 50 cameras around the world. One producer in Cologne, Germany, another producer in London, UK, both responsible for supervising the production and post-production of 68 episodes of a global TV show. This real-life scenario describes just roughly the scope of production of the latest season of the television show GT Academy, an initiative by Nissan and Sony PlayStation, presenting video players with the once-in-alifetime opportunity to become a real-life professional race car driver. The television show around this
immensely popular international virtual-to-reality contest follows every qualifying race all the way to the final showdown. Mach2Media, award-winning fullservice production house located in Germany and the UK and specializing in sports programming, had served as the production company for the German edition of the GT Academy series for the past three years - and had managed to establish an unmatched benchmark for high-quality which GT Academy now wanted to adopt the same standard of programming to all other of the 24 participating countries. Hence, Mach2Media was
selected as the worldwide production company for the 2015 (und 2016) season of GT Academy. Just a few years ago, an ambitious endeavor like this inevitably would have called for a lot of travel expenses, especially during the post-production phase. However, Mach2Media chose a more innovative solution to rise to the challenge: ELEMENTS ONE allin-one server and storage solution with its unique Media Library, a comprehensive web-based workflow management feature set that provides a fully intuitive graphical user interface for professionally managing, presenting TMBi - 59
and sharing media assets. Eliminating the necessity to perform any time consuming transcoding or copy tasks first, the embedded Rough Cut Editor allows for editing original film material remotely via the HTML 5 platform. As the central media storage, located in Cologne, Germany, ELEMENTS ONE provided easy and secure 24/7 access to all media assets, and enabled the international team of editors worldwide to share media files natively across all platforms and applications. While this unique functionality by default even embraces Avid, usually not allowing native project and media sharing, Mach2Media leveraged the feature to share the project amongst their editing application of choice, Adobe Premiere Pro. But sharing media files and even entire projects natively is just part of the story: Mach2Media took ELEMENTS ONE and the Media Library to a whole new level – and might well likely be the first to truly explore the full scope of capabilities and benefits of the unique product bundle.
GLOBE-SPANNING WORKFLOW With all shows being recorded with over 50 cameras, including RED Epic, Sony PMW-F55, Sony PXW-FS7, a video drone and 30 GoPro Hero4, generating a lot of footage every day, it was not an easy task to apply the high-quality standard established in the German edition of the show to every single international episode. But with ELEMENTS Media Library, Mach2Media was able to create and deploy three “show master templates” to the international team of editors to load their local content. The entire process is facilitated within the fully-featured Media Library Rough Cut Editor. Once the
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local content was loaded, the producers and post production supervisors in Cologne previewed each episode and left comments within the same file in the Rough Cut Editor.
INTELLIGENT AUTOMATION As the editors had to start indexing the footage immediately after it became available, proxy images were critical to preview and select appropriate footage. All Proxy files, automatically created within ELEMENTS ONE, were linked to the original source material, which made it extremely easy to implement requested
changes fast and effortlessly. With ELEMENTS Media Library being fully compatible with virtually every professional editing application available today, such as Avid, Adobe Premiere, Final Cut Pro and others, operators on site can even execute the changes directly in any editing application. The final editing of the GT Academy episodes was conducted on site using Adobe Premiere Pro CC. In addition, Mach2Media leveraged the workflow automation option of ELEMENTS ONE, including automatic email notifications to an unlimited number of recipients and triggers to automatically initiate customized
actions, such as moving files automatically to certain folders, streamlining processes significantly.
VISUAL COMMUNICATION “The biggest challenges in a decentralized workflow setup over such great distances are quality control, data security and efficient communication,” says Simon Südel, Co-Owner and Executive Producer , Mach2Media. “ELEMENTS Media Library simplifies and improves communication, making ELEMENTS ONE the perfect solution, without any third party components.”
ELEMENTS Media Library provides a multitude of useful features on a HTML5 platform that simplify and enhance communication processes, such as frame-accurate comments and onscreen drawings on the source material, using any standard mouse or touch screen to point out certain issues. All these communication tools are standard components in the Media Library package and can be accessed from any standard PC or Mac anywhere on the globe. With the Media Library being fully intuitive and easy to use, editors working on the GT Academy project were able to jump right in without any training.
ANYTIME AND NOT DATA - DESTRUCTIVE When Mach2Media realized that the originally deployed storage space of 43TB was not sufficient to execute the entire project, ELEMENTS was able to expand ELEMENTS ONE during operation without the need to shut down the system. “Fortunately, our technical design allows to add storage capacity even without conducting any data destructive tasks,” says André Kamps, CEO of ELEMENTS. “We doubled the media storage space by simply adding a JBOD expansion – on the fly and without any downtime.” Within hours Mach2Media had 96TB raw (or 86TB net) media storage space available, instead of 48TB raw initially purchased. “For us this was almost a lifesaver,” adds Südel. “Not only were we able to continue to work without any interruptions but we were amazed that we could double our storage space without spending twice as much!” “This kind of workflow setup, with people working simultaneously but remotely on the same project will become more and more common in the future,” believes André Kamps, CEO of ELEMENTS. “Utilizing today’s technologies to simplify and accelerate certain processes is critical, and we are proud to offer a solution that provides intelligent features that actively support the workflow and increase the manageability of every project, while helping our clients to save time and money.”
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Over the years, consumers have enjoyed technological advances in broadcast and video image quality and are keen to invest in proven solutions that improve the viewing experience. Broadcast and video engineers have responded by constantly striving to deliver more realistic, more dynamic and more engaging video content. The introduction of color television in 1950 was a defining moment in video history because the advance came with the decision to make the technology capability backward-compatible. As broadcasters upgraded their signals, black and white television receivers continued functioning while new receivers were able to interpret the enhanced transmission, bringing color television into the homes of viewers with upgraded equipment and creating a single stream solution. Existing black and white television receivers continued to work; color receivers could interpret additional information transmitted alongside a black and white signal to accommodate this new functionality. Just as black and white television gave way to color, standard definition later gave way to high definition (HD) video with its higher resolution and more numerous and richer colors. Today HD is well established in many geographic markets, and content creators and distributors alike continue to push for the next “best” development in video quality. Initial interest in improving screen resolution, driven by a belief in rapid market acceptance, focuses on three potential advancements: • Increasing pixels per frame – known as 4K resolution, with 8K ready for broadcast in the near future • Increasing frames per second – moving from industry standard 24 or 30 frames per second (fps) to
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high frame rates (HFR) of 100 or 120 fps to provide more spatial detail, especially in scenes where cameras pan quickly or there is intense action, such as sports • Increasing the dynamic range and color depth of the picture – high dynamic range (HDR), using 10 or 12 bits per color to expand the gamut
HDR is a ready way to increase perceived image resolution and this article reviews how it can be implemented. Technologies exist to deliver HDR, although standardization remains unresolved. Any implementation will require the flexibility found with in software-defined video (SDV) solutions.
COLOR SPACE For many years, scientists have researched the nature of color and how it can be captured on film and in digital media. The most recognized and respected representation of color space results from the work of the International Commission on Illumination, which is known by its
French name – Commission Internationale de l’Éclairage or CIE – despite being founded in Berlin. Eighty five years ago, CIE created diagrams that define color space in RGB and XYZ as part of its CIE 1931 standard. Six decades later, in 1990, color for HD television was defined by the International Telecommunications Union as ITU-R Rec 709. This
limited the color gamut to a comparatively narrow region of the CIE color space and reflected technological capabilities at the time, specifically the limitations of color CRT displays. In 2012, the ITU issued ITU Rec 2020, a color gamut better suited for today’s high-performance flat screen displays. Current efforts with HDR video are working towards implementing the expanded color space available in Rec 2020. Because the industry has not reached consensus on HDR for both technical and business reasons, HDR implementation is a work in progress. Fundamental questions remain regarding how HDR will be encoded, transmitted and decoded. Sub-sectors in the industry – such as pay TV providers and the content producers who serve them – will thrive or be challenged, depending upon the set of specifications, standards and practices that are ultimately adopted.
EVERY BIT HELPS The number of colors that can be displayed in video is directly controlled by bit depth, otherwise known as color depth. In an RGB system, the bit depth of each color determines the total number of colors available. An 8-bit system offers 256 levels per color, or 256*256*256=16,777,216 different colors. In a 10-bit system, there are 1024 levels per color, or over a billion different shades. Mathematically, that is a huge advance. But one could argue that nearly 17 million different colors is satisfactory. Do we need a billion colors? There are several responses. First, adding more subtlety to shades enables smoother color transitions within color families. In a video image with large areas of a
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similar color â€“ a blue sky or a green forest, for example â€“ an 8-bit color environment can lead to distinct stepping artifacts where color does not flow naturally but splits up into visible bands. 10-bit color makes the difference between adjacent shades much finer, which in turn reduces visible and intrusive banding.
More colors leads to a perceived improvement in picture sharpness: HDR can make a video image look like it has more pixels. This is because there is a finer, more sharply delineated difference between each color. To the human eye, HDR more closely approximates what is visible in the natural world. Finally, extending the number of bits per color makes blacks blacker and whites whiter while still retaining smooth, linear color transition in the mid-tones. This depends upon the video delivery chain, and particularly whether the screen has the capabilities to handle HDR.
DISPLAY TECHNOLOGY CRTs are limited in terms of the light level ranges they can generate, which is why the original ITU Rec 709 established strictly restricted color space and only 8-bit color. The electron beam and phosphorescent screen cannot output an HDR picture because phosphor does not stop glowing when an electron beam moves away. The higher the voltage striking it, the longer it outputs light. Attempts to improve brightness from a CRT results in increasingly smeary pictures, which reduces rather than increases the perceived resolution.
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Liquid crystal displays (LCDs) are also limited in dynamic range. Even when a pixel is notionally set to black, light leaks through, and when set to white, it is not perfectly transparent. The emergence of the OLED screen has raised the potential for HDR. OLED is an emissive technology: the pixel itself generates light, rather than controlling a constant backlight as with LCDs. In the best OLED screens, the black is remarkably black, and high output devices that can generate high white levels are available. Between the two extremes, OLED screens are remarkably consistent. This linearity raises another benefit. Historically, a gamma curve was used to make the most of the available dynamic range of the CRT. It allowed more bandwidth to be used in the mid-tones, enabling colorists to make artistic judgements about how the limited range of colors could best be used. That has now been replaced by a new formula, the electro-optical transfer function (EOTF), sometimes called perceptual quality (PQ). This provides a more granular way of mapping luminance while retaining creative control. EOTF allows some existing distribution architecture to carry HDR content and is incorporated into the high-efficiency video coding (HEVC/H.265) compression standard.
COMPATIBILITY When color TV was first introduced, it was backwards compatible: one signal could be viewed on black and white and color receivers. Many industry players believe the introduction of HDR ought to be backwards compatible: a single stream should be interpreted by the capabilities of the receiver.
Several companies are proposing practical HDR systems, including Dolby, Technicolor, Philips and BBC/NHK, all of which advocate a backwards-compatible approach. Others, particularly those working in over-the-top (OTT) streaming and Blu-ray 2, are less concerned with backwards-compatibility. Implementing their proposals for broadcast could mean a swap-out of encoders, decoders and set-top boxes. The other structural difference between approaches is the singleor dual-layer question. In a duallayer approach, standard dynamic range (SDR) and HDR video streams are carried separately through the workflows, and the receiving device selects which stream to accommodate. This raises challenges for internal workflows, especially when splicing SDR commercials into an HDR program, or inserting emergency broadcast system messages. In a single layer approach, one workflow carries the SDR signal, plus additional metadata which tells HDR-equipped devices how to extend the dynamic range. This provides full backward compatibility â€“ non-HDR devices will not understand and therefore ignore the additional metadata. Introducing additional processing may limit the benefits of extending dynamic range. Encoder designs will also need to ensure HDR can be achieved in real time, as live sport is a big driver for HDR capabilities. It should also not impose too much latency.
SOFTWARE Currently, there is a genuine interest in HDR as a means of delivering more engaging content to consumers. Without considering higher resolutions and increasing frame rates, HDR can provide a
visible boost to perceived quality at a modest additional budget per bit. Both industry and consumers want HDR sooner rather than later. The practicalities, however, are far from finalized. Some organizations propose viable but proprietary techniques to implement HDR, while others urge caution to allow open standards to catch up. At worst, divided camps could end up in a VHS v. Betamax or Blu-ray v. HD-DVD scenario. It will take time to resolve existing issues and for widely-agreed upon solutions to emerge, even if standardization on a single system does not occur. Content owners could be asked to deliver HDR content in different formats for different distribution platforms. Elemental provides softwaredefined video solutions that allow broadcasters, service providers and content owners to create, manage and deliver content with the new and vibrant color capabilities of HDR. This can be done without forcing expensive decisions and the outlay of a substantial amount of capital for video infrastructure and does not require the maintenance of parallel hardware HDR silos. Elemental offers a scalable, flexible approach to future proof video workflows kept current through software updates. HDR is a key element in the overall evolution of video, and is one part of a continuously changing landscape. Maintaining as many components as possible in software reduces both capex and opex. Flexible and scalable software from Elemental takes advantage of the huge increases in general purpose processing power and virtualization to perform video processing and delivery tasks without significant hardware investments, allowing organizations to embrace HDR quickly and meet the expectations of their audiences.
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A COST-EFFECTIVE 4K CINEMA CAMERA Ever since it was presented, less than two years ago in NAB 2014, AJA CION has carved out a niche for itself. Its options have expanded through a substantial cut in its price to almost half, making 4K production accessible to increasingly broad sectors.
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Txt: Luis Pavía
What does AJA put in our hands for less than $5,000? A genuine 4K camera (4096x2160), with a global shutter (no rolling-shutter), and an APS-C sensor, that internally saves files in Apple ProRes format in 12 bits, with AJA RAW output to 120 fps. These are big words. We see everything packed in a magnesium alloy body, with a shoulder support, many connections and threads for different accessories, and an exchangeable mounting to use direct optics with different standards. We can now confirm its open architecture and extraordinary adaptability. Although we will have to add lenses, batteries, viewfinders, storage, etc. according to our production needs, let us see in detail what can this camera offer. As we always say, if we know how to choose and handle the appropriate tool, our work will be much easier and the results much more successful for our customers. Beginning with the physical appearance, the first thing that draws our attention is the classic ENG shoulder strap with suede and wood finishes. Yes, you have read it correctly: suede in the shoulder strap and wood in the top handle. While it can be used by a single operator, after having tried it, we believe that it is geared more towards a cinematic style. It's not a "point-and-shoot" camera, and having an assistant providing support to the main operator is very much appreciated. Depending on the viewfinder that we decide to use, we can have large amounts of information such as peaking, zebra, histogram, etc. However, the setup information and the available menu options on the help screen cannot be controlled through the external viewfinder.
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The camera body capitalizes all AJA's experience and knowhow. Its design gives priority to open architecture in its interaction with the real world.
This makes it difficult for a single player to work on its own, though it is not impossible. In fact, once everything has been set (optics, matte-box, viewfinder, handle, battery, etc.) balance is really good. Magnesium alloy components used for the body mean that it's lightweight (3.5 Kg.), without compromising either reliability or robustness. The high number of screws to attach the different accessories helps to maintain balance and suits virtually any requirement. The camera body capitalizes all AJA's experience and know-how. Its design gives priority to open architecture in its interaction with the real world. So, we can easily change ourselves the optical support (4 screws) to use natively any product that we may have: classic Arri or PL; and even Canon EF or Nikon, so popular lately in digital cinema. As for the battery support, it can also be chosen and changed for gold-mount (Anton Bauer) or Vlock (Sony). We can custom-made the camera, and change anything in it when it suits us. The only owned element is the solid state recording cards, AJA Packs, identical to those used by KiPro Quad, which are now available in capacities of 256 and 512 GB. They are equivalent to SSD disks but we were surprised to see that the body only has one slot for a single card, and this limits the inter-
nal recording capacity. Though that is not a problem either, because it has external recording options, and they are broader. What about its recording options? Its internal support always uses Apple ProRes format: DCI 4K (4096x2160), UltraHD (3840x2160), 2K (2048x1080) and Full HD (1920x1080). It also uses ProRes 444 12 bit up to 30 fps, or ProRes 422 10 bit up to 60 fps. Framerates can be set: 23’98, 24, 25, 29’98, 30, 50 and 60. If we have external recording units we can use RAW format with frame rate up to 120 fps. As to the sensor that records our images, it uses an APS-C global shutter. This means that all images are read at the same time and
With regard to connectivity, the range is truly broad: 6 SDI outputs (screens, plus 4K 4x3G or 4 HD streams), 2 HDMI outputs (4K support), 2 balanced XLR analogue inputs (with supply) at 24bit 48kHz, 1 headphone output, 1 Thunderbolt port to record directly into a computer, 2 Lan-C connectors for remote control, 2 D-tap connectors to power accessories (very useful for the viewfinder, for example), timecode, genlock...
there are no rolling-shutter effects. Its size, similar to Super-35mm, guarantees full compatibility with PL optics. It incorporates low-pass and infrared optical filters. Sensitivity is not exactly spectacular, as it apparently has a limited margin, ISO 320-1000, but the 12 fstop dynamic range is very interesting.
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And with regard to connectivity, the range is truly broad: 6 SDI outputs (screens, plus 4K 4x3G or 4 HD streams), 2 HDMI outputs (4K support), 2 balanced XLR analogue inputs (with supply) at 24bit 48kHz, 1 headphone output, 1 Thunderbolt port to record directly into a computer, 2 Lan-C connectors for remote control, 2 D-tap connectors to power accessories (very useful for the viewfinder, for example), timecode, genlock... As for the use of AJA Pack cards, there is an external reader, that has Thunderbolt and USB 3.0 ports, but it needs external power (120-220v feeder) to work. We can use the camera with just a few extra elements: optics, battery and an internal or external recording device. But the main set should be completed with at least a
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Image processing options are very interesting. In the first place, without having to use the gamma curve, the color result is extremely accurate and, in particular, the flesh-tone reproduction is very pleasant. viewfinder, some type of handle (if carried on the shoulder), and a matte-box, as it does not have ND integrated filters. Out with the theory. It's time to try it. The first thing that draws our attention is the time it takes to power up, about 25-30 seconds, unfit for anyone in a hurry. Once working, we take a close look at it. The buttons on top of the
screen that is integrated to the body give direct access to playback of clips, with no need to switch any Play/Rec mode. It's one of the quickest and most effective that we've ever seen. The one in the lower part gives access to the menu and to all set up parameters through a wheel. We then have a large red button to start/stop the recording; the encoders to control audio are next to the VU meters. When being
handled on the shoulder, their location does not facilitate its use, and they could even accidentally move. There is also another volume control at the top, for the headphone output. Unlike the quickness and efficiency of the reproduction buttons, the use of the menu leaves nobody indifferent and it is advisable to become more familiar with it before shooting. As only one option is visible, and you have to go through them all until you find the one that you are looking for, it is somewhat cumbersome. Specially taking into account that there are a lot of options, with more than 40 menu options to choose from. Plus, changing any of the parameters may mean modifying others. For example, changing the recording format may alter the framerate. In this sense, the possibility of connecting the camera to a computer via Ethernet and having access to the different setting options through a graphic inter-
face, makes this method more recommendable, safe and efficient, and we can forget about adjusting regularly options through the menu. We should also take into account the fan before shooting. Speed can be configured and therefore so can the noise level. It is normally very quiet and we would only face difficulties when shooting close to actors, in hot environments. In these times of unthinkable sensitivities, one of the aspects that has given rise to much debate since it was launched is the little margin of available options that it offers in this sense, with a range of ISO values from 320 to 1000. However, the noise generated in higher values is reasonable and it reminds us more of the classical grain in films than of modern electronic noise. Within this film line, we find ourselves with different interesting image processing options. In the first place, without having to use the gamma curve, the color result is extremely accurate and, in particular, the flesh-tone reproduction is very pleasant. The only requirement is to take care of the correct exposure. In this sense, gamma curves also have their particularities: working with a configuration to obtain a directly usable result, with no need of additional processing; or configuring any of the expanded modalities, to help us expand the dynamic range to their peak. "Normal expanded" and "Expanded 1" modes broaden the recordable range and allow an extensive processing, with large postproduction margins, but we have no LUT options to emulate an approach of the obtainable result in the viewfinder, and we have to work with clean images, which are characteristic of these configurations. AJA's recommendation to obtain the maximum dynamic range is to
set gamma in "expanded 1" and adjust color in "flat". We have not performed extensive tests as to bring to question the 12 f-stop optimal value, although we would say, as almost always, that this dynamic range is somewhat optimistic. Al least with this firmware version we haven't found any options of SLog type curves. In this sense, we have verified that the overexposed areas hardly admit recovery, so we have to be really careful to avoid overexposure. We shouldn't force shades. Although they admit some recovery, they don't allow too much latitude to avoid noise. Performance with low lights could be improved.
The level of detail is extraordinary. This, together with its excellent color rendition, makes it a really suitable tool in any scope of work, under the sole condition of taking care of lighting. The level of detail is extraordinary. This, together with its excellent color rendition, makes it a really suitable tool in any scope of work, under the sole condition of taking care of lighting. Advertising, cinema..., anywhere where we are able to control lighting will become a perfect setting. To sum up: it is a great tool, with great possibilities and some limitations. For these reasons, and in spite of its price being low in relation to what it offers, it is a suitable camera for professionals with certain degree of experience. They will be the ones to know how to enjoy this product and get the most out of it.
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In this issue: Infostrada achieves first IP based live television broadcast Routers: from SDI to IP 42 and Back Again BITAM 2015, the event...
Published on Mar 24, 2016
In this issue: Infostrada achieves first IP based live television broadcast Routers: from SDI to IP 42 and Back Again BITAM 2015, the event...