2022 NAB Show Daily News - DAY2

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The Future of Broadcasting

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MONDAY APRIL 25, 2022

THE OFFICIAL

Day 2 Edition April 23-27, 2022 Las Vegas Convention Center Las Vegas, NV

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The Future of Broadcasting

bext.com

Published by

MONDAY APRIL 25, 2022

THE OFFICIAL

Day 2 Edition April 23-27, 2022 Las Vegas Convention Center Las Vegas, NV

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www.nabshow.com | April 25, 2022 | MONDAY 3

The Pulse of NAB Show From Future, publisher of TV Technology, Broadcasting+Cable, Multichannel News, Next|TV, TVB Europe, Radio World, Mix, Sound & Video Contractor, Systems Contractor News, AV Technology, TWICE and more!

YOU’LL FIND ALL THE TOP STORIES YOU CAN’T MISS RIGHT HERE — BREAKING NEWS, INDUSTRY TRENDS, EXHIBTOR COVERAGE, EVERYTHING YOU NEED TO KNOW AT THE 2022 NAB SHOW.

38 NextGen TV Rollout Brings Better Viewing and New Opportunities

CONTENT VP/B2B Tech Group Carmel King Content Director Terry Scutt Content Manager Mike Demenchuk Contributors Susan Ashworth, Jim Beaugez, Tom Butts, Kent Gibbons, Mark Hallinger, Steve Harvey, Craig Johnston, Paul Kaminski, Bob Kovacs, Phil Kurz, Jon Lafayette, Mike Malone, David McGee, Paul J. McLane, Mary Ann Melody, Addie Morfoot, James E. O’Neal, Jenny Priestley, Randy Stine, Peter Suciu, Jessika Walsten

‘Broadcasters are making tremendous progress’

40 NextGen TV Rollout Brings Better Viewing and New Opportunities

Photographers John Staley Photography; Powers Photography DESIGN & DISTRIBUTION Managing Design Director Nicole Cobban Senior Design Director Lisa S. McIntosh Production Managers Heather Tatrow, Nicole Shilling ADVERTISING VP/Sales, B2B Tech Group Adam Goldstein Ad Sales: Raffaella Calabrese, John Casey, Janis Crowley, Zahra Majma, Debbie Rosenthal, Andi Tureson, Kyle Walkenhorst MANAGEMENT Senior VP, B2B Rick Stamberger VP, Sales & Publishing Aaron Kern Head of Production US & UK Mark Constance Head of Design Rodney Dive

4 Streaming Is Vital Yet Complicated, PBS Exec Ira Rubenstein Says Local public broadcasters bring important content to OTT platforms

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26 Esports Continues Its Steady Growth

28 Managing New Ad Technology Includes Targeting Capabilities 8 Super Bowl LVI Kicked Off a Bright Future for Live Cine Production Historic halftime show marked camera technology’s first use at the big game

ON THE COVER: NAB PRESIDENT AND CEO CURTIS LEGEYT AND NAB EVP OF GLOBAL CONNECTIONS AND EVENTS CHRIS BROWN CUT THE RIBBON, COMMEMORATING NAB SHOW’S EXPANSION INTO THE WEST HALL OF THE LAS VEGAS CONVENTION CENTER. WATCHING ON ARE (FROM LEFT): PERRY SOOK, CHAIRMAN AND CEO, NEXSTAR MEDIA GROUP; ERIC TRABB, SVP AND CHIEF CUSTOMER SUCCESS OFFICER, NAB; MICHELLE KELLY, SVP AND CHIEF MARKETING OFFICER, NAB; STEVE HILL, CEO AND PRESIDENT, LAS VEGAS CONVENTION AND VISITORS AUTHORITY; JUSTINE MCVANEY, SVP, EVENT OPERATIONS AND PLANNING, NAB; TRACY GEIST, GLOBAL HEAD OF MEDIA & ENTERTAINMENT MARKETING, AMAZON WEB SERVICES; DAVID SANTRELLA, CEO, SALEM MEDIA GROUP AND NAB JOINT BOARD CHAIR; MARY BETH SEWALD, PRESIDENT AND CEO, LAS VEGAS CHAMBER OF COMMERCE; AND LYNN BEALL, TEGNA EVP & COO AND NAB TELEVISION BOARD FIRST VICE CHAIR. PHOTO CREDIT: NAB

AoIP and other tech supports configurability, remote work and streamlining

Blockchain activations and costreaming played a role

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24 Radio Studios Sparkle in 2022

18 Fireside Chat With FCC Chairwoman Jessica Rosenworcel 20 8K Is Already Transforming Video Production Few consumers own 8K sets but producers are already successfully using 8K technologies to improve TV, film, event and sport production

‘Broadcasters are making tremendous progress’

42 Experiential Zones 44 Exhibitor Listings 52 Pandemic Disruption Bred Production, Content Innovation Wide-ranging panel examines how COVID-19 upended traditional video workflows

Progress seen with addressability and convergence

31 CEO Keynote: Transforming Radio in the Audio Renaissance 32 5G Technology Goes Way Beyond Better Cellphone Service Learn how ‘5th-gen’ wireless tech pairs with broadcasting

35 Podcasters Ponder What the Rise of Programmatic Means Industry leaders on how podcasts are monetized, and how that is quickly changing

54 Breaking Down Barriers for Aspiring Filmmakers Rookie creators may need gear — or know-how — to bring their projects to fruition

56 Virtual Production Allows a Pirate Comedy To Sail onto HBO Max

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4 MONDAY | April 25, 2022 | www.nabshow.com

STRATEGY

OVER-THE-TOP CONTENT

SOCIAL

Wavetable Founder Howard Gray (left) and PBS Chief Digital and Marketing Officer Ira Rubenstein talked about public TV’s streaming strategy in a Sunday session.

TALK

News at #NABShow: @GatesAir announced its acquisition by @ThomsonBRCST. They’re neighbors in the new @LVCVA Convention Center’s West Hall at @NABShow.

Streaming Is Vital Yet Complicated, PBS Exec Ira Rubenstein Says

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Local public broadcasters bring important content to OTT platforms

By Jon Lafayette BROADCASTING+CABLE

Streaming is important but complicated for PBS, according to Ira Rubenstein, chief digital and marketing officer for the public broadcasting network.

“For the last eight years I’ve been at PBS, I’ve been very focused on broadening the distribution of our local stations to digital, and you have to do that at scale,” said Rubenstein, speaking at a session at NAB Show’s Capitalize Experimental Zone theater on Sunday.

“It’s just not practical for every one of our 300 stations to figure out on their own livestreaming to

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Roku and other devices,” he said.

“We’ve been working in partnership with people like YouTube TV and DirecTV Stream and hopefully some others. We’re bringing our content to those live platforms.”

It’s not always easy to get distributors to participate, according to Rubenstein. While they want the content, the structure of PBS complicates things.

“It’s challenging because we’re not commercial,” he said.

“We don’t have ads, and all those entities make money by selling ads. And to make it even more fun for them, there are markets in America where there’s more than one PBS station,” Rubenstein said, including Washington, D.C., with

three PBS outlets.

An outfit like YouTube TV might be happy to take a national feed, but PBS doesn’t have one.

“Every station’s different, and oh, by the way, there’s going to be three individual feeds coming out of D.C. and you’re going to have to figure that out, please,” he said.

Rubenstein said its partners have so far done a good job adding PBS programming, and there might soon be some others.

Local stations are an important source of programming for PBS. Getting national content has “gotten more complicated with the streamers,” Rubenstein said.

Local stations produce PBS shows such as “Frontline,” “Nova”

For the first time since 2019, the @LVCVA Central Hall opened to welcome #NABShow attendees from around the world. @NABShow

ATSC 3.0 continues to make news. You’ll find @atsc_updates info about the next generation of TV in the West Hall.

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and “Antiques Roadshow.”

“We recently announced a fund for emerging and diverse filmmakers,” he added. “We’re investing and trying to bring more voices to the platform.”

But the best place for people with programming ideas to go is to a local PBS station, Rubenstein said.

“There are a lot of local stations that do a lot of local production,” he said. “Here in Vegas is one example, L.A., Boston, Minnesota, any major city.”

He noted that even a smallermarket station like WCTE-TV in Cookeville, Tenn., produces “Bluegrass Underground” from the caverns there. The Cookeville station only has eight to 12 employees, so “every station is creating content.”

Kids’ programming is another PBS strength, on both linear TV and online.

“More kids watch PBS, our stations or apps, than any other kids’ channel out there,” Rubenstein said.

He said the PBS Kids app does about 400 million streams a month.

“No one has any idea how large it is,” he said. In addition to the PBS Kids video app, the network recently launched a PBS Kids Games app, which is now just as large as the video app.

“If any of you have children, you know how important video games are and, as you would

The PBS Kids app, which offers shows such as "Daniel Tiger's Neighborhood," now tallies about 400 streams per month.

expect from PBS, our games are education-based,” Rubenstein said. “They’re often tied to the curriculum that was being exposed in the shows. So if it was a show about social-emotional learning or had some math functionality, that would be in the corresponding game.”

The games app is built on a sophisticated learning platform, so some of the more recent games can adapt to the child’s performance and help the child learn more, he said.

A lot of children are on YouTube, he noted, and PBS has put its content where the kids can find it with no ads.

Rubenstein said PBS’s education vitality was put to the test during the pandemic.

“Children went home, and it was remote learning, and especially in rural communities, children don’t have broadband, they don’t have the latest computer or the latest tablet,” he said.

Many PBS stations used their multicast capabilities to spin up specific learning channels. Rubenstein said the PBS stations in Los Angeles and Las Vegas worked directly with the school districts to sync up.

Education efforts were coordinated by PBS Learning Media, a joint venture of PBS and WGBH Boston. PBS Learning Media takes all of the network’s shows and cuts them into a curriculum that a homeschool mom or dad or a teacher can assign to kids.

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support the curriculum, Rubenstein said. If the kids are learning about the Civil War, instead of having to watch all 12 hours of Ken Burns’ documentary, they can get the clip about Gettysburg if they’re studying that.

“Ken and his team have worked with Learning Media,” Rubenstein said. “One of the things I know Ken loves about working with public media is that his material is in every classroom in America.”

Learning Media has about 1.7 million teachers who have requested material.

“We find a lot of teachers will use clips from our website,” he said. “We leave it all up, of course, and you can see which clips are still in curriculums from five years ago.” l

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SPORTS

ADVANCED CINEMATOGRAPHY

Super Bowl LVI Kicked Off a Bright Future for Live Cine Production Historic halftime show marked camera technology’s first use at the big game

By George Winslow TV TECH

Key technical personnel from the landmark Super Bowl LVI halftime show gathered at a Sunday NAB Show panel to discuss their successful use of cine cameras for the live production — and what they see as a bright future for the technology’s use in multicamera live events.

Digital cine cameras have become increasingly popular in film, scripted TV and other productions because of their larger sensors, which offer greater depth of field and more creative options for a more “cinematic look” than traditional broadcast cameras.

Workflows for cine cameras have significantly improved in recent years, said JM Hurley, video engineer on the halftime production. That makes it technically possible to embrace the idea.

And the greater creative control they offered made using them a relatively easy decision, said event producer Aaron Cooke.

From left: Super Bowl 2022 Halftime Show creatives JM Hurley (DIT/Shader), Morgan Kellum (Tech Coordinator), Aaron Cooke (Supervising Producer), and Dylan Sanford (Director of Photography) speak with panel moderator Mark Chiolis (director of Business Development for Mobile TV Group) during the "Cine-Live Case Study Panel: Super Bowl 2022 Halftime Show".

broadcast cameras to capture the halftime show, or to even show a recording of one of the final rehearsals.

Those backup plans seemed prescient when the last Friday

We are seeing a breakdown in the barriers between cine production and live cine production.”

DYLAN SANFORD CINEMATOGRAPHER

Even so, the halftime production team spent months testing equipment, figuring out the right lenses to use and selecting the right setup, followed up by 10 to 12 full rehearsals at Los Angeles’ SoFi Stadium in the week before the Feb. 13 NBC telecast.

The team also set a backup plan that included using the game’s

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night rehearsal was a “s***storm,” according to Cooke. But the final production went off perfectly, prompting all of the panelists to agree that the rapid advance of cine camera workflows and production technology showed live cine camera production’s great potential.

The chief advantage of using

the cine cameras was greater creativity, particularly with the depth of field that allowed photographers to isolate the artists and stage when needed and, at other times, show the audience, cinematographer Dylan Sanford said.

“We are seeing a breakdown in the barriers between cine production and live cine production, and I think we’ve only just begun to scratch the surface on what that really means,” Sanford said. “I think the audiences are getting more savvy and the talent is asking for it. They understand what those differences are, whether they know the technology or not, and they viscerally understand the distinction of what you can do with it.

So they’re going to be asking for cinema live.”

While the NFL and other leagues have been experimenting

with the use of cine cameras in games, most of the panelists saw the most obvious applications in other live events or music. Football fans don’t want to have a tight focus on one player with the rest of the field out of focus, Hurley noted.

“It was kind of undetermined about how stable this workflow was but that now we’ve shown that it works, the focus is now on what can be done with it and the creativity different camera systems, different lenses, different workflows can open up,” technical coordinator Morgan Kellum said.

“NAB Cine Consortium Presents: Cine-Live Case Study: Super Bowl 2022 Halftime Show” session was moderated by Mark Chiolis, the director of Business Development for Mobile TV Group. l

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10 MONDAY | April 25, 2022 | www.nabshow.com

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SMPTE Names David Grindle Executive Director The Society of Motion Picture Television Engineers (SMPTE) has announced that its next executive director will be David Grindle, who will join the venerable tech and standards organization in July after a 12-year tenure as executive director of the United States Institute for Theatre Technology.

SMPTE President Hans Hoffmann introduced Grindle at an NAB Show press conference Saturday, saying: “The role of the executive director is a very challenging one because … [the executive director of SMPTE] is responsible for leading an organization that has helped shape the media landscape. … Everywhere, you see devices that can do David Grindle audio, audiovisual functions, will join SMTPE in July. you see a little of SMPTE’s work.”

Speaking to the press, Grindle admitted he was not an engineer but said he wanted to use his extensive experience as a Certified Association Executive and a leader in the nonprofit field “to help SMPTE become the bridge that connects people to this industry and the industry to its own future.”

A key part of that will be efforts to attract younger more diverse members. “We need to be attractive and provide value so that we can actually connect with them and provide the platforms or data they need,” Grindle said. l — George Winslow, TV Tech

FROM THE

SHOW FLOOR Actor Nick Cannon discussed his career and shared candid thoughts on how the industry has evolved over the past few tumultuous years, with April Carty-Sipp, NAB’s Executive Vice President, Industry Affairs.

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Much has changed in the three years since the industry last gathered for NAB Show, Sony Electronics President, Imaging Products & Solutions–Americas President Theresa Alesso noted in opening the company’s NAB Show press event.

“In many ways, the global pandemic has acted as an accelerant for great progress,” Alesso said. “We’ve seen an increased demand for high-quality content, a rapid expansion of streaming platforms and a shift to remote production workflows.

“I’d like to start with virtual production, which uses the combined power of cinematic cameras like our VENICE 2, in-camera visual effects, and video walls like our Crystal LED,” she added.

“This brings together the worlds of virtual reality and practical production in real time.”

Sony showed its VENICE 2, feaTheresa Alesso, President, turing a new 8.6K full-frame CMOS Imaging Products & image sensor, internal X-OCN and Solutions-Americas, Sony 4K Apple ProRes 4444 and 442 HQ Electronics recording with a smaller body. Another key feature of VENICE 2 is its ability to enable a cinematic look. Paired with the original VENICE and the HDC-F5500, Sony is building out its portfolio of cameras for cinematic storytelling.

With its new HDC-3200 camera, Sony is building out its portfolio and filling in the gaps with a more affordable 4K system, ensuring users have an option that provides all they need without paying for capabilities that aren’t required.

Because the cloud is increasingly important in providing secure accessibility, Sony has continued enhancing its Ci Media Cloud Services through additions like the Workflow app for automating VFX pulls to create a more valuable solution for multiple applications. l — Craig Johnston, TV Tech

FROM THE

SHOW FLOOR

NewsNation’s Ashleigh Banfield spoke with NBC’s Lester Holt for her show “Rising Tide: The Value in Mentoring Others.”

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Sinclair, USSI Charge Up 3.0 Datacasting Trial Sinclair Broadcast Group is partnering with USSI Global on a datacasting trial to deliver video and data to electronic vehicle (EV) charging stations, the company announced at a Saturday NAB Show press conference.

“Our industry has reinvented itself to have a seat at the data distribution table,” Sinclair President and CEO Chris Ripley said, referring to the transition to the IP-based NextGen TV standard.

The trial will begin in West Palm Beach, Fla., with two charging stations equipped to receive and display “curated, targeted and unique programming” delivered over the air via NextGen TV, said Ripley.

Chris Ripley The federal government has set the goal of completing national deployment of EV charging stations by 2035.

USSI Global hopes to leverage the local presence of Sinclair stations, local content reformatted for the kiosks and broadcasters’ relationships with local advertisers to one day generate new revenue derived from over-the-air telecasts, said Ted Korte, vice president of technology and engineering at USSI Global.

“Imagine you have a display on the street that tells you what’s going on,” Korte said, adding that the trial is intended to learn what is the best way to go forward with how the kiosks could be used nationally.

Central to a national deployment is a core network that broadcasters could use to distribute data from market to market, Ripley said.

Local stations would use the network to enable a national footprint for data delivery while maintaining their free OTA telecasts.

Sinclair has been working on such a network internally for a decade, said Mark Aitken, vice president of Advanced Technology at Sinclair and president of ONE Media 3.0, adding that ongoing work by the Advanced Television Standards Committee (ATSC) to lay the groundwork for a core network has attracted interest from “a number of larger players.”

“I think you are going to see, over the next two to three months coming out of the ATSC, a blossoming of that activity to develop a core network for not just television broadcast but a data flow.” l —Phil Kurz, TV Tech

PHOTO CREDIT: Phil Kurz

Sony Rolls With Pandemic-Era Changes

4/24/22 6:05 PM

16 MONDAY | April 25, 2022 | www.nabshow.com

‘Nightmare Alley’ Steadicam Ace Shares Tales of the Shoot Gilles Corbeil, a vastly experienced TV and movie camera operator who has worked with director Guillermo del Toro (“Pacific Rim”) since 1996, gave a mini master class in Steadicam arts on Sunday. The Q&A with cinematographer Michael Chambliss centered on Searchlight Pictures’ “Nightmare Alley.”

Several clips were shown from the movie, which was nominated for four Academy Awards. Corbeil gave many practical tips, such as placing thin strips of carpet on the floor to feel for camera “marks” without looking down.

He talked about the collaboration needed when working in close quarters with, among other things, a 45-foot-long crane arm.

He praised del Toro as a director who knows what major elements he needs in a shot but will allow

Cinematographer Michael Chambliss (l.) and camera operator Gilles Corbeil offered practical Stedicam tips in a Creative Camera session on the film “Nightmare Alley.”

collaborators to make decisions about steps taken in between.

“Nightmare Alley” shut down production on March 18, 2020, skipping the afternoon of filming.

It didn’t resume until months later. In the meantime, for one scene featuring Bradley Cooper

and Rooney Mara, a shot going from one room to another took six months to film in two different countries (in Buffalo, N.Y., and Toronto). In the meantime, Mara had given birth. “That shot was framed by the pandemic,” Corbeil said. Had the production

gotten the full day in on March 18, 2020, Richard Jenkins’s work as an actor on the film would have been done. Instead, Jenkins had to return six months’ later to finish it up, Corbeil said. l

— Kent Gibbons,

Broadcasting & Cable

Revitalized Chyron Soars to the Cloud Chyron comes to NAB Show with a revitalized financial position and increased focus on providing its customers with advanced cloud-based production solutions.

“We got a significant equity investment from Apollo and with that, we have doubled our R&D, hired cloud engineers and built out our artificial intelligence capabilities; and we’ve invested in improving the Chyron LIVE, customer experience,” Chyron a cloud-native Chief Financial Officer Mike live videoproduction Truex said. platform, was In order to ensure its strong unveiled at legacy in broadcast graphics, the show. the company is launching several cloud-based products at the show in tune with its emphasis on live solutions. “Everything we’re doing right now is tied to a cloud-first approach,” Senior Vice President, Strategy and Product Mathieu Yerle said.

New at the show is Chyron LIVE, an end-to-end, cloud-native live video-production platform with high-end switching, graphics, clips player, replay, telestration and asset-management capabilities. Chyron LIVE brings in live camera feeds through a variety of transport protocols, making it easy for a team or a single operator to deliver a stunning live production on the fly.

Also new is v4.3 of PRIME, which includes a new PRIME Edge module for creation, deployment and management of viewer-controlled

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Mathieu Yerle, senior VP, strategy and product for Chyron

interactive graphics, allowing consumers to determine what they see, whether watching sports, elections, financial news, lifestyle shows or other programs.

Chyron is also previewing v4.0 of PRIME Click Effects, now with HTML5 control panels at Booth N2613. l — Tom Butts, TV Tech

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STANDALONE IP CONVERTERS • Miniature UHD, 3G, HD Processing and Gateway frame • Ideal for remote utilization of MediorNet IP Apps, such as the IP MultViewer and JPEG-XS Apps • Installation close to signal sources and destinations, e.g. mountable at the back of a screen or next to a camera.

CORE IP NETWORK SOLUTION

FusioN 6B & 3B

• High-density, versatile media processing frame for UHD, 3G and HD • Save rack space; no leaf switch required • IP to IP processing, encode/decode and IP gateways

VirtU 32

MuoN B SFP

DISTRIBUTED IP VIDEO NETWORKS MediorNet IP solutions are deployed in a variety of production environments around the globe. Whether rack-mounted in the engine room or locally installed in the studio or remote production location, MediorNet IP solutions provide the benefit of an incredible Small Form Factor technology. MediorNet IP brings a high degree of flexibility to productions and a high degree of scalability to production infrastructures.

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18 MONDAY | April 25, 2022 | www.nabshow.com

ON THE

MAIN STAGE

Fireside Chat With FCC Chairwoman Jessica Rosenworcel Today | 10 a.m.

N4 – Main Stage

Jessica Rosenworcel

NAB President and CEO Curtis LeGeyt and FCC Chairwoman Jessica Rosenworcel will sit down for a fireside chat immediately following the NAB Show Welcome.

The conversation between Rosenworcel and LeGeyt immediately following the NAB Show Welcome will discuss the Chairwoman’s priorities for 2022 and beyond, her thoughts about the state of the broadcasting industry, and her approach to the complex issues facing the FCC. “In today’s hyper-competitive media landscape, a regulatory framework that allows local radio and television stations to evolve, adapt and better serve their audiences is of vital importance,” said LeGeyt. “Broadcasters look forward to hearing from Chairwoman Rosenworcel about her role at the head of a critical agency and her outlook on the future of our industry.”

Rosenworcel was designated as acting FCC chair by President Joe Biden on Jan. 21, 2021 and became permanent chair following her Senate confirmation for another five-year term in December 2021. l

EXECUTIVE

FROM THE

Q&A

SHOW FLOOR

Nick Rashby President AJA Video Systems What is the top business challenge for 2022 facing companies or your customers in the media and entertainment industry?

The global electronics components shortages continue for manufacturers and customers alike. Yet, it’s also an exciting time with the furthering of remote and cloud-based production workflows, as well as with the continued expansion of IP infrastructure. These shifts in production paradigms present opportunities and challenges for the industry, and AJA is focused on continuing to create valuable workflow tools in these areas.

What technology trends will you be following most closely at NAB Show this year?

AJA took an early lead in pioneering HDR production tools, as well as solutions for IP. We are closely tracking evolving customer needs in both areas, as well as cloud instances of production tools and the resulting data management challenges that these evolving workflows create.

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20 MONDAY | April 25, 2022 | www.nabshow.com

HIGHER RESOLUTION

STUNNING VIDEO

“The Desperate Hour” feature film was shot using the Blackmagic URSA Mini Pro 12K digital film camera in 8K mode without losing any field of view for framing.

8K Is Already Transforming Video Production Few consumers own 8K sets but producers are already successfully using 8K technologies to improve TV, film, event and sport production

By George Winslow TV TECH

The 2022 NAB Show features a host of new technologies likely to transform the industry in the next decade, including demonstrations of new equipment and technologies for stunning 8K video, which offers 16 times the resolution of HD and four times the resolution of 4K. “If you have ever viewed immersive 8K content, especially paired with phenomenal audio, it is an experience that is unmatched,” said Hugo Gaggioni, CTO, Sony Electronics, Imaging Products and Solutions Americas

17-48_NAB22_DAY2.indd 20

— Professional, which supplies the Venice 2 camera and other equipment that is being used in 8K productions.

Most people are unlikely to have that experience anytime soon, however. Only 1 million 8K TVs were sold globally in 2021, according to Strategy Analytics, which is predicting that about 72 million households worldwide will have an 8K set in 2025, a tiny fraction of the 1.7 billion homes with TV sets in the world.

“We are still in the early days of 8K,” said Bob Caniglia, director of sales operations, Americas at Blackmagic Design, which is

showing the Blackmagic URSA Mini Pro 12K and other 8K-capable technologies at the show.

But Caniglia, Sony’s Gaggioni and others who are showing 8K-capable equipment are quick to add that there are already many appealing use cases for 8K in virtual productions, post production, virtual reality, replays, events and other areas where the content may end up being shown in 4K or even HD. Multicamera film productions needing very high resolution for CG and virtual productions, for example, are two promising illustrations of how 8K technologies

can be utilized today, explained Charlie Dunn, senior vice president, Telestream.

LIMITED EARLY ADOPTION

Currently, 8K content offerings are extremely limited, with some streaming services like YouTube TV and Roku and some broadcasters, mainly in Japan and China, regularly offering 8K video.

“Our 8K cameras are used for major sporting events, music programs, and are broadcast live on Japan’s NHK BS8K [an 8K satellite channel],” said Hiroshi Akiyama, marketing executive at Ikegami Tsushinki Co., which is

4/12/22 12:00 PM

22 MONDAY | April 25, 2022 | www.nabshow.com

showing its fourth generation of 8K cameras.

In addition to NHK producing about 200 hours of 8K video during the Summer Olympics in Tokyo, Chinese broadcasters have also embraced the format. “A leading Chinese broadcaster officially launched an 8K channel early last year and went live for 8K production for major events like the …

Winter Olympics,” added Xuan Zhang, product manager, Matrox Video, which supplied cards and a CDV graphic system for 8K UHD

8K at NAB Show Currently 8K is getting the most traction on streaming services and in video games and virtual reality applications. But there are also many examples of how 8K technologies on display on the show floor can be successfully used in new TV, film and sports productions to improve the quality or value of 4K or HD programming.

• Virtual Production. 8K LED screens and cameras improving image quality • Replays. 8K replays can be cropped for more detail in HD or 4K broadcasts.

• Studio Sets. 8K LED screens offer better resolution for virtual reality or extended reality applications.

• Action Scenes and Multicamera Film Productions. Shooting in 8K allows action shots or complex scenes to be cropped and recomposed in post for better framing.

• Post Production. Using 8K in editing and post production can improve VFX effects.

• Masters. 8K masters of TV and film content today delivering lower resolutions would increase the long-term value of programming.

17-48_NAB22_DAY2.indd 22

graphics.

There have also been some notable efforts to make it easier to create and distribute 8K content.

“A Leader LV5900 HD/4K/8K multistandard waveform monitor was chosen to monitor the signal feed of an hour-long, live 8K broadcast by BT from Northampton England to Amsterdamsaid Moriharu Ide, president of Leader Instruments Corp.

“During the Olympics we saw HEVC 8K [content delivered and] encoded at 85 Mpbs,” said Thierry Fautier, vice president of video strategy at Harmonic, which is an active member of the 8K Association and has supplied equipment for 8K productions. “With more modern software-based encodes

Sony reports that its Venice 2 8K camera has been used on a number of film and TV productions.

Blackmagic Design. “The extra resolution you get on LED walls gives you more detail and allows you to shoot in higher resolution.”

Another promising application is in live sports. “For live sport, 8K cameras or higher can be used

If you have ever viewed immersive 8K content, especially paired with phenomenal audio, it is an experience that is unmatched.”

HUGO GAGGIONI SONY ELECTRONICS

we can go below 40 Mbps as was demonstrated during the 2019 French Open tennis tournament” that used Harmonic technologies.

THE FUTURE IS NOW

More importantly, 8K technologies are playing a growing role in efforts to improve the way HD, HDR and 4K content is produced today.

“We are already seeing a lot of 8K and even 12K in virtual production,” said Caniglia at

to provide a panoramic view of a stadium, which can be cropped in software to the lower resolutions used today in broadcast,” said David Mitchinson, head of strategic initiatives at Appear. This provides a panoramic view that can be cropped to follow an individual player and is ideal for remote productions because it requires no camera movement.

Producers are also increasingly using 8K to shoot action scenes because the higher resolution alComcast NBCUniversal Provided live 8K virtual reality coverage of the 2022 Winter Olympics

lows them to reframe shots in post production.

“Users are choosing [Sony’s] Venice 2 8K camera because of the image quality and [they] may shoot in 8K because of the flexibility in post production,” added Gaggioni at Sony. “We have seen many productions down res to 4K or 5.7K and still use the VENICE 2-inch camera from Sony.

Creating 8K masters protects the long-term value of content that might be distributed in HD or 4K today, vendors say. “Content producers will inevitably advance from HD and 4K-UHD to 8K to maximize the shelf life of their programs,” said Ide at Leader Instruments. l

TO LEARN MORE The CM|IP Presentation Theater, located in the West Hall (W11100), has several sessions open to all attendees who would like to know more about 8K. Enhancing The Viewer Experience With Stunning Audio/Visual Quality Monday, Apr 25 2:40–3 p.m.

Qarva MultiPipe Technology — The Enabler of Delivering 4K/8K Content Around The World Tuesday, Apr 26 10–10:20 a.m.

4/12/22 12:00 PM

PRODUCTS & SERVICES SHOWCASE New innovations from exhibitors on the show floor CUSTOM FIBER CABLES & CONNECTIVITY FROM ACE BACKSTAGE

THE CANON LINEUP OF 4K UHD PTZ CAMERAS

SMPTE compatible hybrid cable systems, made to order with camera compatible opticalCON DRAGONFLY that mate with the redesigned 154 Stage Pocket, to conceal and protect broadcast connectivity.

Canon’s 4K UHD PTZ cameras are designed for use in a wide-range of applications in broadcast, education, house of worship, sports, and corporate environments. The lineup includes the weatherproof CR-X500 and CR-X300 and the indoor CR-N500 and CR-N300. All four cameras leverage Canon’s digital imaging and operational expertise from professional camcorders and network cameras. They also support IP and serial connections when using the Canon CR-N300 camera remote controller.

Contact: 1-800-OK-CANON https://www.usa.canon.com/internet/portal/us/ home/products/professional-video-solutions

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4/11/22 4:37 PM

24 MONDAY | April 25, 2022 | www.nabshow.com

STATION

IMPROVEMENTS

Radio Studios Sparkle in 2022 AoIP and other tech supports configurability, remote work and streamlining

By Paul McLane RADIO WORLD

Radio technologists will tell you that the pandemic accelerated several trends in how studios are designed.

Rooms need to accommodate far more remote contribution and hybrid workflows than before. They must integrate the proliferation of multimedia platforms. And their physical footprints will be smaller, as support infrastructure moves off-site to network centers and the cloud. Nevertheless, physical studios remain a vital part of the radio enterprise, underpinning the creative process while projecting a professional image to clients and the public.

This producer position monitors and operates the HDVMixer video production system, supported by a Wheatstone audio surface.

PERFORMANCE SPACES PROLIFERATE: Music discovery is a goal for many stations so it makes sense that broadcasters are building rooms where bands can perform, audiences can attend and sponsors can amplify their brands.

In September, Nashville Public Radio’s WNXP(FM) and WPLN(FM) opened the Sonic Cathedral, a state-of-the-art video and audio recording studio for producing live music videos as part of NPR Music.

Architectural concepts and design were by V Three Studios. Jeff Schroeder of Schroeder Services was the primary installation engineer.

Among other things, the Sonic Cathedral is equipped with 10 LG HDTVs. Two large TVs on stage are fed by the matrix for logos, sponsor content or other creative. A 75-inch TV can also be used for meetings, conferences or watching football.

“There are five 42-inch TVs at the entrance door that typically will be logo’d but are also being fed by the matrix, so we can put anything on them we want,” Schroeder said.

“Most of the TVs are being fed via the OREI HDMI video extenders direct from the matrix — it’s a very cool system.”

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SPORTS MULTIMEDIA COMES IN-HOUSE: Increasingly, managing for radio means managing multimedia platforms.

The Athletic Department at the University of Nebraska became the first major U.S. college athletic department to bring its multimedia operation fully in-house, starting with the 2021–22 season.

This included bringing up a statewide radio network on a short timeline.

Director of Broadcast Operations Mike Elliott said the facilities serve the Huskers Radio Network and its dozens of stations, plus internet audio broadcasts on Huskers.com and the Husker App. It supports up to four simultaneous live sports broadcasts to radio affiliates, with up to eight live simultaneous internet radio streams of events and programming. It has the capability to send live video of the network’s “Sports Nightly” talk show to affiliates, plus internet radio and video streams on YouTube, Huskers.com and the app.

The Broadcast Operations Center has five live event production pods. Video can be ingested from any Husker Athletics venue, audio from anywhere on the globe.

Key components include technology from Tieline, Wheatstone, Telos, Barix and RCS.

“The Sonic Cathedral has greatly impressed musical performers, labels, management companies but, mostly, audiences,” Schroeder said. “We have quickly risen in national recognition for our audio/video performances on NPR Music’s Live Sessions digital portal and locally here in Nashville.”

The band Middle Kids performs at the Sonic Cathedral.

4/12/22 12:01 PM

www.nabshow.com | April 25, 2022 | MONDAY 25

STUDIO AS QUICK-CHANGE ARTIST: In 2021 Educational Media Foundation, parent of the K-Love and Air1Radio networks, completed a four-studio buildout at its facility in Franklin, Tenn., to support expansion of broadcast content into Nashville, the market where most contemporary Christian music originates.

A clever twist is that the branding visualizations in each studio can be changed with the push of a button to bring up unique “looks” for K-Love, Air1Radio, WTA and AccessMore, along with other settings.

This is accomplished with custom scripts that alter the lighting colors, wall displays and digital displays. The same command brings up the DJ’s personalized settings.

Principal Studio Engineer Bill Jackson led the design and installation, and members of the organization’s Studio Technology, Engineering and IT Teams provided expertise and assistance.

University station CFAK wanted quality without a major-market price tag.

These studios are part of EMF’s nationwide AoIP network.

Key components include Axia AoIP infrastructure; and RCS software including Zetta automation.

“Our content creation and delivery systems are designed with talent workflows in mind, not just engineers,” said a member of the EMF team. “This allows for creators to adapt to new environments quickly and be successful in their efforts.”

AOIP WORKS ON A BUDGET: CFAK(FM) at the University of Sherbrooke in Quebec, Canada, moved into two new studios, a good example of putting AoIP to work in a smaller context in the postCOVID world.

CFAK had been working out of one studio in a dorm that lacked air conditioning.

“Following a move to new premises, we had to review the technical architecture,” said Special Projects Manager Jesse Fafard Théorêt. “So, we had to prepare a broadcasting studio as well as a production studio.”

Technical services were provided by Jean-Philippe Vallée of Marketing Marc Vallée, and Jocelyn Blanchette and Nicolas O’Malley of Audiobec Sound & Video.

The studios are built around Wheatstone Audioarts console surfaces with mix engine, equipped with IP audio I/O. The station uses Jazler SOHO automation and ElectroVoice RE20 and RØDE Procaster microphones.

“For radio stations with a small budget, there is a false belief that the professional equipment offered by the big suppliers in North America is inaccessible or too expensive,” said Fafard Théorêt.

AND AOIP SCALES UP: Cumulus Media’s Kansas City cluster built out a stunning facility with 17 studios at a new location in an office park in Overland Park, Kan. Signals served include five FM stations, an AM and two HD2s with translators.

“We moved from a hybrid facility that was 20-plus years old and was a mixture of analog, digital and AoIP technology to a facility that is 100 percent AoIP,” said Market Engineering Manager Dennis Eversoll.

“This included not only the studio audio but also STL paths.”

Cumulus Vice President of Engineering Michael Gay handled the extensive planning, and VP of Technical Operations Yancy McNair was the lead for the physical portions of the installation. Eversoll and team provided support and muscle as needed while handling the ongoing engineering needs of the cluster.

Telos Alliance provided the AoIP backbone and 17 Axia control surfaces. A new BSI OpX audio delivery system was installed using Axia drivers. The studios have 66 Shure KSM44A large-diaphragm, side-address condensers interfaced with Wheatstone M-2 two-channel digital mic processors. Audio processors feed GatesAir IP Link 200 audio codecs linked to the transmitter sites via an MPLS circuit.

Color coding of the studios is based on colors in the Cumulus logo, primarily blue. Window and door surfaces throughout feature a material that emulates etched glass; that work was done by a local design contractor, Digital Lagoon.

17-48_NAB22_DAY2.indd 25

Through custom scripts, the staff can change a studio’s lighting, colors, digital displays and DJ settings.

Cumulus Kansas City built 17 studios, supported by 21 racks in this technical operations center.

4/12/22 12:01 PM

26 MONDAY | April 25, 2022 | www.nabshow.com

GAMING

PROJECTIONS

University of North Carolina at Chapel Hill created the Carolina Gaming Arena, which is home to Carolina’s esports teams for Rocket League, Valorant, League of Legends and Overwatch. It incorporates video technology from Black Box.

Esports Continues Its Steady Growth Blockchain activations and costreaming played a role

By Dustin Steiner NAB SHOW DAILY

The esports market has continued its upward trajectory of the past few years. Viewership estimates from Insider Intelligence show that there are approximately 30 million esports viewers in the United States alone this year.

Current valuations on the esports market have been wide-ranging. Many analysts have yet to update their current projections for this year, but the most recent projections just before the pandemic have the industry valued at between $1.8 billion (NewZoo) and $3 billion (Goldman Sachs.)

While this has undoubtedly changed thanks to the pandemic, momentum is beginning to pick up in the esports space in sponsorships, live events and activation spheres.

The market still relies heavily on

17-48_NAB22_DAY2.indd 26

sponsorship activations with almost 60 percent of esports revenues coming from them last year.

NFT AND BLOCKCHAIN

Some new activations, especially as they relate to non-fungible tokens (NFTs) and blockchain technology, have raised some eyebrows in the esports industry.

Reactions have been mixed, but Newzoo notes that esports fans have more disposable income to invest in NFTs, especially around fandom of teams.

They also note that a vocal minority on social media criticize teams for getting involved with the technology, mostly out of environmental concerns, which teams have been quick to address by utilizing tech that uses less energy than sending two emails.

COSTREAMING

The industry stumbled a bit as

the pandemic began, but quickly recovered as publishers pivoted to online broadcasts. During that pivot, a new initiative was launched by many in the esports space, led in large part by Twitch — costreaming. Instead of relying purely on the reach of the event itself, streamers were allowed to tune into the broadcast and replay the event on their channels with their own commentary and reactions.

Despite having the massive potential to be unsafe for brands, many tournaments have been unable to resist the siren song of new viewership to massive success.

As an example, Riot opened applications for streamers to rebroadcast stage 2 of the Valorant Champions Tour, which broke previously set highs for the new esport. According to Newzoo, third-party channels accounted for two-thirds of the viewership, something that Twitch’s cost-

reaming program allows Riot to show as their own viewership — something that no doubt has helped in securing sponsors for the tour this year.

“During a costream, a content creator could say something that doesn’t fit with the organizer’s brand and message, potentially affecting sponsorships,” said Luca Chiovato, a market analyst at Newzoo focusing on the live streaming market. “Nevertheless, many companies tolerate these risks to boost their viewership and reach.”

Regardless, the industry continues to be an interesting one to watch. This will especially be true as more developers start to embrace competitive mobile gaming, which already accounted for seven out of the 10 most-watched moments in gaming last year. l

TO LEARN MORE Exhibitors at NAB Show with products that fall into the esports category are Black Box, IHSE, Intinor, Octopus Newsroom Americas Inc. and Zero Density.

Today Meet the Game Viewing Audience 10:35–11:35 a.m.

N259-N261 Produced in partnership with StoryTech.

NAB Show Conference pass required.

How Red Bull Racing Leverages Data and Analytics to Deliver a Better Consumer Engagement (Track B) 2–2:30 p.m.

W314-W316 Streaming Summit pass required.

Tuesday Media, Meta and More With Caroline Beasley 3:15 PM - 3:45 PM C5646 Create Inspiration Zone

4/12/22 12:01 PM

NAB is the Voice of America’s Broadcasters reportand the storiesTV that impact our communities and our world.

Radio Broadcasters

Communities turn to their local television and radio broadcasters for news they can trust, a lifeline during emergencies and a helping hand in times of need.

Help NAB share your community service with policymakers. Send your Your advocates at the National Association of Broadcasters are public service stories to WeAreBroadcasters@nab.org. protecting the future of local radio and television in Washington, D.C. We’re doing the heavy lifting so stations can focus on running their businesses.

Whether it’s fighting harmful performance fees on radio stations or preserving local journalism in the age of Big Tech, NAB is advocating for policies that strengthen your ability to serve your communities.

Learn more at nab.org/advocacy.

28 MONDAY | April 25, 2022 | www.nabshow.com

ADVERTISING

PHOTO CREDIT: bagira22/Getty Images

ADVANCES

Managing New Ad Technology Includes Targeting Capabilities Progress seen with addressability and convergence

By Jon Lafayette BROADCASTING+CABLE

The television advertising world has become more complex in recent years and executives expect that much of the talk at NAB Show will be about technology to enable and manage campaigns and control inventory.

While the growth of streaming has further fragmented audiences, streaming enables greater

17-48_NAB22_DAY2.indd 28

targeting of content to viewers., In response, traditional broadcast and cable are rushing to catch up with their own data-based targeting capabilities.

Streaming and advertising will be the main topics on the agenda in panels conducted by consulting firm Accenture, according to Peri Shamsai, managing director of Accenture’s media practice.

The panels will examine issues arising from TV advertising be-

coming increasingly digital. One panel will look at the ongoing shift to first-party data for targeting as the value of cookies depreciate.

Another panel will explore how integrating linear and digital sales can optimize campaigns for advertisers and maximize yields for media companies.

Shamsai says pricing ad inventory is another key topic affecting the advertising industry. “Television and digital order management

systems still use rate cards to price inventory, and those rate cards are largely established by what’s been done historically,” she said.

In response, media companies are starting to take a fresh look at how they price their inventory.

“We did one pricing study with one media company and they saw a 17 percent increase in their average CPM within six months and they didn’t lose a single ad buyer,” Shamsai said.

4/12/22 12:01 PM

www.nabshow.com | April 25, 2022 | MONDAY 29

Price optimization is also being addressed by exhibitor Imagine Communications, which is introducing a unified planning, origination and monetization platform. Aviator will enable media companies to create channels with a push of a button and monetize them either through advertising or subscription sales.

The platform incorporates tools Imagine already had in the market and adds a new ad server that applies the business rules long employed by linear channels.

“You’ll never see a repeat ad, a Coke and Pepsi ad at the same time, and most importantly, you’ll never see an alcohol ad shown to a child while they’re watching at 10 a.m. in the morning,” said Rob Malcolm, Imagine’s chief product officer.

Aviator incorporates Imagine’s Game Plan optimizer, which enables users to maximize yields, but Malcolm said many media companies don’t have the people to optimize yields, so Imagine will be offering optimization as a service. The service includes both the tools and a data scientist who will work with the client’s team. Imagine’s fee will be a percentage of the incremental money the optimization generates.

LTN Global co-founder and CEO Malik Khan contends the industry is driving towards “fragmentation and mass customization… and the only currency that you can count on is advertising.”

Addressable advertising, in particular, is the only way to monetize the torrent of personalized content that’s coming. “The only way you can monetize the long tail is through addressable advertising,” he said.

LTN will be announcing products that help enable addressable advertising, which is still a year or two away from kicking in a big way, Khan said.

Daniel Church, Beachfront’s head of advanced TV product, also sees progress with addressable advertising. Beachfront Media is proceeding with integrations to connect its cable clients with

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Canoe, FreeWheel and Google.

Beachfront is also working on convergent TV — another hot area — by creating the architecture for systems that manage both video-on-demand and IPTV ad inventors.

“We can support both ends of your business and get your team up-to-date on how the programmatic ecosystem works on both sides,” Church said. “We’ve built most of the infrastructure that we need for this and across the last few years we’ve actually baked it into our decisioning layer ad servers and SSP.” Amid all the changes in the TV advertising world, the TV Bureau of Advertising (TVB) is reminding its TV stations members how powerful broadcast remains, said Brad Seitter, executive vice president for Business Development at TVB. The TVB recently released a study showing that broadcast tops other forms of media in consumer time spent and consumer influence. “We’re the number one media that consumers say influences them the most on their product purchases and that’s really strong for us,” Seitter said.

With many advertisers scrambling to reach the growing number of cord cutters, TVB is taking a deep dive into broadband-only homes. Seitter said that 60 percent of the people in those broadband-only homes are 35 and under, which makes them less desirable to advertisers who want to reach consumers who have money, own homes or tend to vote. “Our members sell streaming. We don’t want advertisers to over-allocate on streaming, he said.

At the same time, when broadband-only homes sign up for apps like YouTube TV, Hulu Plus Live TV or Sling TV, the networks they want to see are the broadcast networks.

“So when you buy an ad on a local TV station, you can see it across all those platforms. That’s the power of broadcast TV over any other form of media,” Seitter said. l

Industry

EXPERTS Say...

MALIK KHAN

BRAD SEITTER

CO-FOUNDER AND CEO LTN GLOBAL

EXECUTIVE VICE PRESIDENT FOR BUSINESS DEVELOPMENT, TVB

“Here’s my message to content providers and platforms on addressable advertising: Get in there because you’re going to learn just an enormous amount over the next year or two.

The learning curve is steep and the cycles of learning are accelerating.”

“Political advertising will be big in 2022. You can’t move 60 to 70 percent of your money to streaming and expect to win a race. It’s television, but it’s a different kind of television, when you look at people 55 to 64, they’re only 6 percent of the audience.”

PERI SHAMSAI

ROB MALCOLM

MANAGING DIRECTOR MEDIA PRACTICE, ACCENTURE

CHIEF PRODUCT OFFICER IMAGINE COMMUNICATIONS

“People are rethinking the structure of their ad sales group, to shift the focus to sales and relieve some of the operational stress. Studies show that automation isn’t successful unless you rethink the roles and processes of the people doing them.”

“Imagine you’re watching a football game and its running into overtime and your pre-scheduled content is the 6 o’clock news. You could basically pop up another channel and tell your viewers to go to the new channel for the news and let the rest stay to watch the game.”

DANIEL CHURCH HEAD OF ADVANCED TV PRODUCT BEACHFRONT

“I think we’re going to continue to see the word ‘fluidity’ everywhere. I don’t love that term personally because it puts the idea in people’s heads that [digital and traditional budgets] are going to be like water that goes sloshing back and forth and that it’s very easy to switch budgets around. I would love to get to that point, but they are still very different buckets of inventory.”

4/12/22 12:01 PM

30 MONDAY SPECIAL EDITION | April 25,| 2022 April 2020 | www.nabshow.com | www.nabshow.com

EXHIBITOR SPOTLIGHTS

Create

VISLINK MOBILE VIEWPOINT STELLAR CAM

C7508 | Vislink’s Mobile Viewpoint Stellar Cam is designed for artificial intelligence-powered live sports production. The camera is the latest in Vislink’s line of cameras designed for automatic coverage of sports. Durable and weatherproofed, Stellar Cam supports ultra-high resolution, high frame rates and zooming capabilities to capture action as it happens on the field of play. It is a key component of IQ Sports Producer, the company’s platform for capturing live sporting events without the need for onsite staff.

IQ Sports Producer is suitable for mid- and lower-tier games and matches, and enables over-the-top (OTT) media providers, media right holders and production companies to capture sporting events on a limited budget. IQ Sports Producer was designed to produce live streams of sports like football, rugby, basketball, hockey and handball.

Recently, it was deployed to cover other sports like horse jumping and velodrome cycling. Support for more sports is being added, the company said.

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N5625 | ENCO is featuring WebDAD 3.0, the next generation of its browser-based, remote radio automation control interface. This version features a revamped architecture designed to improve the user experience while laying the foundation for future functionality and scalability.

WebDAD lets users remotely manage and control studio-based ENCO DAD radio automation systems from anywhere with an internet connection. Supporting remote access for everything from uploading content and modifying playlists to voice tracking, WebDAD lets users manage their operations and keep their station on-air even when personnel can’t be physically in the studio.

The most visible WebDAD 3.0 enhancement is the redesign of its browser-based user interface. Layout changes enable more intuitive operation and streamline workflows for key features, while selectable dark/light modes let users tailor the look to their preferences and working environment. Reactive forms retain information across interface screens.

Jim Gaffigan LIVE!

EXECUTIVE

Q&A

Today | 4:15–5 p.m.

N4 - Main Stage

Victor Aniceto Vice President Bosma USA What is the top business challenge for 2022 facing companies or your customers in the media and entertainment industry?

The top business challenge for our company is the lack of predictability brought on by the pandemic in the last two years. The market has shown peaks and valleys, which affects how we plan the inventory for this year’s growth. Additionally, the unpredictable trend in the market makes it difficult as to what we should prioritize in terms of product development, whether to go with innovation or compete with the existing competition.

To celebrate NAB Show’s return, actor and comedian Jim Gaffigan will share a live comedy performance. Gaffigan is a five-time Grammy-nominated comedian, actor, writer and producer, and has received two Emmy Awards for his humorous contributions to “CBS Sunday Morning.” His unique brand of humor focuses on observations on life.

The session is open to all NAB Show registered attendees. l

What technology trends will you be following most closely at NAB Show this year?

We are mostly watching the growth of 8K technology and the acceptance of the filmmakers, streamers, content creators and broadcasters. New technologies of encoding, packaging and transmitting ultra high-resolution video files more efficiently, especially when it comes to streaming services (YouTube, Netflix, etc.) It›s not a matter of IF but WHEN 4K will transition into the world of 8K technology.

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4/12/22 12:01 PM

www.nabshow.com | April 25, 2022 | MONDAY 31

LEARN MORE WITH OUR EXPERTS VISIT US AT BOOTH

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CEO Keynote: Transforming Radio in the Audio Renaissance When LIFE Matters.

Today | 1:55–2:55 p.m.

N259-N261 Radio continues to face down the pandemic just David Field as audio entertainment reaches a new pinnacle in America. Hear from industry leaders David Field, chairman, president and CEO of Audacy, and Bob Pittman, co-founder, chairman and CEO at iHeartMedia, as they discuss how our business has and is pivoting away from old norms to new.

Attendees can learn how these leaders have embraced change, created a future-focused Bob Pittman culture throughout their organizations and diversified their content asset portfolios to ensure continued success in a rapidly changing media marketplace.

Moderating the session are NAB President and CEO Curtis LeGeyt and April Carty-Sipp, executive vice president, Industry Affairs at NAB. This session requires an NAB Show Conference pass. l

Connectivity That is Powerful, Reliable, and Unlimited

EXECUTIVE

Q&A

Thomas Tang President

Connected

Apantac What is the top business challenge for 2022 facing companies or your customers in the media and entertainment industry?

One of the greatest challenges many manufacturers are facing is the global shortage of components, which greatly effects our supply chain. With this shortage, we not only have to tell our customers that lead times are longer than expected; but it also effects our pricing model and thus our partner’s and our customer’s pricing. With all of this in mind, we know that this will also affect new product development. Many manufacturers are hesitant to introduce new products especially since they cannot be built or delivered in a timely fashion.

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What technology trends will you be following most closely at NAB Show this year?

We’re still paying close attention to video over IP as we see that transition continue. It’s been a priority for us to carefully evaluate what IP products we can incorporate and support in our product lines. Also, many companies are talking about their cloud workflows and I am curious to see how these ecosystems and solutions will all be able to work together in an cloud environment.

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4/6/2022 4:07:40 PM 4/12/22 12:01 PM

32 MONDAY | April 25, 2022 | www.nabshow.com

FUTURE OF DELIVERY

WIRELESS AND BROADCASTING

WHY THIS MATTERS

PHOTO CREDIT: jamesteohart/Getty Images

5G wireless broadband has been making a lot of headlines recently, with most of this attention directed to the users of smartphones. However, this extremely high-speed and dense coverage technology doesn’t stop there. It offers the potential for overhauling remote broadcast practices and workflows that have persisted since television came into its own some 70 years ago.

5G Technology Goes Way Beyond Better Cellphone Service

5G technology will likely open new doors for content producers and distributors as well. In addition to rearranging and reshaping the way content is created and distributed, 5G also promises to lower operating costs and boost bottom lines. The rollout of 5G has already begun and is accelerating. It behooves everyone to find out where it can fit into your operation and the best way to apply it.

Learn how ‘5th-gen’ wireless tech pairs with broadcasting

By James E. O’Neal TV TECH

We’ve all heard a lot of hype about 5G, the latest wireless broadband communications technology. 5G is real, is rapidly being deployed, and seems destined to become an increasingly important part of the broadcaster’s toolset.

NAB Show is putting 5G in the spotlight with a number of informative sessions tailored to provide information about the technology and its role in both increasing a broadcaster’s ease and agility in covering live events and helping to trim the costs involved.

This very high-speed wireless connectivity brings with it the potential for replacing conventional

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wired (and wireless) linkage to cameras at such outside events as sporting matches, music festivals and parades, reducing capital outlay and storage and maintenance expenses.

5G connectivity may even replace the large TV mobile production trucks with permanent centralized facilities linked wirelessly to large numbers of cameras and audio sources located anywhere from a few miles to a continent away.

With such a sea change stirring, it behooves content producers and broadcasters to learn as much as possible about the nature of 5G and how it may be applied to their endeavors.

5G IS WORTH A LOOK

“5G should be looked at from

several points of view,” said Stan Moote is chief technology officer at the International Trade Association for Broadcast & Media Technology (IABM).. “As the roadmap indicates, COVID-driven adjustments in both working from home and remote production are taking hold, and this means that 5G is becoming a key technology. Remote working means newer methods for collaboration are required and 5G is a clear backhaul contender.

With home networks occasionally crashing, 5G also provides a much higher layer of confidence in connection with protected feeds, IFBs and [remote] control functions.”

Video content is being con-

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34 MONDAY | April 25, 2022 | www.nabshow.com

sumed via smart phones, tablets and similar consumer devices at an astonishing rate and shows no sign of leveling off. A recent study forecasts that within five years 5G will be carrying 62 percent of the world’s smart phone traffic and that an astounding 79 percent of that traffic will be video content.

As more and more content producers and distributers tap into 5G for their distribution, the application of open-source tools will be essential in the development and deployment of services.

A cross-industry organization, the 5G Media Action Group or “5G-MAG,” has been created to facilitate collaboration of all media distribution stakeholders in the deployment of services via 5G. As a particular effort to respond to the need for software, the 5G-MAG Reference Tools project has recently been established. Since its start in late 2021, a steadily growing developer community is committed to create common open-source reference

Aviwest’s PRO460 5G Transmitter for Live Remote Production

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TO LEARN MORE Vidovation’s VidOstream H.265 HEVC SRT Encoder with LAN, Wi-Fi, 4G and 5G Cellular Connectivity

tools to support implementation and interoperability of 5G Media technologies.

“The Internet is being increasingly used by service providers to expand content reach and by users to consume it at anytime, anywhere and on any device,” commented Thomas Stockhammer, Qualcomm’s director of technical standards. “With mobile technologies driving global video consumption, it is paramount to empower the media industry with the adequate tools to access the 5G media platform. Access to open-source tools to support prototyping, trials and possibly even deployments is of utmost relevance. The 5G-MAG Reference Tools development program is now developing the ecosystem of common open-source reference tools to support the implementation and interoperability of 5G Media technologies. “ Mickaël Raulet, chief technology officer at Ateme, discussed the importance of broadcasters learning as much about 5G in connection with TV content delivery.

“Over the last couple of decades, IP technology has transformed our mobile phones into tools to listen to music, store photos, do our banking and much more,” he said. “While the video world is also transforming with IP technology, this transformation is curbed by bandwidth restrictions. 5G promises to change that with higher bandwidth and multi-access edge computing,

transforming the way audiences engage with content and creating new business opportunities for broadcasters.”

ROLLING OUT 5G GEAR

Broadcast equipment manufacturers are already rolling out products for tapping 5G networks, and there should be plenty to see on the show floor.

Samuel Fleischhacker, senior product manager at Aviwest, said, “Our new PRO460 5G transmitter is the next evolution of Aviwest’s flagship PRO bonded-cellular transmitter series for remote and at-home video production. It’s a must-have solution for facilitating live remote production over 5G with the potential for greater mobility, productivity, premium quality and massive savings in operational and capital expenses.”

Also, look for Vidovation’s 5G-enabled encoder/transmitter being displayed at the Aviwest booth. And be sure to stop in at the LiveU exhibit to check their LU300 HEVC encoder for connecting to 5G networks.

Additional exhibitors addressing 5G include AVIWEST, Cisco, Dejero, Fraunhofer-Gesellschaft, HISPASAT, NATE: The Communications Infrastructure Contractors Association, NOVELSAT, Rohde & Schwarz, ST Engineering iDirect, Verizon, Viking Satcom and Vislink Technologies.

5G is destined to be a game changer for everyone, and broadcasters need to get in on the ground floor. l

Attendees can learn more about 5G right on the show floor.

CM|IP & Future of Delivery: The Transformation of Broadcast Media With 5G Deployments Monday, Apr 25 10–10:40 a.m.

W10619 CMIP Debate Theater CM|IP & Future of Delivery Panel Debate 4: A Look at Innovation and Future Trends in the TV Industry Monday, Apr 25 2–2:40 p.m.

W10619 CMIP Debate Theater What’s ATSC 3.0 Got to Do With Web 3.0 and the Metasphere? Or Next Gen TV Beyond 5G/6G Monday, Apr 25 3:15–3:45 p.m.

W6428 Connect Experiential Zone How to Keep Streaming Quality Up and Costs Down When Going Global Monday, Apr 25 3:20–3:40 p.m.

W10619 CMIP Debate Theater CM|IP & Future of Delivery Panel Debate 5: Meeting the Demand for a Content Everywhere Future Monday, Apr 25 4:20–5:00 p.m.

W10619 CMIP Debate Theater 5G Opportunities in Media & Entertainment Tuesday, Apr 26 10:45–11:15 a.m.

W6428 Connect Experiential Zone

4/12/22 12:01 PM

www.nabshow.com | April 25, 2022 | MONDAY 35

PODCASTING

MONETIZATION

Podcasters Ponder What the Rise of Programmatic Means

By Jim Beaugez MIX

When the investigative-journalism podcast “Serial” ushered podcasting into the mainstream in 2015, to the tune of 68 million downloads in its first four months, the “next big thing” for the podcasting industry was already percolating.

Krystina Rubino, general manager of offline marketing at Right Side Up, was working in digital display at the time, right as programmatic advertising was overtaking the online display ad market. Now, she’s seeing the same thing happen with podcasting, where ad revenues have

Frederick Van Johnson

17-48_NAB22_DAY2.indd 35

steadily built over the past decade and are forecasted to eclipse $2 billion in 2023.

“We’re right in the middle of this shift for the industry, where you’re starting to see more outside investment come in,” said Rubino.

“You’re starting to see more monetization from slightly more traditional advertising.”

Those advertisers rely on dynamic ad insertions and programmatic buys more than host-read ads, the dominant form of ad placement in podcasting since its inception.

The shift aligns with increased interest from brand advertisers over direct-response advertisers that traditionally made up the majority of ad spend on podcasts.

Programmatic advertising methods enable publishers to sell advertising space

PHOTO CREDIT: mixetto/Getty Images

Industry leaders on how podcasts are monetized, and how that is quickly changing

in podcasts through a bidding system, which makes the process of targeting listeners more streamlined for brand advertisers. While host-read ads still make up the majority of podcast placements — 56 percent of them in 2020, according

to the Interactive Advertising Bureau — dynamically inserted ads capture the lion’s share of revenue, up from 48 percent of total ad revenue for the channel in 2019 to 67 percent in 2020.

The absence of reliable metrics

As you’re streaming through the West Hall stop by and see us!

Race our cars around our on-booth race track, view the latest end-to-end live streaming demonstration and talk to our experts about how you can deliver live streaming without limits! You may even win a prize with our ‘Track the Ads’ challenge!

We look forward to seeing you at Booth #W2800!

4/12/22 12:01 PM

36 MONDAY | April 25, 2022 | www.nabshow.com

The shift aligns with increased interest from brand advertisers over direct-response advertisers that traditionally made up the majority of ad spend on podcasts. with traditional podcasting advertising, Rubino said, has made the medium a tougher sell for brand buyers who want to buy and successfully run campaigns. “That is starting to change,” she said, “and that is basically the intent behind the shift to programmatic in the industry, to make the inventory more accessible to brand buyers.”

Not all advertisers are keen on buying automated ad placements in podcasts, though. The host-read ad, usually baked into the episode

Industry

EXPERTS Say...

DAN FRANKS PRESIDENT PODCAST MOVEMENT

“Programmatic is a huge conversation piece right now in podcasting. If an advertiser buys an ad on an episode of your show, any time people download that show, they’re going to hear your host-read ad for that advertiser. With programmatic, they can insert what could be a host-read ad or it could be a pre-produced commercial that sounds much more like a traditional radio commercial.”

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for the life of the podcast, carries with it an authenticity some advertisers worry they will lose with programmatic advertising methods. Having their ad removed after a predetermined number of listens so the space can be resold doesn’t always sit well, either.

“A lot of advertisers don’t love that because they like the idea of their ad going into a show and being there forever,” explained Dan Franks, president at Podcast Movement. “They also feel a bit of authenticity is lost when automation comes into play, like with anything else in life. Once it becomes automated it feels less personal, less authentic, and they feel like those types of ads lose effectiveness for the advertisements they’re buying. They love when the ad is naturally layered in there in [the host’s] voice and tone; they feel like it’s most effective.”

Losing the voice of the trusted podcast host is only part of the issue, though. Relying on algorithms to choose which ads appear in which podcasts and when can lead to unintended placements, and even some instances where the product or service advertised conflicts with the content of the podcast itself.

“We’ve had issues where adult products are advertised on shows geared for children or shows about climate change might get an advertisement from an ExxonMobil or Shell Oil,” Franks said, “that they would never choose as an advertiser on their show because it might fundamentally go against the content of their show. So, we’re not only seeing, ‘This doesn’t feel like a personable ad anymore,’ [but also,] ‘The ads this computer is shoving into my show are not ads I would want there in the first place.’”

Fighting the march of technology is usually a losing battle, though, and programmatic adver-

TO LEARN MORE Show attendees can learn more about 5G right on the show floor.

Krystina Rubino

tising with dynamic placements will likely continue to press onward as it has in digital display, which uses 95 percent programmatic placements today.

Frederick Van Johnson, CEO and editor-in-chief of “This Week in Photo,” said technology is already well entrenched in the medium in other ways. Producers can create professional shows using SaaS cloud tools such as Riverside.fm, while editing a text tran-

The host-read ad, usually baked into the episode for the life of the podcast, carries with it an authenticity some advertisers worry they will lose with programmatic advertising methods. script instead of the waveforms themselves through apps like Descript, which takes the concept a step further by using deep-fake technology to allow users to correct misspoken words and phrases simply by retyping them, said the host of the long-running photography centric podcast.

“The tools have matured, and processor speeds have matured, to the point where it’s now feasible to build a broadcast-quality show with software-as-a-service tools in the cloud,” he said. “This was science fiction a few years ago, and it’s here now. It’s mature.” l

The Creative Solopreneur Today, April 25 9:30–10:45 a.m.

(Requires Post Production World registration) Tell Great Stories and Pass the Mic: Creating Premium Podcast Content The Spoke Media Way Today, April 25 12:35–1:35 p.m.

(Requires an NAB Show Conference Pass) Podcast Production Management Extravaganza Today, April 25 3:15–3:45 p.m.

(Open to registered attendees) NFT’s for Photography and Motion Today, April 25 5–6:15 p.m.

(Requires Post Production World registration) The Reality of the Virtual Creator Tues., April 26 9:30–10:15 a.m.

(Requires Post Production World registration) Podcast Networks: The Wild West of Podcasting Tues., April 26 10:35–11:35 a.m.

(Requires an NAB Show Conference Pass) Programmatic in Podcasting – Positive or Negative?

Tues., April 26 1:45–2:15 p.m.

(Open to registered attendees) Programmatic in Podcasting – Positive or Negative?

Tues., April 26 1:45–2:15 p.m.

(Open to registered attendees)

4/12/22 12:01 PM

We Are Local. National. Personal.

We Are Broadcasters.

Communities turn to their local television and radio broadcasters for news they can trust, a lifeline during emergencies and a helping hand in times of need.

Broadcasters report the stories that impact our communities and our world.

Help NAB share your community service with policymakers. Send your public service stories to WeAreBroadcasters@nab.org.

#WeAreBroadcasters

38 MONDAY | April 25, 2022 | www.nabshow.com

NEXTGEN TV

EXPANSION CONTINUES

PHOTO CREDIT: Malte Mueller/Getty Images

Madeleine Noland

NextGen TV Rollout Brings Better Viewing and New Opportunities

Anne Schelle

‘Broadcasters are making tremendous progress’

By James E. O’Neal TV TECH

ATSC 3.0, a new broadcast television transmission standard also known as NextGen TV, is on the air in a growing number of U.S. markets, with 3.0 receivers entering homes in ever-increasing numbers and consumers being made aware of the benefits this new form of broadcasting brings.

Whether a station is just considering a move to a NextGen TV

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platform or already has its toe in 3.0 waters, there’s no better way to find out about the possibilities that come with NextGen TV than being on the show floor.

“ATSC is proud to anchor the Future of Delivery pavilion in the newly opened West Hall of the Las Vegas Convention Center,” said Advanced Television Systems Committee (ATSC) President Madeleine Noland.

“We’ve got even more space to highlight the ways that ATSC is

helping broadcasters to shape their future.”

In addition to information about ATSC 3.0 rollouts and exhibitors of NextGen TV products, ATSC booth visitors can also view representative NextGen TV receivers, set-top converters, NextGen TV USB dongles and gateways.

TECH DEMOS

Pearl TV, a consortium of broadcasters and tech companies

Dave Folsom

created to perform ATSC 3.0 testing and to study its marketing opportunities, is also represented at the ATSC booth.

“Broadcasters are making tremendous progress as NextGen TV services are launched throughout the country, with nearly 50 cities now offering ATSC

4/12/22 12:01 PM

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40 MONDAY | April 25, 2022 | www.nabshow.com

3.0 broadcasts and our effort is squarely focused on lighting up 30+ more markets through the end of the year,” said Pearl TV Managing Director Anne Schelle.

“Simultaneously, stations are launching an interactive web TV platform that gives broadcasters the ability to offer personalized on-demand content like news, weather and emergency alerts.

Pearl TV will be showcasing stations’ applications on the RUN3TV interactive platform.”

EXPERTS Say...

ANNE SCHELLE PEARL TV

In addition to the interactive demonstration with multiple 3.0 “air chains” created by Heartland

Experience NextGen TV Close Up in the ‘Experiential Zone’ NextGen TV in operation is being featured in a special exhibit presented by Heartland Video Systems (HVS) in the CONNECT Implementation Experiential Zone with three “end-to-end” 3.0 signal chain demos. “’NextGen Now’ will help broadcasters understand the challenges in implementing the standard in local markets,” said Dennis Klas, HVS president and owner. “HVS will provide expert real-world guidance on implementing NextGen Dennis Klas workflows [and] will showcase broadcast equipment from multiple manufacturers and explain their function within the air chain.”

Look for these configurations: • Synamedia encoding followed by a Triveni Digital ROUTE/ Gateway feeding a Rohde & Schwarz exciter and displayed on a Samsung TV • Ateme encoding with connection to an Enensys ROUTE/Gateway followed by a TeamCast exciter and displayed on an LG Electronics receiver • Harmonic encoding coupled to a DigiCAP ROUTE/Gateway and a GatesAir exciter with display on a Sony set “TitanTV is providing Electronic Service Guide (ESG) Data Service for these air-chain demos,” said Klas. “This provides a more image-driven guide data experience when used with a broadcast app.” He added that the TV receivers in the demos will be equipped with Pearl TV’s RUN3 app, and this, along with the ESG guide data, provides “a more dynamic and interactive experience for the consumer.” l

17-48_NAB22_DAY2.indd 40

Industry

Broadcasters are making tremendous progress as NextGen TV services are launched throughout the country ... and our effort is squarely focused on lighting up 30+ more markets through the end of the year.”

Video Systems being shown in the NextGen Now exhibit area, the NAB’s Futures Park features a scalable video coding exhibit that demonstrates an important attribute of ATSC 3.0 — the ability to deliver different levels of service through a combination of broadcast and broadband transmission.

HARDWARE AND SOFTWARE

Designers and manufacturers have been crafting new products for ATSC 3.0 applications and many of these are featured in the exhibit halls.

“This year is an evolutionary year for NextGen TV,” said Dave Folsom, engineering lead for the Pearl TV group. “A lot of NextGen TV test and terminal equipment that has been available evolved from DVB T2 equipment modified for ATSC 3.0. Now they’re developing equipment aimed specifically at ATSC 3.0. I believe that encoder manufacturers will be showing evolutions in their software as well.”

Well-represented on the show floor are new models from antenna and transmitter manufacturers tailored specifically for 3.0 applications, especially in the area of single frequency networks. l

MIKE KRALEC VP OF TECHNICAL OPERATIONS AND DEPUTY CTO SINCLAIR BROADCAST GROUP

“Viewers want a dynamic, engaging content experience and one of the greatest strengths of the ATSC 3.0 standard is just that. A broadcaster can now engage with the viewer through an interactive broadcast application, delivering relevant local information on-demand and critical emergency alerts with detailed images and video.”

MIKE CORL SENIOR VP OF EMERGENT TECHNOLOGY DEVELOPMENT TRIVENI DIGITAL

“With NextGen TV, broadcasters have an amazing opportunity to deliver revenue-enhancing services, including datacasting.”

STEVE DOLL PRESIDENT AND CO-FOUNDER D2D

“To be successful, ATSC 3.0 must be more than a better way to transmit traditional OTA linear programming. Key to ATSC 3’s success are Broadcaster Apps providing OTA viewers with a first-ever, enriched, interactive viewer experience, as well as a generation of new revenue streams for broadcasters.”

4/12/22 12:01 PM

Special Thanks From NAB

The National Association of Broadcasters would like to thank the following partners for their contributions to the state-of-the-art studio in NAB’s new headquarters in Washington, D.C. To learn more, visit nab.org/nabstudio.

42 MONDAY | April 25, 2022 | www.nabshow.com

EXPERIENTIAL ZONES SCHEDULE

MONDAY

CONNECT

CREATE

10:30–11 a.m.

Designing a Modern Production Facility Doesn’t Have to be a Science Project Producing Hybrid Events

10:30–11 a.m.

TBD

10–10:30 a.m.

11–11:30 a.m.

11:30 am–12 p.m.

NABiQ: Build the perfect production crew of the future NABiQ: Conceptualize a metaverse content pitch to secure funding NABiQ: Map out the ultimate production workflow for a hybrid world NAB Cine Consortium Presents: Cinematic MultiCam Performance Captures Canon USA Inc. Edit Faster in Davinci Resolve

11:30 am–12 p.m.

TBD

10:30 am–12 p.m.

10:30 am–12 p.m.

10:30 am–12 p.m.

10:45–11:15 a.m.

1–1:30 p.m.

Paramount Global’s CloudFirst Mindset: Transforming Video Content Production Advanced Image Robotics

1:30–2 p.m.

TBD

1–1:30 p.m.

2:30–3 p.m.

Essential Color Correction in Premiere Pro Empowering Story: How ICVFX Redefines the Possible iRomaScents Roundtable: What do I need to know about Immersive Technologies?

The Future of Virtual Production

2:30–3 p.m.

TBD

3–3:30 p.m.

Bringing Stills To Life or I Like To Move It, Move It!

1:45–2:15 p.m.

1:45–2:15 p.m.

2–2:30 p.m.

2:15–3:15 p.m.

3:15–3:45 p.m.

3:15–3:45 p.m.

3:30–4 p.m.

Podcast Production Management Extravaganza Essential Color Correction in Final Cut Pro TBD

4–4:30 p.m.

NABiQ: Build the perfect production crew of the future NABiQ: Conceptualize a metaverse content pitch to secure funding NABiQ: Map out the ultimate production workflow for a hybrid world Edit Faster in Final Cut Pro

4–4:30 p.m.

TBD

3:30–5 p.m.

3:30–5 p.m.

3:30–5 p.m.

4–6 p.m.

4:30–5 p.m.

PERG 2022 General Membership Meeting TBD

4–4:30 p.m.

ATSC 3.0 Datacasting – Real experiences and future potential of education and public safety deployments and use cases How to broadcast Zoom via Multicast NABiQ: Create the distribution and delivery teams’ manifesto for the next 5 years NABiQ: Design the streaming platform of the future NABiQ: Develop the toolkit of the future for a content delivery engineer Triveni Digital 2021 PILOT Innovation Challenge Winner: Northeastern University – Reinventing Local TV News, Prioritizing Animation and Graphics What’s Up with the Metaverse – A Film School’s Approach to Immersive Engagement Roundtable: What Broadcast Technology Investments should I make today?

Grass Valley Future of CDN: Attaining Unprecedented Scale and Performance with ATSC 3.0 and Peer-Assisted Delivery Synamedia Strategies and the Move Away from Cookies and Third-party Identifiers How to Build a Compact LIVE Streaming Kit Maximizing AI in Video Roundtable: How do I evolve my Video Streaming Strategy?

How to Evaluate SMB Implementations for Fast and Reliable Media & Entertainment Content Creation Rohde & Schwarz Developing for ATSC 3.0 Through the PILOT NextGen TV Fellowship at Howard University What’s ATSC 3.0 Got to Do with Web 3.0 and the Metasphere? or Next Gen TV Beyond 5G/6G The Power of the Panel– Exploring Virtual Production ATEME NABiQ: Create the distribution and delivery teams’ manifesto for the next 5 years NABiQ: Design the streaming platform of the future NABiQ: Develop the toolkit of the future for a content delivery engineer The Power of the Panel– Exploring Virtual Production Advancements in Addressable Advertising Intel Corporation

4:30–5 p.m.

SpectraRep

NextGen Now

NextGen Now Happy Hour

NextGen Now

Inspiration Theater

10–10:30 a.m.

Post Production Corner ARRI and Fuse Virtual Production Stage

10:30–11 a.m.

Innovation Theater Innovation Theater

10:30 a.m.– 12 p.m.

10:30 a.m.– 12 p.m.

10:30 a.m.– 12 p.m.

Innovation Theater

11–11:30 a.m.

Inspiration Theater

11:30 a.m.– 12 p.m.

Innovation Theater Post Production Corner ARRI and Fuse Virtual Production Stage

11:30 a.m.– 12 p.m.

1–2 p.m.

Inspiration Theater

1–1:30 p.m.

Innovation Theater ARRI and Fuse Virtual Production Stage

1–1:30 p.m.

Post Production Corner

1:30–2 p.m.

Inspiration Theater Innovation Theater Implementation Inspiration Theater ARRI and Fuse Virtual Production Stage FMC Apple Training, Certification and Innovation Theater Inspiration Theater Post Production Corner ARRI and Fuse Virtual Production Stage Innovation Theater Innovation Theater Innovation Theater Post Production Corner FMC Apple Training, Certification and Innovation Theater Inspiration Theater ARRI and Fuse Virtual Production Stage

1:45–2:15 p.m.

1:45–2:15 p.m.

2–2:30 p.m.

2:15–3:15 p.m.

2:30–3 p.m.

2:30–3 p.m.

3–3:30 p.m.

3:15–3:45 p.m.

3:15–3:45 p.m.

3:30–4 p.m.

3:30–5 p.m.

3:30–5 p.m.

3:30–5 p.m.

4–4:30 p.m.

4–4:30 p.m.

5–6 p.m.

17-48_NAB22_DAY2.indd 42

Inspiration Theater Innovation Theater Innovation Theater Innovation Theater Innovation Theater NextGen Now Innovation Theater

Inspiration Theater Implementation Inspiration Theater Innovation Theater NextGen Now Inspiration Theater Remote Production Corner Innovation Theater Implementation Inspiration Theater NextGen Now Inspiration Theater Inspiration Theater Remote Production Corner NextGen Now Innovation Theater Innovation Theater Innovation Theater Remote Production Corner Inspiration Theater Innovation Theater

4/12/22 12:01 PM

www.nabshow.com | April 25, 2022 | MONDAY 43

EXPERIENTIAL ZONES SCHEDULE

MONDAY

CAPITALIZE 10:15–10:45 a.m.

10:30–11 a.m.

10:30 a.m.– 12 p.m.

10:30 a.m.–12 p.m.

10:30 a.m.– 12 p.m.

INTELLIGENT CONTENT

The Fan Powered Economy

Inspiration Theater

10:30–11 a.m.

Intelligent “Standards” Across the M+E Supply Chain

Inspiration Theater

Shift Right Testing – Test Ops | How much? How to?

Innovation Theater

10:30–11 a.m.

AI Solutions for Media in the Metaverse

Innovation Theater

11–11:30 a.m.

Scaling Production Services in the Cloud

Inspiration Theater

NABiQ: Produce the ultimate local audience checklist to audit the Innovation Theater value contained in local data NABiQ: Construct the perfect commercial innovation hub Innovation Theater for your organization NABiQ: Invent a new advertising offer built on the knowledge of your Innovation Theater audience to sell to advertisers

11:30 a.m.– 12 p.m.

1–1:30 p.m.

11 a.m.–12 p.m.

XR in Sports Broadcasting, Driving New Revenue

Inspiration Theater

1–1:30 p.m.

11:15–11:45 a.m.

Ateliere Creative Technologies

Innovation Theater

1:45–2:15 p.m.

1–1:30 p.m.

piano

Inspiration Theater

1–1:30 p.m.

Bringing Your Content to Life With Data

Innovation Theater

2:30–3 p.m.

Unlocking the Future of Local OTT Advertising: And How to Monetize It Inspiration Theater

1:45–2:15 p.m.

1:45–2:15 p.m.

Virtually Possible | How Virtual Production is Changing the Way We Market

2:15–3:15 p.m.

Roundtable: Web3 Strategy

Innovation Theater

2:30–3 p.m.

Grass Valley

Inspiration Theater

2:30–3 p.m.

Futuri

Innovation Theater

Five Ways to Speed Up Auto Prospecting

Inspiration Theater

CatapultX

Innovation Theater

3:15–3:45 p.m.

3:15–3:45 p.m.

2:15 - 3 p.m.

Scaling Subscriber Insights: How Experience Testing Drives Greater Monetization Mastering the Digital Feedback Loop – The Right Content to the Right Viewer at the Right Cost Metadata as a Platform or the Role of Media Metadata in Modern Data Driven Workflows Intelligent Conversations: What Does Intelligent Content Mean for Connecting With Your Audience?

Intelligent Networking: What Does Intelligent Content Mean for Connecting With Your Audience?

Innovation Theater

Inspiration Theater

Innovation Theater

Inspiration Theater

Implementation

Verimatrix Inc.

Inspiration Theater

3:45–4:15 p.m.

AnyClip Inc.

Innovation Theater

4:15–4:45 p.m.

Streaming's Next Act

Inspiration Theater

Improving Video Quality with AI

Innovation Theater

4:30–5 p.m.

CREATE EXPERIENTIAL ZONE

CONNECT EXPERIENTIAL ZONE

NABiQ: Produce the ultimate local audience checklist to audit the Innovation Theater value contained in local data NABiQ: Construct the perfect commercial innovation hub Innovation Theater 3:30–5 p.m. for your organization NABiQ: Invent a new advertising 3:30–5 p.m. offer built on the knowledge of your Innovation Theater audience to sell to advertisers 3:30–5 p.m.

4–4:30 p.m.

Futuri

Inspiration Theater

4–4:30 p.m.

How to turn subscribers into loyal fans and maximize customer lifetime cycle

Innovation Theater

5–6 p.m.

17-48_NAB22_DAY2.indd 43

CAPITALIZE EXPERIENTIAL ZONE

INTELLIGENT CONTENT EXPERIENTIAL ZONE

CAPITALIZE Happy Hour

4/12/22 12:01 PM

44 MONDAY | April 25, 2022 | www.nabshow.com

2022 NAB SHOW

EXHIBITOR LISTINGS COMPANY NAME BOOTH NUMBER [E³] ENGSTLER ELEKTRONIK ENTWICKLUNG GMBH...................................... C6535 16X9, INC........................................................... C7932 1CAPAPP........................................................... N6439 24I..................................................... WYNN SALON - C 3PLAY MEDIA..................................................... N5335 3WAY SOLUTIONS SA........................................ W8516 5TH KIND.......................................................... W4531 6P COLOR INC................................................... W5235 7MOUNTAINS..................................................... N2038 8K ASSOCIATION............................................... W5237 A.C. LIGHTING INC.............................................. C7141 AADYNTECH....................................................... C8521 ABE ELETTRONICA SRL...................................... W4722 ABELCINE........................................................... C6749 ABONAIR............................................................ C6240 ABR INDUSTRIES............................................... W3914 ABSEN INC......................................................... C8915 ACCEDO BROADBAND NORTH AMERICA, INC................................... W10129 ACCENTURE LLP............... N5930C, N5931C, W4234MR ACCUWEATHER, INC........................................... N4506 ACEBIL/EAGLE AMERICA SALES.......................... C9312 ACTIVE STORAGE, LLC........................................ N5209 ACTUS DIGITAL................................................... C2331 ADCELLERANT LLC............................................. N6437 ADDER TECHNOLOGY........................................ W3008 ADOBE SYSTEMS.............. N236MR, N238MR, N338MR, N3404, N438MR, REN VIP - C ADORAMA.......................................................... C1331 ADORAMA.......................................................... C1431 ADVANCED IMAGE ROBOTICS............................. N830C ADVANCED MICROWAVE COMPONENTS............. W7909 AEQ, S.A............................................................ C3205 AFFINITYX.......................................................... N1039 AGORA.............................................................. W8201 AHEADTEK....................................................... C10709 AIC INC.............................................................. N5310 AIDA.................................................................. C3327 AIR COMM RADIO............................................... C5728 AJA VIDEO SYSTEMS....................................W4230MR, W4231MR, W4331MR ALADDIN CO.,LTD............................................. C10620 ALC NETWORX GMBH......................................... C6932 ALDEA SOLUTIONS............................................ W9700 ALDENA TELECOMUNICAZIONI S.R.L................... W7723 ALEON INC....................................................... C10310 ALIVE TELECOM................................................. W6612 ALLEN & HEATH.................................................. C9816 ALLEN AVIONICS, A DIVISION OF STAR HYDRAULICS.................. C10608 ALLEN MEDIA GROUP...................... ENCORE SALON - L ALLIED BROADCAST GROUP............................. C10021 ALPHA NETWORKS..................W10234CMMR, W10815 ALPHAOTT........................................................ W9825 ALT SYSTEMS........... WESTGATE 28TH FLOOR SUITE - D ALTEON.IO.......................................................... N5737 ALTRONIC RESEARCH INC.................................. W6126 AMAGI MEDIA LABS PVT. LTD............................. W4706 AMAZON WEB SERVICES....................................W3500, W4330MR AMBIENT RECORDING GMBH.............................. C6734

17-48_NAB22_DAY2.indd 44

AMD- ADVANCED MICRO DEVICES, INC........................... N1015, W8134 AMERICAN AMPLIFIER TECHNOLOGIES............... W7910 AMERICAN GRIP INC........................................... C6143 AMERICAN RADIO RELAY LEAGUE (ARRL)................. LN1 ANHUI GENIATECH INC., LTD............................... W4409 ANIMATIONXPRESS.COM INDIA PVT.LTD.............. N7319 ANYCLIP INC.......................................W2710, W3625C ANYWAVE COMMUNICATION TECHNOLOGIES...... W8105 APANTAC LLC..................................................... N5406 APG MEDIA........................................................ C6127 APPEAR AS...........................................W4631, W8917 APRICORN.......................................................... C5342 APUTURE........................................................... C6113 ARC XP............................................................. W4507 ARCHIWARE GMBH............................................... N625 ARISTA NETWORKS............................................. C1710 ARKONA TECHNOLOGIES GMBH......................... W9034 ARRAKIS SYSTEMS............................................. N2338 ARRI................................................. C7925, N118LMR ARTEL VIDEO SYSTEMS....................................... C2128 ASC-AMERICAN CINEMATOGRAPHER................ C11719 ASCENTIUM CAPITAL LLC................................... C3131 ASSOCIATED PRESS/AP ENPS............................. C1714 ASTERA LED TECHNOLOGY GMBH....................... C9608 ASTRODESIGN, INC............................................. C8119

ASUS GLOBAL PTE. LIMITED................................. N618 AT&T BUSINESS.....................................W8400, W8736 ATBIS CO., LTD................................................. C10319 ATCI................................................................... N5907 ATECH FLASH TECHNOLOGY, INC......................... N7107 ATEME.............................................W3512, W4930MR ATEMPO............................................................... N431 ATEN TECHNOLOGY INC...................................... N5033 ATLANTA DTH, INC............................................. W7903 WESTGATE CENTRAL TOWER - C ATLAS LENS CO..................................C204LMR, C6543 ATOMOS............................................................ C9526 ATOS....................................................W4630, W9022 ATSC 3.0 KOREAN ALLIANCE............................. W5737 ATTO TECHNOLOGY............................................ N4814 AUDACY........................................ ENCORE PARLOR - A AUDINATE, INC.................................................... C7416 AUDIO DESIGN DESK........................................... C9818 AUDIOSCIENCE, INC............................................ N4031 AUDIO-TECHNICA U.S., INC................................. C5826 AUDIOTONIX....................................................... C8008 AUDIOVIDEO BRANDBUILDER..................C7221, W3813 AVATEQ CORP.................................................... W7824 AVECO............................................................... N1421 AVER INFORMATION INC...................................... C4514 AVGEAR........................................................... C10611

4/12/22 12:01 PM

www.nabshow.com | April 25, 2022 | MONDAY 45

2022 NAB SHOW

EXHIBITOR LISTINGS AVID TECHNOLOGY INC.................................. N115LMR AVIWEST & HAIVISION..... W4333MR, W4334MR, W5205 AV-LEADER CORPORATION................................. C6515 AVOCENT - A VERTIV BRAND............................... N3417 AVT AUDIO VIDEO TECHNOLOGIES GMBH............. C6632 AXEL TECHNOLOGY............................................ N4631 AXIMMETRY TECHNOLOGIES............................. N1431C AXINOM.......................................................... W10506 AXLE AI.............................................................. N4816 B&H PHOTO, VIDEO, PRO AUDIO........................ C10916 B&H-THE STUDIO.............................................. C10516 BACKBLAZE....................................................... N5125 BAND PRO FILM & DIGITAL, INC........................... C8232 BARBIZON LIGHTING COMPANY........................... C7012 BARNFIND TECHNOLOGIES AS............................. C7121 BARON............................................................... N3325 BAVARIAN PAVILIONBAYERN INTERNATIONAL C/O BAVARIAN PAVILION................................. C6633, C6635, C6637 BB&S LIGHTING.................................................. C5046 BBRIGHT........................................................... W7519 BEACHFRONT MEDIA......................................... W2515 BEAM DYNAMICS............................................ W7135C BEBANJO.......................................................... W4113 BEBOB FACTORY GMBH...................................... C6537 BETERRIFIC, CORP.............................................. N6325 BIRDDOG............................................................ C5021 BIRGER ENGINEERING, INC.................................. C6144 BITCENTRAL INC................................................ W5100 BITMOVIN................................W10109, W10433CMMR BLACK BOX....................................................... W4117 BLACKBIRD....................................................... W2514 BLACKMAGIC DESIGN........................................... N302 BLOCKBATTERY.................................................. C8622 BLONDER TONGUE LABORATORIES.................... W8622 BLT ITALIA SRL................................................... C4212 BLUBRRY PODCASTING BY RAWVOICE................ W8526 BLUESHAPE ENERGY INSIDE................................ C5146 BOLAND COMMUNICATIONS............................... C3616 BOLIN TECHNOLOGY........................................... C3623 BRAINSTORM..................................................... N2608 BRIDGE TECHNOLOGIES..................................... W5604 BRIGHTCOVE..................................................... W9332 BROADCAST BIONICS............................. N3935, C8510 BROADCAST INDIA............................................. W2825 BROADCASTERS GENERAL STORE.......... C2427, C2628 BROADPEAK...................................................... W9706 BROADVIEW SOFTWARE INC............................... N3720 BROMPTON TECHNOLOGY.................................. N7125 BRONINE.......................................................... C10312 BTESA - BROAD TELECOM................................. W5826 BURK TECHNOLOGY........................................... W6014 BUSINESS FRANCE................... W7418, W7518, W7717 BZBGEAR............................................... C3115, N2619 CABLECAST COMMUNITY MEDIA

BY TIGHTROPE MEDIA SYSTEMS.... REN EXHIBITOR - A CALREC AUDIO LTD............................................. C8008 CAMADEUS FILM TECHNOLOGIES, INC................. C6537 CAMERATOOLS LTD.......................................... C11119 CANARE CORPORATION OF AMERICA.................. C7922 CANON U.S.A., INC............C201LMR, C202LMR, C4432 CAPELLA SYSTEMS, LLC.................................... W4214

17-48_NAB22_DAY2.indd 45

CAPGEMINI........................................................ W9312 CAPITALIZE EXPERIENTIAL ZONE......................... N5728 CARL ZEISS SBE, LLC......................................... C7718 CARRICK-SKILLS............................................... W7818 CAST.ERA.......................................................... W8132 CASTLABS INC................................................ W10806 CASTUS............................................................ W2508 CATAPULTX...................................................... N5928C C-COM SATELLITE SYSTEMS INC........................ W4412 CEDAR AUDIO LTD.............................................. C4419 CEEBLUE........................................................... W8900 CHEQROOM....................................................... C7737 CHIMERA LIGHTING............................................ C4746 CHROSZIEL GMBH.............................................. C6732 CHYRON............................................................. N2613 CINEDECK.......................................................... N5016 CINEGY.............................................................. C3931 CINEMA DEVICES................................................ C5726 CINEO LIGHTING................................................. C8912 CINERAID........................................................... N5010 CINESYS INC..............WESTGATE 28TH FLOOR SUITE - B CINNAFILM........................................................ W3912 CIPHERTEX DATA SECURITY................................ N4737 CIRCLE COMPUTER RESOURCES........................ W6000 CISCO.......................................W10134CMMR, W9722 CLARK WIRE & CABLE......................................... C6425 CLEAR-COM....................................................... C6908 CLEENG............................................................ W9507 CM|IP MEETING ROOM........................... W10629CMMR CM|IP STUDIO.................................................... W9003 CM|IP STUDIO MEETING ROOM.............. W10628CMMR CMOTION GMBH................................................. C6538 COAST TO COAST TOWER SERVICE, INC............. W5926 COAX CONNECTORS LTD.................................... C3020 COBALT DIGITAL INC........................................... N3713 CODEMILL......................................................... W5411 CODEX/PIX...........................................REN DELUXE - C COHERENT LOGIX, INC....................................... W8914 COLORSPACE..................................................... C6625 COMCAST TECHNOLOGY SOLUTIONS.................................. ENCORE SALON - K COMMSCOPE.................................................... W7700 COMMTIA.......................................................... W7404 COMREX............................................................ C3024 COMTECH TELECOMMUNICATIONS.................... W5902 COMTOYOU........................................................ C7525 CONNECT EXPERIENTIAL ZONE.......................... W6428 CONTENTWISE................................................ W10130 CONTINENTAL ELECTRONICS CORPORATION...... W4322 CONVIVA..............................................WYNN SALON - I CORALBAY.TV................................................... N2031A CORE SWX......................................................... C5623 CORESITE.......................................................... W8203 COVATIC............................................................. N1732 CP CASES INC.................................................... C6415 CPI.................................................................... W7009 CREAMSOURCE.................................................. C6540 CREATE IMPLEMENTATION ZONE......................... C8626 CREATE INNOVATION ZONE....................... N730, C5646 CREATIVE DIMENSIONS....................................... C3626 CREATIVE SOLUTIONS, INC............................. N212LMR

CRENOVA SYSTEMS CO., LTD............................ C10422 CROWN CASTLE.................... W8626, WYNN SALON - B CRYSTAL VISION LTD........................................... C4415 CUESCRIPT......................................................... C8923 CYANVIEW.......................................................... C7724 D2 MOTION........................................................ C7736 D2D TECHNOLOGIES.......................................... W9014 DAG WORLDWIDE LLC........................................ N4638 DALET.............................. C4245MR, C4247MR, C4423 DATA EXPEDITION, INC.................................. W4934MR DATACORE SOFTWARE....................................... N7035 DATAVIDEO CORPORATION.................................. N4120 DAVICOM, A DIVISION OF COMLAB INC............... W6125 DB ELETTRONICA TELECOMUNICAZIONI S.P.A...... N3931 DEDOLIGHT - DEDO WEIGERT FILM GMBH........... C6532 DEEPBRAIN AI INC............................................... C2627 DEITY MICROPHONES......................................... C6413 DEJERO............................................................ W2722 DEKTEC............................................................. W7809 DELL TECHNOLOGIES......................................... N4413 DELTA DIGITAL VIDEO......................................... W6614 DELTA MECCANICA S.R.L................................... W5209 DELTACAST........................................................ N4825 DENSITRON........................................................ C7418 DEPTHEN........................................................... C7527 DESISTI USA - I-LIGHT USA, CORP........................ C8512 DEXXXON DIGITAL STORAGE, INC........................ N7316 DH ANTENNA...................................................... OE223 DIELECTRIC....................................................... W7017 DIGICO............................................................... C8008 DIGIGRAM DIGITAL.............................................. N2238 DIGILED LLC....................................................... C4236 DIGITAL ALERT SYSTEMS................................... W8617 DIGITAL ANARCHY............................................... N4806 DIGITAL BROADCAST............................................ N325 DIGITAL ELEMENT.............................................. W9725 DIGITAL NIRVANA, INC........................................ W3509 DIGITAL VIDEO GROUP, INC.................................. C4235 DIGITALGLUE...................................................... C4442 DIZPLAI.............................................................. N2032 DJB RADIO SOFTWARE....................................... N3231 DOLBY LABORATORIES...................................... W8732 DOLBY LABORATORIES...................................... W8734 DOMO BROADCAST SYSTEMS........................... W7822 DONGGUAN FILMSPIDER CULTURAL COMMUNICATIONS CO., LTD.......................... C10124 DPA MICROPHONES............................................ C8609 DREAM CHIP TECHNOLOGIES GMBH.................... C7222 DREAMWALL...................................................... C7528 DS BROADCAST, INC......................................... C10321 DTV INNOVATIONS............................................. W9211 DUNA LABS SL................................................. C10120 DVEO................................................................ W2605 DYNATRON CORPORATION................................. W2817 EARTEC.............................................................. C3831 EASYBROADCAST.............................................. W7719 ECHOSTAR SATELLITE SERVICES L.L.C............... W5526 EDGECAST................. W9334, W9632, W9634, W9636, WYNN - SALON CONFERENCE - D EDITSHARE......................................................... N3008 EEG AI-MEDIA..................................................... N5509 EGATEL............................................................. W7913

4/12/22 12:01 PM

46 MONDAY | April 25, 2022 | www.nabshow.com

2022 NAB SHOW

EXHIBITOR LISTINGS EIZO INC............................................................. N6331 EKT................................................................. W10103 ELBER SRL......................................................... N3235 ELECARD.......................................................... W5216 ELECTRO ELECTRONIC BRAZIL............................ N5214 ELECTRO-VOICE................................................. C6108 ELEMENTS......................................................... N5217 ELUVIO....................... WYNN - SALON CONFERENCE - C EMAM, INC........................................................ W4109 EMBRACE.......................................................... W7517 EMERGENT VISION TECHNOLOGIES..................... C9415 ENCO SYSTEMS, INC........................................... N5625 ENENSYS TEAMCAST INC................................... W4509 ENHANCED DIGITAL........................................... W4112 EPIPHAN VIDEO.................................................. C9917 ERECA............................................................... C6610 ERI-ELECTRONICS RESEARCH, INC..................... W6505 ETL SYSTEMS LTD............................................. W6205 EUROTEK S.R.L................................................... C1422 EUTELSAT......................................................... W6200 EVENTIDE, INC.................................................... N1515 EVENTUALL........................................................ C1722 EVERGENT, INC.................................................. W4106 EVERTZ.............................................................. N5907 EVS.................................................................... N2625 EXIR BROADCASTING......................................... W8326 EXPLORER INC................................................... W3915 EZDRM............................................................ W10812 FACILIS TECHNOLOGY, INC.................................. N1225 FEMA INTEGRATED PUBLIC ALERT AND WARNING SYSTEMS (IPAWS)........... N205LMR, N7106 FIILEX................................................................. C5042 FILECATALYST BY HELPSYSTEMS....................... W2718 FILES.COM........................................................ W8213 FILM AND DIGITAL TIMES.................................... C6244 FILM DEVICES..................................................... C6806 FILMFABRIEK...................................................... N1416 FINCONS GROUP AG........................................ W10105 FIRSTLIGHT MEDIA.......................... ENCORE SALON - E FIS BLUE INC.................................................... C10408 FLANDERS SCIENTIFIC, INC................................. C5323 FLASH TECHNOLOGY......................................... W5317 FLETCHER CONSULTING...................................... C5729 FLIPFLOP SYSTEMS........................................... W3812 FLORICAL SYSTEMS........................................... N1525 FLOWICS........................................................... W9726 FLUOTEC / GTM INC......................................... C10708 FOR-A.............................................. C5250MR, C5408, WESTGATE 28TH FLOOR SUITE - A FORECAST CONSOLES........................................ C9308 FOTODIOX PRO................................................... C8908 FRAME.IO........................................................... C9520 FRAUNHOFER-GESELLSCHAFT............................ C3926 FRSKY ELECTRONIC CO., LTD.............................. C3125 FTRACK................................................ REN DELUXE - A FUJIFILM/FUJINON............................. C6127, C7450MR FUTURE US......................................................... C3832 FUTURES PARK LOUNGE.................................... W5436 FUTURI............................................................... N833C FX DESIGN GROUP.............................................. C4234 G&D NORTH AMERICA INC.................................. N7010 GAIAN SOLUTIONS.............................. WYNN SALON - H

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GAMMA ELECTRONICS...................................... W8508 GATESAIR.......................................................... W7426 GB LABS............................................................ N1631 GEAREYE INC.................................................... N1331C GEN ENERGY.................................................... C10322 GENIUS SPORTS................................................. N5035 GERLING & ASSOCIATES, INC.............................. OE111 GLENSOUND (UK)................................................ C6709 GLIC LED DISPLAYS INC...................................... N6334 GLOOKAST................................................. N725, OE10 GODOX PHOTO EQUIPMENT CO., LTD.................. C8012 GOOGLE LLC...............................W4830MR, W4931MR GRASS VALLEY................................................... C2107 GREAT BRITAIN & NORTHERN IRELAND PAVILION................ N1634, N1635, N1931A, N1932, N1932A, N1932B GREEN GO/JAC SPECIALTY DIST.......................... C6513 GSERTEL - SISTEMAS INTEGRADOS DE SERVICIOS DE TELECONTROL S.L............... W5126 GUANGZHOU BOSMA TECHNOLOGY CO., LTD.................................. C11319 GYRO-STABILIZED SYSTEMS............................... C3027 GYRUS AI......................................................... W3623C HAIVISION......................................................... W5205 HALTER TECHNICAL............................................ C6820 HAMILTON METALCRAFT, INC............................. W8102 HAMMERSPACE.................................................. N1038 HARMONIC INC......................................W8434, W8436 HD&P, INC........................................................ C10419 HEADSPIN......................................................... W9514 HEARTLAND VIDEO SYSTEMS, INC...................... W6429 HEDGE............................................................... N4639 HEWLETT PACKARD ENTERPRISE....................... W8911 HISCALE GMBH.................................................. C4518 HISPASAT.......................................................... W8510 HITACHI KOKUSAI ELECTRIC AMERICA................. C4409 HITOMI LTD........................................................ N2331 HOODMAN CORPORATION................................ C10413 HPRC CASES | CONECARTS | PLABER SRL........... C4723 IABM.............................................N116LMR, N117LMR IAC ACOUSTICS.................................................. C3620 IBC............................................................... C5050MR ICOM AMERICA.................................................. W4115 ICONIK............................................................... N1734 IDX SYSTEM TECHNOLOGY, INC........................... C6422 IEEE BROADCAST TECHNOLOGY SOCIETY................ LN3 IGOLGI.............................................................. W8915 IHSEUSA, LLC..................................................... N6913 IKEGAMI............................................................. C4426 IMAGEN............................................................. N2334 IMAGINE COMMUNICATIONS............................... C2122 INDEPENDENT AUDIO INC.................................... C4421 INDIPRO TOOLS CORP........................................ C9328 INETSAT................................................W4406, W8306 INFINITY PHOTO-OPTICAL................................... C9019 INNOVATION & TECH TODAY / RESIDENTIAL TECH TODAY............................... C6606 INOVONICS, INC................................................. W4622 INSPIRED ENERGY, LLC....................................... C4520 INSTA360........................................................... C1724 INSYNC TECHNOLOGY......................................... C4519 INTELLIGENT CONTENT EXPERIENTIAL ZONE....................................... W3124

INTELSAT US LLC............................................... W7004 INTERNATIONAL TOWER LIGHTING, LLC (ITL, LLC).................................. C3638 INTERRA SYSTEMS............................................ W5516 INTINOR............................................................ W9511 INTOPIX.............................................................. C7728 INVIZIPRO........................................................... C6344 IO INDUSTRIES.................................................... C7138 IP SHOWCASE................................................... W5222 IRDETO....................................................... REN VIP - A IROMASCENTS................................................... N730C ISIZE................................................................. W9200 ISTARUSA GROUP............................................... N4728 ISTHARI.............................................................. C2428 IW MICROWAVE PRODUCTS............................... W7209 JAMPRO ANTENNAS, INC.................................... C3015 JOSEPH ELECTRONICS....................................... C1412 JUTEL OY........................................................... N831C JVC PROFESSIONAL VIDEO......... WYNN - FAIRWAY VILLA K5600, INC......................................................... C9219 KALTURA..........................................REN PRESIDENTIAL KATHREIN BROADCAST USA, INC........................ W3506 KATZ MEDIA GROUP........................ENCORE SALON - C KB COVERS........................................................ C3631 KENCAST, INC.................................................... W8907 KINEFINITY INC................................................... C8235 KINTRONIC LABORATORIES, INC......................... W6226 KISWE............................................................... W6002 KLANG............................................................... C8008 KONDOR BLUE.................................................. C10919 KONTRON, AMERICAS............................ W10229CMMR KONVISION......................................................... C3636 KOTRA................................ C10319, C10321, C10322, C10419, C10420, C10421, C10422, C10619, C10620, C10720 LAMINAR GLOBAL LIMITED.............................. W10607 LAWO AG........................................................... C6932 LE SOMMET LIMITED.......................................... C4521 LEADER INSTRUMENTS CORP.............................. C6118 LECTROSONICS, INC........................................... C6518 LEFT ANGLE....................................................... N4808 LEXAR.............................................................. C10308 LG.................................................... C2631, N201LMR LIBEC SALES OF AMERICA.................................. C7432 LIBSYN.............................................................. W8327 LIGHTCAST.COM................................................ W9714 LIGHTSTAR (BEIJING) ELECTRONIC CORPORATION................................................. C5337 LILLIPUT ELECTRONICS (USA) INC...................... C10011 LIMELIGHT NETWORKS................................. W4933MR LINDSEY OPTICS, LLC......................................... C8519 LINK ELECTRONICS............................................. N6716 LINKUP COMMUNICATIONS................................ W6204 LIQID................................................................. W2603 LITEGEAR INC..................................................... C7049 LIVE X, INC...................................................... N230MR LIVERY VIDEO.................................................. W7134C LIVEU INC........................................................... N1019 LOGICKEYBOARD................................................ N4810 LOGITEK ELECTRONIC SYSTEMS......................... C3019 LOUPEDECK OY.................................................. C3119 LOWCOUNTRY 34 MEDIA.................................... C1721

4/12/22 12:01 PM

www.nabshow.com | April 25, 2022 | MONDAY 47

2022 NAB SHOW

EXHIBITOR LISTINGS LTN GLOBAL.................................................... W10116 LTO PROGRAM................................................... N4113 LUCIDLINK.......................................................... N7031 LUMEN TECHNOLOGIES, INC.............................. W4418 LUMENS INTEGRATION, INC................................. C8515 LUPO SRL.......................................................... C9819 LUTH................................................................ C10619 LYNX TECHNIK AG............................................... C4721 M2A MEDIA LTD................................................ W8903 MAGENTA COMPANY........................................ C10421 MAGEWELL........................................................ C8508 MAGSTOR INC.................................................... N4439 MAINCONCEPT................................................... C4718 MAINSTREAM NETWORK.................................... N5309 MAINSTREAMING............................................... W9414 MAJOR CUSTOM CABLE..................................... C4213 MANIOS DIGITAL & FILM..................................... C9222 MARKERTEK....................................................... C6712 MARKETRON................................... ENCORE SALON - A MARQUIS............................................................. N726 MARSHALL ELECTRONICS, INC............................ C1307 MASTERCLOCK, INC........................................... C4211 MATROX............................................................. N3118 MAXICRANE LLC................................................. C5346 MAXON.............................................................. N5920 MAXXKONNECT / BOHN BROADCAST SERVICES......................... W8525 MEDIA 5 S.R.L.................................................... C2720 MEDIA ACCESS SERVICES.................................. W8901 MEDIA EXCEL.................................................... W6408 MEDIA LINKS..................................................... W3922 MEDIAEDGE........................................................ C9823 MEDIAGENIX CORPORATION................................ N1737 MEDIAKIND....................................................... W2800 MEDIAPRO......................................................... N5420 MEDIAPROXY..................................................... W7409 MEINBERG FUNKUHREN GMBH & CO. KG............. C1727 MERGING TECHNOLOGIES................................... C4418 MICROSOFT CORPORATION..............W3017, W4533MR,W4633MR MICROSPACE.................................................... W8524 MIDDLEMAN SOFTWARE, INC.............................. N7312 MILLER CAMERA SUPPORT, LLC.......................... C5332 MILLICAST...................................................... W10326 MISTSERVER, A LIVEPEER TECHNOLOGY........... W10126 MJOLL............................................................... N2038 MNC SOFTWARE INC......................................... W2808 MOBII SYSTEMS................................................ W8106 MOBIUS LABS GMBH......................................... W5900 MODERNTV........................................................ C1426 MOLE-RICHARDSON CO...................................... C6140 MOSELEY ASSOCIATES, INC............................... W6711 MO-SYS ENGINEERING LTD................ C4750MR, C6127 MRMC................................................................ C2119 MRMC.................................................................... CL2 MULTICOREWARE.............................................. W8100 MULTIDYNE VIDEO & FIBER OPTIC SYSTEMS........ C3933 MUSICMASTER................................................... N7008 MUX.............................................. ENCORE PARLOR - B MWARETV......................................................... W8908 MYAT INC.......................................................... W7703 MYCASEBUILDER................................................ C3031

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NAGRA.............................................................. W5508 NANLITE/NANLUX............................................... C7421 NANOCOSMOS................................................ W10813 NANUK BY PLASTICASE INC................ WYNN SALON - A NATE: THE COMMUNICATIONS INFRASTRUCTURE CONTRACTORS ASSOCIATION......................... W7811 NAUTEL............................................................. W7022 NEMAL ELECTRONICS INTL. INC.......................... C8608 NEP GROUP....................................................... W9032 WESTGATE CENTRAL TOWER - D WESTGATE CENTRAL TOWER - E NET INSIGHT AB.....................................W4530, W4922 NETAPP............................................................. W8432 NETGEAR........................................................... N7310 NETINT.............................................................. W5901 NETON.LIVE........................................................ C6922 NEUTRIK AMERICAS, INC..................................... C6628 NEWSBRIDGE.................................................... W7516 NEWSMAKER SYSTEMS, LLC............................... N4727 NEWSNET.............................. C2228, WYNN SALON - D NEXSAN............................................................. N6938 NEXSTREAMING EUROPE S.L............................ W10606 NEXTERA VIDEO INC............................................ C2620 NEXTOLOGIES LIMITED.................................... W10422 NIELSEN GLOBAL MEDIA..................... WYNN SALON - E WYNN SALON - F NILA LED LIGHTING............................................. C4208 NOMONO LLC.............. WESTGATE CENTRAL TOWER - B NORTHEASTERN UNIVERSITY............................... N832C NOVASTAR......................................................... N7019 NOVELLA SATCOMS LTD.................................... W7907 NOVELSAT......................................................... W6011 NPAW............................................................. W10122 NPR DISTRIBUTION SERVICES............................ W5217 NTP TECHNOLOGY A/S........................................ C5018 NUGEN AUDIO.................................................... N5008 NVERZION, INC.................................................. W5218 NYRIAD, INC....................................................... C5442 OCTOPUS NEWSROOM AMERICAS INC................ C1420 OMB SISTEMAS ELECTRÓNICOS S.A.................... N4938 ONE STOP SYSTEMS........................................ N233MR ON-HERTZ.......................................................... C7629 OOONA.............................................................. C3122 OPEN BROADCAST SYSTEMS LTD....................... N2332 OPEN SOURCE STORAGE INC............................. W7904 OPENDRIVES...................................................... N2015 OPNS................................................................. C7526 OPTICAL CABLE CORPORATION.......................... W3809 OPTICIS USA..................................................... W5308 ORANGE LOGIC................................................. W9036 ORBAN LABS, INC.............................................. W7826 ORBAN MICROWAVE, INC................................... W3815 OSPREY VIDEO.................................................. W4506 OTTER VIDEO INC............................................. W10809 OVIDE................................................................ C3633 OWC.................................................................. C3836 OZEN CAMERA SUPPORT / KONDOR BLUE......... C10919 P+S TECHNIK GMBH........................................... C6735 PACER AIR FREIGHT............................................ C2327 PAG LTD............................................................. C8222 PANACESS SYSTEMS GMBH............................... C6534 PANASONIC........................................................ C3607

PANTHER GMBH................................................. C6538 PARSEC............................................................. N4726 PATCHAMP......................................................... C7306 PAUL LOOMIS BRAND CONSULTING..................... N7313 PERFECT MEMORY............................................ W7716 PHASETEK INC................................................... W8226 PHENIX REAL TIME SOLUTIONS, INC....... W10429CMMR PHONAK COMMUNICATIONS............................... C6841 PILOT................................................................ W5730 PIXEL POWER..................................................... N3625 PLANAR............................................................. N5914 PLANETCAST MEDIA SERVICES LIMITED............. W4713 PLAYBOX NEO LLC.............................................. N5210 PLAYLIST SOFTWARE SOLUTIONS INC................. N3639 PLIANT TECHNOLOGIES, LLC............................... C7118 POINT LIGHTING CORPORATION......................... W8618 POSTPERSPECTIVE............................................. N1938 PRECISION COMMUNICATIONS, INC.................... W8523 PRESENTERTEK, INC........................................... C5321 PRIME FOCUS TECHNOLOGIES INC.....................W3624C, W4233MR PRO CYC............................................................ N3413 PROCONSULTANT INFORMATIQUE....................... N7314 PRODUCTIONHUB, INC........................................ C4742 PROFOUND BY JILLITE...................................... C10720 PROGRAM PRODUCTIONS, INC............................ C5012 PROJECT AUTOPARTS CO.,LTD.......................... C11619 PROLYCHT LIGHTING........................................... C7935 PROMAX TEST & MEASUREMENT SLU................ W8518 PROMISE TECHNOLOGY...................................... N1718 PRONOLOGY...................................................... N4931 PROVIDEO COALITION & FILMTOOLS................. C10224 PSADIRECT....................................................... W2519 PSSI GLOBAL SERVICES..................................... W6304 PTZOPTICS........................................................... N738 PUGET SYSTEMS................................................ N6616 Q5X (QUANTUM5X SYSTEMS INC.)...................... C7406 QARVA.............................................................. W9000 QENCODE........................................................ W10127 QNAP INC........................................................... N4032 QPC FIBER OPTIC, LLC........................................ C7122 QUANTIPHI, INC................................................. W2525 QUANTUM CATDV............................................... N4106 QUANTUM CORPORATION................................... N4109 QUINTECH ELECTRONICS & COMMUNICATIONS........................................... N5907 QUMULO............................................................ N1721 QUORTEX.......................................................... W7418 QVEST............................................................... W5711 RADIO FREQUENCY SYSTEMS (RFS).................... W7803 RADIO.CLOUD.................................................... N7307 RADIODNS......................................................... W8623 RARITAN............................................................. C4210 RCS.................................................................. W6422 RDL................................................................... C7706 RE:VISION EFFECTS INC...................................... N4807 REDDING AUDIO, LLC.......................................... C6918 REMOTE CAMERA TECHNOLOGY......................... C5334 REMOTE CONTROL STUDIOS............................. C10410 RESEARCH CONCEPTS, INC................................ W7906 RESI................................................................... N5006 RF SPECIALTIES................................................. W5208

4/12/22 12:01 PM

48 MONDAY | April 25, 2022 | www.nabshow.com

2022 NAB SHOW

EXHIBITOR LISTINGS RFALV SERVICES................................................. C4516 RIEDEL COMMUNICATIONS................................. C6925 RIVERSIDE.FM.................................................... N1715 ROCHESTER INSTITUTE OF TECHNOLOGY........... W5239 ROCOSOFT......................................................... N7321 ROE VISUAL US INC............................................. C5632 ROHDE & SCHWARZ........................................... N3625 ROSS VIDEO....................................................... N2602 ROTOLIGHT........................................................ C9824 RSG MEDIA SYSTEMS........................................ W9512 RT SOFTWARE.................................................... N1731 RTS INTERCOM SYSTEMS................................... C6108 RTW................................................................... C6941 RVR / BROADCAST DEPOT.................................. N4633 SAANKHYA LABS............................................... W9015 SABRE TOWERS & POLES.................................. W5316 SAF TEHNIKA..................................................... W4212 SAMTEC............................................................. C2721 SANDISK PROFESSIONAL.................................... N1925 SANKEN MICROPHONES AND BRAINSTORM ELECTRONICS............................ N1716 SATELLITE MARKETS AND RESEARCH................. W6001 SAT-LITE TECHNOLOGIES.................................... OE123 SCALE LOGIC..................................................... N1418 SCHILL GMBH & CO. KG...................................... C8919 SCHULZE-BRAKEL GMBH.................................... C1424 SCP, CORP........................................................ W3906 SCREENWEAVE................................................ W7128C SDVI CORPORATION........................................... W4711 SEACHANGE INTERNATIONAL.........................W236LMR SEAGATE TECHNOLOGY...................................... N2021 WESTGATE CENTRAL TOWER - G SEMTECH CANADA CORPORATION................... N231MR SENCORE.......................................................... W7000 SENER RYMSA RF SLU........................................ C2624 SENNHEISER ELECTRONIC CORPORATION........... C6715 SES AMERICOM, INC.................................... REN VIP - B SETPLEX........................................................... W9717 SHATTUC CORD SPECIALTIES.............................. C8921 SHENZHEN ACCSOON TECHNOLOGY CO., LTD...... C6822 SHENZHEN AOTO ELECTRONICS CO., LTD............ C3331 SHENZHEN GLOSHINE TECHNOLOGY CO,.LTD.... C10008 SHENZHEN HOLLYLAND TECHNOLOGY CO., LTD.......................................C3315 SHENZHEN PORTKEYS ELECTRONIC TECHNOLOGY CO., LTD................ C5446 SHIFT................................................................. N3331 SHIVELY LABS.................................................... W7010 SHOTOKU BROADCAST SYSTEMS....................... C5008 SHOTOVER SYSTEMS.......................................... C6122 SHURE INCORPORATED....................................... C9612 SI MEDIA............................................................ N6825 SIGNIANT.......................................................... W2912 SILICON POWER................................................ W2517 SIMPLYLIVE LTD.................................................. C3923 SINCLAIR/ONE MEDIA......................... WYNN SALON - G SIXARMS........................................................... W8517 SKAARHOJ......................................................... C4221 SKYGLASS.......................................................... N1138 SKYLINE COMMUNICATIONS............................... W3817 SLATERCOM- WCD............................................ W8103 SLIGER DESIGNS............................................... W2518

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SMPTE-SOCIETY OF MOTION PICTURE & TELEVISION ENGINEERS.................................... LN2 SNAPSTREAM................................................... W2512 SOCIETY OF BROADCAST ENGINEERS...................... LN4 SOFTRON........................................................... N5031 SOLID STATE LOGIC, INC..................................... C8008 SONIFEX LTD...................................................... C4420 SONY ELECTRONICS INC................................... C10901 SOONWELL TECH CO.,LTD.................................. C8619 SOUNDEXCHANGE............................................. W8619 SOUNDPROOF WINDOWS, INC............................. C6906 SOUNDSTACK + LIVE365................................... W8527 SOYUZ MICROPHONES........................................ C9815 SPALK................................................................ N732C SPECIAL GRIP KFT.............................................. C5433 SPECTRA LOGIC................................................. N4116 SPEECHMATICS.................................................. N2231 SPHEREX INC..................................................... W8904 SPRING DISTRIBUTION...................................... C10411 SRI INTERNATIONAL........................................... W2708 SSIMWAVE INC.................................................. W2818 ST ENGINEERING IDIRECT................................... W5505 STACO ENERGY PRODUCTS COMPANY............... W5319 STAGECONNECT................................................. C1822 STAGETEC GMBH................................................ C3920 STAINLESS........................................................ W6122 STARFISH TECHNOLOGIES LIMITED...................... N2031 STAUBLI CORPORATION...................................... N4736 STEADYGUM S.L............................................... C10215 STELLAPRO LIGHTS BY LIGHT & MOTION........... C11519 STIRLITZ MEDIA.................................................. N6714 STORAGE MADE EASY........................................ N7038 STORAGEDNA, INC.............................................. N2037 STREAM CIRCLE, A. S.......................................... N2619 STREAM STATION, INC....................................... W6124 STREAM VX..................................................... W7132C STUDIO NETWORK SOLUTIONS............................ N3420 STUDIO TECHNOLOGIES, INC............................... C2625 STUDIOBOX........................................................ C5435 STYPE................................................................ N6420 SUITE STUDIOS................................................... N1815 SUITELIFE SYSTEMS/NFB CONSULTING............... W6224 SUMOLIGHT USA................................................ C8522 SUPER MICRO COMPUTER, INC........................... N1637 SUPERIOR ELECTRIC.......................................... W7722 SWIT ELECTRONICS CO., LTD.............................. C2615 SWR, LP............................................................ W6222 SYES.................................................................. N3938 SYMPLY (GLOBAL DISTRIBUTION)........................ N1937 SYNAMEDIA.............................W10113, W10431CMMR SYNTHAX - RME, FERROFISH, MYMIX, APPSYS..... C6708 SYSTEM73........................................................ W9401 TAG VIDEO SYSTEMS......................................... W3517 TALLIO.IO......................................................... N6131C TARGETSPOT SA/ SHOUTCAST......................... W7129C TATA COMMUNICATIONS AMERICA INC............... W8136 TAVANT............................................................. W2717 TAYLORLEDS...................................................... C2115 TBC CONSOLES.................................................. C7436 TECHFLEX, INC................................................... C5432 TECHNOCRANE, LTD........................................... C7715

TECHNOSTROBE................................................ W6311 TECLA SYSTEM.................................................. C3124 TEDIAL............................................................... C1731 TEKO BROADCAST.............................................. N3933 TELEMETRICS, INC.............................................. C5326 TELESCRIPT INTERNATIONAL.............................. C5026 TELESTREAM..................................................... C3007 TELESTRIDER (SIA “TELESTRIDER”)..................... W7704 TELEVES........................................................... W5126 TELLYO.............................................................. N1932 TELSTRA......................................................... W10509 THE BROADCAST BRIDGE.................................. W5130 THE DARE TO DREAM EXPERIENCE..................... W5230 THE EIZO SHIMBUN............................................. C2127 THE LIGHT SOURCE............................................ C6818 THE RAG PLACE, INC........................................... C5642 THE SWITCH...................................................... W4600 THE VCC (THE VIDEO CALL CENTER)................... W9727 THE WEATHER COMPANY, AN IBM BUSINESS....... N4325 THE WIRE GUYZ.................................................. OE323 THEATRIXX TECHNOLOGIES INC............................. N318 THEO TECHNOLOGIES...................................... W10100 THERMO BOND BUILDINGS, LLC......................... W6611 THINKANALYTICS............................................... W9707 THINKLOGICAL, A BELDEN BRAND....................... C5828 THOMSON BROADCAST..................................... W8022 TIELINE.............................................................. C1707 TILTA INC............................................................ C5637 TITANTV, INC...................................................... W9415 TONER CABLE EQUIPMENT, INC.......................... W4415 TOOLSONAIR BROADCAST ENGINEERING GMBH.... N715 TOPENDVIDEO.................................................. C10412 TOPVISION TECHNOLOGIES CO.,LTD.................... C1717 TOTAL TECHNOLOGIES, LTD................................ C1505 TOWER ENGINEERING COMPANY........................ W8522 TOWNNEWS...................................................... W2522 TOWNSQUARE MEDIA....................................... N6031C TRAFFIC SIM CO., LTD....................................... W8607 TRANSPERFECT.................................................. N6337 TREDESS........................................................... W5126 TRIVENI DIGITAL................................................. W9418 TROY ACOUSTICS............................................. C10609 TSL PRODUCTS.................................................. C5420 TULIX SYSTEMS................................................. W9826 TURTLE CASE..................................................... N4339 TV PRO GEAR..................................................... C4714 TVADSYNC....................................................... N5929C TVONE............................................................... C4237 TVSTARTUP INC................................................. W7406 TVU NETWORKS................................................ W3806 TWR LIGHTING, INC............................................ W8200 U.S. CAPTIONING COMPANY................................ N3539 ULTRA HD FORUM............................................. W6132 UNIFIED STREAMING BV................................... W10205 UNIQUE BUSINESS SYSTEMS............................... C5318 UNISOFT CORPORATION.................................... W8624 UNISOFT/AAIS................................................... W5236 UNITEX CORPORATION........................................ N7320 UPCOM TECHNOLOGIES INC............................... W9400 US BROADCAST.................................................. C9724 UTAH SCIENTIFIC, INC......................................... N3531

4/12/22 12:01 PM

www.nabshow.com | April 25, 2022 | MONDAY 49

2022 NAB SHOW

EXHIBITOR LISTINGS VARNISH SOFTWARE.......................................... W7706 VAST DATA...................................................... N234MR VAST DATA........................................................... N621 VBOX COMMUNICATIONS................................... W9513 VEETRONIX, INC.................................................. N1415 VELA.................................................................. N6827 VERIMATRIX, INC................W2513, W3626C, W4833MR VERITONE, INC................................................... W4716 VERIZON........................................................... W6416 VERSATILE DISTRIBUTION SERVICES...................... N627 VERTICAL BRIDGE....... WYNN - SALON CONFERENCE - A VETERANS-TV.................................................... C1821 VETROSPACE...................................................... C5319 VIACCESS-ORCA.............................................. W10203 VIDEO CLARITY................................................... C3021 VIDEOBROKERS................................................ C10710 VIDEOFLOW....................................................... W8616 VIDESTRA........................................................... N4809 VIDISPINE - AN ARVATO SYSTEMS BRAND........... N5014 VIEWLIFT..........................................W2509, W4834MR VIKING SATCOM.................................................. OE101 VISLINK TECHNOLOGIES...................................... C7508 VISTEX, INC....................................................... W5430 VITAC - A VERBIT COMPANY................................ N6438 VITEC................................................................. N4420 VITEC PRODUCTION SOLUTIONS.......................... C6132

VIVOH............................................................. W7131C VIZRT GROUP..................................................... N2619 VMIX.................................................................. N4231 V-NOVA LTD...................................................... W9407 VOICEINTERACTION........................................... W9711 VORTEX COMMUNICATIONS LTD.......................... N1931 VSN..................................................................... N925 Vu.............................................................. C6746, CL2 W. B. WALTON ENTERPRISES INC......................... OE201 WACOM TECHNOLOGY SERVICES................... C4850MR WALLONIA EXPORT AND INVESTMENT OFFICE........................... C7625, C7726 WASABI.............................................................. N6631 WATERBIRD SYSTEMS...................................... C10115 WAVE CENTRAL.................................................. C1317 WEDEL SOFTWARE............................................ W2510 WELCH MEDIA, INC............................................. C4546 WELL BUYING INDUSTRIAL CO., LTD.................... C6608 WESTERN DIGITAL.............................................. N1925 WHEATSTONE CORPORATION.............................. N2631 WHIP MEDIA...................................................... W9403 WIDEORBIT......................................ENCORE SALON - F, ENCORE SALON - G, N7006 WILLIAMS AV...................................................... C5418 WIN-OMT SOFTWARE INC................................... N5338 WISEDV INC....................................................... W8507 WISYCOM SRL.................................................... C7116

WITBE............................................................... W9201 WMVISION, FORMERLY WEATHER METRICS......... N4725 WNM................................................................. C7524 WOHLER TECHNOLOGIES, INC............................. N6614 WOLFTECH BROADCAST SOLUTIONS................. W2500 WOODY TECHNOLOGIES.................................... W7416 WORLDCAST GROUP......................................... W7413 WORLDWIDE STRUCTURAL FABRICATION........... W5318 WRITERSROOM PRO........................................... C1428 WTVISION........................................................... N5420 WYPLAY............................................................ W7817 XENDATA............................................................ N1516 XIAMEN CAME TECHNOLOGY CO., LTD................ C3324 X-KEYS.............................................................. N4827 XPERI / HD RADIO / DTS..................................... W7422 XYTECH SYSTEMS CORPORATION....................... N6314 YELLA UMBRELLA............................................... N731C YELLOWTEC....................................................... N4636 YNM SYSTEMS................................................... C4414 YOLOLIV TECHNOLOGY INC................... N7318, C10024 YOYOTTA............................................................ C8524 Z BY HP.............................................. N210LMR, N315 ZAYO................................................................. W8513 ZERO DENSITY.................................................... N2636 ZHIYUN.............................................................. C8116 ZT LOGISTICS INC............................................... C8621

Donate at select food court locations and NAB Store registers during the 2022 NAB Show to support the future of broadcasting and receive a ribbon.

To learn more or make a tax-deductible donation, visit booth #LNU1, North Hall, LVCC, scan the QR code below, or visit NABFoundation.org.

2022 NAB Show Daily - NABLF Donate Ad - HALF Page.indd 1

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4/5/22 1:01 PM

4/12/22 12:01 PM

50 PREVIEW | April 2022 | www.nabshow.com

SHOW

SHOTS

1

2

3 5

4

6 ❶ Water flows over

❷ Attendees Joey

❸ Dream Chip displays

❹ Hitachi demoed its

❺ Michael “The Cloud”

a Cream Source LED Vortex series light. The Vortex8 2x1’ RGBW fixture is water-resistant.

D’Anna (left) and ­Thomas Galyon (right) see Blackmagic’s DaVinci Resolve 18 in action.

the AtomOne mini Zoom camera. The camera comes in at a compact 60mm x 85 mm and 267 g.

SK-UHD7000 4K Ultra HD studio field production camera.

Kearney stands in front of the Studio Network Solutions booth.

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❺ An attendee takes a virtual motorcycle ride at the Unreal Ride Pow_ ered by MRMC + Vu display in Central Hall.

4/24/22 8:54 PM

Finding your best route to peace of mind evs.com

MediaInfra Strada Turnkey IP/SDI routing solution Make sure you’re headed for simple and straightforward network operations with MediaInfra Strada, a turnkey, easy to install routing solution designed to handle both your SDI and IP video signals on a live production.

Join us @NAB2022 Booth#N2625

Scan the code to learn more

52 MONDAY | April 25, 2022 | www.nabshow.com

WORKFLOWS

CRISIS MANAGEMENT

om left): Moderator Dina Graham, creative and operations lead, The Telly Awards; Derick Rhodes, vice president, Vimeo Experts; Katie Hinsen, director of technology at Marvel Studios; and Daniel Kent, senior creative producer at Amaze VR.

Pandemic Disruption Bred Production, Content Innovation

Wide-ranging panel examines how COVID-19 upended traditional video workflows

By Phil Kurz TV TECH

In the view of Marvel Studios Director of Technology Katie Hinsen, disruption — a characteristic in great supply during the COVID-19 pandemic — brings innovation, the topic of Sunday’s “The Future of Production and the Content It Creates” panel session.

Hinsen was joined by Amaze VR Senior Creative Producer Daniel Kent and Vimeo Experts Vice President Derick Rhodes on the panel moderated by Dina Graham, creative and operations lead for The Telly Awards.

“Everything had to change,” Hinsen said. “You know, our industry really hasn’t changed in 100 years, and suddenly people

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were having to get really creative and tape stuff together and just make it work.”

While the pandemic tended to isolate people, the production industry sought out ways to enable remote creative collaboration using some of the same immersive technologies it is leveraging to enhance viewer entertainment, she said. “That’s [immersive technology] really coming to the forefront and is now starting to mature. That’s been an unexpected outcome [of the pandemic].”

Use of those technologies is helping Marvel to “get production scale at a very high level” while taking steps to maintain an equally high level of security, he noted.

Many in the production community also acquired new skills

during the pandemic, Rhodes said.

“It opened the door for a lot of creative professionals to have more time to pursue their interests in adjacent areas of production,” he said. “So, we have folks that were just shooting — practically 90% [of what they do, who] … suddenly were … super-interested in Unreal and what that engine can do and how they can get their hands on it and learn about the technology.”

For some, like Kent, the disruption brought about by the pandemic marked a significant ­career turning point when bread-andbutter production work dried up.

Kent worked his music industry contacts hard, pitching ideas about how virtual reality could offer an

entertaining alternative to music fans during the pandemic.

The effort paid off with the Amaze VR production of a virtual reality up-close-and-personal experience to bring fans of Megan Thee Stallion into a group-interactive, immersive concert available to 100 Oculus headset-wearing viewers at a time at AMC theaters in 10 cities around the country.

“We don’t want to replace a concert, and nothing’s going to replace seeing live music,” he said.

“We want to create an additional revenue stream for artists and something else they can do.”

The pandemic came as technology is democratizing television production, making it easier to achieve professional results with increasingly affordable-yet-powerful tools to produce compelling content, Hinsen said.

This has fueled the discovery of new production talent by studios while removing much of their gatekeeper function, she added.

The panel discussion turned to the metaverse and what demands it might place on content production. While unclear at this point, development of the metaverse is likely to follow the “hype curve” that’s been a familiar part of other new technology introductions, Hinsen said.

That curve tracks the enthusiasm of early adopters that peaks as the reality of what’s available runs headlong into the promise, a trough of disillusionment that emerges and then gradual fulfillment of those early promises as successive generations of technologies are released, she said.

Rhodes agreed, noting that many early metaverse experiences feel like playing Wii tennis, but that with time the technology will mature.

The panel agreed that while having an informed conversation about the production for the metaverse may be five years off in the future, it is not too soon to be exploring the possibilities. l

4/24/22 9:00 PM

www.nabshow.com | April 25, 2022 | MONDAY 53

SHOW

SHOTS

2

1

3

5

4 ❶ Stefano Grego (left) and

❷ Joyce Liang of SWIT Elec-

❸ Pro Cyc showcases its

❹ A 1980 Ferrari outfitted

❺ The Vitec booth shines

Marco Branzanti of Axel Technology point out features on their Oxygen broadcast consoles.

tronics showcases two panel LED lights, the Vango-70 (left) and Vango-100 (right).

virtual production technology with Tyler von Tagen taking center stage in front of the green screen.

with Tilta’s Hydra Arm Car Mounting System. The car was on display at the Tilta booth in Central Hall.

a light on Quasar Science’s RR50 Double Kit.

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54 MONDAY | April 25, 2022 | www.nabshow.com

PRODUCTION

TALENT DEVELOPMENT

Breaking Down Barriers for ­Aspiring Filmmakers Rookie creators may need gear — or know-how — to bring their projects to fruition

By Michael Malone BROADCASTING+CABLE

The panel “Engaging Emerging Creators to Tell Authentic Stories” looked at how inviting aspiring filmmakers to share their projects can result in truly impactful films. Abe Mohammadione, vice president of experience at Ideas United, spoke about the company partnering with Apple, among others, to help college students produce films. Before the age of YouTube, Mohammadione said the ability for a college student to bring their project to film was “very limited.”

Ideas United’s Campus Movie Fest, which goes back some 20 years, shared editing software and know-how with students, resulting in more than 27,000 short films.

Suddenly there was “no boundary

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or barrier” for what was in their minds, said Mohammadione.

Filmmaker Ellie Gravitte spoke of entering a contest to pitch a promo to ABC Entertainment for one of three ABC series. Making the final round of the ABC Women’s Production Program, she flew to Burbank and pitched her idea for a spot for “A Million Little Things.” She won and got to direct the commercial.

“It was an absolutely incredible experience,” Gravitte said. “They had handed complete creative control over to me.”

Kevin Sullivan, head of growth at Ideas United, hosted the panel.

Based in Atlanta, Ideas United is a creative studio working with what it calls a “global community.”

Gravitte said she looks for transparency and good communication with production partners,

who ideally offer “completely open communication about what the scope of a project is going to look like” and their vision for it.

She added that she felt thoroughly supported when working with Ideas United. “I have felt really, really safe asking stupid questions of you guys,” she said, “which is crucial.”

Mohammadione gave another example of Ideas United seeking out voices who may have otherwise never been heard. DC Comics had a streaming platform, DC Universe, and fans were asked about the kind of shows they want to watch on the platform. The initiative elicited 2,000 ideas. The top 10 entrants got a trip to Burbank, met the DC Comics team and shared their concepts. Three ideas were greenlit to go to pilot, and two got a limited-run order.

From left: Kevin Sullivan, head of growth for Ideas United; filmmaker Ellie Gravitte; and Abe Mohammadione, VP of experience for Ideas United, during the Engaging Emerging Creators to Tell Authentic Stories panel.

Alas, the DC streaming platform “dissolved,” Mohammadione said, and the shows have not been produced.

Pairing up aspiring filmmakers with more seasoned ones results in better films, the panelists said.

Feedback from a partner from a different background can also prove helpful. “Being open to the answers you’re going to get is so crucial,” said Gravitte, who added that she “felt so safe and supported in pitching my ideas.”

Mohammadione discussed an Ideas United project with Starbucks to celebrate National Coffee Day, which depicted genuine moments of love and joy over a coffee and under the roof of a Starbucks.

“Everything you see actually happened,” he said. “Being open to the evolution of a concept is really key to the entire thing.” l

4/24/22 8:55 PM

www.nabshow.com | April 25, 2022 | MONDAY 55

FOR-A Adds DNA to Enhance Its SoftwareDefined Ecosystem FOR-A began its press event on a respectful note as Satoshi Kane­mura, president and chief operating officer of FOR-A Corp. of America, led a moment of silence honoring the recent passing of company founder Keizo Kiyohara.

“Keizo Kiyohara has passed away but his DNA is still with us,” Kanemura said. He was speaking directly, as Mr. Kiyohara’s son, Katsuaki Kiyohara, is currently FOR-A‘s president. Kanemura also noted that the elder Kiyohara’s passion for innovation and solid engineering have remained a part of the company.

FOR-A announced a step forward in its remote production and internet protocol (IP) capabilities.

It launched its new REMI product

range, integrated with software-based IP technology from AMMUX, a spinoff of SipRadius.

With low-latency encoding and decoding and secure RIST (Reliable Internet Stream Transport), the AMMUX operating system is optimized specifically for broadcast applications, AMMUX Chief Scientist Sergio Ammirata said. The RIST tunnel contains multiple simultaneous streams of video, audio, data and equipment control, while the company’s built-in WebRTC (Web Real-Time Communication) provides access to files from a web browser.

“With AMMUX inside our software-defined IP platform, it ensures flexible and reliable IP transport that’s tightly integrated with FOR-

(From left) Sergio Ammirata, Ammux; Satoshi Kanemura, FOR-A Corp. of America; and Al Nunez, Media Links

A’s new FA-1616 multipurpose signal processor,” said Kanemura, who described the new product as a really big Swiss Army knife, capable of performing many jobs.

Furthering its focus on software-defined IP systems, FOR-A also announced a partnership with IP transport provider Media Links

and network time synchronization provider Seiko Solutions. The collaboration aims to provide low-­ latency IP contribution, including the option of JPEG XS compression and Precision Time Protocol (PTP) for the precise synchronization of video and audio signals in hybrid IP-baseband systems. l — Mark Hallinger, TV Tech

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Virtual Production Allows a Pirate ­Comedy To Sail onto HBO Max During the “Merging Reality With Fantasy: Virtual Production & Visual Effects on HBO Max’s “Our Flag Means Death” session, Sam Nicholson, CEO and founder of Stargate Studios and Dave Van Dyke, visual effects supervisor, “Our Flag Means Death,” took a deep dive into the important role that virtual production technologies played in the creation of the show, highlighting both the creative opportunities it opened up and some of its limitations.

Nicholson recalled that the HBO Max original comedy “Our Flag Means Death” might not have been produced if it hadn’t been for virtual production.

“The show faced a remarkable challenge, which was that HBO did not want to shoot on the water.

But `Our Flag Means Death’ is a pirate show, you know, with ships and pirates on the water. So we decided to use virtual production.”

“I think, like any new tool, everybody seems to think that that’s going to solve everything,” Nicholson

Credit: Aaron Epstein/HBO Max

By Kent Gibbons BROADCASTING+CABLE

Rhys Darby, Taika Waititi and Rory Kinnear in HBO Max’s “Our Flag Means Death.”

said. “Executives say, we don’t need to build sets anymore, right? But knowing what not to attempt in virtual production is as important as knowing what you can do.”

For example, shooting with a massive 20K LED wall, improved the chemistry of the ensemble cast comedy and allowed them to shoot a pirate show on land, they

still used traditional special effects in many of the shots. “There are tremendous benefits, but there are still some things you need to do in post,” Van Dyke said. l

FROM THE

SHOW FLOOR Going Virtual With Canon Show attendee Felipe Alan Dos Santos gets into virtual reality at Canon’s NAB Show booth. He’s watching content shot with Canon’s RF5.2mm f/2.8 L Dual Fisheye Lens (inset), which can be viewed on compatible head mount displays.

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4/24/22 9:49 PM

s s e o n i e s d u g Vi B e in h T m a e r t of S

www.nexttv.com @ThisIsNextTV @ThisIsNextTV thisisnexttv www.linkedin.com/company/nexttv For a free subscription to Next|TV newsletter visit smartbrief.com/nexttv NextTV_PrintAd_9x10.875_FP.indd 1

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58 MONDAY SPECIAL EDITION | April 25,| 2022 April 2020 | www.nabshow.com | www.nabshow.com

EXHIBITOR SPOTLIGHTS FROM THE

SHOW FLOOR

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Intelligent Content

MYCASEBUILDER CUSTOM PRINTED FOAM AND CASES

C3031 | MyCaseBuilder is introducing its new full-color custom printing capability. MyCaseBuilder is unique in offering full-color printing directly on foam inserts and cases, offering branding and customization options previously unavailable.

This new feature enables companies and individuals to have their custom-cut foam printed with their logo or other design. In addition to branding, the printing can be used to improve organization by color-coding the foam to designate areas for specific equipment or accessories. Foam can also be printed with instructions for use or the cavities can be printed to show which items fit in that location. Full-color printing on the hard-shell exterior of the cases is also available.

MyCaseBuilder allows customers to custom design foam inserts to fit any size or shape case. The company sells a range of cases, all of which can be purchased empty, with custom designed foam inserts, foam-filled with convoluted (egg-crate) or with diced foam.

AXLE AI AXLEDIT BROWSER-BASED VIDEO EDITOR

ARRI Lights Up Orbiter ARRI is demoing the Orbiter, an ultra-bright, tunable and directional LED fixture. Its core innovation is changeable optics, which help the Orbiter transform into the perfect light for your application without sacrificing beam, output or color quality.

N4816 | axle ai is launching axledit, an advanced browser-based video editor with integrated collaboration, search and publishing features.

The product offers a fluid, simple browser interface, and user pricing tiers of Free, $10/month and $50/month. Yet it provides a level of power and control previously only available to editing solutions running on laptops and workstations. You can also export your sequences from axledit to software like Adobe Premiere Pro, Avid Media Composer and Apple Final Cut Pro. axledit’s unique collaboration features allow not only browser-based review and approval by producers and clients, but also simultaneous editing sessions with a shared view of the current state of the timeline and playback. This capability is important in a world where remote work has become not only accepted, but, according to the company, the overwhelming choice of content professionals industrywide.

FROM THE

SHOW FLOOR EVS, FOX Toast World Cup Deal Champagne was flowing in North Hall as FOX Sports announced its acquisition of EVS’ MediaInfra Strada Routing and Control solution, which will soon be used at the FIFA Men’s World Cup in Qatar. (From left to right: Alex Redfern, Kevin Callahan, David Pinkel and Nicolas Bourdon)

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4/24/22 10:09 PM

EMPOWERING STORIES EVERYWHERE

Insight for the Content Community

Media In Action

THE COUNTDOWN STARTS NOW!

NAB Show Centennial Celebration APRIL 16–19, 2023

60 MONDAY | April 25, 2022 | www.nabshow.com

Grass Moves Media ­Production Forward With AMPP, AWS

Stephan Schenk, GM Global Sales & Solutions at ARRI, on the Virtual Production Stage, produced with the Fuse Technical Group.

ARRI Sees More Demand for Cinematic Content ARRI used the Virtual Production Stage adjacent to its Central Hall booth to screen a show loop and provide a live update on company news over the last few years. General Manager of Global Sales & Solutions Stephan Schenk said the pandemic had brought two major trends to the fore: New IP-based workflows rose in both broadcast and cinematic productions and the demand for new content soared.

“With this, the level of the content has also really been increased, productions want that cinematic look,” Schenk said. “This is what ARRI brings to the table. We are showing IP workflows on the booth along with virtual production and mixed reality as well.”

While the two pandemic years did not see a regular flow of new products coming from ARRI, the firm restructured, launching the ARRI Solutions Group in 2021. It’s now being established globally. “Products are important, but they need to be connected and that is what we do with the Solutions Group,” Schenk said.

With this new organizational unit, ARRI has expanded its offering of holistic solutions for film and television focused on the design and engineering of customized production infrastructures, including mixed reality environments and state-of-the-art TV studios and more, including consulting, configuration and turnkey installation. l — Mark Hallinger, TV Tech

Grass Valley shared its vision of the fuGrass Valley CEO ture of media production and announced Andrew Cross both a multiyear strategic collaboration with Amazon Web Services (AWS) and the leveraging of Epic Games’ Unreal Engine for real-time rendering with the GV AMPP (Agile Media Processing Platform). The company also made the move to no longer charge for Playout on AMPP. CEO Andrew Cross said Grass Valley had set out on a journey three years ago to become the company creating the future of media production. He called AMPP — a cloud-based software-as-a-service (SaaS) platform for producing live workflows launched in 2020 — the infrastructure of the future, compatible with every standard.

Cross said the company was quite happy with AMPP adoption, and noted that Brazilian media giant Grupo Globo had already produced and streamed more than 50 live sports and entertainment events, with more than 200 planned for the year ahead Although details were light, the enhanced collaboration with AWS will help Grass Valley leverage AWS’s secure, reliable and globally available infrastructure to allow customers to create, produce and monitor their media supply chains where they want and at scale.

Grass Valley also said it was working with Epic Games to bring Unreal Engine, a real-time 3D creation tool for photorealistic visuals and immersive experiences, to GV AMPP. Unreal Engine on AMPP will allow customers to use the rendering system natively with all Grass Valley video technology.

The company also said it will no longer charge for playout on GV AMPP, making the cloud-native system accessible to many more media and entertainment companies. The core AMPP Playout functionality will be available free to customers from June 1. l — Mark Hallinger, TV Tech

FROM THE

SHOW FLOOR PILOT Winner Makes a Deal BEAM Dynamics closes a deal with Capitol Broadcasting Co. for its technology management platform. Beam Dynamics was a PILOT Innovation Challenge winner for 2021. Pete Sockett (left), Capitol Broadcasting Co., with David Kaszycki, Beam Dynamics.

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4/24/22 9:04 PM

www.nabshow.com | April 25, 2022 | MONDAY 61

Create

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EXHIBITOR SPOTLIGHTS

Intelligent Content

ELECTRO-VOICE RE20-BLACK BROADCAST MICROPHONE AUDIOSCIENCE ASI2816 STREAMING RADIO TUNER

N4031 | AudioScience Inc. is unveiling the next generation of its radio tuner, the ASI2816. The ASI2816 is a multichannel streaming radio tuner packaged in a 1U form factor. It can be configured with up to four modules. Each module contains four radio tuners with up to 16 tuners per ASI2816. The ASI1471 module contains four AM/FM/WeatherBand (WB) tuners. The ASI1472 module contains four AM/AM-HD/FM/FM-HD tuners.

The unit has an OLED front-panel display showing current configuration and status of all tuners, including band, frequency, signal strength and HD status. Use our built-in web interface for ease of use, allowing configuration and monitoring of the tuners and stream settings. According to the company, the ASI2816 can be customized by channel count and frequency and all tuners can be monitored simultaneously.

SKYGLASS VIRTUAL PRODUCTION APP

N1138 | Skyglass is a virtual production app that makes it easy for students, indie filmmakers and small studios to add visual effects (VFX) to their shots right on set. Using the sensors built into your iPhone and cloud rendering powered by Unreal Engine, Skyglass places your shot in a photorealistic virtual environment.

Skyglass takes the virtual production technologies used by the big studios to do on-set VFX and makes them available to the rest of us. Instead of setting up expensive tracking systems and maintaining powerful rendering servers, you can take advantage of the tracking sensors built into your iPhone and real-time it to the cloud, where a virtual environment is rendered from the camera’s perspective and streamed back to the phone for real-time compositing. Estimated availability is January 2023.

C6108 | Electro-Voice’s RE20 microphone has been on the market for broadcasters, musicians and sound engineers around the world for more than 50 years.

Now Electro-Voice is introducing the RE20-BLACK, a new color option for the classic RE20, sporting a low-reflection dark charcoal finish.

The RE20-BLACK offers customers an aesthetic alternative to the iconic original finish, while being acoustically, electrically and mechanically identical.

Beyond providing the industry-standard sound of FM radio voices, the RE20’s popularity has surged in recent years with the rapid growth of podcasting and home recording/production. The company said it remains a trusted tool in professional recording studios, and a mainstay mic on live performance stages everywhere.

OOONA MEDIA LOCALIZATION ­PLATFORM ­UPDATES

C3122 | Ooona is demonstrating the latest refinements to its flagship Ooona Integrated media localization platform. The focus will be on the Ooona Mobile App, an expanded user interface now available in 12 languages. It offers support for Japanese timed text editing plus a host of API integrations to management systems and language technology platforms from selected partners.

The Ooona Mobile App allows translators and production staff to manage their work remotely. Compatible with iOS and Android operating systems, it provides a simple and intuitive way for media localization creatives to view projects and assign priorities.

Urgent tasks can be prioritized so resources can be allocated promptly.

The Ooona Mobile App allows localization service providers to complete urgent tasks quickly and easily. Users can view dashboards, confirm assignments and answer requests from any location.

Evertz Seeks to Widen Media ­Production Accessibility The evolution of media production over the past several years brought on by restrictions imposed by the COVID-19 pandemic and the accelerated moves to the cloud and software-as-a-service (SaaS) applications were among the themes of Evertz’s Saturday NAB Show press event.

“We’re seeing a lot of conversations about reliable transport streams and the ability to bring content from the home over the public internet into your production,” Evertz Senior Director of International Business Development Mo Goyal said. “Also, how do I leverage 5G and in terms of creating content that may not have been previously accessible without a lot of OB [outside broadcasting] trucks and things like that.”

To that end, several SaaS offerings are being demoed at the Evertz booth, including Reflektor, the company’s SaaS cloud-based transport, translation and transcoding solution. Also featured will be Ease Live, a SaaS-based interactive graphics platform, as part of the company’s line of direct-to-consumer solutions.

The company will also focus on its evertz.io SaaS, a cost-effective solution that simplifies a customer’s transition to the cloud.

Goya also announced that its DreamCatcher BRAVO Studio virtual live production studio is now available on Microsoft Azure Marketplace. On the RF side, Evertz is showing their new XRU4 Router as well as an update to its 2400DU outdoor transmission platform.

Evertz is in booth N5907. l — Tom Butts, TV Tech

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Mo Goyal, Evertz senior director of International Business Development

4/24/22 8:58 PM

62 MONDAY SPECIAL EDITION | April 25,| 2022 April 2020 | www.nabshow.com | www.nabshow.com

EXHIBITOR SPOTLIGHTS

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HISCALES FLICS TRANSCODING PLATFORM

LG ALL-IN-ONE DVLED DISPLAY

SMALLHD CINE 18 4K HIGH-BRIGHT PRODUCTION MONITOR

ZEISS SUPREME PRIME 15MM

C4518 | For the coverage of the biggest international sports event in the summer of 2021 from Tokyo, German public broadcaster Norddeutscher Rundfunk (NDR) relied on Hiscales’ FLICS with FrameFormer from InSync Technology as the central file-based transcoding service for all ARD broadcasters to convert media between NTSC and PAL in the highest possible quality with motion compensation.

A FLICS CLUSTER system from Hiscale with the FrameFormer conversion option from InSync Technology, for ­motion-compensated, high-­quality frame rate conversion, was selected and integrated into the content transfer workflows. Material sent from ARD stations to the NBC in Mainz, Germany, was automatically converted from 50 to 60 frames and vice versa.

MR N212 | Raleigh, N.C.-based Small HD has launched the Cine 18 4K High-Bright Monitor, a lightweight, rugged, daylight-viewable production screen with everything needed for modern 4K workflows. Cine 18 features a lightweight aluminum unibody chassis with an 18-inch, edge-lit LCD screen with 3840 by 21610 resolution, 10-bit color depth, 100% Rec. 709 coverage, 1,100 units brightness, a 1,001-to-1 contrast ratio, 240 PPI and a 178-degree viewing angle.

Measuring 18.4 inches wide by 12.7 inches high and weighing just 12 pounds, it’s 4K ready with four 12G/6G/3G/HD-SDI inputs and outputs, hot-swappable power inputs, four removable cheese mounting sticks and a removable bottom cheese mounting rail. The included PageOS software toolset offers 4K HDR waveform and scopes, Color Pipe HDR color rendering, the Monitor Calibration Wizard, and more.

The SmallHD Cine 18 sells for a list price of $5,999.

$50 Million

49-64_NAB22_DAY2.indd 62

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C2631 | LG Business Solutions USA is demoing several broadcast display solutions at its first-ever NAB Show booth, including the 136 All-InOne DVLED display that ships in a flight case with everything included in the box.

Experts from the vendor will be on hand to discuss the full range of options for using the DVLED in broadcast scenarios, including multifeed walls for control rooms and on-set displays for newscasts, stage performances and VR/XR production.

Additional display treatments and accessories turn the displays into giant touch screens, suitable for sports, weather or political coverage. All LG DVLED displays offer V-sync adjustment, custom color gamut mapping, bevel-less design, high refresh rates, high contrast and deep blacks. LG’s DVLED line of products includes models with pixel pitches ranging from 0.9mm to 4.6mm and brightness levels of up to 5,000 nits. Colors are calibrated at the factory and can be adjusted on-site for optimal performance and consistency.

C7718 | ZEISS is introducing its 15mm T.18 high-end cine optics lens to the U.S. market, completing its 14-lens Supreme Prime set. Demos are also happening in the booth for the Supreme Prime Radiance family of lenses, known for its ability to produce stunning blue flares; the CZ.2 full-frame Cinema Zoom and CP.3 cinematography lenses; and an array of videography optics.

The vendor is also introducing a new VFX studio software solution that establishes a whole new workflow ecosystem. The ZEISS Oberkochen team will be on hand to take visitors through the digital solution.

Zeiss will also host four sessions in its informative “Conversations” series in its Central Hall booth: “Meet the ZEISS Supreme Prime 15mm;” “Celebrating Women in Cinema;” an interview with esteemed Mexican cinematographer Serguei Saldívar Tanaka about his upcoming series “Horario Estelar;” and “A Flare for ZEISS Supreme Radiance Lenses.”

NEWSnet To Invest $50 Million in Content and Production NEWSnet will invest $50 million into content creation and production, the 24/7 news channel announced April 20.

The investment, set aside by new part owner Manoj Bhargava, will help build new studios and develop solutions for content carriers.

Bhargava, founder of 5-hour ENERGY and Gray Television’s largest shareholder, recently pur-

chased ­NEWSnet.

Founder Eric Wotila is staying on as president and part owner.

The company, which launched in 2019, offers 24-hour news programming both over-the-air and over-the-top. NEWSnet also has multiple offerings for broadcasters, including turnkey Weather Report solutions and custom newsroom solutions.

“Having NEWSnet in your OTA or over-the-top (OTT) channel lineup helps attract and keep viewers, and can lower your costs and improve your bottom line,” said NEWSnet founder Eric Wotila.

NEWSnet is available OTA in nearly 60 markets nationwide and OTT through fuboTV, Roku, Amazon Fire, Apple TV and mobile apps.

NEWSNet’s NAB Show booth can be found at C2228.

4/24/22 10:35 PM

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