TM Broadcast International 8, April 2014

Page 1

March 2014

Staff Editor Javier de Martín Director Jesús Carrillo Key account manager Cristina Feduchi Javier M. Gutiérrez Creative Direction Mercedes González Editorial staff Administration Laura de Diego





NAB 2014


Mobile Viewpoint WTM Expert

Pixtron Broadcast

TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 1 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43

Published in Spain, March 2014.



TEST AREA TM Broadcast International #8 March 2014



Editorial We said at the beginning of the year we would see many changes in companies and so it is happening . We arrive to Las Vegas with some interesting news, the most recent is the acquisition of Snell by Quantel. What to see is if there will be a company with global solutions and new developments or are simply “monetary movements”. Certainly, another exciting news is what is happening between Grass valley and Belden, they are acquiring each other, depending on who you talk you have different comments. And the other key thing is the Harris Broadcast mutation in two companies, by separating business lines. These are all normal movements, after all that has happened the last years, because of the technological moment and the recent crisis background. Companies had grown to compete and diversify business, some of them maybe too much, and now they must joint to keep falling. Along this year we´ll continue seeing movements like these ones, that’s so interesting. We expect that in 2015 the broadcast ecosystem will change into a dynamic market with good competitors. Regarding the show, what is clear is that we will see the consolidation of 4K and UHD workflows, with cheaper and third party solutions. Have a nice show!

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EVS delivers the action from Emir’s International Equestrian Sword Festival in Qatar The EVS production workflow was used to deliver all the action from the event to race-goers at the course. EVS technology was also at the heart of the outside broadcast unit from Qatari broadcaster Al Kass, which was providing the television coverage. The event was also the first time EVS’ XTRef software was used, a multi-camera review solution specially designed for stewards and race officials. EVS XT3 video production servers controlled by LSM panels are central to Qatar REC's workflow, used to ingest multiple camera feeds and produce instant replays and highlights. EVS’ IPDirector production asset management suite enables the production team to easily and efficiently manage ingest scheduling, live logging, to search and preview recorded content, as well as create playlists between races.

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Around 100 hours of raw recordings is generated each week. All this content is transferred to an EVS XStore NAS central storage network, ready for access in both high and low resolution by Avid and Adobe editors. Archivists determine what will be maintained in the longterm storage. The view of each race from multiple camera angles is archived using EVS’ IP2Archive tool, which allows operators to store media files on LTO Tapes and restore the files on the central storage at a later date when the material is needed. Qatari sports broadcaster Al Kass was providing live television coverage from the Emir’s Sword meeting held last month. Its outside broadcast vehicles were equipped with EVS XT3 servers, and connected to Qatar REC’s live production workflow. This enabled Al Kass and Qatar REC to benefit from a seam-

less exchange of content. Images captured from Al Kass’ two Imovix hyper-motion 300 frames a second cameras were available to the Qatar REC production team as well as the race stewards. “The system we’ve developed together with EVS provides a fast and reliable solution – from the ingest of multiple camera feeds all the way to deep archive,” said Jean Bernard Lebon, TV Director at Qatar Racing and Equestrian Club. “Industry-standard technology, like EVS’ servers and XNet media sharing network, and the plug-and-play integration with third-party editing and hierarchical storage management systems creates a really flexible and innovative workflow. We can also easily interwork with other production facilities like Al Kass, delivering real productivity and quality benefits for everyone.”




Formula E selects Vislink to deliver HD on-board video transmission systems

Brittania Row invests in British console manufacturer DiGiCo Watched by over four million television viewers, the ceremony, held at London’s O2 Arena, was once again hosted by James Cordon and featured performances from Beyonce, Katy Perry, Arctic Monkeys, Rudimental, Lourdes, Bastille and Bruno Mars, plus a medley from Pharrell Williams and Nile Rogers.

Formula E kicks off in Beijing in September. The championship will form 10 rounds taking place in cities around the world, and will run through to June 2015. The series will see 10 teams (each with two drivers) going headto-head in a race to be crowned the first ever FIA Formula E Champion. With Vislink’s Gigawave technology, spectators around the world will benefit from full high definition footage from onboard the cars. “Formula E is the first FIA championship of its kind, featuring formula cars powered exclusively by electric energy. This is an exciting step forward for motor racing and we’re thrilled to be a part of it,” said Stephen Rudd, CEO of Vislink International Ltd. “Vislink has a strong track record in live sports, delivering on-board systems for MotoGP and the FIA World Rally Championship. We are delighted that Vislink has also been selected to provide HD broadcast equipment for Formula E.” Cars competing in Formula E will be fitted with up to four on-board

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Vislink Gigawave HD cameras, which can be mounted in up to 10 different positions. These micro-sized units will be linked to a Gigawave H.264 on-board transmitter, which can also transmit on-board data and HD video and audio to provide the best possible coverage of the event. Each car’s roll-hoop will be fitted with Vislink’s Gigawave T-Piece camera system, an integrated dual forward and rear facing on-board system. In addition, live footage from the pit lane will be captured using Vislink’s latest range of Gigawave Clip-On wireless camera transmitters. The Formula E series has already generated significant interest. All ten team slots have been filled and high profile global companies spanning a wide range of technology and business interests are involved, including Sir Richard Branson, Leonardo DiCaprio and Alain Prost.

“For the first time on the BRITS I specified DiGiCo SD7 consoles for use on Front of house and Monitors,” says Derrick Zieba, audio designer and live sound supervisor for the show. “I had used this console for the first time on the Classic BRITS last year and was amazed by the audio quality, transparency, flexibility and reliability of this board. “For the BRITS, both the Arctic Monkeys and Bruno Mars requested the WAVES SoundGrid server package, which extended the plug-in capability to allow the artist’s sound to be tailored exactly to their needs. “Both consoles performed without fault throughout the rehearsals and live performances and I will certainly be spec’ing these consoles on other live multi-band TV shows." “We’re delighted to now have virtually the full range of DiGiCo consoles in our inventory,” adds Britannia Row’s Bryan Grant. “The new SD7, our second, went straight out with our first one on the BRITS and our SD5 is currently on tour with Limp Bizkit. We take delivery of our third SD7 and an SD10 at the end of March and have continuing projects throughout the spring and summer for these and the rest of our DiGiCo stock.” “There’s nothing like a big production with a worldwide audience, manned by a team of people that know how to get the job done right,” concludes DiGiCo managing director James Gordon. “And these are just those people.”




Fujifilm has been selected by Irish companies “Television Mobiles Ltd (TVM)” and “IRIS Ltd” to supply Fujinon HD Broadcast lenses TVM Television Mobiles was established in 1986 and has since built up a reputation as a leading provider of Outside Broadcast Services. TVM and its sister company IRIS deploy the latest production technologies and experienced operators in order to guarantee flawless production results of the highest achievable quality. The core of their productions is geared towards larger Sports events such as; TG4 & RTÉ GAA League coverage, RTÉ Racing, Sky Sports International Soccer, Sky Sports Heineken Cup, ICC Champions Trophy Cricket and other major events such as last year’s G8 Summit in Lough Erne in Northern Ireland, and most recently at the Sochi Winter Olympics where the XA77x9.5, XA88x8.8, XA87x9.3, and XA99x8.4 were deployed. The ethos of TVM and IRIS is firmly planted in the ideal of mutual support and co-operation. This ensures a positive approach to each project with all crewmembers conscious that they are making a significant contribution to the overall production. TVM and IRIS will take a client’s concept and work closely with them to insure it comes into frui-

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tion. TVM and IRIS’s recent acquisition of several Fujinon HD Box lens models XA99x8.4 with a focal range of 8.4-1664mm, XA77x9.5 with 9.51464mm and the XA55x9.5 with 9.51050. These HD Box lenses are combined with HD ENG HA42x9.7 and HA23x7.6 lenses which will be deployed on prominent Irish horse racing tracks for the National Hunt & Flat races. These premium HD EFP lenses are all fully loaded with on board OS-Tech optical stabilisation, including 16.bit encoder and serial communication, they are extremely compact in size and mass for the given lens category. Managing Director Mr. Bart Arnold commented: “We chose the XA77x9.5 Lenses because of the combination of their good physical size and weight, and excellent zoom range, bringing previously unachievable quality to the coverage of Horse Racing in Ireland. The new XA55x9.5 high definition box lens with their specially designed support bracket has allowed us to use these high zoom ratio lenses on our bespoke designed remote hoist camera positions.

He continued by saying: Our camera operators like this lens because of the ease of use of the controls simple, fast and trouble-free to build up and lighter to handle then some of the older models which makes it very suitable for elevated positions.” Since it is also compatible with focal lengths from 9.5mm to 525mm, it shows excellent performance in sports broadcasts, concerts and live productions. The lens incorporates the bespoke 16bit encoder which outputs zoom, focus position and other lens data at high resolution. It can work with virtual system that combines CG image with live shooting image. Since it has a built-in lens supporter to which portable ENG cameras can be directly attached makes it the most flexible HD EFP lens in its category. The XA55×9.5 features Fujifilm’s proprietary optical stabilization as a standard for the first time for 50-60x class field lenses. The lens corrects image shaking on the screen caused by wind and poor footing, which often occurs with high-power zoom lenses with the focal length on the full telephoto side, and produces stable images.




Advantech Wireless’ new SapphireBluTM 3000W Ku-Band Hubmount UltraLinear™ Modular SSPA/SSPB Advantech Wireless Inc., announced the addition of the new SapphireBlu™ 3000W KuBand Hubmount UltraLinear™ Modular SSPA/SSPB to its broad portfolio of solutions delivering high power density, high linear power and millions of dollars of savings. The new Advantech Wireless’ SapphireBlu™ 3000W Ku-band Hubmount UltraLinear™ Modular SSPA/SSPB delivers the highest linear power available in the market exceeding all barriers between Klystrons, TWTs and SSPAs. Awarded Teleport Technology of the year 2014 by the World Teleport Association and Most Innovative Product of the Year 2013 for its ground breaking performance and pioneering technology, Advantech Wireless’ SapphireBlu™ Series of UltraLinear™ GaN based High Power Amplifiers and BUCs is the ultimate solution for Direct to Home TV. It is designed for multi carrier operations; it can cover multiple transponders and it is full DVB-S2 enabled. By saturating all transponders of an entire satellite you obtain the maximum power/bandwidth combination that you will ever need. This will translate into savings in energy cost, satellite bandwidth and CAPEX.

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M.A.R.S. SoundPad for Innovason Eclipse GT The SoundPad plug-in with touchscreen operation brings new playback functionalityto the Innovason Eclipse GT mixing desk’s M.A.R.S. multitrack recorder. SoundPad enables the preparation and triggering of up to 64 audio files containing up to eight audio channels each. Audio files can be triggered in various ways, including via time code, MIDI, touchscreen operation, fader start, mute key etc. They can be imported into the M.A.R.S. removable SATA HDD or read-outin real time from any USB device connected to the Eclipse GT. SoundPad can be used in parallel with a M.A.R.S. project;any recording or playback of a multitrack session during the use of the SoundPad will be unaffected. Each audio file assigned to one of the 64 touchbuttons on the SoundPad can be edited (start, stop, fade, level, pitch, etc). It is also possible to export a SoundPad project and import it in another M.A.R.S. or MT128 device.

to be created. A playlist is a sorted

SoundPad also features a module that allows a number of playlists

ges, hold music before the show

list of audio files (e.g Waves, MP3, MP2, AIF) that can be automatically chained. Each file can be anything from mono to aneightchannel piece of music, speech or special effects. Up to four playlists per project can be set up, with each playlist holding up to 256 audio files. SoundPad is optimized for use in applications including theaters, where




ambiance and off-stage pre-recorded dialog have to be manually or automatically triggered during a performance. It is equally perfected for Broadway shows, where the SoundPad is used for synchronizing the show with special effects and musical elements, and it is also designed for the use in Live shows for jingles, security messaand links between artists.




Quantel acquires Snell to create new force in media technology Quantel announced that it has acquired Snell. Snell is a world leader in broadcast and media technology providing a comprehensive range of solutions for Live TV production and the creation, management and distribution of content for TV everywhere – on tablets, mobiles and web. “This acquisition brings two great companies together to create a major new force in the global broadcast and media technology market. This will enable us to better serve Quantel and Snell customers around the globe,” said Ray Cross, Executive Chairman and CEO, Quantel. “Our product ranges are entirely complementary so the excellent Snell and Quantel brands and

product ranges will continue. We’ll be able to combine the best in class talent and technologies from Quantel and Snell to bring exciting new products and solutions to market to help our customers transform their businesses. More local offices across the world will enable us to build closer relationships with our customers and to offer even better support.” “Paul Martin, Managing Director of the Snell TV Everywhere division and Robert Rowe, Managing Director of the Snell Live TV division will join the Quantel board to make sure it is business as usual for Snell customers,” continued Cross. Tim Banks, Snell Sales Director and Peter Fredericks, Snell Finance

Director are also taking leading roles in the new combined organisation. “I’m really delighted that the Snell and Quantel businesses have come together to increase the scale and scope for both,” said Simon Derry, outgoing CEO at Snell. “Under Ray’s leadership the combined business will be able to write a new and exciting chapter moving forwards. I look forward to supporting Ray during the important period of transition.” “We will be creating a new world class facility at the company headquarters in Newbury to produce the complete Quantel and Snell product range and we look forward to the new ideas generated when the two R&D teams start to interact,” said Cross.




AJA Technology extends worldwide coverage of 2014 Winter Paralympic Games KiStor HDDs. Resulting footage from SSDs was quickly transferred to several editorial workstations and played out live on, YouTube and the app, while material recorded to HDDs was archived to a server for future use via Thunderboltconnected KiStor Docks. Once streamed live online, footage from the SSDs was subsequently edited in Apple® Final Cut Pro® for the creation of highlights and YouTube programs. AJA’s FS2 ensured smooth mixing of international sound with audio commentary throughout, and acted as a safety net for downconverting HD signals to SD when the need arose. To monitor all the outgoing signals, four AJA Hi5-3G MiniConverters were employed to serve a multiviewer, creating four HDMI-signals from four source SDI-signals.

The Sochi 2014 Paralympic Winter Games, held from March 7-16, marked AJA Video Systems' third collaboration with the International Paralympic Committee (IPC) to provide broadcast solutions for the international distribution of live and ondemand coverage of the games. IPC’s ParalympicSportTV team delivered 300 hours of HD content to audiences worldwide using eight AJA Ki Pro Rack recorders; an AJA KUMO 32x32 compact router with a KUMO Control Panel controlled through its webserver over LAN; an AJA FS2 dual-channel converter and frame synchronizer; and four AJA Hi5-3G Mini-Converters. “AJA equipment played a huge role in our Paralympics coverage again this year; we couldn’t have pulled the project off without it. KUMO truly formed the heart of our pipeline, allowing us to distribute our internal signal to every single piece of equipment,” said Ingo Schneider, Head of ParalympicSportTV. “Our Ki Pro Racks also provided seamless recording and playback, and accelerated editorial, while FS2 allowed us to better control our audio settings and be prepared for the demand of satellite connections.” Adding a new level of complexity, Schneider's team was tasked for the first time with distributing live signals to a mobile/desktop app (available for download through iTunes and Google Play), while simultaneously

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broadcasting live signals to four separate and YouTube - channels: Alpine skiing and snowboarding, Nordic skiing, ice sledge hockey and wheelchair curling. Signal recordings were later edited and archived for upload to IPC's YouTube Channel to enable on-demand viewing of the programs. To facilitate the job, the Olympic Broadcast Service (OBS) provided IPC with an original feed of the games via more than 10 links to the KUMO. Schneider’s team then routed HD signals provided by OBS to outgoing channels and eight Ki Pro Racks – which recorded the live feeds to four KiStor SSDs and four

“It’s exciting to be able to share the achievements of these amazing athletes with the entire world, and AJA continues to help make that possible,” shared Schneider. “I can say without a doubt, we couldn’t have made a better decision to partner with them again; their gear is not only easy-touse, but truly versatile and reliable.” “Every two years, the Paralympic Games bring together some of the most experienced athletes representing countries across the globe, and we’re honored to continue our support for IPC in its efforts to share their inspiring talent,” explained AJA President Nick Rashby.




Harris Broadcast becomes Imagine Communications and GatesAir Harris Broadcast unveiled Imagine Communications and GatesAir at its inaugural MediaDay held at Madison Square Garden in New York City. Imagine Communications will be headquartered in Dallas, with Centers of Excellence in Denver, Toronto, Los Angeles, Tel Aviv and Beijing. The company’s five decades of media software and networking innovation has secured more than 3,000 customers spanning 185 countries, with more than 3 million products deployed that support over half of the world’s video channels, along with a rich portfolio of patents. GatesAir will be headquartered in Cincinnati, Ohio, with its state-of-art manufacturing, supply chain and fulfillment center in Quincy, Illinois. GatesAir has been pioneering overthe-air TV and radio transmission innovation for nearly 100 years. “With vibrant new identities and focus, Imagine Communications and GatesAir are well-positioned to serve our industry and customers,” said Charlie Vogt, CEO of Imagine Communications and GatesAir. “Our vision, product direction and strategy further align Imagine Communications and GatesAir with today’s transformational trends, the networks of the future and our customers and partners. We have created two laser-focused companies that are innovating across different ends of the technology spectrum. Imagine Communications will lead the media and entertainment markets to a future defined by IP, software, the cloud, and TV Everywhere, with an architecture vision for delivering and monetizing multiscreen content. Likewise, GatesAir will continue to lead the next-generation TV and Radio overthe-air market, with a focus on providing wireless innovations that reduce power consumption and carbon footprint, while leveraging the growth in digital radio and TV transmission across the globe.”

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Imagine Communications


Traditional industry models are changing rapidly due to multiple factors including the increasing availability of broadband, multiple new devices, and nontraditional media content, as well as an Internet model that is substantially changing viewing habits. This creates new opportunities for media companies to expand their customer reach and leverage their content and branding beyond traditional distribution methods.

With its long history of innovation, GatesAir leads the industry in driving down the cost and power required to operate over-the-air technology. The company is ideally prepared to guide broadcasters in effectively navigating major technology evolutions, such as digital conversions, new use of spectrum and licenses in many countries, and spectrum auctions and TV band repacking. From breakthroughs in digital modulation to patent-pending amplifier technology, GatesAir delivers the most cost-, energy- and space-efficient solutions and is dedicated to a customer-first focus in rearchitecting networks for the future.

“Our industry is moving rapidly to a place where media companies no longer want to deploy and manage proprietary technology,” said Mr. Vogt. “They have been burdened over the years by costly, legacy infrastructure that limits their expansion options and flexibility to transition to new models. Our customers, channels and business partners around the world are enthusiastically embracing our new paradigm of service-oriented, software-based architectures that utilize commercial off-the-shelf technology and the virtualization of network functions.” Consistent with this vision, a new media platform is being introduced. “Imagine Communications MediaCentral is the industry’s first integrated, end-to-end ad sales, traffic, scheduling, automation and playout platform that virtualizes key capabilities in the cloud, which were previously provided only in distinct, separate, and often premises-based platforms,” said Steve Reynolds, Chief Technology Officer at Imagine Communications.

“We are thrilled to bring back the positive market heritage associated with the name Gates,” said Rich Redmond, Chief Product Officer, GatesAir. “We gain the best of both worlds by empowering our expert teams, technology and customer base, while also gaining exclusive focus and entrepreneurial autonomy to best serve the over-the-air radio and TV market. Today, we are better positioned than ever in our history to build best-of-breed, over-the-air solutions that take advantage of the latest breakthroughs and changes that will occur over the next decade in content delivery and distribution across the globe. With spectrum reallocation on the horizon in the US and similar dynamic changes around the world, our customers are highly focused on staying ahead of the technology curve, and we are ideally suited to support their new requirements and cutting edge deployments.”




Lawo North America on the Move for broadcast installations, OB trucks and remote productions. “As a rapidly growing number of North American broadcasters and production companies turn to Lawo solutions for both sales and rentals, our new Toronto facility gives us the ability to provide an even higher level of service and support,” said Herbert Lemcke, President of Lawo North America. “In addition to sales and marketing operations, our new location will enable increased administration, engineering and servicecapabilities to support Lawo products in diverse applications and locations throughout the region.”

Lawo North America Corp. (Lawo NA), is proud to announce that it has moved head offices to a new facility in Toronto to better address increasing demand for the company’s product range. In addition to Toronto, the company's rapid growth is further supported by separate east and west coast sales and support operations in the US.

Lawo NA offers a full range of premium quality audio consoles and routers as well as their V_line video product range, and a new Commentary system specifically designed for large-scale events. The new facility will also house North American sales and support operations for L|S|B's VSM (Virtual Studio Manager), an overall control system

Effective immediately, the company can be contacted at: Lawo North America Corp., 2041 McCowan Road Unit 1, Toronto, Ontario M1S 3Y6CANADA. Phone +1 (416) 292-0078Fax: +1 (416) 292-0402. For more information contact: or

NUGEN Audio's Paul Tapper to speak at 2014 NAB Show's Broadcast Engineering Conference NUGEN Audio announced that the company's founder, Dr. Paul Tapper, will present "Beyond Basic Broadcast Loudness Compliance" at the 2014 NAB Show's Broadcast Engineering Conference. A segment of the "CALM Compliance Issues" track, Dr. Tapper's presentation is scheduled for Wednesday, April 9 at 2 p.m. in room S227 of the Las Vegas Convention Center. "Now that the initial rush to meet broadcast loudness rules is almost over, there are a few questions starting to emerge," Dr. Tapper said. "These include where in the broadcast pipeline loudness should be addressed, how loudness can best be handled at ingest and QA, and how loudness management fits into the post-production workflow. This session will address these issues, and will also explore how loudness management can be used to further improve broadcast audio and the future of loudness in broadcast."

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Myanmar’s MRTV Selected Grass Valley’s broadcast infrastructure solutions for Southeast Asian Games International Broadcast Center Grass Valley® supplied Myanmar’s MRTV with a solution for the capture and delivery of live HD coverage of the 2013 Southeast Asian (SEA) Games. This solution included a sophisticated broadcast infrastructure for MRTV’s International Broadcast Center (IBC), which was designed to enable unilateral broadcast services for the Games. MRTV operates Myanmar’s state-owned satellite television station MRTV. The station airs 12 local channels and 14 regional channels throughout Myanmar, reaching millions of viewers. For the IBC, Grass Valley provided the design and installation of the broadcast infrastructure, which included facility routing, ingest, playout, satellite uplink, fiber transmission and venue communications. For a streamlined workflow, MRTV purchased 50 seats of GV STRATUS® nonlinear media production tools, which were used by IBC broadcast staff as the primary platform for ingest, editing and content management. GV STRATUS was additionally used by individual broadcasters to search content and edit complete packages for their own broadcasts. The system was used in tandem with EDIUS® Pro 7 multiformat nonlinear editing software and a Trinix® NXT multiformat digital video routing switcher with multiviewer—incorporating advanced multiviewer circuit technology and eliminates the need for secondary external components and connections. Rounding out MRTV’s IBC solution, Grass Valley partnered with Broadcast Solutions, a

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Singapore-based rental and production company, to supply two Kayenne® Video Production Center switchers and 18 LDX WorldCam™ advanced imaging camera systems. Coverage was broadcast live throughout the region as well as distributed to multiple platforms including the official SEA Games YouTube channel. “We wanted to equip the IBC with state-of-the-art and growthoriented technology, and Grass Valley was the natural choice to help us with this,” said U Tint Swe, Director General at MRTV. “In an impressive seven months, Grass Valley not only designed and built the IBC’s broadcast infrastructure, but also the support system for satellite uplink and fiber transmissions. Our broadcast center delivered highquality coverage of the SEA Games without a hitch,” U Tint Swe continued. “Grass Valley was so pleased to help provide coverage of this momentous live sporting event in Myanmar,” remarked Stephen Wong, Senior Vice President of Asia Pacific, Grass Valley. “In the competitive world of live sports, it’s essential that MRTV had the requisite architecture in place to ensure top-quality HD broadcast was delivered for the SEA Games, as well as a flexible solution that can keep them on the leading edge in this ever changing broadcast environment.”

Advantech Wireless SapphireBluTMSeries of GaN based HPAs selected as Teleport Technology of the Year 2014 Since 1995, WTA has presented annual awards to companies and individuals who have dramatically demonstrated excellence in the field of teleport operations, development and technology.David Gelerman, President &CEO and Cristi Damian VP Business Development at Advantech Wireless, accepted the award at the 19th annual Teleport Awards for Excellence Ceremony and Luncheon celebrated during the SATELLITE Conference and Exhibition at the Walter E. Washington Convention Center in Washington, DC. “We are extremely proud for our SapphireBluTM Series of GaN based HPAs to be recognized as Teleport Technology of the Year by the World Teleport Association,” mentioned David Gelerman, CEO of Advantech Wireless. “This achievement became possible due to the remarkably high level of power and linearity performance that allows our customers to significantly reduce the cost of capital expenses and more importantly, at fraction of cost, compared to indoor Klystrons or super-linearized TWTs. For the first time in the history of satellite communications we are able to saturate all transponders of the satellite with a single 13m antenna and a single amplifier system per polarization”. The SapphireBluTM Series of UltraLinearTM GaN based amplifiers from Advantech Wireless offers the highest linear power available in the market. This new architecture is designed for Multi-Carrier operations, with power expandable to 3kW by phase combining and soft fail philosophy and is ideal for DTH Broadcasting, High Data Rate Telecom Services and Deep Space Communication. With this pioneering technology it is possible to saturate alltransponders of the satellite with a single 13m antenna and a single amplifier per polarization.




Blackmagic Design Announces Blackmagic MultiDock with Thunderbolt 2™ Technology Blackmagic Design announced a new model of the Blackmagic MultiDock with Thunderbolt 2 technology. The new Blackmagic MultiDock replaces the previous model and is available now from Blackmagic Design resellers worldwide for US$595. Blackmagic MultiDock is a 4 disk docking solution and high speed disk array featuring an attractive machined metal rack mount design with an easy to access “cartridge” style design that enables customers to work more efficiently with high capacity solid state drives. Each disk dock features an independent SATA interface chip for extremely fast data transfer speeds. MultiDock is fully compatible with SSD’s recorded in HyperDeck broadcast recorders, the Blackmagic Cinema Camera and more. Compatible with existing Thunderbolt computers, MultiDock features advanced Thunderbolt 2 technology for blazingly fast transfer speeds at up to 20 Gb/s. This means customers get super responsive editing and color correction directly from source disks and avoid slow file copying. The new Blackmagic MultiDock also includes a loop thru so users can connect up to 6 devices with a single Thunderbolt connection. This means customers can build SSD docking stations with up to 24 slots or incredibly fast

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disk arrays consisting of up to 24 disks all striped together on a single Thunderbolt connection to the computer. Blackmagic MultiDock uses Mac OS X and Windows driver support so SSD’s will mount like regular built in hard disks. That ensures 100% compatibility with popular software tools including DaVinci Resolve, Final Cut Pro, Premiere Pro, Avid, Smoke and more. Customers can even stripe multiple disks together and build a super fast SSD RAID array. “The Blackmagic MultiDock is a fantastic solution to managing storage in a busy broadcast or post production environment. Now with Thunderbolt 2 technology you get amazingly fast transfer speeds of up to 20Gb/s, that’s enough bandwidth to easily handle the highest resolution video formats. It’s fantastic when using disks independently or when striping them together as a large disk array ,” said Grant Petty, CEO, Blackmagic Design. “Blackmagic MultiDock is an incredible solution to the problem of managing disks and the amazingly fast transfer speeds will make editing, design and color correction even faster!”

TSL Systems appoints Russell Peirson-Hagger to lead worldwide systems delivery and implementation strategy TSL Systems announced the appointment of Russell Peirson-Hagger as General Manager. Reporting to TSL Systems' Managing Director, David Phillips, Russell is responsible for establishing and fulfilling companywide objectives with regards to resources and systems in order to drive growth through innovation and efficiency. With over 30 years in the broadcast industry, Russel l joins TSL Systems from Harris Broadcast where he led the Global Bid Management and Project Management teams to support sales in proposing and delivering solutions. His field of expertise is in providing direction and strategy and establishing the processes under which the departments he leads operate as a whole. "Russell has already made a substantial contribution to TSL Systems' business in the short time he's been with us, both in the implementation of more dynamic systems and in the acquisition of new business", said David Phillips, Managing Director, TSL Systems. "With his vast experience in leading highly-effective engineering and sales teams to success, we've every confidence that Russell will continue to have a positive impact on our productivity and on our increasing market share." Previously Russell held positions at Leitch, Panasonic Broadcast Europe, Tektronix/Grass Valley and Odetics Broadcast.




EVS and HBS reinforce their collaboration for Brazil HBS designs and runs the entire host broadcast operation for FIFA, including the production and integration of services. It will provide the broadcast feed from all 12 event venues, covering 64 matches. The broadcast infrastructure is made up of three key workflows: live production at the different venues across Brazil; a centralised broadcast media server and file-based media sharing systems; and a new multimedia distribution platform. Francis Tellier, CEO at HBS, commented: "Our partnership with EVS is a good example of the cross-fertilisation that can take place between two key companies in the sports broadcasting space. We both strive to improve the quality of major sporting events and work together to offer the best technical solutions so that broadcasters and right holders can guarantee the optimal coverage and service offerings to their audiences."

Live production The live production workflow at the 2014 FIFA World Cup will centre on EVS’ new XT3 live production server, offering multi-format capability. For each venue, around 16 XT3 servers will be used for replays, highlight edits, graphic insertion, clip creation and content management. EVS’ IPDirector production asset management suite will drive all the ‘emotion’ highlights packages, an add-on to the multi-feed concept launched by HBS in 2002. The compilation of all the best clips will be handled by the new MultiReview solution. These clips will then be used to create highlights packages that will be made available to FIFA’s Media Rights Licensees (MRLs).

Centralised file-based media server More than 100 EVS IPDirector suites located in the International Broadcast Centre will be used to

manage the ingest of live incoming feeds as well as access to the centralised FIFA Media Asset Exchange (FIFA MAX) server. It will store match feeds, clips, highlights, prerecorded content (city profiles, etc.) and other relevant data. The IPDirector suites will also be used for the live logging of events. Around 12 XT3 servers will handle 4,500 hours of content located on an EVS XStore SAN. 36 Adobe Premiere stations, along with EVS’ IPLink plugin panel, will be used to create final edits of updates, promos, behind the scenes footage and multimedia packages. The Epsio FX system will be deployed for on air graphic insertion. The FIFA Max centralised broadcast media server and EVS-enabled file-based media sharing systems will allow production teams at the IBC, as well as in their homecountry headquarters, to access content for further editing and bro-

adcast. MRLs will be able to browse, access and download the content made available to them using EVS’ IPBrowse and IPWeb tools.

Multimedia distribution platform On behalf of FIFA, HBS is also delivering expanded and enhanced content services across all multimedia platforms for the 2014 FIFA World Cup™. FIFA’s Media Rights Licensees will have access to exclusive content for delivery to smartphones and tablets via their own second screen apps. Based on EVS’ C-Cast technology, the distribution platform will connect HBS’ live production infrastructures to a central cloud-based platform, aggregating live streams, multi-angles clips, stats, and social network feeds. This content will then be distributed to affiliate broadcasters, who in turn can make it available to their own viewers.s

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LiveU reports major deployments in RTVE, 13TV and Medialuso -leading broadcasters in Spain and Portugal - with partner Park 7 well as using it successfully in crowded, hectic places. Using LiveU has allowed them to bring a far more immersive experience to their viewers.”

LiveU has announced a range of deployments across Spain and Portugal in 2013 with 2014 looking equally promising. Spanish broadcasters, RTVE and 13TV, and Medialuso in Portugal have all deployed LiveU technology to bring innovative and cost-effective live coverage to viewers. RTVE chose LiveU’s technology as part of an overall selection process for its “España Directo” programme. LiveU solutions were supplied by Overon, part of Mediapro, and the largest supplier of DSNGs in Spain. The programme, running over eight months, has benefited from four LU70 backpack units. The cellular uplinking technology has been used on a daily basis for live transmission in sometimes demanding conditions with producers able to take advantage of its mobility, speed of deployment and robustness. Gonzaga Avello, General Manager at Park 7, said, “’España Directo’ is a very dynamic programme with reporters out and about bringing live reports back to the studio. They have pushed the technology throughout the programme’s latest run including live transmission from a small plane as

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Meanwhile 13TV, an independent broadcaster in Spain has been successfully using three LiveU backpack units for its news output, bringing countless stories to an eager audience. Medialuso, Mediapro’s Portuguese offshoot and the largest production and services company in the country, has been using six LU70s for a range of production requirements with its customers. Media company A Bola has been using the technology for sports coverage (using 3G and 4G) while live news and events broadcasting has been the requirement from other clients, among them Porto Canal. The launch of Vodafone 4G in Spain was also covered using LiveU technology. This was an event with 1,500 Vodafone Spain employees. The CEO of Vodafone Spain and Portugal entered the employee convention and later the press conference on a Segway with a camera and a LU40 belt-clip unit, streaming at over 5Mbps constantly. Zion Eilam, LiveU’s Head of Business Operations Europe, said, “2013 was a really strong year for LiveU across the Iberian Peninsula and we greatly appreciate the efforts of our partner Park 7. We’re very pleased to see that our technology is being used in such a variety of ways, from fast-moving sports broadcasting to innovative news coverage and on to corporate events. It truly is a new age of content acquisition.”

CCTV in China installs 100 TC Electronic DB8 MKII Transmission Processors CCTV has been broadcasting to the Chinese people since 1958 across a wealth of TV channels spanning from news and documentary to sports and comedy, entertainment and drama. Over the last couple of years, CCTV has gradually been moving to a new facility also located in Beijing – an iconic building designed by Rem Koolhaas and Ole Scheeren of Office for Metropolitan Architecture. At the old facility, CCTV used TC Electronic DB4 transmission processors for their audio processing for several years, so it was a natural next step to upgrade the new facility with DB8 MKII units. At the new location, CCTV has five identical control rooms, each of which is capable of handling 10 TV channels. Two DB8 MKII units are used for each channel – one for processing and one as backup – so in total it adds up to 20 units in each control room; or 100 in total. The DB8 MKII units are equipped with SDI I/O cards, and CCTV uses the ALC6 algorithm for loudness correction and UpCon HD for upconverting stereo signals to 5.1 plus two instances of the LM6 Radar Loudness Meter for measuring loudness at the input and the output stages. CCTV also makes use of the dual power supply feature, feeding the units simultaneously from two independent power sources to make sure the units can withstand a breakdown on one of the power feeds.




Vislink PLC acquires Pebble Beach Systems Vislink plc ("Vislink" or the "Group"), announces that it has completed the acquisition of Pebble Beach Systems for a total consideration of £14.9 million, comprising £12.9 million payable in cash and £2.0 million represented by the issue of 4,700,904 new Vislink ordinary shares at a price of 42.545 pence per share, being the average mid-market closing price of Vislink's shares for the last 25 business days before, but not including, the day of completion. Pebble Beach Systems has been purchased with in excess of £5.9 million cash on the balance sheet, resulting in an effective net consideration of £9.0 million. The cash consideration will be funded out of existing Group resources and a new £10.0 million debt facility ("Facility"). The Facility has a three year tenor and is split into a £3.0 million amortising term loan and a £7.0 million flexible revolving credit facility. The Facility charges are on normal commercial terms. Founded in 2000, and employing over 60 staff, Pebble Beach Systems is a leading developer and supplier of automation, 'channel in a box' and content management solutions for TV broadcasters, cable and satellite operators. The business is headquartered in Weybridge, Surrey with offices in the USA, Dubai and Singapore. Pebble Beach Systems has developed a portfolio of market leading software products, which have the flexibility to support a wide range of broadcast applications. Its automation products are suitable for multichannel playout as well as high pressure live programming environments such as news or sports, whilst supporting new technologies such as HD, IPTV and interactive television. Clients include TV Globo Brazil, MBC UAE, Fox News, KCET USA, Banderaintes Brazil, OSN UAE, Viasat UK and ZDF Germany, with installations in over 60 coun-

tries. The acquisition of Pebble Beach Systems will move Vislink into the provision of software solutions for playout with advanced software technology. The Company's existing capabilities of offering broadcasters wireless communication systems for the capture of live TV coverage of news, entertainment and sports events will now be complemented with world class television automation and media management services for broadcast studios. Vislink will now be able to offer broadcasters a complete 'scene to screen' solution. Furthermore Pebble Beach Systems will gain from access to significantly increased sales channels through the global network of over 900 broadcasters that Vislink works with as well as its international network of offices. The total consideration for Pebble Beach Systems is £14.9 million with Pebble Beach Systems shareholders investing £2.0 million of the consideration in new Vislink ordinary shares, which are to be held for a minimum of 2 years from completion. The Pebble Beach Systems business will continue to operate as a stand-alone unit within the Vislink Group and its founders, who will continue to manage the business, will be staying with the Company and assisting Vislink in expanding its software capability as a Group. Pebble Beach Systems benefits from long term contracts with clients and for the 12 months ended 30 June 2013, its audited accounts recorded turnover of £5.64 million, EBITDA of £1.30 million and profit before tax of £1.30 million. Net assets were £4.37 million and it has in excess of £5.9 million in cash on

its balance sheet at the time of completion. The transaction will be immediately earnings enhancing. Application will be made shortly to the London Stock Exchange for 4,700,904 new ordinary shares to be admitted to trading on AIM pursuant to the vendor share consideration. It is expected that Admission will become effective on 25 March 2014. Following the issue of the 4,700,904 new ordinary shares, the issued share capital of the Company will be 118,603,134 ordinary shares of 2.5p each. This figure may be used by shareholders as the denominator for the calculations by which they will determine if they are required to notify their interest in, or a change to their interest in, the share capital of the Company under the Disclosure and Transparency Rules. Commenting on the acquisition, John Hawkins, Vislink's Executive Chairman, stated: "Pebble Beach Systems is a perfect fit given our focus on product leadership and it will enable us to offer our global broadcasting clients a complete sceneto-screen solution. Additionally, the acquisition fits perfectly into our long term strategy of acquiring software and services capability that we hope to drive recurring revenues for the Group." Peter Hajittofi, Managing Director of Pebble Beach Systems, commented: "We are delighted to be joining the Vislink Group, It has a fantastic global tier 1 client base in the broadcast sector that will give us an excellent platform for accelerated growth."

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Bluefish444 SL10021

South Lower

At NAB 2014 Bluefish444 will be showcasing its industry proven 4K SDI I/O solutions for OEM developers and Digital content creators alike. Epoch 4K Supernova and Epoch 4K Supernova S+ will be used to demonstrate video editing in Adobe Premiere Pro CC, Finishing and DI in ASSIMILATE SCRATCH V8, Video and Audio measurement with Drastic 4K Scope, and 4K capture with Marquise Technologies. 2K/HD/SD RGB and YUV 12/10-bit workflows will be demonstrated on MAC and Windows through Thunderbolt using AVID Media Composer, Adobe Premiere Pro CC, Adobe After Effects CC, Adobe Speed Grade CC, and Bluefish444’s own multi-channel capture application Fluid INGESTORE.

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AJA SL2505

South Lower

AJA will showcase its most recently shipped products, including the Io 4K video and audio I/O device for Thunderbolt 2™, Ki Pro Quad portable recorder for HD/2K/4K/UHD workflows, Corvid Ultra and TruZoom for real-time scaling of 16x9 region of interest to HD from 4K source. These products will be on display along with AJA's Mini-Converters, KONA family of capture cards, Io products, Ki Pro family of digital recorders and several new products that won't be revealed until NAB.

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Blackmagic Design SL219

South Lower

Blackmagic Design creates high quality video editing products, converters and monitoring solutions, routers, live production switchers, disk recorders, audio monitoring, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Key products include DaVinci Resolve colour correction software and the new Blackmagic Production Camera 4K that supports shooting in native Ultra HD to SSD!

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Brainstorm SL5419

South Lower

Brainstorm Multimedia, leading manufacturer of real-time 3D graphics and virtual set solutions, celebrates its 20th Anniversary in 2014. Founded in December 2993, it was in 1994 when one of the very first shows sent on-air with Brainstorm real-time 3D graphics technology was a daily live weather show for Antena 3, in Spain, which extensively used a 3D virtual set, a live talent, 3D graphics, live camera movements and live weather data feeds. The show was major success and won a European Award for the Best Weather Presentation. Since then, Brainstorm’s eStudio has been considered the fastest 3D real-time render engine in the industry, and the benchmark system for all 3D real time graphics and virtual studio

solutions. The company will unveil a number of new products and technologies at NAB, starting with Infinity Set, the first product featuring TrackFree technology, a totally new, patented and revolutionary approach to Virtual Set production. TrackFree is a camera-tracking independent technology, which combines the precision and higher quality of the most complex camera tracking system with the flexibility, freedom and ease of use of modern trackless systems like EasySet 3D. All Brainstorm products are built on eStudio, the industry’s fastest 3D render engine, which provides unrestricted design capabilities for all types of realtime graphics. Other Brainstorm products are:

EasySet 3D. A powerful yet costeffective and easy-to-use trackless virtual set solution that allows the creation of 3D virtual sets from scratch. Aston 3D. An advanced Graphics creation, CG and playout solution, which allows operators to create, manipulate, animate and perform last-minute changes. OnDemand. A powerful, multi-purpose playout system. BrainNews. Brainstorm’s News Graphics management and playout system, is a sophisticated MOScompatible graphics control system, now fully compatible with many automation systems.

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DiGiCo C1344


This year, the British digital console manufacturer will be announcing a number of new features and demonstrating broadcast specific versions of its entire SD range, including the flagship SD7B and ultra compact SD11B. DiGiCo has successfully brought the power of FPGA technology and its proprietary Stealth Digital Processing™ found in the SD Series of consoles to the broadcast industry, with companies such as NEP and Sure Shot relying on the extensive scope of the companies products at some of the most demanding events in the world, such as the recent Winter Olympics in Sochi. Due for release at the end of April, the new features will include eight additional Flexi busses for the SD9 and eight Flexi channels for the SD11i and SD11B; support for Optocore DD2, DD4 and X6 R-

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series interfaces; Post Fade insert for support of the new Waves Dugan plugin; the ability to bring AES output into the matrix; and the availability of aux sends on subgroups on live software. Consoles on show will include the top of the range SD7B, which has the routing capacity, processing ability and user interface to form the heart of the most complex broadcast audio productions, and boasts a feature set that has been created to manage the extensive and challenging work of the broadcast market. Next in line is the newest console in the range, the SD5B, which comes with a low noise, heat dissipation worksurface benefiting from Hidden-til-lit (HTL) technology. Its five digitally driven full colour TFT LCD screens, three of which are touch sensitive, have a new configuration that allows easy access to single or multiple users. There are

also two interactive dynamic metering displays (IDM) and quick access buttons are positioned down the left side of the channel screens for fast and easy navigation. The SD10B, meanwhile, includes such innovations as multi-channel ‘folding’ under a single fader allowing users to configure stereo, LCR, 5.1, or up to eleven mono channels under a single fader strip that can be unfolded for individual control, or neatly folded up for convenience and efficient work surface use, making it an exciting, cost-effective option for any broadcast project. The new SD9B adds surround capabilities to the standard SD9 ‘live’ system, providing 48 stereo channels, allowing up to 5.1 bussing, plus a full studio style Monitor Matrix, multiple Mix Minus busses, an additional eight Flexi busses and Backstop PFL functionality.


EVS SL3819

South Lower

EVS Sports EVS Sports will showcase the enhanced XT3 media production server that now offers built-in proxies, 4K zooming, live multi-angle review and industry-first 12 live recording channel support. EVS’ new C-Cast Xplore web-browsing interface provides immediate access to live multi-camera recording feeds and clips on XT servers, giving production teams unprecedented capability

EVS Entertainement Providing flexible workflows for entertainment productions including concerts, stage shows, reality TV, game and talk shows and TV series, EVS Entertainment solutions offer tremendous advances in multi-camera ingest (up to 12 input server) fast-turnaround editing and playout. NAB will showcase the full power of the XS video server with advanced multi-codec, native support including popular formats such as I-Frame (DNxHD, ProRes, AVC-I) and Long Gop (XDCAM HD), with powerful new 10GigE connectivity. Updates to trusted EVS entertainment solutions such as IPDirector, Director’s Cut, IPEdit,XFly Streamer and NanoAir will also be unveiled.

to work remotely, enhance content on the fly, and reduce the number of onsite production personnel. NAB attendees can also see C-Cast at work within the Cisco StadiumVision Mobile (SVM) solution, which uses the technology to make multi-camera content instantly available on web-connected mobile devices in sports and entertainment venues.

EVS Media EVS Media will highlight enhanced ingest for mastering and archive solutions, with its demonstration of the EVS OpenCubeHD/SD server for streamlined file-based, multi-format workflows that comply with all MXF standard formats (IMF App 2 and UHD, AS-02, AS-11, and DCP). The file-based server will be presented with its extended range of codecs and format support comprising H.264 AVC, XAVC, JPEG 2000 and MXF 4K. EVS Media will also present its latest closed captioning and subtitling solution, which includes S346M or .ssc/.mcc support. Visitors are also invited to bring a USB key with their production-made MXF files - hard-to-play files in particular - and play them using EVS’ self-service MXF UniReader.

EVS News EVS News will debut the XS NewsFlash, a compact, cost-effective end-to-end solution that provides smaller newsroom environments with full production capabilities. Based on the robust XS server for ingest and playout, XS NewsFlash provides everything from file and feed ingest, metadata and quick-turnaround virtual editing to disaster recovery and fast-breaking news playout.

EVS CEO Joop Janssen will participate in the Broadcast Management Conference “Shifting Media Economics: Impact on Strategy, Finance and Technology” at NAB on Sunday, April 6. Luc Doneux, executive vice president, EVS Sports, will discuss nextgeneration sports production, including second-screen delivery, in a Broadcast Engineering Conference on Tuesday, April 8.

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Fujifilm C7025


About FUJIFILM Corporation

About Fujifilm in Europe

FUJIFILM Corporation is one of the major operating companies of FUJIFILM Holdings. Since its founding in 1934, the company has built up a wealth of advanced technologies in the field of photo imaging, and in line with its efforts to become a comprehensive healthcare company, Fujifilm is now applying these technologies to the prevention, diagnosis and treatment of diseases in the Medical and Life Science fields. Fujifilm is also expanding growth in the highly functional materials business, including flat panel display materials, and in the graphic systems and optical devices businesses. For more information, please visit

Nowadays Fujifilm entities operate in about 50 group companies in Europe and employ approximately 5,000 people engaged in R&D, manufacturing, sales, and service support. Throughout Europe they serve a range of industries including medical, chemical, graphic arts, electronic materials, optics, recording media, motion picture, and photographic technologies. FUJIFILM Europe GmbH (Duesseldorf, Germany) acts as Strategic Headquarters for the region and supports its group companies in Europe by formulating marketing and corporate strategies. For more information, please visit

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Quantel SL2109

South Lower

Quantel is demonstrating Enterprise sQ news and sports production systems and unveiling major new developments.

help you do more in the multi-platform world.

Every News and Sports application can benefit from Enterprise sQ’s first to air, web, mobile and tablet workflow. New developments include enhanced file-based workflows, AS-11 compatible delivery and optical flow slow motion.


QTube offers the best 'everywhere' workflows – ingest anywhere, edit anywhere, deliver anywhere. See the latest developments at NAB. Also see how revolutionQ can save you money and

Check out the Snell booth for MAM, Playout and Switchers,



Infrastructure, File-based Processing and Conversion. Quantel stand SL2109 Snell stand N1820

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Riedel Communications C4937

Central very small hardware footprint. The integrated system may be configured to provide a video and audio routing solution with de-embedded audio from the SDI streams being sent to the Studer consoles, with the return signals then embedded back into the video.

"The solutions we're bringing to the NAB Show not only demonstrate major enhancements to our core products, but also showcase new refinements and developments that further capitalize on our network approach to signal distribution and processing. Customers want to be assured that their investments are secure, so our solutions are designed to handle their present requirements but with plenty of overhead for the needs of tomorrow." Thomas Riedel, CEO, Riedel Communications. MediorNet 2.0 Riedel has enhanced its MediorNet family of real-time networks for video, audio, data, and communications with MediorNet 2.0, a firmware update for MediorNet. At the 2014 NAB Show, the company will show how the new firmware provides video router functionality and high-speed rerouting. MediorNet MetroN The MediorNet family of real-time networks has been expanded with the addition of the 2-RU large-scale MediorNet MetroN core router. In enabling Riedel's acclaimed networked approach to signal distribution and routing, the new MediorNet MetroN provides a real-time routing capacity of 64x 10G ports. During the 2014 NAB Show, Riedel will demonstrate how, with these capabilities, the new frame can function within a larger MediorNet installa-

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Virtual Key Panel App for Artist Intercom System

tion, interfacing with MediorNet frames via fiber.


MediorNet as a WAN Solution Leveraging their newly acquired WAN expertise, Riedel has developed their first WAN-focused solution. Using the MediorNet platform as a base, attendee's at the 2014 NAB show will see how the networked approach of MediorNet can be expanded to include WAN capabilities. Studer A-Link Card for MediorNet Enabling direct integration of Riedel MediorNet real-time networks with Studer consoles and cores, the new A-Link interface module gives Studer users a highly scalable audio routing system offering I/O capacities in excess of 10,000 I/O's. Facilitating use of MediorNet as a decentralized audio router with integrated port redundancies, this solution offers massive I/O capacity in a

Riedel's Artist virtual key panels enable the use of smartphones and tablets (iOS, OS XÂŽ, and Android) as control panels in combination with any Artist digital matrix intercom system. These handheld devices can then provide the same functionality as full-featured, 12-key Artist control panels. The user operates the virtual control panel using the device's touchscreen interface that can be configured via Riedel's Director software. AVB Manager Riedel's AVB manager is a manufacturer-independent software solution that provides generic AVB control for any and all IEEE 1722.1compliant AVB devices. Providing a global overview of AVB infrastructures, this free solution automatically detects and enumerates available AVB devices, supporting straightforward connection management via an intuitive graphical user interface.


Artel SU5902 Technology Demos: Broadcast Video Over IP At the 2014 NAB Show, along with offering a complete set of solutions for transporting video and Ethernet across fiber and optical networks, Artel’s DigiLink will also support HD-SDI, SD-SDI, DVB-ASI over IP networks using industry standard SMPTE 2022 Encapsulation and Forward Error Correction. JPEG2000 Compression With its low latency and cost effectiveness, JPEG2000 is rapidly becoming the industry standard

compression format for transporting HD-SDI over bandwidth-limited network infrastructures. At the 2014 NAB Show, Artel will demonstrate its cost-effective and easy-to-deploy JPEG2000 compression solution for compressing HD-SDI into ASI. Integrated Signal Routing Artel will be showcasing DigiLink’s innovative integrated signal routing capabilities. The ability to route video and Ethernet signals simply, reliably, and in real time within the DigiLink chassis eliminates the need for external video routers and Ethernet switches. By routing the media in its native format, as DigiLink does, operators not only eliminate unnecessary cost and complexities, but can also enhance reliability and quality of service.

Aspera Michelle Munson to Share Technology and Business Insights at NAB 2014 President, CEO and co-founder Michelle Munson will share her expertise in high-speed on-premise and cloud-based workflows and industry business insights at the 2014 NAB Show conference at the Las Vegas Convention Center on April 5-10. Shifting Media Economies: Impact on Strategy, Finance and Technology Sunday April 6, 1.30-6pm (room N235) As part of the Broadcast Management Conference, Michelle will participate in a panel session alongside fellow industry leaders Louis Hernandez Jr., president and CEO of Avid, Joop Janssen, CEO of EVS, and Sam Blackman, founder and CEO of Elemental Technologies. Presented by Devoncroft and Silverwood Partners and aimed at senior executives in the media technology sector, the session will examine the opportunities and challenges involved in

financing the next phase of technology change,and the most relevant industry trends and factors affecting business decisions. Content & The Cloud, Transport Tuesday April 8, 10.40-11.30am (room S225) As part of the Media Management in the Cloud Conference, Michelle will speak at a session moderated by Christine Thomas, vice president, Technicolor, on how to get content to the clouds of the future. Fellow presenters include Dave Scammell, CEO of Sohonet, Laurin Herr, co-founder of Cinegrid, Josh Kline, media technologist and producer at Ojai Valley Produce Co., and Brian Lillie, CIO of Equinix. Implementing end-to-end file-based workflows for BT Sport Tuesday April 8, 2.30-3pm (room S227) As part of the Next Generation Sports Production and Delivery Track of the Broadcast Engineering Conference, Michelle will present a case study on the role of file transfer and automation technologies in BT

Sport’s complex file-based workflows. The case study will examine how workflows were executed across the production process, as well as the role of high-speed data replication for full redundancy and disaster recovery.

Autodesk SL3319 Autodesk will feature new offerings and great customer presentations from some of the best artists around the world. From booth #SL3319, the company will also exhibit the latest versions of its professional video, 3D animation and creative finishing products. A theater schedule and guest presentation information is available via: 14. During NAB and afterward, Autodesk will make its customer presentations available for ondemand viewing via AREA TV.

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AVT C1546

Telephone Hybrids simple & smart AVT shows its new MAGIC TH1potsGo and MAGIC TH1ipGoTelephone Hybrids at NAB 2014. These one channel systems for POTS and IP lines have been developed with a special focus on user-friendliness. No complex settings have to be made before you can start with your show and full system control is possible via a connected POTS Telephone. You can accept the incoming call in Pretalk, talk to the caller and switch him to ON AIR or HOLD with the quickdial keys of the telephone. He can also

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be switched back to the telephone for Pretalk – again just by pressing a single key on the telephone. Alternatively, control is also possible via the front keypad and display or with a web browser. The MAGIC TH1ipGoHybrid provides a further highlight on top: HD Voice - calls from HD Voice compatible telephones can be received in 7-kHz quality. Of course, outgoing calls can also be transmitted in 7-kHz quality.Especially smaller radio and TV stations will appreciate the MAGIC TH1 Go Telephone Hybrids since they offer many features (e.g. Voice Disguise) and a high Audio quality for a reasonable price. For bigger





itsMAGIC TH2plus, MAGIC TH6 and



Systems. Also on display at NAB2014 are AVT’s ISDN, E1 and IP Audio Codecs




ISO/MPEG Layer2/3, apt-X and AAC-LD coding algorithms. AVT is aleading manufacturer of Telephone Hybrids,



Codecs based

and in

Germany.Visit AVTin the Central Hallat booth C1546.


Axon N4606

Where software normally is either specialized for use for control or for monitoring of broadcast devices Cerebrum combines both applications. Flexibility is essential in today’s broadcast environment. Cerebrum delivers the customizable control and monitoring interface for a wide range of devices from different manufacturers - including routers, production switchers, servers, receiver decoders, multiviewers and waveform monitors - using either SNMP (Simple Network Management Protocol) or third party protocols. Master control and production mixer Axon has recently introduced its modular master control SynMC and modular production mixer SynLive which engines both fit in the Axon signal processing product line Synapse. SynMC allows you to take complete control of your automation and transmission hardware and soft-

ware panels.

shown in audio bars, in sync with the

SynLive is a modular live production video mixer. Offered as one package SynLive consists of a basic setup of modules that can be customized all the way up to a small 4K four wire set. The mix engine has 2 DVE’s and 2 engines can be cascaded if needed.

video. The course of the loudness

Compliance recording & loudness monitoring At NAB Axon will launch the loudness monitoring and logging option for the compliance recording / video air check product line TRACS. Driven by Emsytech Hummingbird Loudness Meters®, all audio (up to 8 stereo pairs) is measured for Momentary Loudness (400ms), Short-term Loudness (3s) and Integrated Loudness (Loudness measured over the last hour continuously). During live play or playback of the recorded content, the Momentary, Short term and Integrated measurements are

levels during a user defined period of time can be shown in a loudness history graph which can be exported to .pdf or .csv files NEW Up/Down/Cross conversion module Axon's signal processing product line Synapse is enhanced with a high-quality up/down/cross converter (GXG400), which is also available in a dual channel version (2XG400).




up/down/cross converter ensures the absolute best quality video conversion from any standard to any standard within the same framerate. The card allows simulcasting any output standard in any format from any source standard.

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Broadcast Pix SL6325

Broadcast Pix™ introduced fX3D, a real-time 3D graphics system designed to build dynamic graphic content for live events, sports, broadcast news, or channel branding. Designed as a standalone graphics system for existing broadcast infrastructures or as an addition to Broadcast Pix Granite™ or Mica™ integrated production switchers, fX3D makes it easy to create and playout high-end graphics. The fX3D system includes three software modules that create a simplified end-to-end graphics workflow. fX3D Creator software provides an intuitive interface to design and create graphic content, complete with a built-in 3D modeler. Lights, shaders, movement, and materials on 3D objects can be controlled in real time and in resolution indepen-

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dent HD. fX3D API allows the system to be controlled through Broadcast Pix switchers, and also allows integration with third-party products, such as broadcast news systems. fX3D Playout is a template-based rundown controller that brings completed graphics to air. Assets can be searched using a variety of parameters, including keywords and date. fX3D Playout also allows manual or automatic graphic content updates via external resources, including RSS feeds or XML files, and supports multi-resolution output. “Many of our customers have expressed interest in a powerful but affordable high-end graphics system, and our answer is fX3D. From designing and creating graphics to

updating information within those graphics and then taking those graphics to air, fX3D does it all,” explained Steve Ellis, general manager, Broadcast Pix. “It is a complete graphics solution, so you never need to leave the application to get results that rival what you see on national networks.” The hardware behind fX3D is the real-time fX3D Engine, which provides the power to create and repurpose 3D graphics simultaneously. Housed in a 3 RU chassis, the Windows-based, single-channel system will also be available in a dual-channel configuration. Plus, a high efficiency broadcast model with dual power supplies and support for higher pixel counts will be available in May.


Broadpeak SU6913

nanoCDN™: Video Delivery Technology Broadpeak will demonstrate at the 2014 NAB Show enhancements to its award-winning nanoCDN™ technology. The first application of nanoCDN eliminates live multiscreen consumption peak issues by turning millions of broadband gateways or STBs into active components of an operator's content delivery infrastructure. Leveraging home networks, operators can cost-effectively manage the consumption peaks of live multiscreen services for millions of simultaneous viewers using only a few megabits per second from their network. This is done by implementing multicast support for Microsoft® Smooth Streaming and HLS formats. Broadpeak will also demonstrate a new video transparent caching application that allows operators to efficiently handle the growing volume of unmanaged video content on their backbones. The new application reduces peering costs for ISPs while optimizing an operator's network resources and improving the quality of experience (QoE) for end-

users. The application paves the way for new business models, enabling operators to monetize the caching capability with content owners, without the latter needing to modify their set-up. Streaming Servers and CDN Equipment At the 2014 NAB Show, Broadpeak will also display its range of CDN equipment and streaming servers, including its unified video server capable of streaming both RTSP and ABR formats from a single appliance. Broadpeak's high-performance streaming servers are capable of streaming media in any format, including the new MPEG-DASH standard, and can reach a 40Gbps streaming capacity. Utilizing the company's streaming servers and CDN management suite, operators can offer non linear TV services like cloud PVR, start-over, network timeshifting, and impulsive recording. umbrellaCDN™: CDN Selection Tool At





Broadpeak will highlight new features for umbrellaCDN™, a CDN selection product that allows content providers and operators to costeffectively deliver live and VOD content with the best possible QoE. New features include the ability to offload traffic from an operator's network to a CDN as a service, and the display of QoS information coming from the players. umbrellaCDN also includes detailed analytics and realtime audience data. Broadpeak Brings Its Proven Expertise in the CDN Domain Into the Mobile World With the rapid deployment of 4G/LTE networks, delivering highquality video over mobile networks is now possible. Adaptive bitrate formats that have been successful for OTT video are well suited for these new networks. But when it comes to popular live events, scalability is key to spare radio frequency. Leveraging the eMBMS technology, Broadpeak nanoCDN™ delivers infinite scalability for live events by implementing multicast adaptive bitrate to the end-user devices.

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Cinegy SL11116

New features of version 9.6 of Cinegy Air PRO include:

Version 9.6 of Cinegy Air is certified by Dolby for both encoding and decoding Dolby Digital signals. Cinegy Air contains a new Dolby Digital Encoder option for encoding Dolby Digital 5.1 / AC3 audio on output as required e.g. for ATSC.

codec is out of its public beta phase and now available as standalone AVI codec for use in other products such as Adobe AfterEffects. The Daniel codec has been integrated into all Cinegy products playing video. The use of Daniel over other codecs such as QuickTime Animation, AVID DNxHD, HuffYUV, Lagarith and others is advised especially when using video or animations with alpha channel in Cinegy Air. Better network and/or disk performance, lower CPU load, and better quality are the advantages of Daniel compared to some of the other codecs commonly used for video with alpha channel.

4k / Sony XAVC Support

Cinegy Capture PRO 3

Cinegy has started to support 4k / UHD in its products. Sony’s XAVC format has been licensed by Cinegy using Cinegy’s own Cinecoder codec.

Cinegy Capture PRO is a centralized multi-channel, scalable and cost effective ingest tool using many of the industry-leading components developed for and used by other Cinegy products. Cinegy Capture PRO reinvents the acquisition and transcode process, unifying the task

HD/4k Support– Multi-Channel Everywhere As of version 9.6 Cinegy Air PRO can handle all resolutions from SD over HD to 4k/UHD. Dolby Digital Certification

Daniel Codec Support Cinegy’s

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of ingesting material and generating edit or web proxies. Cinegy Capture PRO supports many popular industrial codecs and file formats, including XDCAM HD 422, Avid DNxHD, High-Profile H.264, AVCI-100, MXF and MOV. The power of Cinegy Capture PRO allows users to turn any PC or server with a supported SDI video card into a network based ingest appliance that can be used from any PC connected to the same network. The new multicam control panel enables customers to use Cinegy Capture PRO as the multicam ingest tool for the synchronous multichannel recording from live studios, in OB vans and at on-site events. Cinegy Capture PRO is fully ‘video over IP’ compliant and supports RTP/UDP transport streams along with the SDI based video source.


Crystal Vision N1525

Crystal Vision will be demonstrating the new control options for its Safire 3 real-time chroma keyer, including a dedicated touch screen control panel and a web browser running on any device. Also on show will be products to provide both simple and sophisticated station branding: the LKEY 3 linear keyer and the MultiLogo three-layer logo keyer with its internal storage for up to 500 graphics and advanced audio features. The introduction of dual channel audio embedders and video distribution amplifiers helps bring financial savings to systems, while Crystal Vision demonstrates its usual audio flexibility with the ADP 310 which provides discrete audio processing and delay for both analogue and digital audio. Booth visitors will be able to try out the recently-added Shadow Density and Key Shrink processing features on the Safire 3 real-time chroma keyer using two new control methods which are both available now. Ideal for all live virtual productions and the only dedicated chroma keyer for 1080p, Safire 3 works with 3Gb/s, HD and SD sources and features multi-point sampling for easy auto-setup, an extensive range of fine-tuning tools including built-in colour correction and lighting compensation, and timing adjustments including a frame synchroniser on each input and ten frames of video delay.

keyers over an Ethernet network, with the large, intuitive eight inch touch screen and physical controls making it ideal for live use. It can sit on a desk stand, be fitted into a desk or be rack mounted. Crystal Vision will be showing new products for both discrete and embedded audio on Booth N1525. The ADP 310 is a flexible audio processor and delay line for systems using discrete analogue or digital audio, and is designed for applications such as processing audio, matching audio to a delayed video path or reordering audio channels. The ADP 310 can provide processing and delay for four stereo pairs of AES or two stereo pairs (four mono channels) of analogue audio, with the audio inputs and outputs configured using the standard Crystal Vision piggybacks: the 3GAIP2 and 3G-AOP2 for analogue

audio and the DIOP4 for AES. The ADP 310 provides extensive audio processing. Audio gain adjustment allows the audio levels to be increased or decreased to match the rest of the system with each channel independently adjustable between +18dB and -18dB in 0.1 steps, while stereo to mono conversion is available to help those broadcasting a multi-language service. Each of the audio channels can be muted to silence or can be individually inverted, while asynchronous 48kHz AES can be resampled. The ADP 310 can also be used as an analogue or digital audio delay line, with up to 400ms of user adjustable delay available. Flexible audio routing allows any of the channels to be shuffled. Signal monitoring is available, with two GPI outputs providing alarm indication of reference missing and audio silence.

The latest enhancements for Safire 3 have focused on making it a pleasure to operate, with the two new control methods developed through consultation with knowledgeable customers who operate chroma keyers on a daily basis. The Safire 3 Controller is a stylish dedicated 3U control panel able to operate any number of Safire 3 chroma

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Dalet Media SL2725

The Dalet Digital Media Systems NAB 2014 showcase highlights include the latest release of Dalet Galaxy, the enterprise media asset management (MAM) platform; Dalet News Pack, the cost-effective turnkey package for managing small to mid-size newsroom workflows; Dalet Onecut for fast multimedia editing and Dalet Brio, the flexible, highdensity, high-performance broadcast server based on IT-hardware. Faster Editing Integration



The award-winning Dalet Onecut editor can be used as a standalone solution, or connected to the Dalet MAM platform (Dalet 3.5 MAM and Galaxy) through Dalet Xtend, or fully integrated within Dalet Galaxy. Its robust feature set, configurable workspace and easy-to-use tools let content editors, production assistants and journalists quickly perform tasks from simple trimming and cuts to more advanced functions like

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audio sweetening. �� Headlining Technology for Dalet News Solutions Dalet will demonstrate a number of advancements in newsroom workflows including: • Converged Workflows Enterprise Newsrooms


Dalet News Suite installations leveraging the Dalet Galaxy platform can facilitate TV, radio, web production, broadcast and archive workflows on one platform. • Cost-Effective Solutions for Small to Medium News Operations For smaller news production facilities, Dalet News Pack is even more cost-effective thanks to journalistdesigned tools combined with the high-performance, IT-compatible hardware platform for an end-to-end workflow. • Access to Newsrooms Anywhere

Dalet On-The-Go, available on iOS and Android, and the webbased Dalet WebSpace give field journalists immediate access to content and newsgathering, production and planning tools. • Broadcast Graphics The versatile Dalet Cube broadcast graphics module comes with a comprehensive set of tools for designing, managing and distributing high-quality graphics. Dalet Cube is natively integrated with Dalet News Suite and Dalet News Pack to provide a very cost-effective solution. • Fast News Editing The 2013 NewBay Media Innovation Award-winning Dalet Onecut multimedia editor streamlines operations with versatile integration options and fast editing tools designed for non-technical newsroom staff to quickly assemble stories.


Digital Rapids SL5625

Encoding Multiscreen Broadcast

for Live/Linear Streaming &

- StreamZ Live 4000EX - The StreamZ Live 4000EX features rich adaptive streaming format support for reaching viewers with high-quality experiences on the broadest range of devices, while its underlying Kayak technology platform enables easy, futureproof upgradability to support new features, formats and technologies as they emerge. - StreamZ Live 8000EX - Building on Digital Rapids’ proven multi-format output flexibility and quality, the StreamZ Live 8000EX reduces operational complexity and costs by seamlessly combining live multiscreen and broadcast encoding in a single streamlined unit. The StreamZ Live 8000EX features simultaneous H.264 or MPEG-2

encoding for broadcast/cable/telco/satellite television applications and multiformat encoding for multiscreen adaptive streaming delivery to platforms including mobile phones, tablets, PCs, IPTV, over-thetop (OTT) services and more. File-Based Workflows



- Digital Rapids Transcode Manager 2 powered by Kayak Transcode Manager 2 seamlessly blends media file transformation and workflow processes while offering unsurpassed efficiency, scalability and agility for applications from post production and archive to multiscreen distribution. - Kayak Media Processors for Windows Azure Media Services – Kayak Media Processors bring the powerful media transformation

and workflow capabilities of our Kayak platform to the cloud, enabling Microsoft Windows Azure Media Services users to build efficient, cloud-based media processing applications and services that scale seamlessly with their business while minimizing up-front investment. Multi-Format Ingest, Encoding & Archive - StreamZHD – The latest version of the software for StreamZHD multiformat, ingest and encoding system will be showcased. Offering the industry’s deepest feature set, StreamZHD provides unmatched quality, flexibility, format support and efficient automation for transforming media for applications from post production and archive to live and on-demand multiscreen distribution.

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Front Porch digital SU4302 / SU4405

"The buzz around 'the cloud' has prompted us to make sure our cloud offering continues to advance further and further. At the 2014 NAB Show, we'll demonstrate how our LYNXSM cloud content storage management system has evolved to keep up with the ever-changing industry. We will also demonstrate the latest updates across our full product line. Visitors will clearly see how Front Porch Digital can make the cloud work for their operations." — Michael Knaisch, President and CEO, Front Porch Digital

management for content owners, which in turn increases ROI. As part of an overall media asset management solution, LYNXdr controls costs because users pay only for what they use when they use it. Off-site data backup to virtual machines is much less costly than on-premise physical servers and allows for instant increases in storage capacity with minimal or no effort from the IT team. Also, by consolidating operations, media organizations can cut capital and operating expenses to reduce overhead.

LYNXdr — Disaster Recovery in the Cloud

LYNXdr offers a secure off-site backup capability by ingesting and managing content electronically or from datatape to key strategic regional cloud locations. Additionally, there is no cost increase as the technology evolves, which means users can realize even more value from their assets.

LYNXdr, Front Porch Digital's private-cloud hosted disaster recovery and business continuity service, ensures file safety and zero downtime. Moving to the cloud can reduce the total cost of ownership of digital asset

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Forbidden Technologies SL5305

"We work hard to evolve FORscene in a way that makes it ever more valuable to our clients. Visitors to our booth will get a firsthand look at the latest round of improvements, many of which were made as a direct result of feedback from our most active users. We're always looking for feedback, so we invite readers to influence FORscene's next phase of evolution by sharing experiences and suggestions with us during NAB this year. Everyone has the opportunity to change the way Forbidden is seen." — Greg Hirst, President, F o r b i d d e n Technologies Inc. New Enhancements to FORscene - High-resolution proxy - Edit interface upgrades including the Record Timeline Patch Panel and

improvements to trimming, audio editing, and publishing tools - Increased account and user customisation for saving keysets and interface layouts - Half speed playback capability for improved logging and transcription - New site manager interface with increased management tools - Cloud upgrade to support new file formats - Server Lite improvements for

remote news workflows Preview of the FORscene iOS Version A new iOS version of FORscene will enable users to log, edit, and publish from FORscene on any iOS device with an internet connection — making FORscene the most accessible professional post-production service available. Integration With Various Partners New integration with the Magma graphic system from deltatre. In this usecase for sports, content creators can access both the live feed footage and Magma produced graphics from the FORscene interface — increasing the speed at which live content can be repackaged for distribution.

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Guntermann & Drunck N5212

Gefen 10010

KVM portfolio at a glance At NAB Show, Guntermann & Drunck will provide their visitors with a comprehensive overview of their KVM portfolio. Whether Windows or Linux computer, Mac graphics computer or exotic devices: KVM extenders forward any content from source to user - without any network and independently from any operating system using existing cable structures. Whenever users need to perform a variety of tasks on different platforms, KVM switches help them switch between computers. They also benefit from a clean desk with only one set of keyboard, monitor and mouse. Another possible application for KVM: Many users need to access many computers. But they want to be able to focus on their tasks instead of sharing their workplaces with several computers including fan noise and other emissions. That’s where a KVM matrix comes into play. It lets an almost unlimited number of users access an almost unlimited number of computers. Each shared resource means saving costs. Welcome to the matrix The


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ControlCenter-Digital offers the most extensive functional range of all devices developed by G&D. The matrix enables the simultaneous operation of thousands of computers via hundreds of consoles consisting of keyboard, monitor and mouse – even over large distances. Thanks to the ControlCenterDigital’s modularity, it is easy to replace components and expand the system to any requirements. By using optical fibres, users and computers can be placed up to 10,000 m apart from each other. Various connection modules allow you to integrate sources like VGA, DVI and DisplayPort into the KVM matrix. Comprehensive user administration, monitoring, web interface or CrossDisplay-Switching are only some of the many features that stand out in its functional range. An integrated 2048-bit RSA-encrypted Trusted Platform Module (TPM) protects any access and configuration data against exposure. Sensitive information such as login data and passwords are permanently saved in an encrypted version. In addition, a RAID1 array system protects rights management and configuration data.

Gefen shows its newest extenders supporting 4k Ultra HD content at NAB, transmitting UHD resolutions with perfect performance and instant delivery. The Extender for HDMI 4k Ultra HD over Fiber delivers resolutions up to 4k (3840x2160@30Hz) with RS232 and bi-directional IR using one SC-terminated fiber optic cable. This long-range solution is effective up to 2000 meters in distance. RS-232 offers an easy method of system automation and control while bi-directional IR facilitates control from both local and extended locations. Surface-mountable enclosures provide maximum installation flexibility. A new HDBaseT extender, the Gefen 4k Ultra HD ELR-POL Extender also provides a pointto-point transmission of 4k Ultra HD content with RS-232 and bidirectional IR. POL (Power over Line) provides power to the receiver unit using the same single CAT-5 cable, and alleviates the need for an external power supply at the receiver side. Distances up to 150 meters at 1080p full HD and up to 100 meters at 4k Ultra HD can be achieved using this solution. Content is delivered with near zero latency using industry-standard CAT-5 cabling combined with Gefen’s ELR (Extra Long Range) implementation of HDBaseT technology.


Grass Valley SL206

“Since its founding in 1959, Grass Valley has played a pioneering role in every major transition in the broadcast industry," said Mike Cronk, Senior Vice President of Marketing, Grass Valley. "Today we are fully committed to helping our customers meet the challenges of live production with complete workflows and applications that prepare them for the future. Every product on our show floor has been updated and is future-ready to conquer the growing complexities of multiscreen, higher resolution and frame rate production. These product enhancements include remote capabilities and multiplatform content development, which ease complexity and increase functionality across the board for our customers.”

As part of its ongoing commitment to live production and news, Grass Valley has added powerful new features to its GV STRATUS® Nonlinear Media Production tools. New rules and workflow engines automatically manage the import and export of content and metadata based on any combination of file type, location, and metadata entries. GV STRATUS also includes new remote connections for editing, news production and distribution capabilities for targeted content, which includes two-way integration with the Ignite® Konnect Automated Production System for both on-air broadcasts and social media interaction. Another new GV STRATUS feature debuting at NAB allows users working on thin wireless con-

nections (such as those provided by 3G and 4G mobile systems) operate an EDIUS® 7 editor on a laptop and create timelines of material shot in the field with proxies of content available in the newsroom. This allows faster creation of news packages, meaning organizations can get to air even quicker with the information their viewers need. Grass Valley will also unveil the latest addition to its LDX Series™ at NAB 2014. Utilizing flexible technologies to deliver unrivaled image quality, seamless integration into live production workflows and outstanding performance in multiple resolutions and frame rates, this soon to be announced camera marks the perfect step forward for today’s sophisticated sports and entertainment productions. In addition, Mike Cronk will present a segment entitled "Next Generation Production and Delivery" on Tuesday, April 8th from 3:30pm – 4:00pm in room S227. The presentation will provide an overview of how fundamental technologies like software-based frameworks, workflow engines, an IPbased infrastructure and the cloud will help the broadcast industry evolve and change the way live events are produced from technical, creative and business aspects. Attendance requires either a Conference Flex Pass or Smart Pass.

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Harmonic SU1210

"During the 2014 NAB Show, the products and solutions demonstrated at our booth will highlight the operational efficiencies, cost savings, and amazing video quality that operators can achieve by leveraging an integrated solution from Harmonic," said Peter Alexander, chief marketing officer at Harmonic. "In addition to the acclaimed products that have made Harmonic a leading solutions provider to video service providers, we will feature an innovative new solution with the power to change the nature of video delivery as we know it." Highlights at the Harmonic booth will include: Encoding and Stream Processing Harmonic will unveil and demonstrate a new software technology for broadcast video delivery ecosystem. The company also will feature a unique, live 4K Ultra HD 2160p60 demonstration. The ATSC 3.0-ready Electra™ universal multifunction, multiformat

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encoding platform, will be on display, as will a distribution solution built on the Harmonic DMS™ video distribution management system and a new ProView™ IRD (integrated receiver-decoder). Harmonic also will show its multiscreen ad insertion solution, which leverages the ProMedia® family and ProStream® with ACE® broadcast and multiscreen transcoder and integrates with advertising ecosystem partners to enable the monetization of multiscreen services. By facilitating commercial insertion, along with program substitution and blackout on the client side, the Harmonic solution gives operators a straightforward and cost-effective way to generate a return on their multiscreen investment. Storage and Playout Harmonic will feature enhancements to Spectrum™ media server product line, including the Spectrum ChannelPort™ integrated channel playout system, which augment

ingest, storage, and playout broadcast workflows. ChannelPort's impressive performance includes high-density playout of four SD/HD channels per RU, dual DVE capabilities, and compatibility with the industry's leading automation systems. In a demonstration of its highperformance storage solutions, Harmonic also will showcase collaborative editing and 4K editing on the Harmonic MediaGrid shared storage system. In addition to the demonstrations and Ultra HD theater presentations at the Harmonic booth, Thierry Fautier, vice president of solutions marketing at Harmonic, will present his paper, "Ultra HD in 2014: A Real World Analysis," at the NAB Broadcast Engineering Conference on April 9 from 10:30 to 11 a.m. in room S228 at the Las Vegas Convention Center.


Liveu SU8513

LiveU (, will demonstrate its complete range of bonded 3G/4G uplink solutions for broadcast and online media, offering a onestop-shop for live news, sports and event coverage. This includes LiveU’s new professional-grade LU500 backpack, weighing only 2.2 lbs (1 kg), based on LiveU’s fourth-generation patented bonding algorithms and powered by LiveU’s multi-processor video

encoding engine. LiveU will be presenting LiveU Central, its comprehensive central management system that allows full control and monitoring of the entire ecosystem and content via any browser-supported device. The system includes: enhanced point-tomultipoint distribution; the LiveU Matrix for real-time previews and flexible online management of multiple feeds for live broadcasts and social

newsgathering; geo-location for each LiveU unit; and enhanced remote control. Also on show will be LiveU’s mobile application for smartphones and tablets, the LU-Smart with its innovative handheld Smart Grip; LiveU’s Xtender external antenna solution for extra-resilient signal in extreme scenarios; and hybrid solutions with microwave and satellite technologies.

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LYNX Technik N1120 / SL5028

LYNX Technik is launching CustomControl for its APPolo Control System at NAB 2014. CustomControl is a new control feature that incorporates an easy to use editor for creating and building customized virtual software control panels for enhanced levels of operational efficiency and sophistication. The CustomControl editor integrates easy drag-and-drop controls for creating a custom user interface or template(s) for control panels in the APPolo Control System for Series 5000 modules / systems. Each dragand-drop element (buttons, sliders, drop-down menus, check-boxes and so much more) can be assigned to different control parameters in the system, making the control interface entirely customizable. Each customized control panel is stored on the LYNX clip-on server and can be individually assigned to one or more users in the system. A user can log on to the server using the APPolo Control GUI soft-

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ware to access and use the custom control panels assigned to him/her. Turn your iPad CustomControl Tool



LYNX Technik is turning an iPad into a Control Panel for its CustomControl tool with an app for the iOS mobile operating system. With their iPad, APPolo users will be able to download the CustomControl application from the Apple App Store, log-in to CustomControl, and start controlling their Series 5000 modules via a customized control interface associated with their user account. This enhanced access lets users have an additional and powerful layer of control to their Series 5000 installation. The LYNX Technik APPolo Control System™ is a user-friendly, intuitive and self-configuring control system for remote control, status monitoring and SNMP error reporting. Typically used with the Series 5000 CardModule system, APPolo is the heart of a centralized control system

which can easily be expanded to grow with your system. From a single rack to literally hundreds of racks located in different locations, the system can be easily used for controlling small or large Series 5000 system installations. CustomControl provides: - a virtual and user-friendly control panel editing tool flexibility to design custom user-interfaces - the ability for a defined user to use custom control panels with the APPolo Control GUI - CustomControl App for iPad / iOS mobile devices to view and use custom control panels The new CustomControl feature will be demonstrated at the LYNX Technik flagship NAB 2014 booth, N1120. The LYNX Technik family of yellobriks will be display on both N1120 and SL5028.


Miranda N2513



The new NVISION 8500 IP Gateway cards convert and packetize real-time, uncompressed, baseband video for distribution over Ethernet networks. The introduction of IP inputs and outputs to Miranda’s NV8500 routers represents a major step-forward in future-proofing and convenience for broadcasters as they look to transition from SDI to IP infrastructures.

The new NVISION CR6464 router is the latest addition to Miranda’s compact router range. In only 2RU, the CR6464 packages extreme density with reliability by virtue of high density DIN coaxial connectors, easily serviced hot-swappable crosspoints control card, IO cards, and a dual fan cooling module.

INFRASTRUCTURE IRG-3401 IP Gateway Miranda further extends its IPenabling portfolio with the IRG-3401 IP Gateway, a high density, bidirectional DVB-ASI/IP gateway that facilitates multiple applications for broadcasters. The card, which fits in Miranda’s Densité 3 chassis, is the densest IP gateway available, hand-

ling up to 120 gateways in a single 3RU frame. Modular Signal Processing Miranda adds to its industry leading Densité range of signal processing solutions with several product introductions and upgrades at NAB 2014.

LNS-3910 3G/HD/SD line synchronizer provides a clean output on video input hot switches within a 10line buffer. The new SME-1911 streaming media encoder is the sister to the recently introduced SME-1901, offering the encoding without the distribution amplification available in the SME-1901.

MONITORING & CONTROL Kaleido IP X310 This new version of the Kaleido-IP multiviewer extends the level of monitoring support in this platform to 128 SD or 64 HD programs. The Kaleido IP X310 comes standard with 4 GigE ports and is ideal for high-performance applications such as high-bandwidth H.264 HD video streams. iControl 6.0 Miranda’s iControl content monitoring and control platform has been further strengthened in Version 6.0 with a range of new control tools, an enhanced alarm panel, a simpler, easier-to-launch administration web interface, heightened security and extensive channel playlist and playout control.

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MultiDyne® C9921

The Dingo™ Fiber Transport Card Line At the 2014 NAB Show, MultiDyne® will introduce The Dingo™, a new fiber transport card set. Featuring a flexible, elegant design, The Dingo supports a wide range of camera signals — 3G HDSDI, composite video, analog or digital audio with cross conversion, intercom, serial data, and Gigabit Ethernet — over a single fiber-optic cable. Available in three interoperable formats, The Dingo brings unprecedented flexibility to all aspects of fiber transport. The Dingo is available as an openGear® compatible card that offers SNMP management and power redundancy in a single hotswappable card; as a portable,

black box that makes a great addition to the MultiDyne's LightBrix line; or as a smaller personality card for The BullDog™, LiGHTBoX®, and LiGHTCuBE® product lines. All three formats are interoperable, enabling seamless communication between openGear cards and other fiber transport equipment in the field. The Dingo supports a variety of applications, including broadcast, A/V, sports, OB, ENG, POV, and multicamera shoots, making it the ideal solution for professional camera operators, as well as field and facility infrastructure. As part of The Dingo Line, MultiDyne will release an individual card for each signal transport, as well as various signal combinations, creating over two dozen individual

cards in order to fit each and every fiber transport application, all available as cards, a black box, or as personality cards for The BullDog, LiGHTBoX and LiGHTCuBE. The BullDog™ Field Fiber Transport System and The BullDog Big Brothers MultiDyne® is now shipping The BullDog™, an innovative field fiber transport system that packs endless functionality into a compact, rugged package. Using The BullDog, professional camera operators can significantly extend the transmission distance of multiple camera signals, including HD-SDI video, audio, intercom, control data, Ethernet, GPIOs, tally, and power. In addition to transporting any camera signal over a single fiber cable, The BullDog can efficiently transport up to 8 HD-SDI signals in any direction. Designed to withstand the harsh environments of sports and ENG applications, the cost-effective and scalable system can easily be configured to support a wide range of existing and nextgeneration signals. Already operating on a lightweight battery pack, The BullDog gives users the option of adding the MultiDyne JUICE power supply. In addition to transmitting signals to and from the camera with a hybrid optical cable, users can send power to The BullDog and the camera. With the Juice option, there is no need for a battery or local power, which is particularly useful at golf courses and venues without a power infrastructure. In addition to its standard compact version of The BullDog, MultiDyne will introduce The BullDog Big Brothers, two larger sized units that pack even more functionality into a still rugged and compact form factor.

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Nevion SU3605

Nevion will debut its enhanced TNS4200 media monitoring probe, including a new DVB-S2 module for satellite monitoring at NAB 2014 in Las Vegas. The TNS4200 is designed to monitor video and audio signals and streams to ensure a consistently high-level of Quality of Service (QoS) in contribution and distribution applications, and to document compliance by service providers with Service Level Agreements (SLAs). The TNS4200 can handle the largest number of streams simultaneously and supports a wide-ranging set of interfaces and formats, including ASI, IP, 10G over SFP, DVB-T and satellite RF. The TNS4200 can be used, for example, by IPTV operators and cable TV service providers to monitor a high number of Single Program Transport Streams (SPTS) over IP simultaneously. The new DVB-S2 module enables satellite uplink operators and DTH headend providers to monitor, through a single GUI, all incoming signals and anticipate problems accurately, from the stat-mux to the final emission. The module has two individual satellite demodulators, allowing the monitoring of up to eight transponders in a single rack unit. With its compact, low-resource form factor, and low power consumption, the TNS4200 represents a highly efficient and low OPEX solution. “In today’s broadcast environment, Transport Stream-centric

monitoring of the QoS is essential, particularly at the many potentially vulnerable handover points in the video distribution chain between all the operators involved and their technologies” said Janne T. Morstøl, chief product and development officer, Nevion. “Satellite transmission is an important part of the broadcast value chain, so Nevion is delighted

to extend the superlative monitoring capabilities of the TNS4200 to cover this.” TNS4200 capabilities include full ETR 101-290 priority 1-3 monitoring with options for DTT (T2-MI, SFN and MIP measurement), TS trend monitoring, template comparison, EPG analysis, PCR jitter, and IP/RTP monitoring.

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Pixel Power N2034

Next generation graphics workflows Pixel Factory—Pixel Power’s new server-based implementation of its world-class graphics engine is intended to support today’s file-based operations. It is an ideal solution for adding extra graphics capability to support needs such as Quality Control, Web Delivery and post production, or to enhance program material and add graphics overlays for playout and streaming applications. Integrated Gallium workflow management provides the scheduling, asset management and workflow automation needed to optimally manage multiple rendering devices.

demand services, mobile content, news operations, and second screen viewing applications. Output is a pixel perfect match to that of Pixel Power hardware products. Gallium--Pixel Power’s highly integrated and scalable scheduling, asset management and automation

systemprovides the intelligence to build a variety of playout solutions using Pixel Power output devices for file, IP or SDI domains. It’s ideal for playout facilities that need to implement automated control of the company’s transmission devices for graphics or a complete channel playout.

Pixel OnDemand—a first-of-itskind, software-only graphics solution that enables a media company to break free from traditional CAPEX infrastructure and its cycles of depreciation. Pixel OnDemand gives media companies the flexibility to pay for the rendering time they actually need rather than spend on unused capacity. Pixel OnDemand is provided as an easily deployed software package that runs on standard IT servers, making it perfect to meet the needs of nonlinear, storeand-play content delivery operations such as IPTV channels, video on

Integrated Solutions ChannelMaster—Pixel Power’s complete integrated playout system is the only channel-in-a-box system backed by 25 years’ graphics knowhow. ChannelMaster reduces the traditional playout signal path—storage, DVE, audio, subtitling, social media support, master control switcher for live feed and long-form video and graphics—to a single system that doesn’t cut corners when it comes to delivering a compelling

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look that appeals to audiences and advertisers. Newsroom—Pixel Power brings efficiency and optimization to newsrooms by integrating graphics throughout the entire workflow, from production through distribution. Graphics assets are accessible within any newsroom computer system and templates can easily be populated by staff or through automation, and can then be added to the run-

down for playout. Data sources, from election data to crowd-sourced content via social media, are handled as an integral part of newsroom production, allowing for easy integration with news content and moderation. Operators have complete control over playout with Pixel Power Rundown Manager and Control Center making it easy to drive multiple Clarity or LogoVision graphics systems to air.


Polecam C9908

Polecam Systems will launch new products at NAB 2014 including the Polecam Professional Pack, PPP, providing an enhanced ‘out of the box’ solution for those looking to hit the ground running with a cameraready highly specified and flight cased Polecam bundle at a professional level. The PPP is developed from PSP+ package. Like the PSP+, the PPP is modular and provides a great platform for cameras such as RED, Canon, Panasonic, Sony, and the range of specialist minicams (Toshiba, Panasonic, LMC, Camera Corps, IO Industries, Indicam) and lenses (Resolve, Fuji, Theia, Kowa) that Polecam Systems can advise on, and supply. The Polecam Starter Pack Plus (PSP+) package has been outstandingly successful in making the Polecam system accessible to the

creative camera community worldwide, with success stories of those already making a name for themselves with new rigs purchased just last year. Other new products on show: - Antelope PICO high speed minicam. Polecam and LMC have teamed up as partners to bring stunning super slow motion via a minicam that will mount on (or off) Polecam to give a new POV viewing experience for broadcast, natural history, sports coverage and analysis, scientific, industrial and medical use and more. Simultaneous record and instant playback with up to 4 triggered events. - Polecam Grip Relocator package for the Canon C300 camera. The product enhances that partnership by enabling the Polecam operator to control the C300 remotely from their

natural position when operating the rig. - Polecam Remote Control Panel RC200. This new product which now includes the protocol for the IO Industries Flare Camera enabling remote control of up to 6 different cameras from the one panel. - Polecam Long Head Weather Cover. Polecam now offers the Long Head Cover, effective in keeping the camera dry, cosy and debris free. Present on the booth will be Steffan Hewitt, designer of Polecam, along with Stephen Rutherford from Polecam UK, Perry Drogo and Anthony Magliocco from TECADS the Americas distributor, along with their visiting reps. Come along, try Polecam yourself, and feel the magic.

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Roland Systems Group C8635

Roland Systems Group announce the Roland S-2416 Stage Unit. This new digital snake stage unit expandsthe line-up by offering a 24 input x 16 output analog and 8 input x 8 output digital, for a total of 32 input and 24 output channels. In addition to the analog and digital I/O the S-2416 has two REAC ports enabling the ability to cascade an additional snake for expanded I/O or for a fully redundant, zero-loss audio back-up solution. In addition, the discrete mic preamps are newly developed high-grade ensuring highest-quality uncolored sound. The ruggedized chassis is an EIA design with a 4U rack-mount space size designed for touring or fixed installation. The analog connectors employ rugged Nuetrik connectors and the inputs have three-colored indicator lights that provide phantom power, clipping, and signal presence at a glance. The AES/EBU ports on the rear are 25-pin D-sub types that enable other digital audio devices such as speaker processors, amps and other digital devices to be directly connected. The S-2416 is the first digital snake capable of a cascade connection, making it possible to expand the I/O up to 40x40 channels. A simple activation of a switch to Cascade Mode allows a connection to an additional REAC digital snake.The cascade feature allows for more complex and flexible VMixing System configurations. The S-2416 supports 24-bit 96 kHz, 48 kHz, or 44.1 kHz when switched to clock master mode. Word clock input and output enable a master clock signal to be connected when using AES/EBU. Mic preamps can be remotely controlled using any V-Mixer, R-1000 or S-4000R connected by RS-232C or by using

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the S-4000 RCS remote-control software on a computer (Mac or Windows) connected via USB. Fundamental to S-2416 connectivity is REAC – Roland’s Ethernet Audio Communication protocol for low latency, high quality digital audio transfer. Products using REAC technology are installed today in many venues and have been used in high profile events worldwide. REAC’s 24-bit, 40x40 channel protocol delivers pristine digital audio via lightweight, inexpensive and easy to ins-

tall cable (Cat5e/6). REAC technology is immune to externally induced signal quality degradation or hums and buzzes typically found in analog systems which leads to freedom in cable placement resulting in lower cost and better sound. The REAC family of products is varied and includes digital mixing consoles, digital snakes, personal mixers and multi-channel playback and recording all of which work together in a plug-and-play fashion building a comprehensive digital audio ecosystem.


Ross Video N3806

Ross Video is celebrating their 40th anniversary at NAB this year with a new corporate logo, a new tag line “Production Technology Experts” and a significantly expanded NAB presence. The growing range of Ross production technology solutions can be seen at the Ross Booth #N3806 in the North Hall. Production Switchers Vision Tritium makes its North American debut. Is a full 3MLE modular production switcher packed full of features including: 48 x 32 Multi-Definition inputs and outputs, 6 real 3D DVE’s, 16 channels of internal media stores, 16 keyers, Ultra Chrome chroma keys, built in Dual Head Multi Viewers and a massive list of supported external device controls. DashBoard Facility Control DashBoard is Ross’ free facility control software that controls everything from Ross and our openGear and DashBoard Connect partners as well as a variety of other UDP, TCP and HTTP devices. Version 6.1 will launch at NAB and provides PanelBuilder - the ability for anyone to build purpose built CustomPanels and Automated Workflows. PanelBuilder makes customized control quick and easy via an intuitive drag and drop mode for building CustomPanels. XPression 3D HD CG & Motion Graphics System XPression motion graphics now offers solutions for virtually every type of onscreen live graphics requirement - everything from live character generation, to branding, to virtual sets and augmented reality. Ross and Unreel Virtual Set & Augmented Reality Ross and its virtual tracking part-

ner Unreel will again be showing a fully turnkey virtual set and augmented reality solution, making it easy for anyone to quickly deploy a virtual set or to add augmented graphics to an existing set. Ross Robotics Furio RC is Ross’ rail based remote control camera system used on top end stage productions and variety shows. Furio RC adds a new control option for NAB – Furio Panbar. The Panbar controller makes controlling Furio RC similar to running a manual camera. The operator controls a fluid head for pan/tilt/zoom/focus and foot pedals for dolly and lift. Many operators find this control method more precise, faster and more intuitive – making it easier to get those dramatic production shots that Furio RC is famous for. Infrastructure – Routing, Terminal Equipment & Nielsen Watermarks New in the NK Series Routing systems is the NK-144 which can now be upgraded to include the full functionality of up to 2 Carbonite production switchers internally - becoming a full Carbonite eXtreme. This product combines facility routing with production switching and multi-viewing all in a single rackframe, simplifying system cabling and distribution. Ross Mobile Productions Ross’ production arm, Ross Mobile Productions will launch their new Mobile Production OT1 compact production vehicle. Ross is

building a fleet of these vehicles to offer full production packaging and rental services. OT1 is a platform that Ross will be soon making available detailed designs for so that other truck companies can get on board with this new open standard for truck designs and workflows.

Screen Systems N5821 Screen will be presenting its subtitling/captionin powerensemble at NAB from proven preparation software to dependable transmission systems. Their Polistream BLACK subtitle transmission range supporting closed, DVB, passthrough, open/burnt-in and VBI & VANC subtitle transmission is relied on by many of the world’s largest broadcasters. As the software of choice for serious subtitlers, the WinCAPS subtitle preparation software suite offers fine-tuned automation tools to improve workflow and productivity for both offline and live/news subtitling. For file based subtitle encoding, Screen’s MediaMate software system for the re-purposing and manipulation of media files can be used to decode, repurpose and encode subtitle/caption data in a wide range of media formats.

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At the SMPTE booth, the Society will highlight significant advances in standards development, the digital library, the success of the past year's educational conferences, and new products including the CamWhite pocket chart for whitebalancing. The Society continues to support student engagement in the motion-imaging field through both scholarships and social events. SMPTE board members and directors will again engage with students at the Society's popular ice cream social, which last year drew 70 students, and at the SMPTE booth.

2014 NAB Show's Technology Summit on Cinema (TSC) The Future of Motion Imaging and Sound With a focus on the future of motion imaging and sound, the twoday 2014 NAB Show Technology Summit on Cinema (TSC), produced in partnership with SMPTE, will offer an in-depth global view of the current state and future of filmmaking innovation. Key topics will include 4K and beyond, 3D film conver-

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sion, the use of high frame rates, onset workflows, distributed postproduction, laser projection, immersive sound, and next-generation cinema. TSC sessions begin at 9 a.m. on Saturday, April 5, and Sunday, April 6. Each day will feature a series of six sessions that extend until 6 p.m. The conference keynote speaker will be announced at a later date.

New From SMPTE at the 2014 NAB Show SMPTE CamWhite Pocket Chart Ideal for the studio, shop, or truck, the SMPTE CamWhite pocket chart is a consistent and reliable neutral white reference with a sturdy laminated surface. Enabling users to white-balance cameras to a scene's primary light source with precision, CamWhite charts are a versatile tool for improving the production value of images — saving both time and money in post. The standard CamWhite chart measures 6.3 inches by 3.75 inches, but larger formats are available. A handy lanyard allows users to keep the chart close at hand.

Joint Task Force on File Formats and Media Interoperability SMPTE will provide insight into the goals of the new Joint Task Force on File Formats and Media Interoperability, launched in February in cooperation with the North American Broadcasters Association (NABA), Advanced Media Workflow Association (AMWA), Society of Motion Picture and Television Engineers (SMPTE), International Association of Broadcast Manufacturers (IABM), European Broadcasting Union (EBU), American Association of Advertising Agencies (4As), and Association of National Advertisers (ANA). Bringing together manufacturers, broadcasters, advertisers, ad agencies, and industry organizations (standards bodies and trade associations) serving the professional media market, the task force will gather and analyze requirements for a machine-generated, machine-readable file interchange and delivery specification — including standardized and common structured metadata — for the professional media industry.



Momentum – powerful media asset management and workflow automation designed for TV Everywhere Snell will present new features for Momentum, its breakthrough solution for Media Asset Management and Workflow Automation. Enabling complex workflows to be managed easily, it forms a key part of Snell’s ‘Media Factory’ software-based media management and processing solution.

Alchemist OD – format and frame rate conversion On Demand The first application for Snell’s On Demand framework, Alchemist OD is designed specifically for content owners, post-production facilities and playout service providers. It safeguards the highest image quality and offers simple integration. It offers a scalable, low-cost motion compensated format and frame rate conversion software available on demand.

ICE Channel-in-a-Box — twice the graphics capability, smaller footprint ICE-LE is the new version of Snell’s industry-leading ICE Channel-in-a-Box. Perfect for situations where space is at a premium, it provides more streamlined functio-

nality in a 1RU configuration. The latest new version of ICE now provides twice the 2D or 3D graphics capability within a standard 2RU system. Now shipping with Version

4.0 software, it offers Nielsen audience tracking including C3 capabilities and integrated loudness control for compliance with international regulations.

Kahuna Maverik – handle multiple-M/E productions with a truly flexible control surface A game-changing new modular control surface for Snell's industryleading Kahuna 360 multi-format production switcher range, Kahuna Maverik will make its NAB debut. It provides technical directors with a flexible, quick, reliable access control interface for every type of studio and mobile television programming.

It allows fast configuration and setup time for a quick studio turnaround between shows and offers 4K support. It also mirrors the studio's operation and has a compact footprint. Crystal clear OLED buttons with user-assignable thumbnails, a touch-screen at the M/E level rather than on a separate GUI, and the abi-

lity to assign RGB values to buttons provide quick, clean navigation. Unlike traditional switcher control surfaces Maverik modules can be assembled in a huge variety of configurations, and without compromising precious desk space.

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Thales Angenieux & Binocle 3D C7419

THALES ANGENIEUX and BINOCLE 3D have decided to serve the Broadcast Industry with innovative ways of shooting, giving operators the opportunity to enlarge their service offer. THALES ANGENIEUX, well known by Cinema Professionals worldwide as manufacturers of the famous Optimo series of lenses, and having worked in the Broadcast Industry for more than 75 years has made the decision to invest in 3D applications for TV to give the opportunity to its customers to offer more versatile services. Both companies have long been working together, exploring innovative ways of shooting and particularly several stereoscopic 3D projects. The last but not least “3D Live” being dedicated to Live production in S3D for OB work. The first system “AB One” is branded under the partnership “AB LIVE”. This easy to manage system brings stereoscopic 3D production within reach of everybody, while drastically reducing operational costs, particularly in the case of live events. The main aim is to offer a versatile turnkey solution with tailor made support, adaptable to all projects. The two partners offer a solution accessible to the largest number: - The system is fast and easy to install, thanks to its unique Plug & shoot concept: No need of specialised technical crew: 2D team can easily set up as usual under 5 minutes per rig! - The expertise on lenses have enabled THALES ANGENIEUX to design specific 3D lenses making them easy to synchronise and so

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quick. - Alignment is fast & easy thanks to special programme and user friendly operating panel. - System has been designed to work for live operation with a Fiber adapter direct link to Operations with standard metadata connections. - 3D vision engineers benefit from

special OCP Operating Control Panel, enabling several rigs control. - Tool analyser with automatic corrections is complementing the system, optimising its cost for operations. - Finally, the team is supporting its customers & users in running perfect 3D shooting at limited cost, making it competitive to 2D.


TSL N1123

“Audio/Video-over-IP and resulting new standards, such as AVB, AES67, Ravenna, Stagebox and SMPTE 2022, will revolutionize broadcasting,” says Chris Exelby, Managing Director of TSL Products. “This technology opens up the possibility to base all signal transportation of a broadcast data stream over IP, allowing more streamlined and cost-effective production. TSL is incredibly excited to be at the forefront of this emerging technology and we have already started building our Audio/Video-over-IP portfolio to give confidence to broadcasters as their facilities migrate.”

reliability and low latency,” explains Martin Dyster, Head of Audio at TSL Products. TSL Products will introduce its new PAM1 AVB and PAM2 AVB audio monitoring units to the wider market at NAB as part of its Audio/Video-over-IP demonstration. The company will also feature new audio/Video-over-IP switch technology developed through a logical partnership between TSL Products and telecoms experts A.R.G

ElectroDesign Ltd. (ARG). An integral part of any Audio/Video-over-IP infrastructure is the control system and TSL Products’ future roadmap for TallyMan, the industry’s de facto broadcast control system, is also clearly focused in this direction. “Audio/Video-over-IP is the future and the future is now,” states Exelby. “TSL Products is proud to stand alongside leading manufacturers and broadcasters looking to migrate over to IP infrastructures.”

TSL Products is leading the Audio/Video-over-IP transition with a broadcast network giant based in the U.S., which has already started implementing TSL’s new PAM AVB audio monitoring units as part of their Audio-over-IP roll out. Early adopters of Audio/Video transportation in the broadcast domain are saving money and time using standard IP connections between venues and facilities as opposed to using costly satellite uplinks. These Audio/Video-over-IP Live Production Contribution links allow the production of live events to take place directly at the broadcast facility rather than at the venue. TSL Products’ workflow demonstration at NAB will show how connectivity can be simplified within a broadcast facility in the future using AVB technology, enabling the transportation of signals from any point to any point at the click of a button and relinquishing the need for expensive baseband infrastructure equipment such as video routers. “Standards like AVB and Stagebox represent a superior method for transmitting audio and video streams with greater flexibility, improved

Chris Exelby

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Video Clarity SU11607

MOVIE for ClearView Video Quality Analyzers Video Clarity Inc. announced the release of MOVIE for ClearView, a new perceptual test method for the ClearView line of video quality analyzers. MOVIE (for Motion-based Video Integrity Evaluation) creates a new level of accuracy for measuring video quality because it yields results that are closer than ever to human perceptions of video quality. MOVIE improves accuracy for content originators, broadcast operators, broadcast transmission equipment manufacturers, and consumer electronics manufacturers that use ClearView analyzers to ensure the best viewing experience, operate more efficiently, meet SLAs, and stay in compliance. Though subjective viewing of video to make final product and network-path quality decisions will never go away, MOVIE for ClearView analyzers gives discerning users in both R&D and network operations departments a new advanced measurement tool that decreases the need for time-consuming, subjective in-house viewing and audience-based quality assessment projects. ClearView analyzers use several proven test methods to arrive at a measurement of subjective quality that very closely approximates what the average person would see and hear when watching the video. Adding the full-reference MOVIE test to ClearView systems gives users the highest correlation to human subjective quality available in an automated measurement system. "Customers are continually looking for better, more accurate ways to measure and track video quality, whether they're developing an enco-

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der/decoder or other processing product, or running an entertainment network processing-path application. We study the latest work by researchers so that we can integrate the best-performing solutions into ClearView products," said Blake Homan, president of Video Clarity. "MOVIE meets the demand for ever more accurate tools when testing both broadcast and consumer devices that tend to generate significant interframe quality artifacts. We know users want the MOVIE method as part of their video quality measurement and test routines."

The science of predicting human perception of video quality is not 100 percent accurate. The higher the correlation to subjective data sets, the better. MOVIE provides a closer correlation than most available methods because it takes into account the spatial and temporal changes from frame to frame that affect quality. With MOVIE, ClearView systems now include a metric measurement that estimates frame-to-frame effects on quality, thereby addressing a demand for higher accuracy as correlated with well-known subjective data sets that use the recommended ITU-R BT.500 method.


Wohler Technologies SU4410

AVB Monitoring Option Card The new AVB Monitoring Option card for Wohler’s flagship AMP2 Series modular audio/video monitoring solution allows media facilities to take advantage of the AVB standard in the monitoring realm. The 2RU AMP2-E16V has become the industry leader because it provides a complete suite of tools for analyzing and managing audio quality, level, and loudness; metadata; Dolby D, E, and DD+ decoding; and more. Now AMP2-E16V users can

simply download the appropriate software update from Wohler and insert the AVB Monitoring Option card into the monitoring unit, and they’ve made their unit AVB-compliant without sacrificing any of their other inputs.

MPEG DVB-ASI and IPTV Monitors

RMT-173 Video Monitor

Wohler MPEG monitors decode and provide convenient at-a-glance monitoring of program content from MPEG-2/4 ASI and Ethernet IP streams, as well as 3G/HD-SDI inputs. The MPEG video monitors identify, decode, and display in high resolution both MPEG-2 and MPEG-4 signals (input via BNC or Ethernet) while giving users the ability to browse the PAT, PMT, PID, EIT, and NIT data (both ATSC and DVB tables) for each selected stream. In addition to MPEG ASI and dual-input 3G/HDSDI with loop-through, the MPEG monitors also accommodate HDMI video and audio with level meters, GPI, and tally.

The Wohler AMP2-E16V AVB implementation employs a 100 BaseT Ethernet port and familiar RJ-45 connection. Users can install as many as five AVB cards in the

monitoring unit. Each AVB Monitoring Option card decodes two AVB streams of eight channels each (IEC 61883-6 format), and these two streams must be locked to the same media clock. Just like any other module for the AMP2-E16V, the AVB card occupies a single card slot. AVB channels can be mixed, leveladjusted, and monitored just like — and along with — AES, SDI, analog, and other input types.

The 17-inch RMT-173 video monitor provides the format flexibility and compact form factor critical in studios, master control rooms, edit suites, and electronic newsgathering and outside broadcast production environments. The lightweight unit supports 3G/HD/SD-SDI, HDMI, VGA and DVI; composite Y/C; and component video inputs. Because the monitor can be configured as a dual-split display, as a large screen with one smaller view, or as a single large display screen, it is an ideal solution for any application requiring intensive monitoring.

RadiantGrid Intelligent Media Transformation Platform™ Version 8 The Wohler RadiantGrid Intelligent Media Transformation Platform™ provides consolidated media processing capabilities, such as transcoding, standards conversion, audio processing, caption processing, and quality control, with an intelligent content management fabric and workflow layer. Based on an extensible service-oriented architecture, the platform uses TrueGrid™ processing to accelerate and manage several tasks simultaneously while allowing true scalability across multiple machines.

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YOU SET THE LIMITS Txt: Pablo Martinez

In this article of TMBROADCAST we will analyze one of the equipments with the most surprising development of these years, from my point of view. The technological leap, from the beginning of the sale of the first units to the current moment, has been inspired by the idea of providing an effective work tool from the point of view of the final user. Years ago I had the opportunity of using the first models and although I was impressed by the technological development at the moment, they had a long way to go to become an useful equipment in the broadcast market. This is the part they have been working on these years and as a result we have one of the best transmission equipments in the market. They have been able to reinvent themselves and become winners. “The Backpack” WMT Expert is an equipment which bundles up several mobile channels (HSPA, UMTS,

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GPRS, LTE) of one or multiple operators into a single broadband channel, as well as the Wi-Fi and Lan connections. This equipment has been designed to overcome the current barriers in the wireless transmissions. The SDI standard version can use 6 to 8 HSPA channels; therefore it’s able to provide enough capacity to send videos or large data volumes. In the case of HD video transmissions it can reach up to 10 HSPA channels. The available bandwidth depends on the coverage of the mobile networks and network technology (2.5G/3G/3.5G/4G) available at the place of the live event and transmission. Usually, the standard uploading capacity of the WMT equipment is of between 500 and 4,000 kbps. By including multiple mobile networks it creates more bandwidth (bounding) and a greater stability in the signal.


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The use of multiple networks guarantees more bandwidth, the best possible coverage on the network and offers a redundant solution. The video transmission is done with the codec H.264, which automatically defines the available band width to continue transmitting the higher quantity of data as possible. This ensures the best quality video transmission with the less delay time. In this case “The Backpack” of Mobile Viewpoint is an equipment to keep in mind for future purchases, both for TV channels and news service producers. The versatility and speed of the transmission it offers marks the difference in relation to a competitive market, where the real time news comes first.

KNOWING THE SYSTEM The system is made of three parts. Two basic parts are the transmitter and the receiver and the part that completes this transmission solution is called the backend server. The WMT system enables us to work in two configurations. One point to point that directly aims at the receiver trough a public IP assigned

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to the receiver; and another one point to multiple points through the server. The same system sends to multiple receivers. The transmitter is made of a powerful computer within a fibre frame, where the video connectors, audio and data are integrated, as well as the control and operation touchscreen. In the upper part you will find the SMA connectors of the aerials for modems corresponding to the cards of the different mobile telephone operators. The Wi-Fi system is built inside the device. The system uses an owner software (in Linux) to do the codification and transport of the signal, as well as the adjustment of the equipment. Regarding the technical aspect, it includes a motherboard connected to a mini PC which uses as video interface a Blackmagic card adapted to the necessities of the system.


The modem connections are cutting-edge Sierra Airprime cards. Due to the fact they are open code components, the system can constantly be updated with regards to the new work formats. “The Backpack” includes an internal hard disk (40Gb) which enables you to do audio/video clips for transmitting them later. With this we can transmit the material without depending on the camera connection working as content server and avoid delaying the work of the ENG equipment. The default characteristics are the following: Interfaces - 2 x Ethernet 10/100/1000 base‐t - SD; SD‐ SDI, SD‐HDMI, composite + 2 x analog audio balanced - HD; HD‐ SDI, HD‐HDMI



- FireWire/1394 - XLR‐3 IFB/Audio return - USB for Store & Forward FTP file transfer - Touch screen - 8 simcards modems Video input formats



- SD; full D1, Pal and NTSC mode - HD; 720p50, 720p59,94


- HD; 1080i50, 1080i59,94


and modem and LAN, as well as the connection sate and the kbits quantity of the transmission.


Supported Video Encoding - H.264 main profile MVP codec - Framerate 50, 60, 59,94 - On the fly resolution change (as of sw 1.0.9) - Videobitrate between 64 Kbit and 8 Mbit Recording - On Internal solid state disk separate from live Supported Audio Encoding - AAC 96‐128 kHz LFE IP management Network Interface - 10/100/1000 base‐T Mobile Network Interface (8 times) - EDGE, GPRS, UMTS,HSUPA, HSDPA, LTE and - UMTS 2100MHZ, 1850Mhz and 850Mhz - CDMA2000 via external modem - Wi‐Fi Hardware - Weighs approximately 3.5 kilograms - 35cmx21cmx11cm (w x b x h ) - Operating temperature ‐5 ‐ 60 degrees Celsius Power source - Any voltage between 12 and 24

volt like 14.4 - volt Li‐ion V‐Mount cells Operating system - Embedded Linux Local storage - 40 Gigabyte Error correction methods implemented - Forward Error Correction (FEC) - H.264 layer redundancy (Mobile Viewpoint IPR) With these characteristics we can see it’s a very complete system. The work interface (on the touchsecreen) is user-friendly and has big and visible buttons. It has the following configuration: - Overview: It shows us the connection state of the internal

- Setting: In this tab we configure the connection parameters and define the work mode. (Disable – Pause, not connected to the receiver, Live –Live connection, SAF – Sends the files to the FTP server from the hard disk or an external USB disk, Live and record –Sends the image to the receiver and records on the local hard disk, CPT – This format is used when, for example were are moving across small coverage areas and want to send a continuous transmission without losing the signal. A delay from 45 s to up to 10 minutes is programmed in the data packages to have a continuous image during the loss of coverage. We can also adjust the delay as Very Low: 2s, Low:, 2.8 s, Medium: 5 s and High: 10 s and also the Output: signal quality in Best Quality, Medium Quality or Lower Quality) - Transport: Work interface for clips transmissions to the FTP. - Preview: In this tab we adjust the input and the format we want to use in the transmission and also we can see a preview of the signal (it only lasts 10 s to avoid excessive resource consumption and power source) - Edit: With the SAF mode we can select and cut the files we want to send to the FTP. System: It provides us with system

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information and restarts the equipment. The most important options regarding the operation are the following: 1.- Easy and intuitive system configuration. It uses the last known configuration when turned on. 2.- Possibility of configuring all the transmission parameters in local format from the equipment or through the web. This is an advantage when determining the possible errors and when providing in situ assistance to the operator of the event. The equipment supply can be done in two ways: with a supply connected to the electrical grid (useful when transmitting in spaces with a power outlet) and the most usual method, with batteries. We have to highlight that with the double adapter for batteries they can be changed without having to wait for

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OUTPUT INTERFACES - 1, 2 or 4 SD-/HD-SDI output with embedded audio - SD-SDI extra (down converted if HD is received)* - Analog composite video* - S-video* - Balanced analog audio* - HDMI* *single output only INPUT INTERFACES - Ethernet 10/100/1000 base-t - IFB input selectable microphone or line level - Ref Video - Ethernet 10/100/1000 base-t for connection DECODING the batteries to be cool. This is interesting for the transmissions where we can’t disconnect the equipment for many hours. Receiver: The receiver is a system of one rack unit connected trough Ethernet , where a public IP its assigned to it in order to do the transmission from point to point between transmitter and receiver. The receiver is in charge of multiplexing the transmitted signal and it’s located on a mini-PC with a Blackmagic outlet video card. Regarding the connections it has a video BNC output and the rest of outputs are distributed through an electrical octopus. It has an audio input through a minijack to do the IFB with “The Backpack”. In the front panel of the receiver we have the ON button and a LCD screen where we can see the configuration state and change it. It has a connection through the web to monitor the system, as well as the configurations and the data reception state.

- H.264 main and high pro# le MVP codec - Framerate 50, 60, 59, 94 SUPPORTED AUDIO ENCODING - AAC 96/128 kHz LD IP MANAGEMENT INTERFACE


- 10/100/1000 base-T HARDWARE - Dedicated appliance 90-240 volt - Weighs approximately 2.1 kilograms - 1U 19”rackmount - Power consumption average 80 watt

EVALUATING ITS POTENTIAL ON THE FIELD After seeing the most important characteristics of the system, let’s see what really interest us: its configuration and operation in real circumstances. We have to say the integration of the receiver in a facility is not a problem; on the contrary it’s a pull and play. The configuration of “The Backpack” is also very simple. For this test bench we had the following equipment: the WMT Expert Backpack, a high gain external aerial, a simple V-lock battery adapter and a WMT playout receiver. As a complement in one of the transmissions we used a Ka band aerial and modem to provide Internet service to the receiver. Here are two of the most important practical cases: Case 1 Due to the court appearance of the Princess of Spain in the tribunals of Mallorca, we went with “The Backpack” to one of the hot spots of this event, the entrance to the tribunals. In order to have a general idea my dear readers, the entrance is placed in an internal courtyard surrounded by buildings. With the added difficulty of the presence of the security forces and the advice that only one camera operator, one writer, one ladder and one bag with technical material was allowed in. In our case, one of the biggest problems we could find was the activation of frequency sweepers with the



The default technical characteristics are the following:

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arrival of the Princess, as well as the presence of 90 authorised communication means which could generate a saturation of mobile network cells. Several days before, we did different live events from the same spot, all of them with positive results, optimum level of coverage in all modems and a perfect signal balance during the connections with the information services. We have to highlight that during those previous days several frequency sweeps were done which caused the signal cut in all modems, but luckily never when we were live. There was an answer time of “The Backpack” of 50 s when the transmission service was established again, from the beginning of the sweep until the normalization of the service and without later cuts. The day of the event we were 50 authorised communication media in the courtyard of the building, which was a challenge. The BBC collea-

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gues brought a WMT Expert, like the one we had. There was also a TV channel with a similar equipment of another manufacturer. This made us doubt in the first place, if the telephone nodes would be able to give service to all the media of this event, especially taking into account the mobile connections and access modem to the network of the laptops of the graphic media which wanted to send the photos taken and the articles. In this case, is very important to have an external aerial displayed to be able to work above the college nucleus present there, in order to obtain the maximum coverage as possible. We did a live monitoring al day with constant connections with “The Backpack” from this point, included the entrance and exit of the Princess as well as the rest of the implicated which were important moments of the transmission. The result was fantastic; we did the live connections without any type of cut in the emission. The values of “The

Backpack” which were constantly monitored from the web access of the system, were stable and the data balanced was perfect with a programmed delay of 2.4 s and SDI quality. As a security measure we gave all the orders to the writer and camera through the IFB of the equipment. To avoid the consumption excess, taking into account the access to this place was restricted; we didn’t turn off the equipment, except to change the batteries. We just placed it in the “Disabled” mode to reduce the consumption in half. In short, it worked very well in one of the most difficult work situations for this system. The live aspect was a key element in this event (although a private company provided, upon payment, pool signal of this position with a connected camera without customizations) and we were the only ones, as public channel, that with our own means did the live event in the most relevant moments, which meant to be the most watched channel in Baleares during all the broadcast.


Case 2 In this case the situation was completely different. It was on the Cavalcade of Magi where we decided to use “The Backpack” to directly help one of the mobile units that were covering the itinerary. It was done to do live broadcasts on the places where the cable couldn’t get due to distance and location. A Ka band aerial was placed on the mobile unit as access point to Internet and the unit pointed to an Eutelsat satellite through the modem and the aerial. Therefore, the receiver of “The Backpack” had Internet connection with a guaranteed band width because it was the only connection for the reception of the signal. Once the connection and the configuration of the Internet service parameters were done, we checked the point we had to cover with “The Backpack” to verify the coverage. We detected an area with bad coverage and because they were going to be a lot of people in the itinerary of the Cavalcade, we decided not to broadcast from there. It’s very important to do this type of evaluations because although this system


is very reliable, it depends on the mobile network connections for its correct operation and the coverage the telephone companies offer in some areas is not very good. In this case, the communication orders came through the IFB of “The Backpack” with an SDI quality and a delay which changed depending on the area, between 2 s and 2.8 s. All the spots we planned to cover with this equipment were perfect without any type of problem and with the quality that was expected of the system.

WE MISS As we have seen, the system is stable and you couldn’t really ask for much more. It has everything, included an external aerial unified with the transmitter which marks the difference with the rest of possible competitors. To say something, I would change the location of the BNC input connector because as it’s

on the front part of the equipment when you close the backpack if we use a standard BNC it’s on a forced position. I solved this by using a mounting BNC. Another point would be the possibility of being able to access the OFF button of the screen, due to its energetic consumption.

CONCLUSION This is a system with a lot of potential, supported by a brand in constant evolution which accepts the changes provided by the clients. One of the biggest assets is the possibility of having the extensible aerial within the set of the equipment, as well as strong system codification. I want to thank Arcadi and David de gesIT (, for letting us use the equipment and for making it easy for us doing this bench test. Also I want to thank IB3TV, for letting us use their facilities.

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Using its extensive experience on design and monitor manufacturing for specific use, last year the group Albiral presented its new range of products: its production and broadcast monitors will be sold with the name of its new brand, PIXTRON BROADCAST.

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Txt: Luis Pavía The key of a good monitor is its capacity to represent the signal received as accurate and precise as possible. Unlike conventional televisions, designed to correct the imperfections of the signal it’s receiving, a monitor should enable us to detect them being as exacting as possible when showing each bit of information received. This way, we could correct them on their origin, if necessary. The production and broadcast equipments of Pixtron Broadcast are designed to cover the usual needs of production rooms, broadcast facilities, OB vans and the rest of environments where a precise control of the audiovisual signals like cinema and post-production is necessary. The range is very wide and it’s divided into two series: compact systems for using in 19” rack and independent monitors of different sizes which reach the big screens of 55”. They all offer multiple formats, use LCD panels and from the 17” model they are compatible with 3D modes. We have also been informed they

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will increase its family with another model, but this will be later on. In its catalogue you will currently find rack units of 7”, 9” and 17”, by integrating the two first ones in double screens. In the independent equipments, the sizes grow gradually to satisfy almost any necessity. You will agree with us: 24”, 32”, 37”, 42”, 46” and 55” is a wide range. In our case we have been able to try two different models: P24C16GB and P07R216G. The first one is an independent model of 24”, while the second one is, in reality, a combination of two monitors of 7”, independent between them that only share the power source and the buttons


for controlling their menus, which are placed on a compact unit for 19” rack of 3 heights. Physically the units are strong; they are made with a metal housing, have good finishes and are very complete regarding connectivity and performance. We think they can perfectly represent the rest of the models because they share the great part of the features in the range. All the screens have a matt antiglare coat and they share the same configuration of front panel, with four illuminated buttons on different colours to directly access the diffe-





rent sections of the menu, a rotary selector with a switch to move/select options within the menu and other four buttons to select entries and turn on and off the unit. All the modes can handle the great majority of signals currently in use. It includes SDI inputs and outputs (3G, HD and SD) with active loop and CVBS also with active loop. They also have DVI inputs, without loop in this case. The active loop means the entry signal goes to the correspondent output to be able to insert it at any point of the production without interfering in the signal quality. The exception of the models which add a "B" to its model code is they don’t have the loop output in the HD-SDI 1 entry, but they include it in the HD-SDI 2 and SD-SDI. The P24C model of 24” that we tested has a peculiarity which

makes it different from the rest of models: its 16:10 panel of superior native resolution to full HD 1920x1200 pixels. It’s an interesting characteristic to be able to use, for example, UMD data without losing image. Apart from that, the features are the same. It has two SDI inputs which can work independently or in 3D dual mode. With the menu, that we will discuss later, we can access the configuration of the different 3D modes of representation this unit is able to handle. The compatibility with 3D modes is included in all the range of monitors starting from the 17” model and onwards in all the superior sizes and it’s one of the few characteristics which the double rack models don’t share, like the P07R with 7” screen also tested. In this case it has a native panel of 800x480 pixels, as its counterpart of 9". The 17” model is another special case of the range

because it’s able for rack or like an independent unit with the use of an optional base. Also because its panel is of 16:10 with a native resolution of 1440x900, we didn’t have the chance to test this model in this test bench. Regarding the audio, all models decode up to 16 embedded audio channels leaving the signal in the balanced output, analogue and AES/EBU connectors the units include: XLR in the case of the P24C, and D25 in the case of the P07R. And like a good study monitor the models have GPI of Tally remotes, GPO of alarms, signal automatic selection and service ports in RS422, Ethernet, and USB. They also have a UMD (under monitor display, with TLS protocol) which enables the overprint of a source identification label, especially interesting in rooms where there is a great quantity of signals. The USB

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ports are prepared for firmware updates and other uses like colour calibration. With just this possibility they have a plus that others similar equipments don’t have. To close this description we have to mention the independent models are of multiple tensions and they admit power sources between 100 and 240v, while the rack models work at 12v, despite of the fact they use the power source.

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Regarding the interior part of the equipment, it includes multiple helps by means of superimposed information which will help us in our task. Apart of the mentioned UMD, the list is very long: zebra, histogram, overscan, selective colour, false colour, security area, indicators and up to 16 independent audio meters for up to 16 channels. All this options can be configured with the menu. We want to highlight some of the features of the list which are very

interesting from our point of view, especially if our activity implies colour critics, like colour temperature adjustment and gamma adjustment. These last two can be adjusted remotely, which makes the task of configuring an entire station or copying adjustments between different monitors very simple and fast. Another important aspect is its update capacity, which will enable us to improve or add features, although for the time being we don’t


know if this is task could be done automatically by the final user or if a specialized unit will be needed. Regarding the signal compatibility they can support all the usual standard signals, both analogue and digital of up to 1080p60 and 2K. The models with native HD panel include different scaling: aspect maintenance, 1:1 pixel mapping, full screen apart from the usual 16:9 and 4:3. We have to say that when we saw the entire feature list (umd, tally, 16 VU meters, histogram...), we also thought “how are we going to see the image with all this information on screen?". Don’t worry, each and everyone of the options can be configured. We can activate or deactivate each one of them individually; we can even configure the position and content of many of them. For example, the VU meter monitoring of audio can be customized to see the maximum of 16 down to a minimum of 2, making it minimally annoying. The security margin also enables the adjustment of each margin to make it coincide with any necessity we have in our facility. There are two ways of accessing the SCM intelligent menu: by pressing the rotary switch we can access the common options of the menu, while if we use the colour buttons, the extended menu opens. This menu contains all the standard options plus other additional options of less frequent use. Once we have opened the menu the rotary switch enables us to move (by turning it) and select (pressing), therefore it use is fast and intuitive. Grouping the menu functions with colour labels on the screen makes easy the localization of the most needed ones, but doesn’t limit us. It only place us in that section, we will always have all the sections opened and presented in the same order with the exception of opening the normal menu, with limited options or the extended with access to every option.

Once you have seen all the available options, you will understand that it’s very interesting to access the menu without going through all the options. We will only list the available options and their structure because we are convinced that by knowing them we obtain the necessary information of the type of equipment we are dealing with and therefore, we don’t think it’s important to detail all the possibilities of all of them. However, you can ask us any question you have. The groups are structured by colour only as a visual element; we don’t have to mistake this with the RGB concept of image. These are the groups: Functions in Blue (image control): signal source, shine, contrast, saturation, clarity, scaling and colour mode. Functions in Green (tools): 3D modes, 3D swap, 3D display, zebra, peaking, delay (synchronism crossing), histogram, indicator, security margin, VU meter and UMD. Functions in Yellow (extended functions): colour temperature, independent gain by channel RGB, gamma, feedback level, number of channels in the VU meters, audio channel selection in the SDI, % of overscan, % of mask in horizontal, % of mask vertical, % of indicator in horizontal, % of indicator in vertical, 3D split, tally control port, tally direction, UMD size, video scaling with

the controls, menu position and UMD and tally position. Functions in Red (system adjustment): language, dithering, monitor IP direction, software version. Once an option has been chosen you enter its list of available values to change the selection according to your necessities. Regarding the image, apart from the colour depth of the panels measured in bits by channel, we think a valuable characteristic to establish the answer levels is the delay with which the image is processed, which means, how much time do we need to see what the camera has recorded and the delay it has in the signal in the output. For this we used three monitors we had and connected the output of one camera to the first one and the rest of them in series, which means, the output of each one is connected to the input of the following. We made it more complicated and recorded the image of the last one while moving the camera to see a tunnel effect where the delay of an action we are doing until the time we see it can be appreciated. Moreover, we also checked if there was any delay between the different images of the three monitors. It’s normal to have a small delay (around tents of a second) in an HD SDI interface. Something like this is what we see between the camera and the monitor and we were pleasantly surprised because we weren’t



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able to detect differences between the images of the three monitors. To end with the operation we can confirm, as it was expected, they are silent equipments as its only noise source is the ventilation and it’s very discrete. In fact, it cannot be appreciated when you turn it on but when you turn it off and it has to be in a place where there aren’t any other sound sources, only then you will detect that a sound has disappear and you weren’t even aware it was there. Although the vision angle of 178 is real, the effective angle to an absolutely correct and strict vision is lower. We think that from 90 degrees (approximately) a sensitive luminous deviation starts to appear which alters the perception. However, don’t be alarmed about this, first do the test with your favourite monitor: observe exactly from a central point in front of the screen a solid, uniform and “flat” colour on the screen, at first you will see the colour is uniform in all directions and as we get horizontally and vertically separated from the perfect perpendicular of the centre of the screen, we can see the colour seems slightly deteriorated in shine and/or saturation in the direction we are going. This is not a problem, is just a reminder of the physical limitations of technology. To name some shortage or opportunity to improve, we have been surprised by the lack of HDMI input, which is quite usual in several environments. Although with a simple and low-cost converter can be quickly and efficiently solved. Up to now, all has been reasonable technical description. And from here on, how can we describe and share something as subjective as the vision? Which is the requirement level of each and one of us? And the level of our clients? Someone has counted sometime 16.777.216 colours of an 8 bit panel? Or the more than 1000 million colours?

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(which we also need, even if we aren’t able to differentiate them if we put them together.) The only 100% honest and reliable test that we can offer from this printed pages is to see it personally and compare it with you best analysers, your eyes, if this equipment really satisfies your needs. Only your eyes can know in a few minutes much more than any collection of graphics and data. Due to its quality and performance, we are convinced it will satisfy your necessities. The only aspect that we need to know is the price, which wasn’t decided at the moment of writing this article. This if the factor which will solve the final result of the equation. And we are convinced



fact, it may be more known outside of our borders than within them.

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