TM Broadcast International 45, May 2017

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Editor Javier de Martín

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TM Broadcast International #45 May 2017

TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 14 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43 Published in Spain

Editorial This year, the expectations placed on the Las Vegas Convention Centre run very high. Many are the questions marks lingering over the technological challenges we are facing: UHD, HDR, 12G, etc. As often is the case, the view of manufacturers and users is not exactly convergent, and the difference sent several developments, like the stereoscopic 3D, into oblivion. Many are the combinations of initials and numbers in the minds and conversations of the different participants with whom we have had the pleasure of speaking with, but, if anything stands about, it is IP-SDI convergence. These five letters represent the paradigm first to be resolved, the Gordian knot that depends on the rest. It is of particular importance due to one imperative: the professionals want to design and build their own solutions. Even though the standards that really set the basis are yet to be defined and the technicians still have to find the way to incorporate IP, now is when the brands should, above all, come together and move forward in the same direction. During many years, our market has worked thanks to SDI, and besides other virtues, IP connectivity must provide the same connectivity, bandwidth and immediacy. We are reliving a moment in time reminiscent of the video tape formats struggle, in particular. Perhaps it was a time where our industry was willing to spend money in a different way to now, and that is why virtually all formats coexisted for years, but there's no reason for that to happen now. Why not? Well, because of something intrinsic to the times in which we live: we do not want to give up anything. This is the reason that this NAB has attracted the interest of so many professionals from all over the world. Besides technological advances, Las Vegas should mark a trend between the different manufacturers, that of cooperation beyond their own interest, in pursuit of a common standard that makes IP interconnectivity come true between them.�

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TUPELO RAYCOM ADOPTS NEWTEK IP SERIES FOR LIVE SPORTS PRODUCTION TRUCK Tupelo Raycom, provider of live sports production for television and web, has selected the NewTek IP Series to power its live sport production truck’s video production workflow. In 2015, Raycom Media acquired WebStream Sports, then merged it with Tupelo Honey to become Tupelo Raycom. They produce more than 1,000 live productions a year from remote locations. “We began with their TriCaster video switcher line, and moved up the line as we needed more inputs. But we needed even more,” said

Ip Series at Servizzi 4

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John Servizzi, executive vice president of Tupelo Raycom. “And that’s when we were introduced to the NewTek IP Series Video Mix Engine.” NewTek’s VMC1 Video Mix Engine is a modular live production system for switching frame accurate, hybrid SDI and IP video. VMC1 takes advantage of NewTek’s NDI technology to perform consistently over an IP network. The IP Series interface, and access to the dozens of built-in production components, are based on the same live production software used in NewTek’s TriCaster models.

“This was critical as it meant a virtually nonexistent learning curve for my crew,” Servizzi said. “The other critical component was whether the IP signals would hold up during the live stream. It looked like it’s supposed to look. There was no compromise.” And because the IP Series is modular, additional input modules can be added. “The answer to my question about inputs is that it’s essentially unlimited,” Servizzi said. “Our workflow hasn’t changed. What we got as a result of IP integration, in all honesty, is more inputs.”



Designed to address space limitations and reduce the complexities of today’s technical directors’ production workloads, Grass Valley developed the KFrame V-series as an addition to the K-Frame family of production switchers. At only 3RU, this new frame is an ideal complement to the GV Korona switcher panel, according to the company. Vseries, as part of the K-Frame family, can be used with any Grass Valley switcher panel and broadcasters can run multiple panels and shows off the same frame at the same time. “Broadcast production has moved out of the studio to TMBi - 8

capture events where they are happening in real-time, but when it came to compact switchers, broadcasters were forced to choose: affordable, small or powerful. Never all three, until now,” said Neerav Shah, senior vice president of strategic marketing, Grass Valley. “The K-Frame V-series platform, when paired with the GV Korona switcher, offers a never-before-seen combination of power, flexibility and scalability, fitting well in locations where space is limited and providing the legendary Grass Valley highend performance at an affordable price.” On their own, the GV Korona 1 and 2 stripe panels support 15 and 20 assignable

buttons, respectively, on each stripe (or M/E row), and have a built-in multi touch menu system, as well as a touchscreen in the transition area. “Some of our most loyal customers have been with Grass Valley for decades, and we are committed to developing products that meet their every need so that they can use their Grass Valley solutions for any application. V-series is just another example of that commitment,” said Shah. Grass Valley is demonstrating the features of the GV Korona K-Frame Vseries at NAB in booth SL106.


RTW APPOINTS ULRIKE LAUTERBACH AS DIRECTOR OF SALES AND MARKETING RTW has announced the appointment of Ulrike Lauterbach to the position of Director of Sales and Marketing. In her new role, Lauterbach will oversee all domestic and international sales activities, as well as marketing communications, tradeshows and digital media. Lauterbach joins RTW after spending the last 12 years with AVT Audio Video Technologies GmbH in

support of international dealers, including technical and commercial project support, product trainings and demonstrations, and the development of marketing strategies. She was also Ulrike Lauterbach

Nuernberg, Germany, where she most recently served as International Sales and Marketing Manager. Lauterbach was responsible for management and

responsible for the acquisition of new dealers, the preparation of offers for dealers and end customers, and the company’s participation in trade shows around the world.



VSM at Mediacorp Master Control Room

LAWO’S VSM ENSURES CONTROL AT MEDIACORP’S NEW SINGAPORE STUDIO FACILITY Singapore-based broadcaster Mediacorp has taken up residence at its new Mediapolis facility, a massive complex that houses all production facilities for the broadcaster’s seven television and 12 radio channels. Key to its operational infrastructure is the VSM Broadcast Control and Monitoring System from Lawo, which provides the overall control solution campus-wide. The facility’s two redundant (Miranda) routers handle switching of audio and video. These are connected directly, and switch simultaneously without any master or backup hierarchy, operating on a master/master basis. The VSM system ensures TMBi - 10

the essential synchronization of the two routers, bringing in two major benefits, according to Lawo. The first is that maintenance of one router can be carried out offline without interfering the production schedule. The second means that each router acts as “backup” routers for the other in the event of failure.

Mediapolis studio complex The Mediapolis studio complex is divided into four sections: Central, Radio, TV and News. The Central section is further subdivided in three areas: CMX (Ingest), DC (Distribution/Contribution) and Playout. The Distribution/Contribution section uses VSM’s Virtual

Package Workflow to allow an actual incoming source (from OBs or downlinks) to become a virtual source and made available as such throughout the facility. If one device in the signal chain fails, the virtual signal is uninterrupted, leaving the signal flow intact while the device is switched or changed. To its Virtual Package Workflow, VSM adds a user rights management making the virtual layers available throughout the facility conditional on the individual rights of the operator configurations. Only qualified staff can access signals, depending on the rights granted to them. For the TV section studios, Mediacorp makes use of another special feature of


VSM – Boxing. This allows a production to be transferred from one studio to another for preparation purposes or in the even of malfunctions. With Boxing, an operator can prepare a production in one studio and run it from another, by switching to the saved workflow with a button push. Similarly, in case of equipment failure, an operator can switch a production workflow from one studio to another instantly. Within the Radio section of

the facility, the same redundancy concept is applied through the use of two Lawo Nova 73 audio routers working in parallel. For the 12 (plus two backup) radio stations, VSM provides the overall control and monitoring system and keeps the crosspoints of the two redundant routers in sync as well as monitoring the transmission chains for silent detect, alarm management, and other functions. Further tools include a scheduler to

prepare crosspoints that should be set a pre-defined time – using two software and two hardware control panels, VSM is able to control the complete transmission chains. With VSM’s TX control panel, operators can see at a glance the complete signal chain of all available transmission chains, and can access all lower levels of the chain, freely assigning studios and resources in accordance with availability, problems or failures.


RIEDEL SUPPORTS THE 2017 FIS ALPINE WORLD SKI CHAMPIONSHIPS IN ST. MORITZ The 2017 FIS Alpine World Ski Championships, held in February in St. Moritz, Switzerland, was supported by a media and communications network based on Riedel Communications solutions. A team from Riedel Communications Switzerland AG planned, installed, and operated the radio network. Working with the Alpine World Ski Championships' local organizing committee, the Riedel team designed a digital, redundant radio network that provided a base for communications among 30 different user groups with full connection to the Riedel Artist intercom. Over 600 radios for timing, race management, security, logistics, and production were handed out to the local event organization. A customized CCTV application allowed engineers to monitor the relay stations installed at St. Moritz for radio coverage. "A holistic and reliable communications infrastructure is absolutely indispensable to the success of this event," said Franco TMBi - 12

Riedel at the 2017 FIS Alpine World Ski Championships in St. Moritz

Giovanoli, CEO and Director of the FIS Alpine World Ski Championships. "With Riedel, we had an expert technology partner at our side that developed a comprehensive strategy for weaving together all of the complex threads of communication the event requires. Over the two weeks of the championship, we were able to guarantee a perfect — and above all, safe — experience for everyone, both on and off the slopes". Host broadcaster SRG SSR and its subsidiary, Technology and Production Center Switzerland AG (TPC), as well as the European Broadcasting Union (EBU), used the Riedel MediorNet real-time media network for signal distribution. Numerous other TV networks, such as Eurosport

(with NEP as the OB service provider), ARD, ORF, and RAI, also trusted MediorNet and Artist to support their live broadcasts. Riedel's MediorNet MicroN highdensity media-distribution network devices enabled a redundant and decentralized signal routing and transport infrastructure and supported a mobile, flexible production with higher bandwidth, additional connection options, and integrated processing features. The elaborately produced images were captured by a total of 38 cameras installed along the course as well as at the start and finish areas. More than 40 kilometers of fiber-optic cables linked the international broadcasting center to production sites at Salastrains (runway and finish area) and the Kulmpark (award

ceremonies and drawing of the number bibs). MediorNet also handled signal distribution for the live commentary as well as the stadium video presentations, allowing the TV and production feeds to be transmitted to LED walls in the finish area. Riedel's SmartPanel control panel, together with its new control app and Riedel's STX-200 professional Skype® interface, also supported the stadium TV presentation. For intercom, a dozen Artist frames — for NEP, BR, ORF, and others — were used for the World Ski Cup, along with more than 200 panels. 40 of these panels were for event and organization, such as the Medal Plaza, radio center, stadium TV, and timing. Police and paramedics in St. Moritz were also able to leverage the Artist network, connected via VoIP. Riedel Communications Switzerland AG created a specially designed event "cockpit" in which three Riedel team members monitored the event and communicated vital information, such as race shifts or delays, to other user groups. "The FIS Alpine World Ski Championships in St. Moritz is one of the world's most prestigious sports events, offering great live entertainment to spectators and home viewers alike. With our extensive radio network providing the backbone, and expanded by Artist and MediorNet, we were able to create an integrated communications infrastructure that ensured the success of the World Cup and heightened spectators' experience," said Roger Hess, General Manager, Riedel Communications Switzerland AG. "The St. Moritz ski championship is one more example of how Riedel has become the communications leader for international winter sports events."


ENGLISH PREMIER LEAGUE SIGNS ON TO THREE MORE SEASONS WITH CHYRONHEGO'S TRACAB The English Premier League has extended its contract to use ChyronHego's TRACAB™ image-based tracking system across the entire league "The Premier League has been using TRACAB to bring a new dimension to its live football coverage since 2013. The League's decision to extend our partnership for another three years is a great testament to

TRACAB being operated live

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TRACAB's unmatched power and advanced capabilities," said Jon Roberts, U.K. managing director, ChyronHego. "The choice of major sports organizations throughout Europe and the Americas,

TRACAB is the most advanced camera-based player- and ball-tracking system on the market." The Premier League has deployed TRACAB in all 20 of its competing teams'

arenas, and the new contract includes a significant hardware upgrade. At a rapid 25 times per second, TRACAB uses advanced image-processing technology to determine the position of all moving objects in the field of play — including players, referees, assistant referees, and the ball. The result is a live data feed that contains all the X, Y, and Z positional coordinates for each identified object. The data can then be streamed in an open format to a multitude of visualization platforms, such as broadcast graphics systems and online or mobile platforms, and can also be used to prepare comprehensive sets of performance statistics for sports analysts. To date, TRACAB has been installed in more than 300 stadiums around the world and is capturing live tracking data on over 4,500 matches every year. "TRACAB's real-time data collection technology spans almost a decade of continued product development and is fieldproven in some of the world's most demanding live sports environments," said David Eccles, sports performance director, ChyronHego. "As a quick and efficient method for collecting critical sportsrelated data, TRACAB opens up many new possibilities for empowering sports clubs and delivering a more engaging experience to viewers."


MULTIDYNE LAUNCHES LIGHTBRIX VB-3600 SERIES At the 2017 NAB Show, MultiDyne Fiber Optic Solutions will expand its LightBrix range of fiber transport products with the new VB-3600 Series. Now shipping, the VB-3600 Series provides broadcasters and content producers with eight throwdown or mountable options to serve a diversity of signal configurations, including 12G, 4K and 1080p video; and embedded audio, Ethernet and control. With its architecture (7.25x5.75x1.75 inches), the VB-3600 Series is built for users that need a lightweight throwdown system that is convenient to move around in the field; or an unassuming system for simple mounting to a tripod or a wall. Suitable as a signal extender from a camera to a truck, studio or video display, each unit meets specific connectivity needs across video, audio and data, including 12G single-link and 4K quad-link. At the top of the new VB3600 range, the VB-3607 provides a solution for transmission of 4K video or four 1080p, HD, SD and/or ASI signal paths over one single-mode fiber-optic cable. It is also capable of handling SDI rates from 5Mb/s all the way up to TMBi - 16


3Gb/s (1080p) uncompressed.

New series are interoperable with MultiDyne’s modular OG3600 Series Although the VB-3600 Series offers set configurations, MultiDyne can deliver a standard build of any signal count and combination. The VB-3600 allows any combination of cards, and facilitates any combination of signals. Also, all VB-3600 units include mounts for battery power. Signal density is amplified when the field unit communicates with MultiDyne’s OG-3600 Series, which represents a series of eight modules compatible with openGear solutions. “You can imagine a mobile production truck or temporary studio built for a special event, each of which

are challenged with managing multiple signals through an infrastructure that is already very diverse,” introduces Frank Jachetta, president, MultiDyne. “While the VB-3600 offers a compact receive solution, our customers can further slimdown their infrastructure by leveraging the OG-3600 modules. Above all, it’s the industry’s broadest portfolio and highest signal density across complementary send and receive units,” he concludes. Each VB-3600 Series throwdown corresponds with the signal density and connectivity features of either a common VB-3600 throwdown or a specific OG3600 Series module. Broadcast engineers and production personnel can establish communication between each device upon connection, with no additional configuration work required.


CCTV BROADCASTS THE 2017 SPRING FESTIVAL GALA USING ROSS VIDEO ROBOTICS China Central Television (CCTV) began their Chinese New Year broadcasting the “2017 Spring Festival Gala” live on January 27th using Ross Video’s Furio RC. The CCTV Spring Festival Gala is an integral part of Chinese New Year celebrations. The broadcast has a yearly viewership of over 700 million viewers.

the content and visual effects of its programs. The Furio RC, whether moving at a constant velocity or accelerating along the straight and curved rails, allow the focusing, orientation and positioning of the camera to collaborate with the swiveling and changing displays on the LED video curtains.

The Spring Festival Gala has utilized a large number of alternating LED screens in recent years to coordinate

“We are very happy and honored that CCTV chose our technology to be part of one of their most important

live events that is watched by hundreds of millions of viewers. I think that shows the confidence they have in the performance of our system,” said Andrew Tan, Director of Sales, APAC. “We hope that Ross Furio RC may continue to bring about more innovative and compelling productions for the Spring Festival Gala, delivering breathtaking shots of the Gala to all audiences in front of their televisions across the country year after year.”


SENNHEISER IS WIDELY USED AT 59TH ANNUAL GRAMMY AWARDS Bruno Mars, Adele, Beyoncé and Ed Sheeran relies on Sennheiser Digital 9000 system

The 59th Annual Grammy Awards evening was punctuated by command performances by Bruno Mars, Adele, Beyoncé, and Ed Sheeran, each relying on Sennheiser’s flagship wireless technology: the Digital 9000 system. Others, including Lady Gaga, the Weeknd, and Katy Perry, also turned to Sennheiser wireless equipment for their performances, which were viewed by nearly 25 million television viewers around the world. Adele opened the show with a performance of her blockbuster hit ‘Hello' on a Sennheiser Digital 9000 system featuring the SKM 9000 transmitter and MD 9235 microphone capsule combination to transmit a powerful vocal performance. Sennheiser’s Digital 9000 system was also employed by Beyoncé, who performed her songs ‘Love Drought’ and ‘Sandcastle’ through a Sennheiser SKM 9000 and MD 5235 transmitter/capsule combination. Bruno Mars was also among the artists TMBi - 18

Bruno Mars performs a tribute to Prince at the 59th annual Grammy Awards

who entrusted his performances to Sennheiser’s Digital 9000 system. “In a situation like the Grammy Awards, you have a very limited amount of

time to dial in your settings,” Mars’s front-of-house mixer Chris Rabold says. “What’s great about Sennheiser and the Digital 9000 is that your sound is essentially there as soon as you turn the system on.”

Monitor engineer Ramon Morales adds: “The biggest concern with any wireless technology is always reliability, and Sennheiser has always given us that. The Digital 9000 is even more robust than our previous Sennheiser system, and it sounds even better, too.”

Rabold and Morales chose the SKM 9000 transmitter paired with the MD 9235 capsule Rabold and Morales chose the SKM 9000 transmitter paired with the MD 9235 capsule for Mars’s vocals based on both its performance and pedigree. “We have experimented with many capsules over the years on his voice, but always kept coming back to the MD 5235, which has been his staple for many years,” Rabold explains. “Now the MD 9235 captures everything we love about the sound of the MD 5235 while taking the detail even further, all while maintaining that familiar smoothness that we love.” “One thing I love about the Digital 9000 is that regardless of how much level you push into those mics, there are no wireless artifacts in the signal,” Rabold says. “Compared to other wireless systems, which often have a certain crunch to them when pushed hard, the Digital 9000 maintains an extremely natural sound at any level. The result is a much smoother top end, which in turn makes the low-mids in the vocal sound thicker.” Switching to the Digital 9000’s HD mode meant no audio data reduction, according to Morales. “Using the HD mode really made a difference,” he says. “It just opens up the microphones in a way that makes it really easy to place them in the in-ear mixes.”


GatesAir UAXTE transmitter

GATESAIR OPTIMIZES TRANSMITTER PORTFOLIO FOR SPECTRUM REPACK AT NAB 2017 GatesAir presents a new UHF transmitter range to help broadcasters leverage the new business opportunities promised through the Spectrum Repack and the ATSC 3.0 DTV standard. The new Maxiva™ ULXTE liquid transmitter joins the recently-announced UAXTE air-cooled transmitter to give broadcasters two design options with RF performance and the lowest total cost of ownership, according to the company. GatesAir will show both transmitters at the 2017 NAB Show, where the company will exhibit at Booth N2613. TMBi - 20

The ULXTE and UAXTE are optimized for channel changes driven by the Spectrum Repack, thanks to amplifiers that increase peak power capacity for all ATSC and OFDM waveforms. This design strategy, based on GatesAir’s PowerSmart® Plus architecture with broadband amplification, accelerates manufacturing and delivery by simplifying channel tuning. Also, it increases power density for all modulations, as GatesAir confirms.

GatesAir XTE exciter Both transmitters integrate GatesAir’s XTE exciter to ensure a clear path to ATSC

3.0. Featuring a softwaredefined modulator, the XTE includes native IP inputs and eliminates the need to retrofit transmitters with additional gear to enable network connectivity. The design provides a gateway to the multichannel DTV, mobile broadcast and streaming opportunities of ATSC 3.0, and centralizes IP-based monitoring and control to a single user interface. Both transmitters are also adaptable to singlefrequency network (SFN) architectures that are expected to become common in ATSC 3.0 deployments.


Beyond ATSC 3.0, the ULXTE and UAXTE instantly adapt to global DTV standards, with seamless migration to DVB-T, DVB-T2 and ISDB-T thanks to the software-defined modulation of the XTE. “The ULXTE brings the same flexibility and operational efficiencies of its air-cooled sibling to higher power broadcasters who want the additional cost-savings that liquid-cooling offers inside the RF plant,” has said Rich Redmond, chief product officer, GatesAir.

“This means that broadcasters are not only reaping the benefits of a futureproof transmitter optimized for repack and ATSC 3.0, including equal power levels; they are also getting a solid-state system that will significantly reduce the heavy air conditioning needs and electrical loads of high-power UHF through a highly efficient liquid-cooled approach. And like the UAXTE, our latest liquid-cooling innovation delivers next-gen signal correction and new control and monitoring efficiencies that further enhance reliability and performance for DTV broadcasters worldwide.”


VSN IS LAUNCHING WEB-INTEGRATED EDITING TOOL AT NAB 2017 VSN is launching WEDIT at NAB 2017. WEDIT is a webbased editing tool integrated within VSN Explorer, its media and business process management platform. Developed in HTML5, this tool allows journalists and editors to edit videos and prepare them for broadcast from a single interface, without having to switch to another system. “Our new web-based video tool breaks ground in allowing editors to manage and edit all of their assets in the cloud from a single interface, which TMBi - 22

streamlines editing and enables new, advanced workflows,” has said Jordi Capdevila Espitia, marketing director of VSN. “In addition to saving time and helping users meet tight deadlines, WEDIT can help companies reduce their need for licenses and even avoid costly NLE systems.” WEDIT users can work on footage and clips located in deep archived, near-line or online storage. In effect, WEDIT is a “cloud content editor,” because it allows users to access and edit files

on the cloud. At any time, users can export a project into an EDL file to finish editing, if necessary, in another third-party NLE, such as Adobe Premiere, Final Cut Pro or Avid Media Composer. The integration of this web editing tool within a MAM system enables new workflows. WEDIT users, for example, can rely on metadata automatically extracted by the MAM itself to search for content. More information about VSN and its products at


ELEMENTS WILL BE DEMONSTRATING ITS WORKFLOW MANAGER AT NAB 2017 ELEMENTS will be presenting a new edition of its visual Workflow Manager at NAB 2017. Designed specifically for video professionals in the media and broadcast industry, the latest edition of the feature set facilitates tasks with simple drag and drop functionality, according to ELEMENTS.

ELEMENTS Media Library ELEMENTS’ workflow

manager is part of ELEMENTS Media Library, a Media Asset Management (MAM) system that can be enabled on every ELEMENTS media server and storage appliance. Providing for professionally managing, presenting and sharing media assets, the Media Library is compatible with virtually every professional editing application available today, such as Avid Media Composer, Adobe Premiere

or Apple Final Cut Pro, enabling operators to transfer entire projects seamlessly from the Media Library to any other editing application. The Media Library also supports Avid bin-locking and project sharing. ELEMENTS’ Rough-Cut Editor, also part of the Media Library, operates like every other professional editing tool available today, covering a spectrum of editing roughcut functionalities.


RIEDEL PLAYS A KEY ROLE IN THE NEW SPANISH EDITION OF BIG BROTHER VIP Riedel MediorNet provides signal routing and transport infrastructure for the onlocation Gran Hermano VIP House Riedel Communications' MediorNet real-time network is a critical player for the fifth season of the Spanish reality show "Gran Hermano VIP" ("Big Brother VIP"). MediorNet provides a redundant and decentralized signal routing and transport infrastructure for the onlocation Gran Hermano VIP House near Madrid, moving video from more than 70 cameras and audio signals originating from four mixing consoles. Spanish broadcast equipment and solution provider Crosspoint S.A.L. worked with "Gran Hermano VIP" producer Zeppelintv, a division of EndemolShineIberia, to design and install the MediorNet network in the Gran Hermano VIP House. The network consists of five MediorNet Compact Pro frames, two MediorNet MetroN frames, and 18 MediorNet MicroN highdensity media distribution network devices — all connected over a 10 Gbps optical fiber network to form a decentralized routing matrix. TMBi - 24

Riedel MediorNet at "Gran Hermano VIP" ("Big Brother VIP")

"For 'Gran Hermano VIP,' we had fairly complex networking requirements. The network topology had to handle all of the inputs and outputs needed to put on a show with multiple cast members moving from room to room. We also needed a single system from which we could sync all cameras," said José Luis Gacal, Technical Director at Zeppelintv. "After our experience with Riedel MediorNet on another production last year, we knew it could provide the flexibility, reliability, and ease of operation we needed for this show. We also appreciate the modularity of MediorNet, which means we can repurpose the

components and reconfigure the network for different types of productions." The MediorNet Compact Pro and MicroN frames are placed in five strategic locations throughout the Gran Hermano VIP House to collect signals from all 70 camera sources. The MicroN devices are able to multiplex camera signals along with PAN/TILT and camera control data and deliver them to the machine room over a few 10G fiber links. The MediorNet network also serves as the audio router, with audio channels coming from the four mixing consoles via MADI interfaces. In addition, the "Gran Hermano VIP" production is using Riedel's


RockNet real-time audio network devices to provide additional analog audio inputs and outputs. In the machine room, one MetroN frame provides routing for all fiber links and outputs the signals to the vision mixer. The second MetroN acts as a backup, providing full redundancy. Redundancy is also built into the network through dual fiber paths, with one set of fibers in the suspended ceiling and the other underground.

"For this challenging 24/7 production, with eight simultaneous program feeds, there was truly no room for error. With 'Gran Hermano VIP,' MediorNet has solved many complex technical challenges to create a reliable, fully redundant, and easy-tomanage network that can serve as a model for other types of reality shows," said Maribel Roman, General Manager, South Europe at Riedel Communications. "The fiber-based

MediorNet network meant the 'Gran Hermano VIP' production was able to drastically reduce the amount, weight, and cost of cabling that had to be pulled through the house. Also, MediorNet's powerful signal transport and integrated processing features give the production the ability to handle frame sync for the cameras, embedding/deembedding, and Ethernetbased camera control all within a single system."



GRASS VALLEY DEBUTS LDX 82 SERIES CAMERAS The LDX 82 Series includes four upgradable camera models, offering varying levels of operational flexibility to match every production need. Designed to cover all HD standards, each model of the LDX 82 offers the best sensitivity in all HD formats, including 1080p, a wide color gamut and Grass Valley’s XDR (Extended Dynamic Range) operations with a full 15 Fstops. “The LDX 82 Series of cameras is completely unique in its native HDR capabilities, ultimate transmission flexibility, IP transition abilities and overall flexibility,” said Neerav Shah, senior vice president of strategic marketing, Grass Valley. “Whether an operation requires single format HD or full 1080p support, SDR or HDR, each camera in the series provides the operational and business flexibility needed for today’s fast-paced broadcast world.” The four LDX 82 camera models are designed to suit a broad range of production needs. This is what Grass Valley highlights: - LDX 82 Flex is the entrylevel model for single TMBi - 26

Grass Valley LDX82 Series

format 1080i or 720p acquisition, where minimal artistic modification is required. - LDX 82 Première can switch between 1080i and 720p, and features the Contour Equalizer which allows for alterations to the crispness in the shadows, mid-tones and highlights independently. - LDX 82 Elite is the ultimate workhorse for live HD production—from live sports to scripted productions. LDX 82 Elite can switch between 1080i, 720p and 1080PsF. It also features PowerCurves for shooting under challenging conditions and Color Protect to help correct lighting issues. - LDX 82 WorldCam is the ideal solution for any production, under any

condition, incorporating all the features of the LDX 82 Elite plus 1080p, as Grass Valley confirms. It enables 1080p productions that used to be impossible to cover without huge investments in additional lighting or major compromise to image quality. The LDX 82 WorldCam is available as a 7-day or a perpetual GVeLicense upgrade from any other LDX 82 Series camera, with single or multiple licenses. Each LDX 82 camera model leverages the patented Xensium-FT CMOS imager which allows for better sensitivity, higher resolution and extended dynamic range. Grass Valley is demonstrating the features of the LDX 82 Series cameras at NAB in booth SL106.


LAWO MC 2 66 MIXES NATIONAL SYMPHONY ORCHESTRA AT NPR On February 27th, 2017, the 70-plus members of the U.S. capitol’s National Symphony Orchestra entered NPR Studio 1 to perform the show’s instrumental interludes, featuring pieces from Mozart and Elgar, among others. The entire performance was mixed using NPR’s Lawo mc266 audio production console, installed

as part of a total systems project which also encompasses three broadcast studios, 10 production suites, six production booths, and the technical operations center. In addition to the MC2 console in Studio 1, Lawo sapphire and crystal radio mixing consoles are

used throughout the facility, networked via a MADI-based routing matrix controlled by dual-redundant Lawo Nova73 audio routing systems. A clip of the National Symphony Orchestra performing live on “All Things Considered” can be listened to at

BLUEFISH444 INTRODUCES NEW KRONOS RANGE OF VIDEO AND AUDIO I/O CARDS The new line of KRONOS cards extends the feature set of Bluefish444’s Epoch video cards, which support up to 4K 60 frame per second workflows. KRONOS is developed for additional workflows requiring Ultra HD up to 8K, high frame rates up to 120fps, high dynamic range and video over IP. With these capabilities, Bluefish444 cards are developed to support all areas of TV and feature film production, post, display and restoration, virtual reality and augmented reality, according to the company.

For use in theme parks, music concerts, sporting and outdoor events, the KRONOS range is also suitable for single and multi-

card support enabling 8K/4K/2K imagery presented across one or more screens or projectors. TMBi - 27


FLETCHER SPORTS ADDS NEW GRASS VALLEY EQUIPMENT TO BOOST RENTAL FLEET Fletcher Sports in Chicago provides rental equipment for coverage of professional and college sports, entertainment and events. To up its game, Fletcher just added a large number of new LDX C86 Cameras and K2 Dyno Replay Systems from Grass Valley.

explains Dan Grainge, president of Fletcher Sports. “We’ve used Grass Valley cameras from the very earliest models and when the time came to upgrade, we were confident that there was no other manufacturer providing the same level of performance and value.”

Fletcher Sports’ customers include networks or teams such as the NHL Network, the YES Network, MSG Network, the Cleveland Cavaliers, the Comcast Sports Bay Area Network and many others.

Fletcher uses its LDX C86 cameras to provide specialty angles such as in-net cameras for hockey, slam cams for basketball, under scoreboard cameras and other applications where super slo-mo is required. To increase functionality, LDX C86 cameras also offer live 1X standard-speed output in addition to the high-speed output.

“It doesn’t make sense for our customers to invest in these kinds of solutions because they are very specific to the super slo-mo applications, so they rely on us to have the latest technology and to know how to get the most out of it,”

The K2 Dyno Replay System makes it easy for operators to create engaging replays and highlight

LDX C86 Compact Camera

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packages, according to Grass Valley. AnySpeed technology provides playback at any speed from zero to 200 percent, while the DynoZoom tool allows for pan/zoom functions to be applied to high frame-rate camera systems including 3X 1080p, 6X and 4K UHD.

NHL All-Star game Fletcher provided some of that new equipment for coverage of the recent NHL All-Star game, marking the first time that all robotic cameras captured 6X hispeed action with super slomo capability. Five cameras were deployed right at ice level during the game. “Sports fans have grown accustomed to being part of the action today. They expect to see every detail in slow-motion replays and want to experience it from multiple angles. With the LDX C86 family of cameras and K2 Dyno Replay Systems, Fletcher Sports gives customers what they need to deliver a world-class experience for their viewers,” notes Kyle Luther, vice president of sales for North America, Grass Valley.


BCE IS SELECTED TO MANAGE FEI DIGITAL ARCHIVES BCE has been selected for the ingest, management and distribution of EFE archives BCE has been selected by the Fédération Equestre Internationale (FEI), the world governing body of Equestrian sport, for the ingest, management and distribution of its archives. Holding many thousands of hours of video from competitions across the world, going back some 30 years, the FEI was looking for a partner who would be able to digitise this dormant content, manage its legacy and upcoming assets and facilitate distribution among stakeholders. “This project follows the strategy of our company by ensuring the perfect digitisation of their archives

Equestrian competition

and at the same time enhancing content exchange thanks to a solid platform,” comments Frederic Fievez, Projects Development Manager at BCE. The FEI is the governing body for all international

events in the Olympic sports of Jumping, Dressage and Eventing, as well as the non-Olympic sports of Driving, Endurance, Vaulting and Reining. It also governs all international competitions for Para-Equestrian Dressage and Para-Driving.



BRIDGE TECHNOLOGIES, CLEAR-COM AND SOLID STATE LOGIC JOIN AIMS The Alliance for IP Media Solutions (AIMS) has announced that Bridge Technologies and Solid State Logic have joined AIMS as associate members. Clear-Com has joined AIMS as a full member. Bridge Technologies creates systems for digital media service delivery in broadcast, cable, satellite, OTT, and telecoms applications. Its platform for converging digital media services encompasses award-winning products and solutions, including analysis, measurement, and monitoring systems; intelligent redundancy switching; and comprehensive analytics TMBi - 30

solutions for TV Everywhere providers. Clear-Com, an HME company, is a provider of award-winning professional portable wired and wireless intercom systems. ClearCom's solutions are used for broadcast, live performances and events, sports, military, aerospace, and government applications. Solid State Logic is a manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video, and broadcast professionals. National and international broadcasters have embraced the company's technology to streamline

operations and ensure highquality output. Radio and television clients include BBC UK, NHK Japan, ABC USA, Fox USA, NBC USA, CBS USA, NDR Germany, Swedish Television, RAI Italy, and NOB Netherlands. "The march toward IP standardization gets louder as more vendors join our effort every month," considers Michael Cronk, AIMS board chair. "We're happy to welcome Bridge Technologies, Clear-Com, and SSL. Their expertise in product and workflow development and their service to the broadcast and media industries will be invaluable as we move forward."


CLEAR-COM FREESPEAK II WILL BE FEATURED AT STUDIOXPERIENCE VENUE DURING NAB This will be the third consecutive NAB convention that FreeSpeak II’s production communications capabilities will be demonstrated at the StudioXperience broadcast studio booth. The system that Clear-Com is featuring this year includes a FreeSpeak II base station, 10 FreeSpeak II wireless beltpacks, three FreeSpeak II transceiver antennas, and a FreeSpeak II splitter. “NAB 2017 delegates will be able to observe a fullyoperational FreeSpeak II digital intercom system at a trade show known to have RF challenges – due to all

the other wireless devices in use on the show floor,” said Michael Rucker, ClearCom’s Director of Sales for North and South America. “FreeSpeak II works flawlessly, making it the preferred intercom system in the industry.” FreeSpeak II’s coverage is easy to expand, thanks to its use at multiple transceiver antennas, as Clear-Com confirms. To extend its range, even into hard-toreach zones, all the user has to do is place and connect more transceiver antennas at the edge of the FreeSpeak II’s existing RF footprint. “Thanks o this

feature, our clients have no trouble ensuring wireless intercom connectivity; no matter how big and challenging the space may be,” continued Rucker. “We are proud to have the Clear-Com FreeSpeak II among the leading technologies on display at the StudioXperience booth,” said Michael Rucker. “If last year’s NAB attendance is anything to go by, up to 103,000 registered attendees will be able to test drive FreeSpeak II wireless intercom system in Las Vegas.”


LAS VEGAS PUBLIC RADIO SELECTS BARIX IP AUDIO STL SOLUTION decoded by a second such unit. An additional pair of Exstreamer 500s delivers audio to the main studio from a second, remote production studio, with the off-site unit occasionally taken into the field for onlocation remote broadcasts. Barix Exstreamer 500

Independent broadcaster Las Vegas Public Radio Inc. has selected Barix Audio over IP devices, distributed in the U.S. by LineQ, for its studio-to-transmitter link (STL) and to connect its main studio with remote production locations. “Staying on the air and delivering a great listening experience are most important, but as a non-profit startup, cost also had to be a consideration for us,” CEO Greg LaPorta explained. “We looked at an old-style POTS (telephone system based) STL approach, but it would have been too expensive for our startup budget and wouldn’t have met our quality goals.” Finally, LaPorta decided to test an IP-based STL. “Barix has a great name among radio stations large and small, with lots of positive TMBi - 32

reviews about the stability of their units,” he said. “Prior to trying the Barix devices, we did have some initial reluctance about using IPbased audio over the Internet, particularly in terms of reliability and quality degradation across the uncontrollable public network. But our testing with Barix put those concerns to rest very early in the process – we were very impressed with the results.”

Barix Exstreamer 500 model LaPorta has selected the Barix Exstreamer 500 model as providing the best combination of capabilities and cost-effectiveness for the station’s needs. One Exstreamer 500 encodes audio from the main studio and control room for transport to the transmission tower site, where it is

The remote studio and transmitter site use 25Mbps Internet connections from Cox Business, while the main studio, located on the sixth floor of an office tower, shares T1 and T3 connectivity with other companies in the building. The station’s 192Kbps MP3 streams are delivered to the transmitter location through the cloud-based Barix Reflector stream replication service, offered in partnership with StreamGuys, to maximize uptime in spite of the unpredictable nature of the studio’s communal connection. Also, LaPorta plans to add more Exstreamer 500 units as Las Vegas Public Radio increases its remote productions and expands with more studios, as well as converting its Internet stream encoding to Barix equipment.


FUTUREWORKS MEDIA INSTALLS TWO BASELIGHT GRADING SUITES FutureWorks Media has installed two Baselight grading suites in its finishing facility in Mumbai. The company, which has three locations in the country’s movie capital as well as a fourth in Chennai, is a provider of visual effects for movies and television as well as a finishing house. The two Baselight suites sit on the facility’s highspeed network allowing them to share projects for maximum efficiency and productivity, according to Filmlight. It also allows VFX shots to be dropped onto the timeline as they are completed, with conforming

and matching carried out in Baselight to provide a onestop finishing process. This workflow has already been used on a number of recent Indian movies, including Sultan (directed by Ali Abbas Zafar), Banjo (Ravi Jadhav) and Sanam Re (Divya Khosla), all finished by senior colourist Rahul Purav.

FutureWorks relies on Filmlight FutureWorks was founded in 2007, and has been working with FilmLight from the beginning on implementing advanced colour management from camera to screen. “It gives

us an edge over our competitors, as we offer more creative and technical solutions to our clients,” Purav concludes. “FilmLight gives our clients immense confidence in our output.” Purav has recently been joined at FutureWorks by senior colourists Tushar Desai and Andreas Brueckl. Tushar has immediately started on his first project at FutureWorks, Dharma Productions' Badrinath Ki Dulhania, while Andreas, who specialises in high-end television commercials and features, is working on multiple advertisements with the post-production house.



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NAB Show 2017 Preview NAB Show is home to the world's largest collection of vendors driving the future of media and entertainment. Wether you are travelling or not to Las Vegas, get the first look at new products, discover import/export opportunities, and experience next-generation technologies in this article.

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AJA Video Systems Booth SL2505

Bryce Button, Director of Product Marketing, AJA Video Systems

Interview with Bryce Button, Director of Product Marketing, AJA Video Systems Why does AJA attend NAB each year? We’ve been attending NAB since 1993, and it never fails to impress. The show draws in an incredible group of creatives and technology developers, providing us with a unique opportunity to TMBi - 36

connect with current and future customers and partners, as well as explore potential new technology collaborations. These conversations tend to spark new ideas that often turn into products, updates or integrations down the line. With so many attendees, NAB also provides great visibility for new product launches. Then there’s also the industry insight we come

away with, which helps guide innovation throughout the year. What can visitors to AJA’s booth expect to see this year at NAB? While I can’t reveal any specifics just yet, we’ll be showcasing some new technology that professionals in broadcast, production, post and ProAV won’t want to miss. And, we’ll also be hosting a


number of workflow demos powered by our current products – from the HELO H.264 streaming and recording device to the RovoCam compact block camera, Ki Pro Recorders, Io solutions including IP, FS frame syncs, KONA capture and playback cards, KUMO routers, T-TAP, U-TAP and Mini-Converters. We invite attendees to join us in booth SL 2505, and explore how their workflows can benefit from AJA products. What trends do you think will dominate conversations at NAB? HDR, broadcast IP, VR and AR are primed to be some of the most popular topics at NAB this year. As an industry, we’ve come a long way in embracing HDR; however, hurdles remain in regard to standardization, conversion and control, but there will problably be a host of new solutions unveield at the show designed to resolve these challenges. The broadcast industry is also working fast and furiously to develop more interoperable tools for IP workflows, and I think we’re going to see new developments and wider interoperability in this arena at NAB this year as well, especially in the AIMS IP showcase demos. Then there is AR/ VR, which is still TMBi - 38

very much an emerging market, so you can expect to see some cool new technology and demos for the medium. Cloud-based production and storage will also likely be a topic of interest at the show, as they tie into all the above trends. Prior to NAB, AJA announced price reductions for the Ki Pro Ultra, Pak Dock and KiStor Dock, as well as a new firmware release for Ki Pro Ultra 2.2. Can you provide us with more information? Yes, we’ve reduced the price of our Ki Pro Ultra filebased 4K/UltraHD/2K/HD recorder and player by $1000, bringing the US MSRP down to $2995. Simultaneously we announced $100 price reductions for the KiStor and Pak Docks, bringing the cost of the Thunderbolt™ and USB docks for Pak and KiStor media down to $295 US MSRP each. To purchase, visit the “Where to Buy” page on our website. Following the announcement, we also released new Ki Pro Ultra v2.2 firmware, which includes Avid MXF support for HD workflows. It’s a free download that builds on our Ki Pro Ultra v2.1 release, which integrated support for new frame rates for Avid

DNxHD, including 1080p 50 and 59.94, and compatibility for exported ProRes files from Apple Final Cut Pro v10.3. With v2.2 firmware, Ki Pro Ultra now supports Avid DNxHD codecs within an OP1a MXF container, including: DNxHD HQX (220x), DNxHD SQ (145) and DNxHD LB (36). When AJA announced HELO at NAB last year, it generated a wave of enthusiasm. How has the industry responded since it was released? There’s been a great demand for HELO since its release. We’re seeing interest from broadcasters, social media influencers and AV pros around the world who are looking for an easy way to deliver high end live streams, and often live streams that can be recorded, packaged and handed off to clients instantly. We’re continually looking at how we can bring new features to customers to make streaming workflows even simpler, and recently released the HELO v1.0.1 firmware update, which allows users to stream directly to Facebook Live with HELO. And, you can expect more updates to follow.


Anyware Video OneGenie® is the reference all-in-a-box currently on-air deployed in SD, HD and 4K UHD. This is to date, the only solution on the market to offer the same capabilities in Ultra HD and HD, from Live and file Ingest to Playout and Recording:  HDR Ready Live & Tape recording with preview, on the fly editing and transcode while record in up 8 to simultaneous formats and resolutions. Closed captions even for live events (in the first UHD quadrant) IP and BaseBand inputs and outputs (including quad-SDI or SDI 12G) Real-time 2D and 3D Dynamic OnAir Graphics with 3dsMax® imports Supports all standard formats of the market until 500mbits - Sony ® Intra XAVC - AVID © DNxHR - Apple ProRes 422 media - HEVC - H264, MPEG, and any more… Audio Shuffling and audio description Automated, operated and TMBi - 40

Every module is accessible through a single interface and that includes also Anyware Video’s Playlist creator with a built-in Advertisement manager

monitored through a web client (compatible with browser through Windows, Mac, Mobile and Linux Systems), OneGenie® has been designed to guarantee fully distributed architectures, with remote operation and system virtualization. Cloud deployment is also possible with OneGenie®. Thus not compromising with performance and security, since it can be set with 1+1 or n+1 active redundancy and provides complete range of broadcast quality monitoring (SDI, SNMP…)

Flexible, each channel can have several inputs and outputs (SDI, IP, RTMP, DASH). Scalable it can handle up to 10 channels per server that can be upgrade in a matter of minutes. Each user can have its own remote web access and only access its assets and channels. OneGenie® offer tools to maximize your efficiency. Every module is accessible through a single interface and that includes also Anyware Video’s Playlist creator with a built-in Advertisement manager.


MediaLogger (Compliance recording & Media Intelligence). Our compliance recording and CatchUp TV “Media Logger” solution is a result of 10 years of Research and Development that has become a point of reference in its field. Widely deployed and recording today more than 800 channels thoughout the world, Media Logger can record, store and replay any kind of broadcast format. Based on our web interface, it integrates with our other solutions and can easily be deployed for large projects. It evolved to become a flagship product for Compliance recording and VOD workflows. It now offers extended metadata imports mixed with closed caption, audience measurement, and EPGs. All those information can be easily searched and retrieved. The editing tools have been designed to smooth the workflow from ingest to web publication, VOD platforms and social networks. Each destination can have its own set of formats and resolution. It can be used for media monitoring in the control room or remotely. It is used by national regulation organizations or channels that wish to archive their TMBi - 42

MediaLogger can be used for media monitoring in the control room or remotely.

contents for legal or advertising verification. It is now more and more used to distribute low resolution segmented playout recordings to VOD and Catchup TV services. Media Logger offers you the possibility to record radio and audio-visual content (including the source, closed captions, and up to eight audio tracks) to digital media 24/7, and easily find your recordings, either live or prerecorded. Our intuitive browsing system lets you retrieve a sequence at any time in order to play your content or export it to other platforms (VOD, Catchup, StartOver) with our innovative MediaLogger TimeLine. With Media Logger you

can supervise all your ASI/SDI/IP streams (multicast and unicast) from a single screen, and create SD or HD video tiling in real time with multi-audio and distribute them on your network. Use the mosaic to set a competing channel display or to monitor in a glance signal quality at each critical point of your process. An SNMP monitoring page is also available to monitor the status of critical data you set priorities on (eg. presence of the subtitles, silences, loudness measurements …). The editing and metadata insertion can happen while the record is in progress. The transcoded media are then available less than a minute after the end of the live event (news, sports, …).



Bluefish444 Booth SL10021

The all new KRONOS range

Bluefish444 introduces the all new KRONOS range. KRONOS will extend the features of the widely adopted Epoch video cards used across the broadcast, feature film and postproduction markets for production, projection, editing, animation, TMBi - 44

compositing, colour correction, restoration, digital intermediate, 3D and IPTV workflows. Epoch delivered first to market 4K 60fps workflows in 2012, and now Bluefish444 will introduce the core technology to support previously

unachievable workflows as the industry continues to push technical boundaries. 4K ultra-high resolution, high frame rate and ultra-high frame rate video, high dynamic range, video over IP, and hardware assisted processing are all now within reach of OEM


developers, professional content creators and system integrators with KRONOS. KRONOS will build upon Bluefish444’s already market-leading video I/O features with the industry's lowest latency, bi-directional connectivity, multi-channel SDI support, 12-bit processing technology, and unsurpassed quality and reliability in hardware design and manufacturing. With the choice of HD BNC SD/HD/3G connectivity, or SFP+ connectivity enabling greater than 3G SDI and Video over IP across 10Gbps Ethernet, KRONOS will suit today's demanding requirements and cater for emerging technologies as they mature. KRONOS will provide

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additional video processing technologies including resolution scaling, video interlace and de-interlace, hardware CODEC support, SDI to IP and IP to SDI conversions, and continues to support the industry differentiating 12-bit color space conversions of Epoch, all running via an 8 lane Gen 3 PCIe interface for maximum transfer rates. Workflows that will see an immediate benefit from KRONOS include sporting coverage and live events, which require a high-quality, high-bandwidth I/O solution to meet both today's demanding multi-channel HD needs, and the 4K Ultra HD requirements which are set to become the standard over the coming years. Digital Cinema will benefit

from KRONOS, as 4K UHD and 8K resolutions are moving towards becoming the standard, and more are adopting high frame rate and ultra-high frame rate projection systems. KRONOS will serve as a gateway for these highbandwidth video formats throughout post-production, quality control, and the presentation of the productions themselves. SDI and the emerging Video over IP standards, combined with Bluefish444’s highest-quality 12-bit processing technology, creates the ideal solution with KRONOS to capture, preview, master and present content in even the most demanding of digital video workflows.



ChyronHego Booth SL1210 "Many in our industry are focused on IP now, but we believe that 2017 is 'the year of IT' — meaning we're seeing a shift toward the implementation of allsoftware-based workflows running on standard IT infrastructure instead of new investments in proprietary hardware. With the CAMIO Universe, we're helping our broadcast news customers make this transition smoothly and costeffectively with solutions for maximizing workflow efficiencies. Other examples on display will be our end-toend workflows for arena production and in-venue experience. At the 2017 NAB Show, we're looking forward to demonstrating how these and other solutions can provide a future-proof foundation for the highly engaging broadcast graphics of today and tomorrow.", Johan Apel, President and CEO, ChyronHego.

CAMIO Universe Updates At the 2017 NAB Show, ChyronHego will introduce its newest innovations for TMBi - 48

ChyronHego LyricX2

the CAMIO Universe, including an improved template-creation workflow and the ability to run the solutions inside a virtualized IT server environment for dramatically lowered total cost of ownership and the ability to perform on-demand scaling. In addition, as part of its CAMIO Universe presentation, ChyronHego will highlight the release of the new web edition of the LUCI interface and new features for Axis World Graphics, the company's

hosted graphics-creation solution. Improvements to Axis World Graphics include a local order-delivery feature and the debut of a new Axis Maps user interface.

A Comprehensive Ecosystem for Scalable, Modular Graphics Production PRIME 2.5 is a resolutionagnostic, software-based solution that leverages advanced 64-bit GPU- and CPU-based technologies for maximum power in



rendering graphics and effects. With the ability to output multiple channels of graphics and clips from a single system that formerly required multiple solutions, customers gain more functionality and features at a lower cost.

pressure live sports and broadcast presentation environments, while also providing cost-effective and operator-friendly capabilities ranging from video playback and replay to data delivery, graphics generation, and audio content delivery.

Robust and Effortless Ticker Branding

Sports Production

NewsTicker is a robust web-based platform for managing all content (automated, manual, and viewer-generated) and broadcast automation. With version 5, NewsTicker has been completely reengineered with an all-new user interface. Also, NewsTicker 5 is now optimized for all modern browsers and platforms, including mobile devices and tablets.

For live sports broadcasting, ChyronHego will showcase a 4K production workflow based on the industry-leading Paint telestration and analysis solution and the world's most popular solution for broadcast graphics, LyricX. In addition, the company will showcase a new generation of ChyronHego's Virtual Placement family of products, including the latest release of Virtual 1st.

End-to-End Stadium Production ChyronHego will showcase an end-to-end workflow for stadium production based on the company's Click Effects family, working in tandem with ChyronHego's Live Compositor, PRIME, and LyricX graphics solutions to deliver a live, invenue entertainment experience. Click Effects solutions are known for their power and reliability in highTMBi - 50

NewsTicker Headlines

Next-Generation Graphics Creation and Playout At the 2017 NAB Show, ChyronHego will highlight the latest version of the company's industry-leading LyricX graphics creation and playout solution. LyricX adds powerful usability enhancements, a variety of new design features, and even greater performance than prior versions of the company's world-leading graphics platform. LyricX allows users to move effortlessly between SDI and IP, and between 4K and HD video, all within the same graphics platform. In addition, LyricX provides native support for powering large video walls using builtin video matrix technology.


CLEAR-COM Booth C6908

Agent-IC iPad and iPhone 6

From strength to strength Nicki Fisher, Sales Director EMEA, Clear-Com 2017 is already shaping up to be a very good year for Clear-Com. We started the year with a strong Q1 across EMEA, with double-digit

growth in sales compared to the same period last year. Also, we entered the year with a healthy pipeline of new projects set for delivery in April, leading with large broadcast projects in Spain, UK, France and Belgium. There is also good news for the entire industry, as we are beginning to see clear

signs of recovery in markets like the Middle East which have been challenging over the past 18 months or so. Projects that had been put on hold are now back on the table again. Activity in Southern Europe in general is higher than we’ve seen in a long time, and we have several tenders out currently in Spain and Portugal. TMBi - 51



V-Series 32 key panel

Our award-winning FreeSpeak II digital wireless communication system is doing exceptionally well, both in large-scale broadcast fixed studio installations and events broadcast rental markets. The system has received so many accolades from wireless experts and users for its ability to work reliably time and time again, even in the most RF challenging environments. And it keeps production teams connected and in communication while roaming across wide areas. There has also been a strong uptake of the LQ series IP interface devices, particularly for rental companies and in large stadia, as it is these types of applications where network control, IP functionality and GPIO connectivity to radio devices are most useful. OTT providers such as sports content groups are also seeing the benefits of LQ’s greater connectivity TMBi - 52

options over secure networks. They can connect to the Eclipse HX matrix via the IVC-32-HX card but also have full network controlled activity from wherever they may be in the world. When working with high value content, they want to ensure it is secure, yet accessible to the right people, in a timely manner. Momentum is gathering in regards to our Agent-IC app that runs on iOS and Android platform devices. The app can effectively turn any mobile smart device into a comms panel. People are now accepting that this is a good alternative to a traditional panel, particularly the younger generation which is perhaps more used to using phones and tablets for a wide variety of tasks. They like the idea of having a ‘smart panel’ because they want the functionality of intercom over reliable IT networks, and the ability to connect multiple devices

over 3G, 4G, LTE or Wi-Fi – whilst retaining high audio quality and bandwidth. It ticks all the boxes in terms of functionality and ease of deployment at an attractive price point. As we launch into NAB, Clear-Com has several exciting announcements to make. The first is the release of two new V-Series Lever Key-Panels: a 32-key intercom panel (V32LD) and a 16-key expansion panel (V16LDE). The new panels offer higher key density, built-in IP connection, and advanced programmability in the same panel space as the current models, as well as new speaker technology for improved sound quality, without compromising on any of the unique features available across all V-Series panels. Debuting for the first time at NAB is our new Dante Interface Card (E-Dante64HX), which is compatible with Eclipse HX-Omega,


Median, and Delta matrix systems. This card supports up to 64 channels of Dante network connections in a single matrix frame card, and is AES67 compatible for supporting multiple AES67 audio streams in IP video. The real benefit for customers is the fact that EDante64-HX enables users to scale up cost-effectively for large networks. It is already proving popular due to its unique ability to have primary and backup network interfaces on a single card, making it very resilient. We are currently in the process of deploying an extensive number of E-Dante 64 HX interface cards for a large Spanish broadcast network; we hope to reveal more details about this exciting installation in the next few months. Trilogy Communications, Clear-Com’s new subsidiary, enjoyed a solid start for the year with strong EMEA sales of its Trilogy Mentor, the

Sync and Test Pulse Generator (SPG). At NAB 2017 we are excited to introduce a new SPG unit called the Mentor RG that builds on several generations of proven Sync and Test pulse generators. The Mentor RG offers the Precision Timing Protocol (PTP) which is crucial for synchronized video, audio and timecode for broadcast purposes to an extremely accurate time signature, often provided by a GPS reference system. Trilogy solutions are sold throughout Europe by existing Trilogy partners, as well as by some Clear-Com partners. Thanks to ClearCom’s global coverage, many of our partners carry complementary brands to the Trilogy reference generators and are experts in the video side of the industry as well as the audio side. In addition to new products and program

announcements, NAB also presents a critical opportunity for us to meet face to face with our partners and global customers, to understand the challenges that they will be facing over the next 1218 months and how we can support them and their projects. While the transition to IP has undoubtedly begun, there are many organisations that are still in the planning stages, so NAB will provide an opportunity to talk to our customers about what they are going to need as they transfer to IP-based workflows. Given ClearCom’s decades of tenure and success worldwide in wireless communications, we will have the opportunity to share our knowledge and insights regarding wireless technology in general and specifically why FreeSpeak II is simply the best wireless solution available on the market. We look forward to meeting you there. TMBi - 53


Dejero Booth C1307

Dejero EnHo Backpack

Why You Should Stop by the Dejero Booth at NAB 2017 Heading to Las Vegas this month for NAB Show? There’s certainly no shortage of new solutions and technology to see during the exhibition. To help you with your show planning, we’ve put together a few reasons why you TMBi - 54

should come to booth C1307 in the Central Hall. Over the past six years, Dejero has attended NAB Show in Las Vegas. And each year, we continue to push the envelope in terms of broadcasting technology. This year is no exception – with an even greater focus on connectivity.

Reliable connectivity anywhere is the whole idea behind Dejero. In the beginning, we created technology that allowed broadcasters faster video IP solutions for newsgathering. Today, we’ve evolved our network blending technologies and video management platform to allow broadcasters to do so


much more and in so many new places. “Our LIVE+ platform is designed for critical broadcasting events, such as breaking news and a good example is the recent presidential inauguration, where many of our broadcast clients confidently depended on our reliable transmission capabilities,” explains Bill Nardi, VP of broadcast integration and global support at Dejero. “The industry is embracing network blending solutions for transporting video and data from remote locations as it continues to transition towards IP. To address that, Dejero is focused on providing a vast array of solutions that open up new opportunities and provide a stress-free technology experience for production crews working remotely in the field.”

What you can expect to see at NAB 2017 Making its official debut at NAB 2017, the Dejero Gateway solution enables news crews to quickly transfer files back to the station and edit in the field with remote access to newsroom systems through public Internet and private networks. Leveraging patented network blending technologies, the solution

creates a virtual network of multiple IP connections with the necessary bandwidth and reliability to enable bidirectional data transfers from newsroom and production systems. The complete Gateway solution includes in-vehicle equipment, cellular connectivity services, cloud management, and support. New capabilities of our highly flexible LIVE+ EnGo mobile transmitter will also be showcased at our booth. The EnGo can be camera mounted or carried in a sling bag or new, ergonomic backpack. Key features include a user-accessible SIM module that makes it convenient to use local SIMs when travelling, global roaming packages, and the ability to transmit multichannel audio. The EnGo delivers exceptional picture quality with extremely low latency in the most challenging cellular network environments. One thing related to this product that will be of particular interest at NAB 2017 is the introduction of the vehicle mount kit for EnGo, making this mobile transmitter even more versatile. More on that at the Show though. Dejero will also showcase the recent enhancements to its LIVE+ Multipoint cloud service. Broadcasters and

media organizations can share live HD content simultaneously across multiple locations and between different entities anywhere in the world. New capabilities include multichannel audio and closed captioning. Group and single event point-tomultipoint packages are now available in addition to a fully customized, unlimited use package for multipointto-multipoint content sharing scenarios. Visitors to the booth can expect to see demonstrations of the Gateway, EnGo, and Multipoint as well as see first-hand some of the enhancements we’ve made to our industry-leading LIVE+ Control cloud-based management system. LIVE+ Control enables the management of transmitters, Gateway routers, servers, and content from a web browser. Users can geolocate and remotely control transmitters, configure broadcast and cloud servers, view performance data and detailed analytics, preview low-latency feeds, and route live or recorded content to playout and online delivery workflows. TMBi - 55


ELEMENTS Booth SL 16016 MR Reclaim storage space - at NO cost While everyone wishes for more space in their storage pool, freeing up space by shifting media assets from the online and nearline workspaces to a tape archive appears to be very off-putting to a lot of professionals in the media&entertainment industry. However, the common reluctance doesn’t seem to arise by the actual procedure of archiving, but more by the consequences of storing media assets on tape – once the files are on tape, many people seem to consider them to be “as good as gone”. Because the process of restoring them if necessary is painful and time consuming; two circumstances nobody likes to deal with. Mission accomplished, case closed. After days, or weeks, or even months of hard work, many night shifts, and countless hours of finicky pixel pushing, the post-production of the latest project has been finished. During the process, terabytes of media files have TMBi - 56

accumulated over time, from the original raw material, to dozens of edited, manipulated and beautified versions thereof, all assembled on the central storage. As soon as the final release and approval from the customer has been given, the project files would actually be ready to be archived in order to free storage space. But that’s usually when heartbreaking wails of the editors, supervisors or even the management reverberate through the post-production halls, screaming and yelling and that it would be downright impossible to move the assets to tape. With an almost terrified look on their faces, they start to argue that the customer might come back in a few weeks with some unforeseen last-minute changes. Or that certain clips would still be needed to be incorporated into the new showreel. Or that specific shots are supposed to be posted on the website as short clips. So, you wait – and watch your storage noticeably fill up with new project files. And 4 months

later you pitch the idea again to archive the files. Sound familiar?

The tape archive is not the enemy When the media assets have become part of the family, in some people’s minds archiving them onto tape is tantamount to bury them 6 feet deep. Probably, those baseless fears have been induced by one or two unpleasant experiences when restoring the data has taken a lot longer than anticipated. But in all likelihood, the delay wasn’t even caused by the tape library itself, or the tape robot, but because it was hard to find (or define) which files were actually needed to be restored, a problem that often originates in missing meta data, or the lack of proper description of the files. So the main issue is not the tape library but the “file manager” to access the archive. Regardless of whether you use an open source software, or if you have paid a license fee for a commercial solution – most likely, you will browse the


archive by searching for keywords. And if those keywords are not affiliated with the actual media files, you’ll have a hard time finding them, as you can’t see what you’re looking for – but can only hope that at some point during production someone has tagged the files properly.

What if the archive was visible? If restoring media assets would be easy and fast, freeing storage space by archiving files to LTO tapes would be a lot more popular, right? It is definitely cheaper than adding more media storage on a regular basis, and if managed properly, it is a great way to simply place

currently unused files in the “backseat” until you have to pull them out again. However, it would be a lot more comfortable - and somewhat reassuring - if you had visual access – and the opportunity to “look” at media files stored in the archive, as opposed to “blindly” search for keywords. TMBi - 57


One solution that actually makes the archive visible, comes from German hardware and software developer ELEMENTS. Their line of highperformance media storage and server solutions, specifically designed for the broadcast and postproduction industry with fully indexed LTFS support, provides direct access from the central storage to the tape archive through the web-based GUI of their systems, making the use of third-party applications redundant. “When we learned from our customers, both at broadcast and postproduction facilities, that it would be very helpful to them to have visual access to the tape archive, we were right on it – and created just that,” says André Kamps, CEO of ELEMENTS. “They are creative folks who are already being asked to meet a whole lot of challenges every day. Really, their one focus should only be on delivering the best projects possible, not worrying about their media assets. That’s why we connected our MAM

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intuitive, but with the proxies being linked to corresponding files in the archive, it literally takes one click to restore a single clip, or entire projects.” adds Kamps.

André Kamps, CEO of ELEMENTS

system with the tape library. So now, whenever information is added to a clip or sequence, this information will stick with the media assets forever – even when archived on tape.” With the associated proxy files still accessible on the central online storage, even after the original files have been archived on tape, they allow to visually search for assets. Of course, the fully indexed text search engine allows for keyword search as well. “But the visual search is not only faster and more

ELEMENTS Media Library is optionally available on ELEMENTS different solutions for both SAN and NAS environments, starting with ELEMENTS ONE, an all-in-one server storage solution that provides up to 360TB of storage space in only 4U. ELEMENTS GATEWAY, a Linux-based gateway server, enables virtually every existing SAN/NAS environment to share files natively across the entire facility and across all platforms in a collaborative workflow, including Adobe Premiere, Final Cut Pro and Avid. Two or more ELEMENTS GATEWAY servers also work as a scalable and high-availability cluster service. Customized SAN and NAS infrastructures are available as well, and ELEMENTS CUBE provides the feature set for mobile deployment.


Estructure Booth SL5421 Estructure will show the state of the art latest innovations for IP workflows in the NDI Central Booth IP technology, which has been developing for many years from different angles and foundations, is rapidly conquering the News and Contents Production world, and it now represents the most important change that we will probably see in our lives. The way in which TV production is going to be managed is completely new, freeing us from the physical and technical limitations of broadcast facilities and infrastructures, which since the birth of television have defined the possibilities and leeway of each production. Within the context of IP technologies, NDI (Network Device Interface) has already been accepted as the most open and viable standard, offering us almost unlimited possibilities. Since the birth of this initiative, Estructure has been working to integrate NDI standard into its news and contents production solutions, and

that is why today they already have a complete NDI integration. NDI complete support has allowed Estructure to participate in the NDI Central space, stand SL5421 at NAB 2017, along with some other companies from all over the world that lead NDI development. If something stands out from the contributions of Estructure, that is its purpose of facilitating the workflows tasks and achieve the maximum compatibility through its solutions, either of standards, formats or protocols, as you can see at NAB 2017 and as the company has been demonstrating for over 15 years. Estructure will show at NAB 2017 the latest technologies for IP workflows, as the newest version of NIBBLE, the innovative system for high quality signal transporting

over standard IP networks, ready to work with all IP protocols and with all compression technologies. With NIBBLE, you just need an IP, MacroLAN or ADSL connection, and your SDI signal is reaching the other side of the world, in real time and without any complications. In the show, you will see the exclusive new features and realtime NIBBLE capabilities. NIBBLE has already been selected by companies around the world, where they are still surprised by the system's unmatched priceperformance. Estructure is going to show some other incredible new technologies for production at NAB 2017, and of course the last versions of their classic systems. You will find out why the Estructure solutions adapt much better than any other to the way you work. TMBi - 59



FilmLight Booth SL3828

BL5 Perspective Tracking

At NAB2017 FilmLight will demonstrate its version 5.0 advanced colour tools. Users will benefit from the same powerful toolkit, and a consistent and familiar user experience, from the flagship Baselight colour grading and finishing system, through Baselight Editions, to Daylight and the new on-set application, Prelight. TMBi - 60

“We are delivering 5.0 everywhere, bringing a new level of colour control and creative possibilities from the very start of a production right to the final deliverables,” said Wolfgang Lempp, CEO of FilmLight. “And, importantly, colour and artistic intent is accompanying all deliverables precisely and with minimum effort, be it for

HDR and SDR or even 360 VR grading.” Version 5.0 introduces a modern way of handling colour, with the new Base Grade that accurately mimics the way the eye sees colour to yield a more natural feel, with smooth, consistent changes in the controls. 5.0 also blurs the line between traditional


colour correction and VFX with new features such as paint, perspective tracking, warping, depth keying, relighting and more. NAB visitors can explore the new functionality in a number of demonstration areas, including on Baselight ONE, the compact system designed for any size of colour suite, Baselight TWO, the all-around solution, and Baselight X, which provides ultra-high bandwidth for the most demanding projects. Sam Chynoweth, Colourist at Animal Logic, recently graded The LEGO Batman Movie on Baselight 5.0. “When grading the latest feature in the LEGO® movie franchise, we were able to get all those colours from the big-screen version into the 709 deliverable with minimal compromise. Baselight’s gamut compression tool just revolutionises the way you do it. “We are very excited by many of the new tools in Baselight 5.0, such as the world-space matte feature and GL shaders, which will save us a lot of time and allow us to write specific tools for production,” he added. “Baselight has allowed us to push the grading process right back to become a key part of

production, and not just post.” Bringing colour control and the FilmLight BLG (Baselight Linked Grade) metadata system to the shoot is the new Prelight ON-SET, a macOS app for preview and grading. A key feature on display will be the ARRI Alexa SXT and Panasonic Varicam integration, with both cameras supporting BLG or grade metadata so that video assist and editorial outputs automatically have the preferred look. Additionally, Daylight 5.0, the powerful dailies platform for shot management and highperformance transcoding, will be demonstrated. Version 5.0 also reaches Baselight Editions, the plugins for Avid and NUKE. While Baselight for Avid and NUKE 5.0 both enjoy the benefits of the Base Grade as well as colour tools such as midtone contrast and filters for denoise and deflicker, Baselight for NUKE harnesses the boosted functionality in the version 5.0 BLG. This allows Baselight to act as a multiinput node in NUKE so that BLG files can refer to multiple input images and OpenEXR channels. FilmLight products will also be featured at other booths

during NAB. Sony and Dolby, long-term clients and technology partners of FilmLight, have implemented Baselight across their facilities worldwide to deploy high-resolution, high-bit depth HDR grading and finishing. At booth SU1702, Dolby’s colourists and colour scientists will present the Dolby Vision content creation workflow and process using the Baselight toolset. On booth C11001 Sony and FilmLight experts will demonstrate their joint solutions for delivering HDR and Ultra HD 4K content, from Prelight ON-SET, through the Daylight dailies platform, to the Baselight final grade with XOCN/RAW F5 and F55 footage. ARRI specialists on booth C7925 will show an on-set HDR monitoring setup with the ALEXA SXT and Prelight, displayed on the new Canon DP-V2420 HDR 1000nit monitor. New partner Black Box (booth SL9321) will present Baselight with the FilmLight Slate control surface, working in conjunction with their Black Box KVM. This new solution allows customers to increase the distance between operators and their Baselight systems in line with their operational, IT or security requirements. TMBi - 61


Fujifilm Booth C7225

MK 50-135mm

4K-Compatible Studio Zoom Lens The Optical Devices Division of FUJIFILM will introduce a FUJINON 4Kcompatible studio lens, the “UA27x6.5B,” at the NAB convention in Las Vegas this month. The UA27x is the latest zoom lens in the company’s Premier UA Series of 4K 2/3” lenses. The UA Series is the world’s first designed specifically for UHD broadcast applications. TMBi - 62

With its 27x zoom ratio and 4K capabilities, the “UA27.6.5B” is ideal for instudio production. And with a wide-angle focal length of 6.5mm, it’s also suited for live events such as musical concerts and sporting events. The UA27x joins newly introduced handheld zooms, the “UA14x4.5B” and “UA18x5.5B;” along with the “UA13x4.5B” and “UA22x8B” lenses. Field lenses “UA80x9” and

“UA107x8.4” round out this series. The UA27x studio lens can be seen along with the complete UA Series within the company’s NAB booth. Like the handhelds in this series, the UA27x studio lens delivers edge-to-edge 4K optical quality for 2/3inch cameras. The UA27x has a focal length of 6.5180mm and a built-in extender, which doubles its focal length.


The lens features the high resolution, high contrast, and high dynamic range that are hallmarks of all Premier 4K and 4K PLUS UA Series lenses. It employs the latest High Transmittance Electron Beam Coating (HT-EBC) resulting in richer colors and greatly improved blue response and transmittance. HT-EBC, coupled with Fujifilm’s exclusive Aspheric Technology, reduces ghost and flare and increases light transmission. The latest optical simulation technology was used in the lenses’ optical design to prevent resolution degradation around the edges and control aberrations, thus achieving

4K image quality across the zoom range. An aperture shape close to that of a circle is achieved by adopting nine aperture blades, which provides a more natural bokeh. The lens is equipped with 16-bit encoders, capable of high-resolution output of lens data, including zoom and focal position information. It can be linked with other systems such as virtual studios for combining CG images with live action footage.

4K-Compatible, Ultra HD, Handheld Lenses The “UA14x4.5B” and “UA18x5.5B” are the latest

handhelds in the company’s Premier UA Series of 4K 2/3” lenses. The new lenses deliver edge-to-edge 4K optical quality to 2/3-inch 4K portable cameras and camcorders. The UA14x and UA18x zooms can be seen along with the complete UA Series within the company’s NAB booth. These lenses join the “UA13x4.5B,” “UA22x8B,” “UA80x9B,” “UA107x8.4B,” and the new “UA27x6.5B” in this series. The UA Series is the world’s first designed specifically for UHD broadcast applications. The “UA14x4.5B” has an ultra-wide focal length of 4.5 to 63mm at the telephoto end and a zoom ratio of 14x, while the “UA18x5.5B” has a

UA27x6.5B Studio Lens

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focal length range from 5.5mm in wide angle to 100mm in telephoto, and a zoom ratio of 18x. The unique zoom range of the “UA18x5.5B” makes this a “2-in-1” lens, offering both wide-angle and telephoto capability. Both lenses are standard with 2x extenders. With a weight of just 2.04kg, the “UA18x5.5B” is ideal for situations that require added mobility, such as news reporting and onlocation production. The body of the “UA14x4.5B” measures just 238.5mm, enabling shooters to get up close and personal during live sports coverage or add increased depth on-location. TMBi - 64

High resolution, high contrast, and high dynamic range are hallmarks of the UA Series. Aspherical elements have been treated with the latest High Transmittance Electron Beam Coating (HT-EBC) multi-layer coating for a high level of transmittance and color reproduction. Using HT-EBC in tandem with FUJIFILM’s exclusive Aspheric Technology, the lenses reduce ghosting and lens flares, while increasing the amount of light transmitted through the lens to the camera’s sensors. The latest optical simulation technology was used in the lenses’ optical design to prevent resolution

degradation around the edges and control aberrations, thus achieving 4K image quality across the zoom range. An aperture shape close to that of a circle is achieved by adopting nine aperture blades, which provides a more natural bokeh. The latest generation Servo Drive Unit has been built to support a wide range of remotely-controlled zoom, focus, and iris functions. It relies on 16-bit encoders to provide accurate two-way communications between the lens servo and the remote operator, using either RS-232 serial data or traditional analog communications. These


whether shooting a live event, online programming, documentary, corporate video, wedding, independent or short film production. The next in the series, the FUJINON MK50-135mm T2.9, will be available this summer. With a combined focal length range of 18mm135mm in the Super 35mm format, together the first two “MK” lenses cover the most frequently used range utilized by emerging cinematographers. The series offers fast lenses with T2.9 speed across the entire zoom range, enabling a shallow depth-of-field.


lenses are currently designed for E-mount cameras and boast advanced optical performance, ultra-compact and lightweight design, as well as superb cost performance. FUJIFILM will exhibit in booth #C7225 during the show to be held from April 22-27 at the Las Vegas Convention Center.

The newly launched “MK” Series of cinema lenses from the Optical Devices Division of FUJIFILM will make their NAB debut in Las Vegas. With the first in its series introduced in February of this year, “MK”

The FUJINON MK1855mm T2.9 is a standard zoom with an 18-55mm focal length. It is currently available for $3,799. The entire “MK” series is designed with the ‘emerging’ cinematographer in mind,

features allow the lenses to be remotely-controlled for human- and roboticallycontrolled shooting, jib shots, tower cams, and videoconferencing; among other applications.

The “MK” lenses are designed to maintain consistent color temperature with all FUJINON cinema lenses, which simplifies color grading. The series also inherits the FUJINON cine lenses’ advanced edgeto-edge optical performance and low distortion, while boasting compact and lightweight design as well as outstanding cost/performance. The MK18-55 and MK50-135mm weigh in at a light 980 grams/2.16 lbs with front diameters of 85mm and lengths of 206mm. The MK18-55mm’s minimum object distance (MOD) is .85 meters/2.78 feet, while the MK 50-135mm’s MOD is 1.2m/3.93 feet. TMBi - 65



Gates Air Booth N2613

Providing More Visibility into IP Network Performance - As radio broadcasters transition to IP networks and add more services, new software and hardware solutions simplify matters from start to finish As more broadcasters shift from legacy TDM (E1/T1) connections to IP networks, broadcasters are seeking more efficient ways to manage bandwidth and analyze network performance. At the same time, cost reduction as it relates to engineering labor and maintenance remains a concern, while at the same time taking advantage of modern network

Intraplex IP Link mpxp rear panel 2000x196

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architectures to introduce new on-air services. GatesAir, a global leader in wireless, over-the-air content delivery solutions for radio and TV broadcasters, is helping customers better understand how their IP networks handle data traffic, especially as new services are added to the network. Intraplex LiveLook software was built specifically to solve this problem, giving users enhanced visibility into network performance through advanced network analytics, monitoring and troubleshooting capabilities. Intraplex LiveLook is an off-board network analytics and monitoring software for IP Link codecs. It provides a graphical analysis of both real-time and historical

network performance data as well as the monitoring of audio streams’ state changes and optional email notification capability. The LiveLook software provides a single management application to analyze and monitor all the audio streams of the network. In addition, the tool incorporates report generation capability which analyzes the selected network performance data and recommends the best error protection technique of the IP Link codec to use. For example, LiveLook uses a burst packet loss model to evaluate IP traffic performance, and provides statistics around round-trip data packet delay. The information gathered from burst packet loss modeling


suggests the best methods for fixing lost or missing packets. Along with real-time graphing, past snapshots show how the stream behaved. If the codec was compromised within a certain defined window of time, the user can access that portion of the real-time graph to see if the IP network caused the issue. A summary details network packet statistics, with recommendations on how much forward error correction and time diversity is needed for the stream. Key features and benefits include:  Real-time and historical graphical analysis  Rolling log files to store performance data and stream state change events  Monitors stream’s ingress and egress performance  Dashboard capability for

status of all monitored streams  Report generation tool and Email notifications

New Codec, New Opportunites On the hardware side, GatesAir will introduce a new groundbreaking intelligent IP networking solution at the 2017 NAB Show that marks a convergence of traditional strengths from its range of Intraplex intelligent networking family, with new advanced innovations that address all of these concerns and opportunities when it comes to radio program transport over digital IP networks. The new Intraplex IP Link MPXp codec leverages many of the renowned IP Link codec strengths— notably GatesAir’s unique dynamic stream splicing technology to mitigate IP packet loss and eliminate

off-air time—the Intraplex IP Link MPXp offers several industry firsts. Foremost, the Intraplex IP Link MPXp is the first FM MPX IP codec to support—separately or together—AES 192 digital and analog composite signals over a secure and reliable digital IP path. With its unique built-in bandwidth reduction technology and signal parameter selection, broadcasters can transport uncompressed AES 192 signals as low as 1.8Mb/s— a more than 50 percent reduction in bandwidth utilization compared to most codecs on the market. This exceptional bandwidth efficiency opens more headroom for increased packet protection, as well as additional audio and data services. The IP Link MPXp codec offers a strong value proposition as a feature-rich, futureproof codec to support

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analog composite transport today—and AES 192 composite transport when the broadcaster upgrades from an analog to a digital exciter. However, its flexible dual-domain capability allows the broadcaster to install a newer audio processor supporting AES 192 and have it interoperate with an exciter that supports only analog composite

signal interface today. This not only provides a transitional path for a digital exciter upgrade, but also enhances signal quality by keeping it in the digital domain across the IP path. Like previous-generation IP Link codecs, the Intraplex IP Link MPXp codec also simplifies network architectures and maintenance to reduce

Intraplex LiveLook

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capital and operational expense. As wide-area network pipes grow larger, the Intraplex IP Link MPXp codec enables broadcasters to aggregate all FM processing equipment at the headend. Meanwhile, advanced security measures protect the broadcaster’s signal thanks to the codec’s integrated firewall.


Grass Valley Booth SL106 LDX 82 Series Cameras The LDX 82 is the first and only native HD-only camera offering an extended color gamut and native high dynamic range operation with a full 15 F-stops. Through long partnerships with many different types of customers, Grass Valley, a Belden Brand, knows that every production facility has unique needs. That’s why the LDX 82 Series includes four upgradable camera models, offering varying levels of operational flexibility to match every production need. As the definitive HD camera covering all HD standards, each model of the LDX 82 offers the best sensitivity in all HD formats, including 1080p, a wide color gamut and Grass Valley’s XDR (Extended Dynamic Range) operations with a full 15 Fstops. “The LDX 82 Series of cameras is completely unique in its native HDR capabilities, ultimate transmission flexibility, IP transition abilities and overall flexibility,” said


Neerav Shah, senior vice president of strategic marketing, Grass Valley. “Whether an operation requires single format HD or full 1080p support, SDR or HDR, each camera in the series provides the operational and business flexibility needed for today’s fast-paced broadcast world.”

workhorse for live HD production—from live sports to scripted productions. LDX 82 Elite can switch between 1080i, 720p and 1080PsF. It also features PowerCurves for shooting under challenging conditions and Color Protect to help correct lighting issues.

• LDX 82 Première can switch between 1080i and 720p, and features the Contour Equalizer which allows for alterations to the crispness in the shadows, mid-tones and highlights independently.

• LDX 82 WorldCam is the ideal solution for any production, under any condition, incorporating all the features of the LDX 82 Elite plus 1080p. It enables 1080p productions that used to be impossible to cover without huge investments in additional lighting or major compromise to image quality. The LDX 82 WorldCam is available as a 7-day or a perpetual GVeLicense upgrade from any other LDX 82 Series camera, with single or multiple licenses.

• LDX 82 Elite is the ultimate

Regardless of the model,

The four LDX 82 camera models are designed to suit a broad range of production needs: • LDX 82 Flex is the entrylevel model for single format 1080i or 720p acquisition, where minimal artistic modification is required.

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the LDX 82 is Grass Valley’s best HD-only camera. Each LDX 82 camera model leverages the patented Xensium-FT CMOS imager which allows for better sensitivity, higher resolution and extended dynamic range.

Upgraded Solutions to Improve Breaking News Production Broadcasters have more competition than ever before in the news category and the stakes are high to keep viewers’ eyes on the screen. Breaking news becomes old news faster than ever as broadcasters strive to keep up with each other, the 24hour news cycle and social media journalists. Grass Valley, a Belden Brand, understands that as the news environment changes, broadcast equipment must change as well to adapt to mobile studios, new media platforms including digital and social, and the growing use of user-generated content (UGC). The newly upgraded GV STRATUS 5.7, EDIUS 8.5 and Ignite v10 are designed to meet these shifting customer needs. “If you picture a news broadcast 25 years ago you probably imagine one reporter sitting at a desk, reading to a camera on the five o’clock program. In a TMBi - 70

very short time news has exploded from a half hour broadcast to 24-hour coverage on TV, digital and social, including up-to-theminute data and real-time graphics.” said Neerav Shah, senior vice president of strategic marketing, Grass Valley. “Broadcasters have a lot to consider to keep viewers engaged and we’re always considering those same factors to optimize our news solutions for their needs.” As news breaks, broadcasters require flexible, collaborative solutions to keep up with the pace and create quality programming. The latest upgrade to GV STRATUS adds powerful transcoding options to the world-class video and workflow orchestration platform. The XRE Transcoder is now fully integrated into GV STRATUS, enabling broadcasters to ingest a wide range of UGC, leveraging the concept of “edit anything,” a philosophy that has been a unique feature of Grass Valley’s EDIUS platform for over a decade. GV STRATUS 5.7 also introduces a new web application for desktop and mobile. Why does this matter? It’s simple, with GV STRATUS you can use “Any Media on Any Device.”

Even breaking news programs require editing before broadcast. EDIUS Pro and EDIUS Workgroup are now faster than ever and able to export, decode and add metadata in more

Ignite retouched Studio Single


formats than before. Among other usability improvements, the editing platform now includes "PQ Gamma" support of Primary Color Collection video filter for High Dynamic Range

(HDR) editing. EDIUS 8.5’s companion personal content management tool, Mync, has also been enhanced to feature more storyboard export options.

Ignite v10 brings more flexibility where breaking and unscripted productions are concerned and now supports a completely customizable UI, letting users configure a unique layout for every show. Additionally, Ignite PT (Persistent Templates) allow operators to make last minute changes to production events directly inside the Ignite rundown, removing the need to go to the NRCS for changing live broadcasts. The Ignite playlist has been redesigned with speed in mind, featuring lightning-fast playlist updates – less than one second regardless of rundown size. The combination of these and other version 10 enhancements means that Ignite is the only solution on the market which can handle scripted, unscripted, and chaotic productions where change is a constant. “Today’s broadcasters are expected to meet the news where it’s happening, when it’s happening, knowing that the next big story is just around the corner” added Shah. “Grass Valley consistently provides fast and flexible workflow, editing and asset management tools, giving them more capabilities in the field so they can package and distribute stories quickly.” TMBi - 71


Guntermann & Drunck Booth N5624

DP1.2 VisionXG Fiber MC4-ARU2

G&D presents the broadest KVM portfolio on the market with a special focus on 4K The annual NAB Show in Las Vegas is a thriving meeting place for all US broadcasters and digital media professionals. For many years now, Guntermann & Drunck GmbH has been a strong partner for the broadcast industry and shows great commitment to this sector. This year, the US subsidiary of the German KVM manufacturer will again be at the show to present the broadest portfolio of the entire KVM market. G&D’s TMBi - 72

stand will be dedicated to 4K. Here, a range of KVM systems, which are capable of extending and switching 4K video signals even over long distances – pixelperfect, loss-less and without latency – will be presented.

Uncompressed transmission of 4K and 8K over distances up to 10,000 m The DisplayPort KVM extender system DP1.2VisionXG consists of a computer module (transmitter) and a user module (receiver) and extends computer signals via fiber optics over

distances up to 10,0000m. For the perfect hand eye coordination, the transmission of highresolution DisplayPort video signals is uncompressed, pixel perfect and lossless. The dedicated transmission via optical fibers offers sufficient bandwidth for an uncompressed and pixelperfect transmission of 4K and 8K videos at 60Hz as well as for keyboard/mouse, RS232, USB2.0, and audio signals. The system includes many user-friendly and mission-critical features such as the screen-freeze function, the monitoring function, a redundant power supply, SNMP, and two network ports.


Loss-less transmission even for compressing systems Another highlight at G&D’s stand in Las Vegas will be the presentation of compressing systems, which now include G&D’s improved, in-house HDIP compression technology in the latest development stage, Level 3. This compression mode allows the loss-less transmission of video signals with a resolution of 4K at 60Hz. The KVM extender DPVision1.2 already uses the advantages of this new compression mode for the extension of computer signals either via fiber optics up to 10,000 m or via CAT cables up to 140 m.

Switching 4K video signals via matrix systems It is even more exciting

when it comes to extending computer signals not only as a point-to-point connection, but when these signals are also switched and distributed – or in other words, when several computers are to be operated remotely via different, simultaneous workstations. Following G&D’s principle of mix & match, all products as well as their variants are compatible and can be combined with each other. The KVM extender DP1.2Vision can easily be integrated into G&D matrix systems such as the ControlCenter-Compact or the ControlCenter-Digital, which allows the extension and switching of 4K at 60 Hz through the matrix.

Unlimited access with KVM-over-IP™ Based on IP structures, the new KVM extender DP-

Vision-IP complements G&D’s portfolio and breaks any limitations of bridging distances that existed so far. The system supports DisplayPort video resolutions up to 2560 x 1600 @ 60 Hz or 3840 x 2160 @ 30 Hz. Combinations with other G&D systems are also possible thus allowing complex installations with worldwide access. With the DP-Vision-IP, G&D are significantly expanding their portfolio and currently offer the broadest range of KVM systems available on the market. Various broadcasting companies and TV stations in the US already rely on quality "made in Germany" products from G&D. The exhibition team will present all above-mentioned systems at NAB show booth N5624, 24-27 April, 2017.

DP1.2 Vision

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Lawo Booth N1424

Launch of new Console NAB 2017 will see Lawo launching a new flagship audio production console that is fully IP-based and specifically designed to provide optimized performance within video production environments. Addressing applications requiring very large format mixing and routing functionality, the desk offers a number of innovative mixassist systems that enable engineers to focus on creating sophisticated, highimpact audio presentations for viewers. Lawo will also demonstrate its V__matrix IP-native video routing and processing infrastructure solution with software-defined functionality that adapts to support new requirements and workflows within minutes. The company will debut significant additions to the functionality of this award-winning, openstandards-based broadcast ecosystem based on highcapacity generic compute blades that translate the cloud-computing approach TMBi - 74


into the broadcast world, creating a fully virtualized routing and processing core infrastructure. In addition, Lawo’s popular workflow and orchestration solution VSM has been augmented to include a comprehensive toolkit for combining and managing multi-vendor solutions, harmonizing both IP and baseband with a comprehensive feature set that includes router control, scheduling, tally management, monitoring functions and a full range of other capabilities designed to make it the central key for harvesting the benefits of IPbased broadcast installations and remote productions. The company’s

NAB show exhibit will focus on giving attendees access to a number of remote production and infrastructure solutions based on these new product offerings as well as its complete range of existing hardware and software solutions. Furthermore, Lawo will add a complete new line of radio consoles to its current portfolio. Combining virtual and physical control options with next generation processing power, this new console series is designed to meet both functional and budget requirements of future-oriented radio on-air studio installations.


LIVEU Booth C2617

At this year’s NAB, LiveU will feature an exclusive live studio in collaboration with, an online video, live streaming network, led by CEO, five-time Emmy Awardwinning Michael Artsis. Viewers will have access to compelling original content and activities from NAB that they can't find anywhere else. Visitors will be able to go behindthe-scenes and see how the broadcast is being produced – affordably and easily. LiveU solutions will be used to broadcast roving reporters covering the different halls from the show. LiveU's LU600 portable transmission unit

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The live studio will feature live interviews and product overviews from some of the most innovative companies exhibiting at NAB 2017. They will also host experts from the broadcast and online streaming industry for unique panel discussions covering many topics such as HEVC, VR, drones, new hybrid satellite solutions, and social media live streaming. Audiences at home will also be able to tune in to watch additional live video programming created specifically for Facebook Live.

NAB Debut of the LU600 LiveU will showcase the LU600, its powerful new portable transmission unit for global newsgathering and live sports and events coverage. Reaching new levels of excellence, the LU600 delivers the highest video quality and bitrate in the market (up to 20Mbps), and is set to offer the fastest file transfer (80Mbps), lowest delay (0.5 sec) and 100Mbps high-speed bonded Internet connection. The new LU600 is field upgradable to H.265 HEVC, continuing LiveU’s adoption of the latest encoding standards and providing TMBi - 76

support for ‘Live & Store’ using the same video card.

LiveU Solo LiveU will also demonstrate its high-quality, plug-and-play live streaming device for the online media market, LiveU Solo, built on LiveU’s proven bonding technology. Solo is the streaming solution of choice for major online media companies and affordable and easy enough for anyone to use. Solo allows users to live-stream seamlessly directly to Facebook Live and other popular social media and online video providers. Solo is simple to manage and control remotely via a web interface or smart device. Other highlights: LiveU will present its full range of live video acquisition, management and distribution solutions over IP, including: • LiveU’s LU200 ultra-small portable transmission unit and LU200e, the most cost-effective video encoder on the market, enabling streaming for web distribution, point to point, and point to multi-point for a fraction of the cost of other solutions;

• LiveU Central, cloud-based management and video distribution system, enabling fleets of units to be centrally controlled using geo-location capabilities; • LiveU’s MultiPoint, internal and cross-organizational professional video distribution service, enabling the sharing of high-quality live video between multiple broadcast facilities over the public Internet; • LU-Smart mobile app, bringing bonded transmission to mobile phones & tablets; • LiveU’s next generation hybrid ENG vehicle solution, increasing network reception for resilient live HD video transmission on-the-go while wirelessly connecting any LiveU pack to a LiveU Xtender antenna solution and satellite with distances of over 1,000 feet within line of sight. LiveU will also be announcing exciting product developments in the run-up to NAB and will showcase these new solutions at the show.


LYNX Technik AG Booth SL10321 LYNX Technik Expands greenMachineTM Family with titan and 4K/12G Processing greenMachine titan is a four-channel hardware device that complements the existing greenMachine callisto, a two-channel signal processing hardware appliance. Titan simultaneously processes four 3G/HD/SD-SDI video streams or a single 4K/UHD video input. It offers up to 12G processing support (3840 x 2160 @60 Hz) and also provides the

functionality to convert between single link 4K video (12G) and quad-link 4K video (4x3G). Titan and all greenMachine hardware are compact selfcontained general purpose A/V processing platforms designed to host a wide variety of applications or APPs. And now with the 12G capable processing, greenMachine helps to facilitate and support 4K infrastructure applications. The APPs available that support both the 4x 3G-SDI and 12G processing provide high quality and robust audio

and video processing. greenMachine was introduced globally at IBC and is a completely new concept adopting a three prong approach to product definition and function. Rather than being a fixed application specific box, greenMachine is a combination of general purpose hardware, downloadable APPs for customizable functionality and powerful control software. With greenMachine, the industry has a way to reimagine its approach to purchasing,

grennMachine titan

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upgrading and building a foundation of signal processing solutions for any broadcast or professional video application. How does greenMachine work? Users configure and customize the greenMachine hardware for the functionality needed by downloading APPs from the LYNX Technik greenStore. APPs can be mixed and matched to reconfigure greenMachine to suit virtually any application. As new APPs will be constantly added to the “greenStore,” this enables the hardware to be easily adapted into new applications, future proofing your investment. APPs are purchased through the greenStore and are all available on a try before you buy basis. greenMachine can be as straightforward as a standalone appliance with a few APPs, to a complex system with multiple units networked together all over the world. A wide variety of plug-in fiber options for SDI and Ethernet connectivity for greenMachine are available including simple point to point connections to multiplexed bidirectional TMBi - 78

CWDM applications with up to 18 wavelengths.

Four New APPs for greenMachine Platform The four new APPs as well as the new titan greenMachine hardware platform will be showcased at NAB 2017, booth SL10321. greenMachine is a new and unique concept on the market taking a three-prong approach to product definition and function. Rather than being a fixed, application specific box, greenMachine is a combination of general purpose hardware, software APPs and powerful control software. NAB 2017 sees the launch of four new APPs including: - Color Matching – This image processing APP provides precise color matching with gain and offset adjustments for a variety of colors. It is an ideal tool for adjusting the output to the monitor being used and resolving any color accuracy issues. - SwitchOver – This APP is a two-channel changeover

switch which can be automatically triggered when an input fails or manually triggered. It is ideal for applications that require an emergency switch for backup or clean switching between two video sources. - DolbyE Decoder - This APP enables the decoding of all 8 audio channels contained in a Dolby E Stream to PCM audio. Two instances of this APP can be used per greenMachine simultaneously. - Teletext Viewer - This APP enables the remote monitoring of teletext content within a video stream. Users have a large range of APPs to choose from in the greenStore at, all of which can be mixed and matched to build the precise functionality needed. The concept of APPs means that a user can purchase more functionality or different functionality at any time, and therefore doesn’t have to deal with the issue of obsolete hardware. Plus, it should be noted that all APPs are “try before you buy,” offering users the chance to fully test new system designs before buying the functionality.


PROTELEVISION Booth SU 8113 ProTelevision Technologies from Denmark is with absolutely no doubt leading the race on ATSC 3.0 modulation and is back at NAB show this year with more advantages for its ATSC 3.0 customers. Back in NAB Show 2015, ProTelevision was already chosen for a pioneer ATSC 3.0 set up by One Media Llc and that was just the beginning.


company based in Copenhagen was already transmitting ATSC 3.0.

2015 is the year remembered for an intense and fruitful cooperation with South Korean manufacturers, Broadcasters and authorities paving way towards the future of Broadcasting in the country with 2018 Winter Olympics transmission on UHD 4k with ATSC 3.0.

Ever since, the race has been hectic, and what a race! In 2016 ProTelevision continued cooperating with South Korean regulation organizations to give shape to a certain transmission mode for the country, and after the world’s first successful on air SFN test together with a commercial scheduler in June 2016, the ATSC 3.0 Korean mode was released.

Last NAB Show 2016, ProTelevision Technologies presented their ATSC 3.0 modulator supporting 1 PLP and with crystal clear RF signal. This was achieved even with the absence of demodulators with the difficulties that this entails for the developers. But in the South Upper Hall at NAB 2016, this ambitious

From summer 2016 until now, ProTelevision has, in cooperation with reference transmitter manufacturers, helped the main South Korean Broadcasters to put on air their first SFN, multiple PLP networks transmitting in 4k quality becoming the reference exciter manufacturer in the country.

Not happy just being ahead, ProTelevision Technologies has been developing the Layer Division Multiplexing functionality and is thrilled to present it at NAB 2017 for the first time in USA’s history. Layered Division Multiplexing (LDM), which grew from a Cloud transmission concept is the sum of two synchronized signals (in time and frequency), which are broadcast on the same RF television channel. For instance, it is possible to combine on the same channel a signal targeting mobile services (Upper Layer, UL), and certain dBs below UL, another signal (Lower Layer, LL), where LL could be a DVB-T2 signal or some other signal format. LDM shows then a higher spectrum efficiency than TDM and FDM techniques. TMBi - 79



PROVYS Booth N5316

PROVYS Gives You Better Than a Sporting Chance at NAB 2017 In the world of broadcasting, in the muddy field of sports coverage, it is all too easy to score an expensive own-goal. Help is at hand, however, in that there are professional tools available on the market to help broadcasters avoid many of these risks. One of the famous names in this business is Provys whose software solutions were chosen by Panorama, the exclusive sports content provider for the whole of the Sochi Winter Olympics in 2014. Sports broadcasting, being mainly live, demands the highest reliability and professionalism from both the multitude of people and the plethora of equipment required at such events. Media seniors will recall a hard-hitting advertisement from a famous name, some years ago, pointing out that TMBi - 80

PROVYS Continuity studio Sports

an event of this nature is not a rehearsal. In a nutshell, you have one chance to get it right. The principal tasks in this process are the back-office administrative operations in which all the essential aspects of the broadcast have to be identified, consulted, scheduled, resourced, controlled, communicated, and finally, monetised. In order to properly manage all of these tasks, appropriate and reliable software must be on hand to cover three different aspects of these operations: broadcast scheduling,

production management and advertisement sales. Sports broadcast scheduling is a particularly difficult challenge owing to the unpredictable flexibility of events which can be changed, and changed again at very short notice on account of a wide variety of factors ranging from cancellations or extra-time requirements through health and injury issues to the weather. To meet these requirements, Provys have developed a portfolio of software solutions specifically able to respond, change and manage these


Audiovisual centre in Brussels. From the viewers’ point of view, sport is almost certainly the most popular form of entertainment and this justifies the sheer volume of sports programmes available through all media channels. Access to this content for broadcasters is expensive; for example, in 2010, the revenues earned by sports bodies for media rights amounted to $29 billion, and this figure is expected to double by 2020. Fortunately, from the broadcasters’ point events as they evolve. As an example of Provys’ skills, one need look no further than IMG (originally known as the International Management Group, a global sports, events and talent management company based in the USA), who use Provys for their scheduling requirements for Premier League programme distribution. Production management covers many sins: capacity planning; resource scheduling, including time, human, physical and financial resources; and general project management

for each and every single event. Producers are usually interested in budgets and expected production costs allowing flexible costing and cancellation models. On occasions, not all resources are available in-house, and producers must resort to hiring external resources to cover short-term needs. As with Sochi, Provys are delighted to supply one of the globally most comprehensive production management projects in Europe’s favourite marathon, the programme production requirements of the European Parliament’s

of view, sport represents a major opportunity for revenues on account of the large audience viewing statistics. The task is to efficiently seek, contract and deliver appropriate advertising to the sporting audience at a profit for the broadcaster. Among the broadcasters who have discovered the power of Provys’ advertising tools are, for example, Norwegian TV 2 and Polish Polsat, both being the leading privately owned broadcasters in their respective countries. TMBi - 81


Qligent Booth N6520

Monitoring OTT and OTA Networks As digital TV and video networks proliferate, the “old way” of monitoring and analyzing signal performance is no longer feasible. This is due to a variety of reasons, most notably the higher density of signals moving across the production and delivery chain. This is especially true in widely-dispersed OTT systems. Qligent, a specialist in cloud-based, enterprise-level media monitoring and analysis, will unleash the first OTTspecific solution of its groundbreaking Vision cloud-based monitoring platform at the 2017 NAB Show. Called Vision-OTT, the platform represents a leap forward for Qligent in that it’s the company’s first purely 100 percent virtualized cloud solution, eliminating all system configuration and management for the end user. TMBi - 82

Though Qligent today supports OTT service providers worldwide with its flagship Vision platform, Qligent is bringing VisionOTT to market to better service the unique geographical and highdensity requirements of monitoring, analyzing and troubleshooting a widelydispersed OTT service. Vision-OTT leverages proven Qligent technologies, including the company’s highly scalable Virtual Probes; and introduces new efficiencies—notably Amazon Web Services to deploy, host and manage Qligent Virtual Probes from anywhere in the world.

edge device. Merged with Amazon Web Services, the comprehensive Vision-OTT platform provides unparalleled reach and penetration into the highdensity universe of OTT signal distribution and delivery.

Introduced at the 2016 NAB Show, Qligent’s Virtual Probes can analyze IPbased streams from anywhere in the field; and present that data on a centralized Vision dashboard in the cloud. The Vision-OTT architecture will include a special aggregated server that communicates with and collects all field data from each probe or

Furthermore, since Amazon Web Services is globally available with reliable uptime, Vision-OTT is an ideal solution for special one-time events, such as a sporting event or political debate, that can be deployed on short notice. Either deployed for single events or as a continuous monitoring platform, VisionOTT is designed as a true

Solution Diagram Qligent Vision


SaaS with a pay-as-you-go model. This keeps costs manageable and offers a comfortable foundation to scale from—a highly valuable benefit for OTT services that can very quickly grow.

Monitoring as a Service Qligent is also offering its popular Monitoring as a Service (MaaS), QligentTM Oversight, as a managed service layer for Vision-OTT. This special service, called Oversight-OTT, will provide continuous offsite monitoring, event-based troubleshooting, incidentbased and/or periodic analysis, comprehensive

reporting, and recommendations to improve and scale services as warranted. This removes the burden from OTT service providers tasked with monitoring, analyzing, troubleshooting and optimizing very widely dispersed distribution and delivery systems that cross borders, continents and oceans. Considering all the challenges of OTT monitoring, Qligent COO Ted Korte believes that Vision-OTT and OversightOTT takes a true problemsolving approach that is a major departure from other solutions on the market.

“With Vision-OTT, you have a pay-as-you-go SaaS solution that provides the information on how your system is performing,” he said. “With Oversight-OTT, you get the pay-as-you-go MaaS solution that offers the big data analysis and knowledge you need to improve and evolve. Either way, the Qligent approach is designed to be a purely 100 percent software-defined, hardware-agnostic solution from the ground up. It is fully virtualized and quickly deployable to almost any location, from almost any location. And the workflow ensures that our customers really penetrate the enormous signal density of the OTT architecture and even work backwards from the last mile—which, especially in OTT, is where most of the problems exist.”

Monitoring Next-Generation OTA Networks As IP networking becomes more entrenches in the DTV architecture – notably in the forthcoming ATSC 3.0 standard – over-the-air broadcasters are faced with a seachange in terms of how the OTA infrastructure is both designed and monitored. For this reason, TMBi - 83


Qligent is bringing VisionATSC3 to market. Vision-ATSC3 will provide broadcasters with an easyto-use workflow to correlate and analyze multi-layer data from nine distinct points along a signal path. Four points are direct multi-layer stream analysis, and five points of data are reported from vendor equipment throughout the ATSC 3.0 ecosystem. This approach provides multiple perspectives of the compatibility and health of the signal path. The end-to-end path spans from the broadcast gateway input sources to the antenna RF output, and will help broadcasters obtain a clear picture of cause-and-effect related to system problems

and configuration changes, with overall optimization tools to establish a baseline proof-of-performance. Since Vision-ATSC3 is a software based solution, it can be deployed now to baseline ATSC 1.0 performance, and provide oversight during the migration to ATSC 3.0. This will save considerable time and costs battling through problems related to new standards, products and workflows. ision-ATSC3 can quickly, easily and cost-efficiently scale to address any sized system—an important benefit given that ATSC 3.0 systems will, in most cases, be deployed as singlefrequency networks (SFNs) that include multiple transmitter sites.

“ATSC 3.0 represents an entirely new headend and distribution model for broadcasters with new services, new encoding, new multiplexing, new transport streams, and new waveforms all based on native IP networking and distribution. The fact is that everything changes with this model,” said Ted Korte, COO, Qligent. “We are providing broadcasters with an easy-to-understand toolset to correlate overall performance as it relates to all source signals and emerging protocols like MPEG-DASH that are significant elements of the standard.” Vision-ATSC3 is built to support high-efficiency video codecs (HEVC) to allow quality-of-service (QoS) and quality-of-experience (QoE) monitoring across 4K, immersive audio and other ATSC 3.0 standards. VisionATSC3 will also address mobile signals, native IP streaming content, and other new media services that are

Qligent Vision RF Measurement

expected to proliferate within ATSC 3.0 TV systems.

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Riedel Communications Booth C4337 Riedel Communications introduce Bolero, a game-changing new wireless intercom solution. Bolero is an expandable, fullroaming, DECT-based intercom system in the license-free 1.9GHz frequency range. Fully integrated into Riedel’s Artist digital

matrix intercom platform, Bolero offers a rich set of features and connectivity that can be applied three ways: as an exceptional wireless beltpack, as a wireless keypanel, and — in an industry first — as a walkietalkie radio.


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Bolero runs over a standards-based AES67 IP network. Decentralized antennas connect to AES67 switches and then to Artist frames equipped with AES67 client cards, providing a fully integrated point-to-point intercom ecosystem with seamless roaming capabilities. To the system, the beltpacks look just like Riedel panels but are wireless, providing the highest levels of flexibility and programmability. The Bolero high-clarity voice codec provides both higher speech intelligibility and more efficient use of RF spectrum supporting twice the number of beltpacks per antenna for the same audio bandwidth as other DECTbased systems. The codec has exceptional latency characteristics while being very efficient with processing power, providing excellent beltpack battery life, and saving DSP processing power for other functions. Bolero features Riedelexclusive ADR (Advanced DECT Receiver) technology, a diversity receiver technology specifically designed to reduce sensitivity to multipath RF reflections, making the system useable in challenging RF environments where other TMBi - 86

systems have great difficulty. “When we designed Bolero, we wanted to make life as easy for the customer as possible. Registration can be a complex process that requires a user to go into the beltpack menu and apply a pin code so the beltpack can be registered to the antennas. This process can easily take 2 mins per beltpack. Imagine doing that for 25 beltpacks,” said Jake Dodson, Director of Product Management at Riedel Communications. “Bolero incorporates Near Field Communication technology into both the beltpack and the active antenna. The user needs only to touch the beltpack to the antenna to complete the registration process.” The beltpacks support Bluetooth 4.1, allowing either a Bluetooth headset or a Smartphone to be connected. When a Smartphone is connected, the beltpack can act like a car’s “hands free” setup so the user can receive calls on their phone and talk and listen via their beltpack headset. Users can also make calls and then connect that person into the intercom matrix, eliminating the need for a telephone hybrid. Based on Riedel’s extensive rental experience,

the beltpacks use a combination of premium materials, including highimpact plastics and rubber overmolds, to create a tough device with an ergonomic feel that provides easy use and handling. The display can be inverted so that it is readable in any orientation. The beltpack itself features six buttons for each of the six intercom channels, plus a separate “Reply” button that easily facilitates a reply to the last channel that called. Finally, in an industry first, the beltpack can be used without a headset like a walkie-talkie radio utilizing an integrated mic and speaker. “Bolero is a categorychanger for wireless intercom systems,” said Thomas Riedel, CEO at Riedel Communications. “A lot of time and effort has gone into every phase of Bolero’s development, a true ground-up development touching all aspects of design. We are proud to share that the BBC is already building their new studio intercom systems around the Bolero wireless concept.”


Ross Video Booth N3706 This year at NAB, Ross will be showing how its technologies, services, and expertise can help customers achieve their creative, business, and technical goals. Every Ross product family is bringing significant new product enhancements and major new product introductions to this year’s show.

Production Switchers Acuity and Carbonite production switchers are continuing to add significant new features, such as the new LiveEDL, which is great for “live-to-tape” productions. In LiveEDL mode, Acuity tracks source selections and creates a timecode locked edit decision list. This can then be exported as a file and imported to a non-linear editing system (NLE) along with camera iso-recordings, recreating the line cut in the NLE. Final changes are then easily made, saving massive amounts of time in the post-production process. There is also the new Soft Panel for Acuity which provides full setup and operation from a graphical web user interface.

Carbonite has launched its v12.2 software. This brings support for the compact CB9 panel which can be added as a second control panel to a Carbonite for two panel operation. Other features include the MiniME (preset - for enhanced UHD 4K production), support for the1080P25 signal format, and intuitive new thumbnail capture for media wipe selection. V12.2 software will be available at no charge to all Carbonite customers and made available to download from the Ross Video website. Carbonite Black Solo launches its v1.2 software, simplifying complex tasks such as keyer setup and panel layouts, and adds the Ross patented RGB PanelGlow that provides

background illumination to make buttons easily readable in dark environments as well as enabling button color customization that allows the system to be personalized for at-a-glance color identification of busses and sources.

Video Servers and Replay New since last NAB is the acquisition by Ross of Abekas, an iconic industry brand. The Abekas brand is being retained as the brand for Ross’ family of video servers as are all Abekas products. New and shipping prior to show time is the Abekas Tria 2. The Tria 2 is the next generation Tria clip server, a full 2 channel clip server with an input record channel, synchronous TMBi - 87


playback of key/fill pairs or independent playout of 2 separate video channels with audio. Tria 2 uses fast, high reliability Solid State Drives and is available with several drive capacities. The Abekas Mira now includes Mira Connect Gigabit Ethernet networking, which enables Mira Production and Mira Replay systems to seamlessly share content between servers. There is no need to cache or transfer files as they are streamed on demand across the GigE network making it seamless to play a clip residing on one Mira to the output of a different Mira. TMBi - 88

This is a great way to scale your production replay team by adding more Miras and operators while making content easily available to all systems.

XPression Graphics XPression motion graphics systems will jump to v7.0, adding support for the Microsoft Windows 10 operating system for users building or providing their own hardware for XPression Designer, XPression Studio GO!, XPression Prime GO! and XPression Live CG. IP inputs and outputs are now supported with SMPTE 2022-6 and SMPTE 2022-7

available (and shipping) on XPression Studio, XPression BlueBox, and XPression Clips systems. Support for video over IP workflows on XPression is available through a variety of hardware vendors, including AJA and Matrox. XPression Datalinq™ – XPression’s universal data connector ties a wide range of data sources into XPression graphics templates. Datalinq adds support to parse JSON files as either an HTTP source using RSS or XML. JSON support is also available using a .JSON file in the local file system.


XPression Clips production clip player adds a number of new customer requested features. Server output channels now have a Preview Channel which is used to cue the next clip while the channel is still in use and an Auto Cue function that automatically cues and plays the preview clip on the channel output when the current clip is finished. This added functionality enhances the ability for operators to randomly cue and play clips in a live environment within a single output channel. XPression’s INcoder transcode engine now

passes original timecode from source clips, which can be read and displayed in XPression Clips server channels. As well, users have new options to assign Recall IDs to assets during the INcode process making it a smoother process for customers with multiple productions and studios to manage clip IDs reducing confusion and errors.

Frontier Virtual Set System The new Frontier Virtual Engine from Ross is built using the Unreal Game Engine, bringing photorealistic rendering, particle systems and physics

to the broadcast virtual set, enabling a new level of creativity and further blurring the line between real and virtual environments. Shown as a technology demo at IBC, Frontier has been developed in partnership with The Future Group.

Routers & Infrastructure Ross routing solutions adds new control panels, the new RCP-QE Series remote control panel offers 18 or 36 colored backlit graphic LCD keys with multiple menus, enabling users to easily navigate through the system with just a few keystrokes. TMBi - 89




These routing control panels are ideal for use in OB vans and production houses where configurations change regularly. Detour is the latest GearLite standalone signal processing product with a 12G Re-clocking DA (1 x 4) and Relay Bypass. It provides both 12G signal distribution and on-air failsafe operation in the event of power failure or primary input signal loss. It is capable of supporting SDI data rates from 270Mb/s up to 12Gb/s.

Robotic Camera System Ross robotic camera systems introduces a new pan/tilt head; the VR100. The absolute encoding technology of the VR100 makes it ideal for VS/AR applications in which the TMBi - 90

virtual objects must precisely match and track real-world images. The strength and rigidity of this head are significantly enhanced to support payloads up to 20 kg (44lbs), eliminating the need for an extra support arm.

Lightning Control System (LCS) for Legislatures and other Assembly Meetings Lightning is the new name for the Control System formerly known as LCS from Ross, which was originally designed to meet the needs of efficiently producing legislature broadcasts and recordings. The name Lightning highlights how this modern, fast, and powerful production solution has grown and now addresses a much broader range of

applications including corporate, house of worship, education, live events, and news broadcasts.

DashBoard Facility Control The DashBoard Facility Control System from Ross, will show v8.3 with expanded Visual Logic capability to permit users to create their own device APIs right from within DashBoard. It adds support for USB human interface devices such as joystick controllers and custom keyboards as well as an expanded control library of devices including Panasonic and Hitachi box cameras and Ross ACID cameras. Version 8.3 also adds a Proxy server to make connections to devices at distant locations more efficient.


SAM Booth SL1805 NAB sees SAM reiterate its market leading position with a raft of new technology. Highlights include a demonstration of the world’s fastest 4K live sports workflow; SAM’s next generation of software defined, IP, and SDI solutions; the launch of the broadest range of 12G-SDI products available on the market; the most versatile multi-format news production systems, and the company’s intelligent control

and monitoring solutions. Thanks to its joint heritage (from Quantel and Snell) SAM now delivers worldleading integrated technologies that push the boundaries with 4K, IP, 12GSDI and software defined solutions. SAM is also shaking up perceptions in the live sports and news production space and has a strong focus on delivering riskless and future-ready technology that is agile

enough to cope with customers’ needs today, whilst being prepared for the challenges they will face tomorrow. Central to the new SAM technology shown at NAB is the world’s fastest editing, replay and highlights production workflow on the market today. Offering easy and familiar operations and the ability to scale to meet HD and 4K/UHD productions of any size, SAM’s live


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Morpheus UX

sports solutions combine immediate replay of live events with no-copy editing and post production. Users can publish highlights and replays straight to social media at the touch of a button, while a new tablet app allows talent to control server playout via WiFi using a simple control interface. SAM delivers the most comprehensive monitoring and control solutions in the industry, including the next generation of Multiviewers that span every niche in the market, from its new 12GSDI Multiviewer through to the IP Multiviewer. SAM’s TMBi - 92

industry leading media content monitoring and control solutions are based on its pioneering Media Biometrics technology, which brings innovative intelligent monitoring capability into play. Distributed intelligent logic engines across the workflow enable exception-based and schedule-aware monitoring. SAM also delivers unmatchable production monitoring density and flexibility, full integration with master control solutions and third-party integration. As IP, hybrid SDI and higher resolution content

continues to be a focus for broadcasters, SAM leads the way in supporting customers in the migration to IP. SAM has a range of new IP products, which use 40, 25, 50 and 100 GbE interfaces. In response to clear demand from the market, SAM now offers a straightforward alternative to UHD migration in the form of its new 12G-SDI solutions. These give customers the most flexibility when it comes to making investment decisions for UHD/4K projects. Visitors to the SAM booth also have the opportunity to get a closer


look at its modular infrastructure and conversion solutions and UHD to SD support for IP and SDI, along with integrated SDI and IP routing control and flexible IP/SDI I/O for routing, switching, conversion, multiviewers and monitoring. SAM continues its innovation in 4K and HDR with the launch of HDR filebased conversion products, FormatFusion4 HDR support in its Kahuna production switcher line up and support for 4K and HDR conversion in its mid-range KudosPro and UHD1000 products. SAM playout and delivery solutions are the most trusted by broadcasters worldwide and the company has widened its offering in

LiveTouch 4K

this area with the recently introduced Morpheus UX. A radical new web-based user interface for multi-channel playout control, Morpheus UX gives customers an unparalleled level of adaptability so they can precisely tailor their channel views and focus on the specific functionality they need. ICE SDC, SAM’s pure software playout solution for virtualized IP playout, allows customers to realize full channel functionality in a software defined ecosystem. SAM’s brand new 12G-SDI Master Control system is another NAB highlight, offering HD/1080p and 4K 12G-SDI single link support and providing a robust, flexible and powerful solution for even the most demanding broadcast

environments. SAM underlines its market leading ultra-fast, flexible multi-format news solutions, featuring integrated social media publishing workflows for delivering quality content to every platform. Multiformat, multi-aspect ratio media management capability allows users to seamlessly mix aspects and file sizes from acquisition through to delivery. SAM’s news solutions create an open, flexible and collaborative environment, allowing easy integration with newsroom partners. SAM has launched its lowcost, high-quality budget production package aimed at small to medium sized broadcast operations. The suite is ideal for media organizations where cost, combined with core technical capabilities, is of paramount concern, or for first-time entrants to the market with limited budgets. A highly cost-effective production package, this space saving system includes SAM’s 1-3M/E switcher, routers, processing solutions, multiviewers and infrastructure portfolio. SAM’s budget suite is ideal for a variety of production environments including live sports, houses of worship, outside broadcasting and education. TMBi - 93



SAPEC Booth SU9114

Our families, Altum II, Avantos, Gredos and Sivac are composed by encoders and decoders, encoders/modulators and IRD's for contribution and distribution.

SAPEC has as target market the main telco operators, Broadcasters and service providers. At the present time, we have offices in Mexico and Colombia and distributors all around Latin-America. In SAPEC we develop video compression devices with our own technology and solutions for high quality signal transport in professional environments and real time through satellite, optic fibre, IP networks, radio-links,... Our families, Altum II, Avantos, Gredos and Sivac are composed by encoders and decoders, TMBi - 94

encoders/modulators and IRD's for contribution and distribution.

encoders and decoders for

Supported by our partners Nevion, Sencore, Videoclarity and APT, we provide our customers complete solutions for signal compression, multiplexing and transport so that they achieve their objectives at the best cost and with the appropriate technology.

providers in Spain and Latin-

SAPEC is involved in Spanish projects around HEVC, 4K and DVB-T2 collaborating with companies and organisms as Cellnex, UPM and RTVE. SAPEC provides with

contribution and distribution to Broadcasters and service America such us Tigo, Televisa, RTVC, Telefonica, RTVE and many other customers. More than 400 encoder with integrated ATSC modulator delivered to Televisa. 4K HEVC real-time decoder over IP for several European customers. NAB2017 will see the latest novelties implemented in the products developed by SAPEC and it will showed a real-time IP 4K HEVC decoder.


Screen Systems Booth SU7510 It was last year at NAB where Screen and fellow subtitle technology developers OOONA and Cavena announced an official collaboration to join forces and develop what we labelled a semi-professional subtitle creation tool which would slot in neatly with the entire OOONA Online Subtitle Toolkit. Following exposure of the beta version at IBC 2016, the first full form of the creation tool launched in earnest at BVE in London in February. Our expectations were high for the online service but the hugely positive reception it received corroborated with what Screen had become acutely aware of last year; the needs of the market had considerably shifted. We’ve closely observed the working practices and

career paths of the professional subtitler through the years and the pressures they are under now have transformed the methods in which they approach projects. The subtitler wants instant access to all the tools they require for every facet of the project they’re working on, regardless of where they are. They want to create, quality check, convert and review subtitle files easily, quickly and as we’ve discovered preferably without the need to download hefty software. And, this is where Screen and the partner developers come in, they want reliable output files; their precious reputation after all relies on it. Nothing is reverseengineered in the toolkit and all files are instead generated by original vendor engines.

Reflecting only what professional subtitlers really need, we’ve avoided weighing down the Create tool with unnecessary functionality. Indeed this is true off all the applications in the toolkit which has resulted in offering really sleek tools across the board. And it hasn’t been all about streamlining either. The great thing about Toolkit is that in spite of all the applications being targeted at specialist level, they have in their very nature been developed to be simple to use. With the toolkit the subtitler can complete projects with minimum turnaround time and equally as important with minimum cost. I’ve led in on this article with the toolkit not just because we’re very proud of it and indeed of the fruits

Polistream U8000

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that our all round partnership working has generated, but it also sums up the direction our broader development roadmap is taking for other Screen products. Taking what we learned about subtitlers, we embarked on reshaping our globally and indeed universally used high-end subtitle creation and preparation tool Wincaps. A product which has earned industry-standard status and appears to be the product of choice for academia – many subtitling courses are trained on Wincaps – was beginning to shift slightly out of reach for many subtitle professionals. As touched on earlier, how subtitlers receive work, especially regularity and industry rates have changed significantly, and this is particularly true of freelancers. The prospect therefore of a substantial financial outlay for some was becoming ever more prohibitive in using their choice of software. Eventually Wincaps went through partial redevelopment to align its licensing and readdress some of its functionality in order for us to offer the product in the more accessible form of an online subscription basis. TMBi - 96

OOONA Subtitling Toolkit Dashboard

Prospective customers can now access our online payment portal via the Wincaps page on our website where they have a choice of a 1 month subscription of £39 per month, a 6 month option for £195 for the duration or a 1 year subscription route for £390 for the 12 months. Screen’s MediaMate product is a flexible software system to encode, extract, repurpose and/or decode subtitles and captions in a wide range of file-based workflows. The Subtitle File Converter tool from the MediaMate suite which overall is developed on a modular basis, was regarded the most essential engine from the collection to complement the Toolkit. It was an appropriate vendor specific tool which would contribute to reducing reverseengineered subtitle files being created and distributed and ultimately causing errors further downstream.

This breakaway of a single MediaMate module triggered further development of the product, again to better suit the way customers are now working. In order to eliminate what we learnt were frustrating constraints of the product, MediaMate has undergone further changes to offer far more flexible licensing options and we are pleased to announce we can now offer the product without the use of a dongle. Aside from broadening the way we supply customers with transmission solutions, such as VM and COTS offerings, ‘traditional’ customers still exist in large numbers. Emerging markets in the Russian DVB rollout and the heavy legislation this year in Latin American countries for heard-ofhearing captioning – particularly on live and news content – also means, for Screen anyway that conventional subtitle and caption transmission solutions aren’t going away anytime soon.


Sony Booth C11001 From acquisition to archive, Sony will showcase its complete range of products, services and solutions to meet the needs of the media and broadcast industry Sony is returning to NAB Show 2017 to showcase its complete range of solutions designed to help customers across the media and broadcast industry go ‘Beyond Definition’. With

getting the most value from content and achieving greater workflow efficiency two of the most pressing market needs, the Sony stand will be focused on a range of products, services and solutions designed to help, including 4K Live, HDR, IP and workflow management. Cementing its commitment to help its customers deliver the highest quality images to their audiences, Sony will also be showcasing its full range of 4K and High

Dynamic Range (HDR) technologies that are ready for every application. Its wide range of large sensor cameras will be on display at the stand, as well as industry-leading 4K live production cameras systems with Share Play operation and Slow Motion Replay, making them ideal for live sports. “This will be my first NAB in my new role as Head of Media Solutions and I’m excited to be here at the biggest industry event of the

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year showcasing what Sony can offer our customers,” said Richard Scott, Head of Media Solutions, Sony Professional Solutions Europe. “From acquisition to archive Sony is delivering innovations that help customers overcome their challenges and meet their strategic goals. NAB Show is a great opportunity to both showcase our solutions, but also to meet and understand our customers evolving needs, so we can ensure we remain at the forefront of addressing them”. In an era of increasing pressure to provide a greater amount of stunning live content in ever-higher resolution, IP Live is moving from a promising breakthrough on the horizon to a reality. Sony will be showcasing its complete IP Live solution at NAB 2017, that’s designed to be ready TMBi - 98

today and open for tomorrow. As well as a number of new features Sony will also be announcing further steps to ensure its IP Live solution is as open as possible, including interoperability with a number of new manufacturers and the adoption of new industry standards. Sony will also be showcasing a number of solutions to help streamline workflows. With newscasters under increasing pressure to get their content to air, or online, as quickly as possible Sony’s XDCAM camcorders enable streaming from the field directly to the station and/or the cloud for playback or editing. And its Media Backbone Hive end-to-end, cloud native, highly scalable unified content production platform supports the fast,

efficient creation of content for traditional broadcast applications, Internet, mobile and social alike. At IBC 2016 Media Backbone Hive received The International Association of Broadcast manufacturers (IABM) Peter Wayne Award for Design and Innovation. Sony’s Media Backbone NavigatorX, a powerful but affordable workflow and content management solution for small and medium-sized broadcast environments, will also be showcased on the stand. Keeping digital assets safe, while keeping archive costs low is an increasing concern for content creators. Sony’s Optical Disc Archive delivers a simple, scalable solution for data archiving and asset management.


Stream Circle Booth SU6710 A Revolutionary Idea That Exploits Conservative Viewing Habits From the same stable as the globally famous Provys, a software solution for the management of TV channels, which is used by many renowned broadcasters, comes another thoroughbred, a new and revolutionary service for streaming content in a highly effective yet low cost way to a wide and diverse audience. The project started three years ago, and is now gaining ground under the name of Stream Circle. Although this may sound too good to be true, with Stream Circle, you can set up your own TV service, with help from experts but

without initial investment in expensive equipment. In this way, you can quickly start monetising the content you have available. That is why Stream Circle earned both respect and awards – the Game Changer Award, two years ago, and the Best of Show Award 2016, given by TVB Europe. Josef Vasica, CEO and founder, is the brains behind all of this. Josef explains: “It is a cloud TV channel playout and streaming platform, through which, classical TV channels, and more, can supply the viewers with a greater range of additional and focused content, without changing the traditional TV viewers’ habitual composure.” Even traditional broadcasters once thought that one day, internet TV

archives would mean the end of their business model. But, they had not reckoned with Stream Circle, which was about to change the distribution methodology by utilising cheaper online delivery to targeted audiences without forcing them to search endlessly through video archives in the hope of finding some interesting content or simply, and very probably, giving up. “I pondered the issue.” Josef explains. “Just picture yourself – you are at work all day long, then you get home, your head is about to explode and you want to relax and watch something. First, you would think about the genre for some time, then, you would spend even more time selecting the movie itself, and before you found and downloaded it, it

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would be so late, that you would not feel like watching anything.” So, where did the belief come from that it is necessary for TV stations to have extended online platforms, when it looks as if the older we are, the happier we are with regular broadcasting that is dictated to us by the channel itself through its scheduled programmes? “Stream Circle generates profits even for small operators, even though viewers want the largest possible choice of instantly accessible programmes,” Josef claims. “Anyone wanting to broadcast traditionally must be prepared to pay huge amounts of money for playout equipment and to air the content. That is not what start-up companies really want to do. They might be interested in just a narrow focus group or one-time events, such as the Olympic Games. Why should TMBi - 100

anybody, who is interested in addressing temporarily, say, a group of 100,000 potential viewers, invest large sums in technical equipment and distribution contracts?” The Stream Circle project is supported by a group of highly experienced professional TV engineers. They have collectively more than 100 years of experience in the field, which guarantees their broadcast competence. For all this, Stream Circle can supply one fully operational TV channel with 3D graphics and live insertions at a cost of 1700 EUR a month. The basic simple service is available for only 500 EUR a month. According to Eurobarometer data, over 60% of the population still watch classical terrestrial broadcasting. Apart from eliminating the main financial and technological barriers for small content

owners, Josef is interested in bringing their media content as close to TV viewers as possible, and providing the tools which will encourage the owners to profitably experiment with their content. “Initial support is available for every aspect of launching a new channel. The Stream Circle team will help to create a typical framework for a TV programme which is then tuned in by some kind of smart device behaving the same way as a TV screen in a typical living room. The team will take care of operational issues as well,” claims the Stream Circle boss. “We deal with many international partners and can clearly see the demand for our kind of business there. In the whole world, people are still nervous of continual changes and upgrades in broadcasting. And Stream Circle are striving to change that.”


Telemetrics Booth C8319 PT-HP-S5 Telemetrics has developed a new servo-controlled Robotic Pan/Tilt Camera Head that lowers operational costs and brings on-screen creativity to a wide range of production applications. Leveraging fifth-generation camera control technology, the new PT-HP-S5 Servo Pan/Tilt Head brings new value and operational performance for robotically controlled cameras and


automated production studios. Its compact design and impressive feature set allows professionals working in a variety of industries to produce video with lower operational costs while simultaneously improving production values and reducing technical errors. To avoid system downtime, this new PTZ camera head can be set up to automatically identify and alert operators when load balancing or power issues are detected. A new stable and reliable platform and modular design supports higher payloads and the ability to mix-and-match camera types and brands on the same networked infrastructure. The PT-HP-S5 is targeted at smaller productions with limited budgets— such as sports, mid-sized studios, houses of worship, government/educational installations, live events and reality TV production—that require unique “broadcastquality” POV shots to add value to their

productions. It can accommodate any box-style camera and lens up to 40 pounds and is fully 4K-ready with embedded fiber connectivity as a standard feature. While compact in size and easy to install, the new The PT-HP-S5—part of Telemetrics expanding S5 line of remotely controlled camera heads—also includes Telemetrics advanced remote control technology that supports higher payloads and quiet on-air operation for highly professional results every time. The unit’s high-end servo motors provide ultrasmooth motion even when fast acceleration and deceleration is required. It also offers users the ability to launch an unlimited number of stored pre-sets for fast and easy system set up. A modular frame accommodates a variety of accessories—such as camera lenses, small teleprompters, ENG cameras, Tally light, and count down clocks—that are all fed from an integrated cable management feature. When coupled with the Telemetrics RCCP-1 or TMBi - 101



RCCP-1A Remote Control Camera Panels, a single remote operator can perform a full range of creative camera moves, including control over axis pan, tilt, zoom, focus, elevation and trolley functions with a 3axis joystick and control panel, installed locally or remotely.

Entry-Level Modular Robotics Camera Control Panel – The RCCP-M Telemetrics has developed the RCCP-M Remote Camera Control panel, which provides a highly intuitive and easy to use control interface with advanced auto-sensing technology that’s sure to make any project the best that it can be. It’s a system that is designed to fit any budget while improving the TMBi - 102

overall workflow of any production. This cost-effective, entry level and highly reliable control system literally works out of the box, and offers an easy to use control panel featuring a full color and intuitive 10.4-inch color touch screen interface that helps the user quickly and easily access camera functions—such as pan, tilt and zoom speed—and other features with a large focus knob that provides highly precise camera control. There’s also a 3-axis control pan/tilt/ zoom joystick to help get the shot required at the right moment, every time. Due to its modular design, the RCCP-M control panel can be expanded with optional control modules that expand the functionality of

the system as the need arises. It can be configured in a myriad of ways, with both software options and “side car” devices that provide different hardware based interfaces and capabilities. The new control panel is also fully compatible with Telemetrics’ highly successful (and more fully featured) RCCP-1 remote camera control panel, enabling users to expand and customize their system in new and interesting ways. The RCCP-M also offers the ability to store and quickly recall an unlimited number of camera shots and motion shots, including pan/tilt/ zoom/Televator/trolley moves for every project they produce. This facilitates fast and easy setup and seamless changeover to the next production.


Videomenthe Signiant Booth SL 8711 Integration of new partner company tools within Eolementhe© and upcoming launch of its mobile app

different partnerships, Videomenthe will for the first time present to the American market its own multi-vendor solution for processing media files: Eolementhe©.

Videomenthe has announced that it will be represented on the booths of its various partners at the NAB. So, this show will not just offer an opportunity for the French company to meet up with its clients and discuss the solutions it provides, but, drawing on its

These technology suppliers and partners include: Amazon Web Services for its cloud services - whose programme for innovative companies, AWS Activate, has been integrated by Videomenthe -, Aspera, Capella Systems, Harmonic, Interra Systems, Microsoft

Azure, Minnetonka Audio, Signiant. Videomenthe is a French company that distributes media workflows software, and designs Cloud portals. Its flagship solution, Eolementhe©, is a userfriendly Cloud portal which brings several leaders in the field of media-file processing together, in a single interface. In this automated environment, which still provides the option to

Full Workflow

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intervene manually in certain operations, you can find a complete workflow, with different methods of delivery: transcoding, quality control, analysis and correction of audio levels, the insertion of subtitles and logos and addition of editorial and technical metadata for RTB files creation. Users construct their workflow to process and deliver their media file by means of an interface that is extremely intuitive, instantly and easily mastered, and accessible via a web browser. For even smoother use, Eolementhe© can be managed via API, and automatic mode is used to streamline and speed up operations. Videomenthe goes still further by offering a hybrid SaaS service – in addition to its SaaS mode – the principle of which is to exploit both the client’s onprem resources and those offered by Videomenthe through its resource-pooling Cloud.

Eolementhe© v3.2 A mobile app for processing media files One of the great new innovations being presented by the company is the Eolementhe© mobile app, available soon on GooglePlay (Android™) and TMBi - 104

in the AppStore (iPhone®, iPad®). App users can access the Eolementhe© portal functions and monitor all of the data processed, in real time, using their login. So, simply by using their smartphone, remote users or users on the spot can begin processing their video according to their workflow models or those made available to them, and then upload the broadcast-ready file to TV channels, postproduction or VOD platforms.

Video delivery to YouTube Videomenthe now includes a “send to YouTube” option as one of its methods of delivery. After the account login details have been verified and YouTube mode has been selected, Eolementhe© publishes the processed video to the channel selected.

Automatic retrieval of media from Object Storage platforms The retrieval of files stored on Object Storage platforms such as OpenStack, Amazon S3 and Microsoft Azure can be automated, for the purpose of internalising operations within Eolementhe©. The files are thus listed in Eolementhe©‘s dropzone to make it easier

to manage them within a single interface. So, Eolementhe© v3.2 processes files from various sources to deliver them to multiple destinations, while offering an increasingly varied range of solutions. Off-site work productivity is also optimised by using the mobile app. Videomenthe CEO Muriel Le Bellac concludes: “Eolementhe© is the aggregation of file processing solutions in a single interface, optimally linked together by means of features that we are developing. Our partners are chosen on the basis of technological and commercial criteria, but also because these solutions enable our clients to guarantee the seamlessness and continuity of workflows, without causing any intrinsic disruption of their infrastructures.”


AVIWEST Booth C2139 New Video Uplink System With Universal Modems AVIWEST announced that its DMNG PRO video uplink series has been extended with the new PRO180+. PRO180+ supports most of the cellular networks deployed in the world, including Europe, the Middle East, Africa, the United States, Canada, Latin America, and most of Asia. The versatility of this version gives broadcasters and video professionals the flexibility to travel anywhere in the world with a single unit without needing to replace its internal or external cellular modems.

universal cellular modems, the PRO180+ features an internal high-efficiency custom antenna array, a built-in Wi-Fi modem, and two best-in-class video encoders, enabling broadcasters to stream live HD video to receivers with minimal delay. Through its compact, lightweight, and portable design, the PRO180+ dramatically speeds up newsgathering operations. The PRO180+ system automatically detects realtime network capabilities, allowing on-the-go media professionals to easily configure and operate the system as well as communicate with the studio through the IFB return

channel via a user-friendly, touch-screen interface. The units can also be controlled by AVIWEST's Manager management system, StreamHub transceiver, and the Remote smartphone application or any device connected to the unit though the network.

Calrec Booth C3118 New Artemis console Calrec Audio shines a Ray on the 2017 NAB Show by launching the latest addition to its Artemis family of consoles. Artemis Ray has 456 fully featured input channels — making it more powerful than the Artemis Beam. Further, Artemis Ray

"Broadcasters today need to be prepared to provide live coverage from anywhere in the world," said Erwan Gasc, CEO at AVIWEST. "With the PRO180+, they can stream video over any cellular network. Compared with other video uplink systems on the market, which require additional modems to support the various networks in each country, the PRO180+ solution is compact, costeffective, and full featured, making it the perfect tool for broadcasters on the go." In addition to eight


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can handle up to 72 faders, the same as the larger Artemis Shine model. Via a brand-new fader/monitor panel, Artemis Ray sports a new surface layout that allows more faders in a reduced surface area. The panel — also available on Artemis Light, Beam, and Shine models — is the same width as a standard Artemis fader panel and includes eight full-size faders to give operators even more control and a higher fader density in a smaller footprint. This configuration saves around 200 millimetres when compared to similar control surfaces. "We work closely with our customers and listen to their requirements," said Dave Letson, Calrec's vice president of sales. "In

situations where space is at a premium, like in OB trucks, we understand that a high fader density is not only desirable, but essential. "Artemis Ray provides the same functionality as previous models, but with more channels and faders in the same footprint. It's a very powerful combination." With the new chassis and fader/monitor panel, Artemis Ray's 72-fader layout fits into a mere 2372 millimetres (93.39 inches) of space, delivering more power than ever before in such a small footprint. Capable of operating at multiple sample rates, at 48kHz the Artemis Ray provides up to 456 channelprocessing paths, 128 programme buses, 64 IFB/track outputs, and 32 auxiliaries.

The console also features a second compressor/limiter in each channel, more than 70 minutes of assignable delay, and three independent APFL systems for multiple operator use. As with all Calrec designs, these facilities do not share resources — which means they are all available to the user at all times. "By making the new monitor panel available on all our existing Artemis models, we're giving our customers access to all of this increased functionality," Letson added. "Artemis has proved a very popular and reliable workhorse all over the world, and the new Artemis Ray adds even more value."

Cuescript Booth C10618 CueScript will present the US debut of a unique, patent-pending mounting solution that removes the operational limitations of using a PTZ camera with a prompter. In addition, the company will demonstrate the industry’s only complete IP-based prompting system, offering the ability to prompt from anywhere with a network connection.

Calrec Artemis Panel

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PTZ cameras are commonly used across a wide range of productions


SDI prompting signal, as well as a composite video signal. Multiple CueB’s can run independently or simultaneously, and can be rack mounted in the C.A.R or anywhere in a studio complex. CueScript provides true HD-SDI video outputs on the CueB and inputs/outputs on its CSM Monitor range as standard.

Dalet SL6210

Cuescript PTZ

and sectors. However, up to now, using a prompter with a PTZ camera has restricted the operational movement of the PTZ. CueScript has developed a unique patentpending mounting system whereby the PTZ camera mounts upside down in the top of a specially designed prompter hood. By mounting the system this way the PTZ has greater movement in the shots it can achieve and it eliminates the need for expensive tripods, making the use of a lighting stand possible. Users are able to choose from a 15” – 19” LED display system.

CueScript will also be demonstrating the world’s first complete IP-based prompting solution. The ‘CueiT’ prompting software has been designed and built on feedback from today’s broadcasters, offering greater flexibility, ease of use, and a shareware style allowing CueiT to be loaded onto every laptop/PC in the facility. The ‘CueB’ is the engine that offers connection via Ethernet or USB and the connectivity of near limitless scroll controllers that can also be connected over IP. The CueB produces a true HD-

Dalet Digital Media Systems will be presenting the evolutions of its range of solutions at NAB 2017. Based on the Dalet Galaxy orchestration and asset management platform, these solutions help streamline a variety of workflows including: Programs & Promos management, MultiPlatform distribution, Unified News Operations, Sports highlights & magazines, Post-Production and Multimedia radio. Dalet will reveal a number of new features and functional enhancements, including: the launch of a new range of options for cost-effective business continuity, a full suite of tools and data model to manage IMF packages at scale, and enhancements to social media publication tools. TMBi - 107



Orchestrating Workflows Across the Media Enterprise Central to most implementations, the Dalet Workflow Engine gives facilities all the agility and flexibility they need to build consistent, efficient and agile supply chains that connect all contributing siloes across the enterprise. The engine orchestrates and automates a combination of user tasks and media services such as ingest, logging, editing, transcoding, QC, media packaging and distribution. The user-friendly Workflow Designer interface lets administrators intuitively model business processes by simply drag-and-dropping from a palette of stencils that span user tasks & notifications, media and metadata services, gateways, timeout and error management, and much more. This greatly simplifies preparing and delivering packages that require multiple languages, multiple graphic assets, multiple audio tracks, multiple subtitle tracks, and different delivery formats. Combined with Dalet Galaxy API, this provides an open framework that connects over 90 industry-leading vendors from storage & infrastructure technologies, to media TMBi - 108

services and postproduction applications, to traffic and business platforms. Unified News Operations Dalet Unified News Operations is an agile and scalable solution that combines all the essential functions for the efficient modern newsroom. Based on the Dalet Galaxy platform, it offers a comprehensive suite of collaborative tools that help streamline the entire chain of operations from planning to ingest, logging, editing, graphics, show scheduling, studio automation, multiplatform distribution, and social platforms direct integration. The Dalet Workflow Engine allows users to design and orchestrate distribution workflows that require complex media packaging and automated distribution profiles. Multimedia Radio The new Dalet Galaxybased Radio platform directly addresses the radio broadcast market's growing demand for solutions that help reach beyond the span of their transmitters to deliver the next generation radio experience. The comprehensive solution combines traditional robust and proven applications

such as Dalet OnAir automation and Dalet Galaxy asset manager with latest generation tools for multimedia production and multi-platform distribution such as Dalet OneCut multitrack desktop editor, automated distribution to digital and social platforms,


and connectors to new partner technologies such as multi-camera visual radio production including graphics.

Dielectric Booth C2613 Developed from Dielectric’s range of pylon

Dielectric Broadband Pylon Antenna

antennas, the TFU-GTH-BB antenna’s broadband design supports up to 10 DTV channels (60 MHz). Its exceptional channel capacity will be particularly useful as a solution to allow multiple stations sharing a common tower to now consider sharing a common antenna—anticipated as a frequent situation coming out of the Spectrum Repack. This array offers the bandwidth characteristics of a panel antenna with a fraction of the wind load, and can be top- or sidemounted. Dielectric has also designed the TFU-GTH-BB antenna with the nextgeneration ATSC 3.0 standard in mind. Dielectric’s unique FutureFill technology, also to be unveiled at the 2017 NAB Show, can be integrated into the TFU-GTH-BB design. This provides a futureproof solution for broadcasters anticipating the new multichannel, mobile and IPenabled streaming opportunities afforded through ATSC 3.0. “No other pylon antenna on the market today is both broadband and high-power,” said John Schadler, vice president of engineering for Dielectric. “This antenna also offers high reliability, simplicity, and exceptional pattern flexibility based on

coverage needs. It combines the best attributes of both slotted and broadband panel antennas, but in a relatively smaller pylon package. We’re already seeing strong demand for this antenna from major networks, local broadcasters and tower companies.” “By merging broadcasting with the Internet, ATSC 3.0 promises robust delivery of new services, such as mobile DTV and media streaming,” said Schadler. “To accomplish this, ATSC 3.0 requires higher data rates and greater channel capacity to deliver an improved quality of service. FutureFill boosts the signal strength so that it can saturate the coverage area more heavily and costeffectively than would be possible by increasing the transmitter size or power level.” Schadler adds that FutureFill will be offered in many other current and future Dielectric antennas moving forward, including pylon and panel antennas. FutureFill’s adjustable null fill can be increased to boost the signal strength without negatively impacting the antenna’s VSWR performance – meaning, extreme voltages that adversely affect signal TMBi - 109


power are eliminated. For broadcasters that want to begin broadcasting mobile DTV and other ATSC 3.0 services, FutureFill is included as a standard feature on the antenna at no additional up-front cost. For broadcasters that aren’t yet ready to broadcast in ATSC 3.0, FutureFill can be implemented at a later date as a field upgrade, without having to take the antenna down from the tower. A Dielectric-certified field engineer and/or crew can perform the one-day service at the tower site, without additional hardware costs.

Active Cable is an ultratransparent preamplifier with active drive for impedance balancing to reject frequency interference. It permits the modular d:dicate™ capsules, including the d:dicate™ 4017 Shotgun Capsule or 4018 Supercardioid Capsule for booming applications, to connect to wireless systems with its fixed MicroDot connector. Available in two variations, the MMP-GR cable extends from the rear

DPA Microphones Booth C3336 With the industry migrating towards a wireless workflow, DPA Microphones will showcase its GSM4000 Gooseneck Shock Mount Accessory and MMP-G Modular Active Cable for MicroDot, as the latest addition to its display of sought-after broadcast microphones, at NAB 2017 (Booth C3336). These accessories create a completely wireless microphone setup, while maintaining high-quality audio during live and recorded broadcasts. The MMP-G Modular TMBi - 110

DPA GSM4000 MMP G-4018

while the MMP-GS cable extends from the side. In addition, users have the option to use the new MMPG Modular Active Cable for wireless workflows or the existing MMP-E Modular Active Cable for wired productions. The GSM4000 Gooseneck Shock Mount Accessory is designed with an elegant clip at its end where the d:dicate™ capsule can be easily mounted with a preamp connected to it. It


Globecast LA facility

features integrated shock mount technology to ensure the perfect sound is achieved and not affected by handling noise. The GSM4000, which is available in black and is 11.5 cm (4.5 in) long, can be set up in a variety of different positions. DPA will also display its proven d:fine™ In-Ear Broadcast Headset Microphone, which encompasses best-in-class capsules with mechanical design. This microphone consists of two cables – microphone and in-ear – that run in parallel to provide a sleek look. Two differentsized ear pads are included and DPA has taken care to safeguard against audio leakage between the in-ear drivers and the microphone capsule. Capsules can be either omnidirectional or

directional, while the in-ear monitors can be either single or double-sided.

GLOBECAST Booth: SU11106CM Connected Media NAB debut of Globecast Optim’Net - CDN cost optimization technology Even though the CDN price-per-GB is regularly decreasing, CDN costs for media delivery are growing every year as audiences, and therefore demand for content, expand. A second factor is that viewers are watching online content for longer periods of time than ever before. We are also seeing the demand for media quality shifting from very compressed video to SD and to HD, which of course increases CDN traffic. In order to optimize

costs related to content delivery, Globecast is launching its Optim'Net solution, proving that peerassisted media delivery is ready for prime time. This CDN off-loading service – which integrates seamlessly with any CDN vendor – relies on the audience watching the content to participate in the delivery to other viewers. Extra benefits include improved network performance and better user experience, especially a reduced start time for media playback. Disaster Recovery Playout Services For the first time at NAB, Globecast is highlighting its recently launched Disaster Recovery Playout Services. Globecast’s Culver City Media Center is strategically located in the heart of the media and entertainment capital of the world -- Los Angeles, CA. For broadcasters, networks and studios requiring geographic proximity to Southern California or requiring access to the important LA market, Globecast provides infrastructure, personnel and expertise to manage lowcost disaster recovery feeds for primary networks. It also provides cost-effective new service launches to minimize risk and capital investment. TMBi - 111


Harmonic VOS™ Cloud Media Processing Platform and Harmonic VOS 360 Professional Cloud Media Processing Service

VOD logistics Following the launch of Globecast VOD Logistics last year, the company has continued to increase its platform delivery reach with the volume of content distributed doubling last year. Globecast VOD Logistics makes creation and delivery of VOD packages simple, handling the complex and intricate requirements of each VOD platform. The company assembles and delivers VOD content packages with all the relevant metadata, languages, graphics, subtitles and promos in the technical formats demanded by VOD platforms globally. TMBi - 112

Globecast Media Factory: A Global Solution Globecast’s Media Factory leverages the company’s proven expertise in handling both linear and on-demand services through playout and over-the-top solutions. We deliver on the promise to take content from anywhere in the world, process it in any way required, and then deliver it anywhere to any device.

Harmonic Booth N628FP & SU1210 At the 2017 NAB Show Harmonic will showcase its vision for the future of media processing. Harmonic's software-based solutions

support today's and tomorrow's video workflows, empowering operators to navigate the complex nuances of ever-changing media environments. A key highlight will be Harmonic's OTT and cloud-based solutions which enable operators to launch broadcast, live and ondemand OTT video quickly with amazing video quality at low cost, while improving operational orchestration, elasticity and agility. "With ATSC 3.0 on the horizon and an explosion in OTT offerings, today's broadcasters and service providers need to work faster and smarter as they


address growing consumer demand for crystal-clear video and a wider range of content across all screens, including personalized, live and on-demand," said Bart Spriester, senior vice president, video products at Harmonic. "As a leading provider of cloud-native solutions and the industry leader in video compression, Harmonic is looking forward to bringing the latest media processing innovations in these technologies, along with real-world success stories from leading broadcasters and service providers, to the 2017 NAB Show." OTT innovation is a key area of focus for Harmonic at the 2017 NAB Show and beyond. Harmonic's EyeQ™ video compression optimization solution delivers superior video quality and bandwidth reduction of up to 50 percent for OTT distribution, dramatically improving quality-ofexperience (QoE) for OTT services through the use of comprehensive analytics. As an optional enhancement for Harmonic's widely deployed software-based Harmonic PURE Compression Engine™, the EyeQ solution enables a more consistent viewing experience with enhanced video quality and less buffering. Harmonic will

also showcase new lowlatency capabilities that allow OTT viewers to enjoy the same QoE as with traditional broadcast. North American broadcasters are facing disruption on two fronts: the spectrum repack and the transition to ATSC 3.0. Harmonic's market-leading Electra™ X media encoding and new ProStream® X stream processing solutions uniquely address both challenges. At NAB, Harmonic will demonstrate how broadcasters can compress their existing ATSC 1.0 channels with greater efficiency, as well as transition to ATSC 3.0 advanced services via a simple software license.

encoder at the 2017 NAB Show. The world’s smallest mobile contribution H.265 hardware encoder, the Zao¬-S enables reliable HD video transmission of live events over 3G and 4G cellular networks from challenging remote locations. The Zao-S’ low-latency implementation of the H.265 (HEVC) compression standard – already fieldproven in Soliton’s earlier Smart-telecaster Zao model – reduces bandwidth requirements by up to 50% compared to H.264-based alternatives, producing higher-quality video, lowering transmission costs and enabling reliable video contribution even in

Palma International Technology – Soliton Systems Booth SU4910 Ultra-Compact H.265 Mobile Encoder Systems integrator and distributor Palma International Technology is teaming up with Soliton Systems – the pioneering developer of H.265-based mobile video contribution solutions – to showcase Soliton’s ground-breaking new Smart-telecaster Zao-S

Soliton Zao-S

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bandwidth-constrained environments. The solution’s robust transmission stability is further enhanced by Soliton’s unique RASCOW optimization technology, which automatically adapts encoding characteristics and balances the load between bonded network connections in real time based on fluctuating mobile signal strength and link congestion. The superior performance of the Zao-S combines with its ultra-lightweight and remarkably compact design to enable live streaming and video contribution applications that were previously impossible because of connectivity or form factor limitations. Weighing just 400 grams and only slightly larger than popular smartphones, the

Zao-S can fit in users’ pockets – rather than the backpacks common with traditional mobile encoders – and can be attached to broadcast cameras, helmets, drones and more for unmatched versatility, mobility and freedom. Palma International is the distributor of Soliton products for the U.S. and Latin America, and together with their Brazilian parent company Foccus Digital, has developed a network of regional partners to supply and integrate Soliton’s solutions in local markets. The competitive pricing of the Zao-S makes it accessible to a broad range of video professionals, and Palma also offers a rental program for users wishing to take advantage of the

benefits of Zao-S for shortterm event coverage. Soliton mobile H.265 encoders are used by broadcasters, news agencies, sports producers, video journalists and emergency service providers around the world. In Latin America alone, Soliton’s solutions have been chosen by major broadcasters including Globosat, TV Record, and Televisa, and have been used for coverage of major international sporting events including the 2016 Rio Games. “We are excited to be working with Soliton to bring the Smart-telecaster Zao-S to the U.S. and Latin American markets,” said Robert Houghtaling, Business Development at

PHABRIX will be highlighting multiple product launches for IP and HDR/WCG applications at NAB 2017

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Palma. “Delivering superior performance at a fraction of the size of competing solutions, the Zao-S sets new benchmarks for quality, reliability, portability and cost-effectiveness, and we look forward to demonstrating these benefits to NAB Show attendees.”

PHABRIX Booth 2927 Multiple IP and HDR launches

support for further HDR standards, including HLG and SLOG3.”

“With these new product releases, PHABRIX will be focusing on supporting the SMPTE ST 2022-6 IP standard, as well as HDR10 and the Dolby PQ standard for HDR”, says Phillip Adams, Managing Director at PHABRIX.

The Qx range for 4K/UHD video provides 12G/6G/3G/HD-SDI signal generation, analysis and video/audio monitoring, including instant physical layer testing using RTE (Real-time Eye), as well other essential tools like waveform monitors, vectorscopes, and 12G/6G/3G/HD pathological test patterns for stress testing. With a compact, super-quiet and low power design, the Qx range is ideally suited to 4K/UHD live production, QC, as well as broadcast engineering, and video technology manufacturing.

“However, we’ll be developing software upgrades for additional IP standards during the course of 2017, including VSF TR03, AES67 and PTP. Similarly, we’ll be rolling out

PHABRIX’s Sx hand-held range offers unmatched portability and ease of use, while also providing full 3G/HD/SD-SDI physical layer and jitter analysis tools, including Real-time

PHABRIX will be highlighting multiple product launches for IP and HDR/WCG applications at NAB 2017. These new products will expand the high performance Qx range which provides 4K/UHD analysis, as well as the Sx hand-held range for 3G/HD/SD-SDI applications.

Eye with automatic SMPTE compliance measurements. New features for the Rx rack mounted test and measurement range will also be introduced at NAB 2017, including the ability to display instruments on both integral screens of the Rx2000. The Rx range makes it easy for operators to stay in control, with up to 16 instruments displayed on a single monitor, including advanced Dolby audio analysis.

Quicklink Booth SL5222 Quicklink will showcase their popular Skype TX call transceivers. Designed in partnership with Microsoft, the TX Multi is a Skype video call management system that allows for multiple calls within a single hardware unit. Quicklink will also be showing their ground-breaking new Remote Communicator, a TMBi - 115


solution that allows you to integrate contributions into your live broadcasts. The Quicklink TX is a video call management system that enables professional reception and transmission of multiple Skype video calls through an SDI and HDMI interface. The Skype TX unit can receive from and send to any video enabled device running Skype, this provides broadcasters with unrivalled access to millions of Skype users. The Quicklink TX is available in the following options: • Quicklink TX Multi – up to 4 incoming calls, 1 switchable SDI/HDMI/analogue Input/Output • Quicklink TX Quad – 4 incoming calls, 4 SDI Input/Output with optional High Availability Along with the Quicklink TX, Quicklink will also be showing the new Remote Communicator and Quicklink Communicator Portal (QCP) solutions. The Quicklink Remote Communicator allows you to stream video and audio to a web browser and return audio and video or audio only in real time, full duplex with ultra-low delay. TMBi - 116

The Remote Communicator can be used to create ad hoc ultra-low delay video/audio contributions from any device using a web browser, easily share high quality return video to a remote user and integrate ultra-low delay audio commentary into your workflow.

SGL Booth SL5306 The company is highlighting its support for integrated Amazon cloud archiving, S3-based object storage-based private cloud archiving and Sony’s Ci Media Cloud Platform. SGL’s close relationship with cloud solution companies provides the media industry with new workflows and stronger tools. This not only ensures that assets are sent to the correct place but also delivers a way for broadcasters to control storage costs by working out the price to store and retrieve assets to and from the cloud. Central to SGL’s support for public and private cloud is the ability to manage and monitor the buckets and tiers into which assets can be stored. FlashNet’s powerful lifecycle rules engine easily moves assets between various platforms

SGO is set to introduce a new natively integrated workflow concept at this year’s NAB

and storage areas treating each as simply another storage destination. In addition, FlashNet receives notifications about the arrival of assets into the cloud archive from other sources along with information regarding the removal or deletion of assets within the archive using third-party tools. This enables FlashNet to offer effective management of cloud-based archival storage regardless of the workflows in use. For the first time in the US SGL will show its new entrylevel archive FlashNet Lite. Available in four configurations: FL Disk, FL Tape, FL Hybrid and FL Optical Disk, FlashNet Lite


provides options for content storage that is disk only, tape only, optical disk or a combination of disk and tape. FL Hybrid is upgradeable to 50TB of disk support, two tape drives and 100 slots with one server. This provides nearly 600TB capacity with LTO7 tapes. Running on a single server node, FlashNet Lite can grow as the customer’s archive expands. The system includes important FlashNet tools including: integration with a wide range of partner solutions and storage devices; business storage rules; partial file restore; and FlashNet Infinity, SGL’s sophisticated dashboard, which provides users with an archive control centre.

Following its recent successful launch SGL will showcase a host of new Infinity tools to further simplify and significantly improve the storage and archive process for media companies worldwide. Navigator is a powerful addition to the Infinity dashboard that enables users to look at all the assets in the archive on a single, web-based screen regardless of where they’re stored or where they’ve come from. This enables facilities to dive deep into the archive by creating filters, viewing tapes in the library, groups on the tapes, archives on the tapes and files in the archive, all from a single mouse click. SGL’s latest version of FlashNet Infinity takes the archive to maturity, providing a rich way to view what’s in the archive and to very easily navigate through it. SGL is also demonstrating its new Infinity analytics tool, which analyses the facility’s archive metrics to ensure smooth running of the operation. The sophisticated new tool displays charts to show important information including: number of archives, how many tapes are in each location, how often they’re used, capacity available on each tape, if the tapes are damaged, number

of empty tapes, number of files, total size, average age of files at each location, average age content is first restored from a location, how often an asset is retrieved from a group, etc. The charts also highlight trends, for example how many tapes are being used in comparison to how many tapes are coming into the facility. This cutting-edge analytics tool enables much simpler decision making and streamlines the archive. “For NAB 2017 we’ve further enriched our cloud offering and FlashNet Infinity so that facilities have far greater control of how they’re archive is being used, thereby streamlining the whole operation,” explains Lee Sheppard, SGL’s Director Product Management. “The Infinity launch last year was a huge leap and this new version is state-of-the-art with an exciting road map that will see further announcements made later in the year.”

SGO Booth SL4227 SGO is set to introduce a new natively integrated workflow concept at this year’s NAB and launch the first phase of products as part of the company's evolutionary growth that TMBi - 117


includes ‘Mistika VR’ and ‘Mistika Insight’. Mistika VR is an affordable VR focused solution with real-time stitching capabilities using SGO’s optical flow technology. Mistika VR has been developed using awardwinning Mistika technology, so users can expect the most advanced capabilities combined with an all new intuitive interface and raw format support with incredible speed. Mistika VR takes camera position information and sequences and stitches the images together using extensive and intelligent presets. Not only has the application been developed to encompass and work with as many existing VR camera formats as possible, but SGO is investing in the growth of the product by creating custom pre-sets for productions where teams are building the rigs themselves. NAB will be the first showing of Mistika VR, which is available and supported online, on a payper-use basis. Mistika Insight is an educational and training solution with the same feature architecture as SGO’s hero suite Mistika Ultima. SGO recognises the importance of educating TMBi - 118

AppSolute - screen images

operators on the use of leading edge software that provides inspired talent the opportunity to turn their creative and ambitious vision into professional and sophisticated content. This gives the next generation of Mistika technology users a way to differentiate themselves and stand out in the industry. Mistika Insight enables students, freelancers and customers to learn how to use Mistika technology through direct hands-on experience with a free software version, which is supported by weekly webinars and online tutorials. Both Mistika VR and Mistika Insight run on Mac, Windows, and Linux enabling users to work at their own pace, within their own environment.

For those interested in a turnkey solution, SGO will continue to invest in the development of the hero suite ‘Mistika Ultima’. Existing and future customers can expect continuous feature advancements across areas such as HDR, HFR and VR with seamless integration of all the developments that are made to the new set of specific solutions.

Switch Media SU10110 Switch launches unique multi-screen streaming app with advanced analytics An end-to-end, ready-to-go app framework enabling content owners to rapidly deliver live and on-demand media to their own fully branded multi-screen app


will be launched this month by Switch Media. The app enables on-the-fly insertion of ads into live or VOD content and includes advanced analytics capabilities. Switch Media CEO Christopher Stenhouse said AppSolute was a game changer in over the top (OTT) streaming because it includes all necessary video-on-demand and live streaming capabilities, publishing, data driven analytics tools, is fully customisable, and can seamlessly monetise the content. The key features of AppSolute include: • Fully customise and launch your Apps to desktop, mobile platforms and Smart TVs using Switch Media’s proprietary modular architecture. • Support for linear and video-on-demand content, text/HTML elements, EPG schedules and more.

• Built-in Universal Player with flexible iOS and Android SDKs. • Easy integration with AdEase for client-side and server-side ad insertion. • VAST ad support, including hooks to drive companion advertising. • Our highly optimised App architecture provides quick load times and optimum device memory usage. • Customisable player skins and layout can be easily implemented • Through the Switch APIs, easily integrate with 3rd party services such as user identity, EPG data, and external metadata

Telestream Booth LSU5 & SL3316 Telestream announced that its entire suite of captioning and subtitling products now supports IMSC 1.0, the new OTT standard for subtitling and captioning. For major

networks and content distributors standardizing on the IMF file-based delivery format, such as Netflix, delivering subtitles for streaming content with IMSC 1.0 Timed Text is a requirement. “Whether creating subtitles with our MacCaption or CaptionMaker software, or automating subtitle conversion with the Timed Text Flip module in Vantage, Telestream is the first company to create, edit, extract, and automate with the IMSC 1.0 Timed Text specification,” said Giovanni Galvez, Product Manager for Telestream Captioning and Subtitling Software. “We also have the only IMSC 1.0 solution that can be integrated with existing transcode workflows.” Assured Compliance with Accessibility Mandates Government legislation in a growing number of countries requires broadcasters to

• Effortlessly publish and manage VOD and linear content on your Apps via the AppSolute CMS module in Media Manager. • Instantly update App copy and user interaction messages with our cloudbased app management tools. TMBi - 119


deliver closed captioning and subtitles to Internet outlets. However, compliance can sometimes introduce manual processes and time-consuming workarounds into workflows that were otherwise automated. With the addition of IMSC 1.0 in Timed Text Flip, Vantage users can work with caption or subtitle data inside the same automated workflow they rely on every day. Customers can now automatically convert common caption/subtitle files to IMSC 1.0 Timed Text from archives of old caption and subtitle files. Any supported caption/subtitle file type can be extracted and converted via watch folders, API, or simple drag and drop operations. IMSC 1.0 is now available as a master caption or subtitle format in any Telestream workflow. “At PBS we are very focused on integrating Internet and broadcast efforts, and to that end, we are supporting the IMSC 1.0 caption and subtitle format, a key element of the emerging ATSC 3.0 and IMF standards being used for both broadcast and broadband applications. The standard is a technological advancement over current 608/708 caption standards TMBi - 120

TVU Router Workflow

and facilitates a more diverse range of languages, including those requiring image-based fonts. Being able to leverage a single file for both broadcast and OTT delivery is a huge step forward in streamlining filebased workflows, and one of the more significant benefits of the ATSC 3.0 and IMF standards,” said Chris Homer, VP Engineering at PBS. Benefits of IMSC Support: • Pass validation to comply with IMSC 1.0 specification • Start delivering IMSC 1.0 without changing your existing workflow • Automate and quickly migrate to IMSC 1.0 from archived files

• Export a subtitle format compatible with IMF In addition to IMSC 1.0 workflows, export now includes options for iTunes .iTT subtitles along with new support for Teletext OP-47 and OP-42 for Australian and European broadcasters.

TVU Networks Both C3739 TVU Networks to Introduce TVU Router – a 200Mbps Virtual Internet Cable TVU Networks will introduce a new solution for secure, reliable and highspeed internet connectivity to connected devices from remote locations. TVU Router provides over 200Mbps of Internet


connectivity from virtually any remote location and acts as a network accelerator. With TVU Router as a portable field access point, users can transfer and receive files, stream video, search the web, utilize any IP connected device or service to pass data and more for a high speed, reliable and secure data connection. “TVU Router was developed from working with our customers closely and gaining a strong understanding of their workflow. There are many instances in which moving large data files from the field to the studio are needed but not practical due to a lack of high-speed broadband access. TVU Router solves

this by creating a wireless Ethernet cable-like connection between the two locations that’s secure, reliable and high-speed,” said Paul Shen, CEO, TVU Networks. “While TVU Router has obvious applications for the broadcast industry, we’ve already seen strong interest from other industries such as sports that also have a need to move large data quickly from remote locations to a central location,” Shen continued. “With TVU Router, it’s like having the dependable, high-speed Internet connection you enjoy in your office out in the field.” TVU Router allows for easy sending and receiving of IP-based data from a

remote location to any other location using the Internet. For example, news reporters producing stories in the field may wish to upload completed news stories containing video that were edited in the field to the station for broadcast. Large file transfers that use a single, standard cellular connection are typically unreliable and too slow. Or multiple users may require reliable internet connectivity to effectively access hosted devices such as news production systems, media asset management systems, and automation systems. Multiple IP connected devices at the remote site may also require reliable network connectivity such as teleprompters, IP cameras, and remote cameras. TVU Router is also a software option for TVUPack and TVU One. Current TVU customers can easily take advantage of TVU Router without the need for additional hardware or data services. This NAB marks the company’s first in the Central Hall. TVU is moving from its traditional location in the South Upper Hall of the LVCC to the Central Hall. This hall will become TVU’s home at the LVCC for future NAB shows. TMBi - 121



The New

Sennheiser 6000 No Compromises TMBi - 122


At the end of February, Sennheiser organised an event in Hannover and invited specialised media, technicians and engineers to present their new 6000 series. The event was a great opportunity for us to visit the central offices and the professional components factory, where we saw their painstaking processes and strict quality controls. As expected, TM Broadcast was one of the few media companies invited to attend such an interesting event.

Andreas Sennheiser, CEO of the company and grandson of the founder Fritz Sennheiser, and the president of the manufacturer in the USA, Greg Beebe made sure the presentation was at its best. The new 6000 series has been designed from a user standpoint. The products in this range are very similar to the 9000 series, which is the top of the range in quality, but with more affordable price margins and added flexibility in use and installation. Both ranges are fully compatible between them, in such a way that we can create hybrid systems that share a great variety of

Andreas Sennheiser

devices, with several different transmitters and receivers. In fact, one of the advantages of the new 6000

series is that it can be used with standard UHF antennas. It is a solution for all the possible scenarios TMBi - 123




EM 6000 receivers in climatic chamber

that can be used for live broadcast, concerts, conferences, etc. It is extremely rugged in terms of preventing intermodulation problems to ensure users do not find problems in the audio associated to the RF. And it is easy to integrate. As the people at Sennheiser said, the main difference is that the 9000 series works with HD audio, and therefore, with the best possible resolution, whereas the 6000 series codes and TMBi - 124

It is a solution for all the possible scenarios that can be used for live broadcast, concerts, conferences, etc. It is extremely rugged in terms of preventing intermodulation problems to ensure users do not find problems in the audio associated to the RF.


compresses the audio. We did not have the opportunity to listen to a test comparing both models, but we did attend a private concert where the Digital 6000 system was used, and we can certainly say that the quality of the sound was simply outstanding.

EM 6000 The EM 6000 is the new 2channel receiver and, therefore, the system core. In the presentation, they insisted on the fact that this device is futureproof and evidence of this is the

capacity of acquiring this equipment with or without a DANTE card, in addition to several BNC and XLR-3 inputs and outputs. It is easy to integrate and has all the connectivity capabilities necessary to work with. The front is very clear and in the test we conducted, we saw that the access to the menus was extremely straightforward. It left us with the sensation that a lot of work had gone into this product and above all, it is well designed for the day to day of the technicians. It has two channels, and it works on a broad range of 244

MHz switching frequencies. Features: • 2-channel receiver, 19 inch 1 RU • 244 MHz switching bandwidth • Long Range mode with audio codec (SeDAC) • Equidistant frequency grid for maximum channel density and a simple setup • 32 RF filters for suppression of interference signals at antenna input • AES-256 encryption • Automatic frequency setup • Dante capacity with TMBi - 125


Brooklyn II Card and Amphenol RJ-46 connection • Antenna splitter for cascading of up to 8 systems • High-quality OLED display • Wireless Systems Manager (WSM) compatible • Compatible with standard Sennheiser UHF antennas • Compatible with Digital 900 transmitters in Long Range mode

Receiver set-up

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POCKET PACKS Under the name of SK 6000, we find the beltpack, compatible with about 20 different capsules, including those made by Sennheiser and Neumann, which provides the system with large capacities at the acoustics level (the standard lavalier MKE1, MKE2 and MKE40 are included, of course). The microphone will work perfectly in each situation, as assured at the presentation event. It is

designed to work in the most demanding of environments as far as broadcasting is concerned, with an overall shield against disturbing intermodulation. It is built in magnesium, and with it in our hands, the impression we got was that it was a very rugged product and yet, lightweight at the same time. They assured that it is perfectly sealed against moisture and dust. It includes a BA 61 lithium-ion battery pack that ensures up to 5 hours of non-stop operation. The beltpack is


also compatible with B 60 battery set and with the EK6042 and EM 9046 camera receivers in Long Range mode. Features: • Three frequency variations (470-558 MHz, 550-638 MHz, 630-718 MHz)

It is built in magnesium, and with it in our hands, the impression we got was that it was a very rugged product and yet, lightweight at the same time

• Sennheiser 3-pin connector • Highly effective intermodulation protection • AES 256 encryption and Digital 9000 encryption • Compatible with EK 6042 and EM 9046 in Long Range mode On the other hand, the SKM 6000 is the handheld transmitter. As with the beltpack, it has a highquality Long Range mode for audio thanks to the codec SeDAC, the same protection against intermodulation and an equally rugged magnesium construction. It is compatible with microphone heads from the G3, 2000, Digital 9000 and Neumann KK 204/205 series. It also works with EK 6042 and EM 9146 camera receivers. Features: • Three frequency variations (470-558 MHz, 550-638 MHz, 630-718 MHz) • Sennheiser standard capsule interface,

compatible with G3, 2000, Digital 9000, Neumann KK 204 and KK 205.

modular construction and is futureproof, which means that it works with today's

• Highly effective intermodulation protection

batteries, but it will also work

• AES 256 encryption and Digital 9000 encryption

coming years.

• Compatible with EK 6042 and EM 9046 in Long Range mode

with those developed in the Features: • 19 inch and one rack unit • Flexible configurations with



Sennheiser has also developed the 1 RU and 19” L 6000 charging station. It can house up to four charging modules, and each one can accommodate two batteries, giving eight in total. It has a 3-coloured LED for a quick and clear overview of the charging status. It also has a remote monitoring system through Wireless Systems Manager (WSM), where data such as charging cycles, temperature, remaining charging time or battery quality can be seen. It has a

loading modules for handheld transmitters or beltpack battery packs. (Digital 6.000 y Digital 9.000) • Charging status with 3coloured LED • Intelligent charging control with four fans for optimum cooling. • Storage mode to keep battery packs in perfect condition when stored for longer periods. • Integrates into WSM. TMBi - 127

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Mobile Viewpoint Agile LiveLink

Mobile Viewpoint Agile LiveLink Unstoppable Evolution

Lab testing performed by Pablo MartĂ­nez

I have been working and assessing different transmission methods for quite some time now. Luckily, and thanks to my position in this constantlychanging world, I have been able to make very accurate assessments of almost all available systems, not only as a user but also at an engineering level with manufacturers. This has given me a solid base for

the forward implementation of emerging technologies. Years ago, a market in constant evolution opened with the first ever 3G/4G and H.264 encoding transmitter backpacks. Today, we see the announcement of H265 or HEVC codec implementation. Most manufacturers ended up launching this in 2016, so we have accomplished a significant improvement in

these types of transmission systems, above all with the current evolution of the UHDV video format standard (that includes 4K and 8K). This permits reducing the bandwidth required for transmission by 50% without compromising quality. H.265 coding achieves a video quality identical to the H.264 AVC but at half the bit rate and therefore, smaller sized videos. TMBi - 129


 TEST AREA For further insight into the H.265 codec, commonly called HEVC (HighEfficiency Video Coding), here are some basic ideas that I have been able to collate over time: - The first version of the UITT H.265 standard was completed and published at the beginning of 2013. The second version of the rule was completed in July 2014, and the third review was published in April 2015 and included an annex on 3D coding (3DHEVC). They are now working on the fourth version approved in December 2016. - It was developed in response to the growing need for higher compression of moving images for several applications such as Internet streaming, communication, videoconferencing, digital storage means and television broadcast. It is also designed to permit the flexible use of coded video representation in a wide variety of network environments. The use of this recommendation/internatio nal standard permits handling video in TMBi - 130

The great advantage, in this case in question, of broadcast based on backpacks, lies in the dedicated implementation of the H.265 codec, which decreases the bandwidth required for broadcast by almost half compared to the previous H.264 codec movement as computer data, and storing it in several media, broadcasting and receiving it on existing and future networks, and distributing it in existing and future broadcast channels. - High-efficiency video coding (HEVC), also known as H.265 and MPEG H-Part 2, is a video compression standard, one of the several successors of the widely used AVC (H.264 or MPG-4 Part 10). Compared to AVC, HEVC offers approximately double data compression rates at the same level of video quality, or substantially enhanced video quality at the same bit speed. It supports resolutions of up to 8192 x 4320, including 8K UHD. The great advantage, in

this case in question, of broadcast based on backpacks, lies in the dedicated implementation of the H.265 codec, which decreases the bandwidth required for broadcast by almost half compared to the previous H.264 codec. This favours the correct broadcast of all the data packages in critical situations with low mobile signal or saturated operator nodes without an apparent loss of quality (specificapparent, since other factors play a part according to the configuration of the equipment). I omitted the description of the generic backpack broadcast system because due to its implementation, as mentioned in previous articles, we all know the basics of how it works.

Mobile Viewpoint Agile LiveLink

It uses almost the same encapsulation as its predecessor albeit with minor aesthetic changes to accommodate the connectivity enhancements offered by this model, and weighs slightly less, 1.1 kg instead of 1.4 kg.

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 TEST AREA LET’S LEARN MORE ABOUT IT It is the technological evolution of the Agile 2R, called Agile LiveLink. It uses almost the same encapsulation as its predecessor albeit with minor aesthetic changes to accommodate the connectivity enhancements offered by this model, and weighs slightly less, 1.1 kg instead of 1.4 kg. The transport system has evolved with certain apparent design changes, optimising the ventilation outputs/inputs, as well as the fixed position of the

equipment and the battery, if we work in “Backpack” format”. As regards the camera anchorage, when not in use inside its transportation system, we used the V-Lock connection in our assessment system. Within the transportation system, there is another anchorage to ensure the equipment remains perfectly secure, as well as an external V-Lock plate located under the system, at the rear of the transportation system, to power the equipment. One of the advantages regarding the power system is the

possibility of having a dual feed, which means that we can connect the Backpack to the external FA and use it at the same time as a backup system, in the event of a failure of the main power supply via FA, and if our battery is connected to the camera mount, the equipment would still work without cuts in the transmission. It has been completely renovated inside to house the control and video processing electronics, creating perfectly integrated, error-proof compatibility throughout all its processing,

One of the advantages regarding the power system is the possibility of having a dual feed, which means that we can connect the Backpack to the external FA and use it at the same time as a backup system, in the event of a failure of the main power supply via FA

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Mobile Viewpoint Agile LiveLink

As a support to 3G/4G broadcast in this new model, we have two Ethernet ports that can be used in a dual mode with two different data lines that we can use to connect to a router to ensure broadcast if we are working from a fixed base.

control and broadcast devices. The advantage of this integration can be seen in the electronic adjustment based on the H.265 processing codec with the optimisation of the Mobile Viewpoint coding via dedicated hardware, optimising resources and thus preventing errors from workloads when the coding is carried out through software. We have the same number of internal high-efficiency models (eight), which, combined with the built-in antenna, offer 3 dBs of gain that permit pairing with up to 4 different telephone operators, ensuring the correct coverage and access to saturated telephone nodes. Even so, we have USB ports that

permit adding external modems. At this stage and from my personal experience, I must admit never having needed to use them, because we have more than enough for almost any situation. As a support to 3G/4G broadcast in this new model, we have two Ethernet ports that can be used in a dual mode with two different data lines that we can use to connect to a router to ensure broadcast if we are working from a fixed base. With respect to the software, Mobile Viewpoint keeps the interface which we are used to, well structured and with easy access to all the settings menu and connection supervision. I want to highlight that this new

version offers us the possibility of working with the optimised H.265 codec according to our needs. In the words of the manufacturer: - The use of multiple networks ensures the highest bandwidth, the best network signal possible and delivers a redundant solution. The video is coded with the H.265 hardware codec, which will automatically determine the bandwidth available and continuously broadcast in the highest available bandwidth. This ensures the broadcast of the highest possible video quality with the smallest fixed delay time possible. The main features of this device are: INTERFACES  2 x RJ-45,  Input video: via BNC connection (SD/HD-SDI) and HDMI  Audio return/IFB through a 6.3 mm jack  2 x USB  Touchscreen DESIGN  Dedicated appliance 12-24 volt TMBi - 133

 TEST AREA  15 cm x 25 cm x 6 cm (Wxhxd) INPUTS  SD; full D1  HD; 720p50, 720p60 and 720p59,94  HD; 1080i50, 1080i60 and 1080i59,94  SUPPORTED CODECS  H 264 high profile MVP codec  H.265 main profile CONNECTIONS  8 modems, 2 can be added via external USB  CDMA, HSUPA, HSDPA, LTE and UMTS  Wi-Fi RECORDING SYSTEM  120 GB internal, up to 1T Byte using optional sleeve  HD: High-quality CBR H.264 or H.265 up to 30 Mbit INTERNET ACCESS  Via Wi-Fi  Via Ethernet IP MANAGEMENT  10/100/1000 base-T (combined with second Ethernet port) OPERATION ADJUSTMENT: TMBi - 134

As a first field test, and with the purpose of assessing its broadcast behaviour objectively in HD-SDI signals using H.264 and H.265, we used the Backpack in a fixed event, produced with an HD OB Van

Mobile Viewpoint Agile LiveLink

 Live: adaptive encoding and resolution change between full resolution, half and quarter resolution with configurable delay between 1.8-30 seconds  Store and Forward: send over contents of an USB stick to an FTP server

 Recording: CBR encoding at 30 Mbit on internal or external SSD disc

using 3G/4G modems for the return channel and IFB.

 Satellite and Satellite + 3G: Specific modes to optimise transmission over BGAN and KA Satellite. With Satellite +3G we can keep the delay at 1.8 seconds

 Disabled/Data-bonding: In this mode, the unit is a true data-bonding unit for highspeed uploads and Internet access. Also in the other modes, data connectivity is available, but live video gets prioritised.  PostPro: In this mode, the system records next to a high res CBR a low-res proxy file, which can be used for remote editing and only partial retrieve.

FIELD STUDY After listing the features, let’s move on to what really matters: behaviour in real production environments. As a first field test, and with the purpose of assessing its broadcast behaviour objectively in HD-SDI signals using H.264 and H.265, we used the Backpack in a fixed event, produced with an HD OB Van. As our main broadcast system, we used a fibre optic encoder made by the

It has been completely renovated inside to house the control and video processing electronics, creating perfectly integrated, error-proof compatibility throughout all its processing, control and broadcast devices

TMBi - 135

 TEST AREA same manufacturer, Mobile Viewpoint, with H.264 coding supported on an occasional dedicated Internet point of 100 Mbs. The event to be produced that we took as a reference for this first test was an institutional event almost with no speed in its development (take speed as the situation we find in a football match, for instance). The graphical analysis we carried out in real time on data consumption in the dedicated line, with equal quality and delay settings on both systems, revealed a substantial improvement when broadcasting using H.265 coding compared to our main broadcast with an H.264 coding. This improvement had a direct effect on the use of the bit rate of both pieces of equipment, yielding, as a reference data, 46% difference between the sending methods. Comparatively, in the parallel reception we did in our facilities, analysing both signals in real time, the video and audio reference patterns were the same, with

With respect to the software, Mobile Viewpoint keeps the interface which we are used to, well structured and with easy access to all the settings menu and connection supervision.

TMBi - 136

Mobile Viewpoint Agile LiveLink

As a second test, we assembled the Backpack on an ENG camera via the V-Lock anchorage, creating a built-in format with news capture and broadcast on the same portable unit

46% less data consumption with the new Backpack. In the light of these figures, the second part of the test was carried out under the same conditions as before but lowering broadcast delay times to 1.8 seconds (we worked with a 2.5 delay on our main route). The signal suffered no degradation whatsoever yet kept the same average quality as the main route with which we compared it. In this case, the Backpack supply was carried out with the FA, deactivating transmission via modem 3G/4G. As a second test, we assembled the Backpack on an ENG camera via the VLock anchorage, creating a built-in format with news capture and broadcast on the same portable unit. This served to assess the portability of the system as well as the consumption of the entire set, parameters that we should very much consider regarding the operation of the camera operator. TMBi - 137


 TEST AREA Making the most of the 3G/4G signal map, something we designed a long time ago, we sent the equipment to a location with critical coverage due to the number of nodes made available by the different telephone operators in the area, bearing in mind that the premise we used to assess the equipment was the reduction of the upload data traffic by up to 50% with the new “Backpack”. The production of the different recordings to contribute to the generation of a piece of news in the news bulletin, as well as its live broadcast, did not pose any problem whatsoever and it was established correctly with a constant quality during the entire live session. As mentioned above, this area is critical for live broadcasting, but compared to others, the use of backpacks ensures an excellent behaviour and data flow, in addition to improving consumption and portability. The last test was carried out on a fixed event with lots of movement to be captured: a broadcast with fireworks in a delimited area. In this case, we went for an SDSDI transmission, using a DSNG in Ku bandwidth as TMBi - 138

our main route and the “Backpack” as the second one in a H.265 configuration with a fixed delay of 2.5 seconds and combined 3G/4G broadcast and ADSL support. Comparatively speaking, and regardless of

the delay between the main and reserve signal, the image remained stable and we could see all the details of the lit-up firework carts used for the party we were broadcasting live. The level of detail was comparable to

Mobile Viewpoint Agile LiveLink

the signal we received via the main route.

WHAT WE COULD BE MISSING In all honesty, with this new technological development, i.e. the advances of the “Backpack”, there is not much we could have possibly missed. In the transport system, we might have liked there to be more space on the connections side of the device to be able to connect a BNC without forcing it, but we

recommend using an elbow BNC for this. As regards software, we would have liked the user access being differentiated from the settings access, with the purpose of preventing bad handling or the use of incorrect settings by not very experienced operators.

CONCLUSION I had wanted to try the new Agile LiveLink Backpack for a while now, and I must say that I am very pleased with the results. The reliability

and ease of use are the major strong points of this device, as well as the perfect integration of the system and the optimisation of resources by implementing the use of the H.265 decoding. I would like to thank GESIT for letting me use the Agile LiveLink “Backpack” by Mobile Viewpoint and their technical support, and IB3 for letting me use their facilities to conduct this laboratory.

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