2023 NAB Show Daily News - DAY2

Two Great Models!

ATEM Television Studio HD8

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ATEM Television Studio HD8 ISO

The more advanced ISO model includes all the features of the HD8 model plus adds ISO recording of all 8 inputs to separate video files. Also supports up to 8 remote cameras via local Ethernet or globally via the internet. Remote cameras even support tally and camera control!

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ATEM Television Studio Bellyband_FA.indd 1-2

Introducing the world’s most portable all-in-one television studio!

The new ATEM Television Studio HD is a professional live production switcher built into a broadcast control panel so it can be used for high end work while being extremely portable. You get a powerful switcher with 8 standards converted SDI inputs, 2 aux outputs, 4 chroma keyers, 2 downstream keyers, SuperSource, 2 media players and lots of transitions! There’s even an ISO model that records all 8 inputs for editing!

Easy to Use and Fast to Learn!

There’s never been a switcher that’s easier to use, as you simply press any of the program row buttons on the front panel to cut between video sources. You can select from exciting transitions such as dissolve, or more dramatic effects such as dip to color, DVE squeeze and DVE push. You can even add a DVE for picture in picture effects with customized graphics. Then you can live stream the results!

Self Contained Broadcast Quality Switcher

ATEM Television Studio HD combines a switcher and control panel into the same unit, so it’s extremely portable. The front panel includes buttons for selecting sources, triggering transitions and setting up video effects. You also get a built in t-bar for manual transition control! The front panel even has an innovative audio mixer control area with live metering on a dedicated LCD.

Record to Internal Network Storage!

ATEM Television Studio HD8 ISO supports recording all video inputs to optional M.2 internal flash storage! The internal storage will then be available to share over the local Ethernet network so you get a whole post production workflow! This means people can work on post production tasks such as editing, color correction and graphics preparation while recording new live shows!

Built In Fairlight Audio Mixer

With a built in Fairlight audio mixer, ATEM Television Studio HD makes it possible to do complex live sound mixing. The internal mixer features enough channels for all SDI inputs, as well as extra channels for the XLR, RCA and MADI inputs! Each input channel features the highest quality 6 band parametric EQ, compressor, limiter, expander and noise gate as well as level and pan controls.

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

CONTENT

Managing Director, B2B Tech

& Entertainment Brands Carmel King

Content Director Terry Scutt

Content Manager Mike Demenchuk

Contributors Susan Ashworth, Jim Beaugez, Tom Butts, Mark Hallinger, Steve Harvey, Craig Johnston, Paul Kaminski, Elle Kehres, Bob Kovacs, Phil Kurz, Jon Lafayette, Mike Malone, Deborah D. McAdams, David McGee, Paul J. McLane, Addie Morfoot, James E. O’Neal, Dustin Steiner, Randy Stine, Peter Suciu, George Winslow

Photographers John Staley Photography & Phototechnik International

DESIGN & DISTRIBUTION

Managing Design Director Nicole Cobban

Senior Design Director Lisa S. McIntosh

Production Managers Heather Tatrow, Nicole Shilling

ADVERTISING

Managing VP Sales, B2B Tech Group Adam Goldstein

Ad Sales: Raffaella Calabrese, John Casey, Janis Crowley, Zahra Majma, Debbie Rosenthal, Andi Tureson, Kyle Walkenhorst

MANAGEMENT

SVP Wealth, B2B and Events Sarah Rees

of Production US & UK Mark Constance

of Design Rodney Dive

FROM VIDEO GAME TO SERIES

Secret Ingredients That Helped ‘The Last of Us’ Break Out

Team effort helped HBO drama recreate the source video game’s rich look

By Michael Malone BROADCASTING+CABLE

daughter in the pilot, and is reluctant to open himself up to another teen girl as he gets to know Bella Ramsey’s Ellie. Ellie’s book of puns makes him smile for the first time in eons. “You can see the transformation between the two characters and how they sort of come together,” Good said.

co-creator/executive producer/writer/director

Craig Mazin,

on “The Last of Us,” played up the teamwork aspect on the hit HBO drama on the Main Stage. The panel “American Cinema Editors Presents HBO’s ‘The Last of Us’” saw Mazin speak about seeing film credits where the director gets essentially the lone credit for making the feature.

Mazin said, “There’s no way for a film to be by one person. There’s hundreds of people … in our case, thousands of people.”

Mazin described “The Last of Us” producers, cast and crew as “a big family.”

Carolyn Giardina, tech editor at “The Hollywood Reporter,” moderated the panel. The Main Stage crowd was standing room only.

Mazin spoke of the “luck” involved in gathering the right

producers to work on the show and how listening to them in interviews and chats tells him a lot more than their credits do. “I like talking to people,” he said, “and hearing their passion for things.”

CHALLENGES OF ADAPTING

Season one was shot in Alberta, Canada. The producers discussed the challenges of adapting the popular video game to series.

Alex Wang, VFX supervisor, described the game’s look as “so beautiful and so immersive. How do we use that as inspiration?”

Cinematographer Ksenia Sereda said the producers aimed for a balance between borrowing from the game and giving viewers something fresh. “We wanted to preserve the most iconic parts,” Sereda said, “but at the same time, we did not want to exactly copy the look.”

She spoke of the “massive” variety of choices for cameras and

lenses, and said the ARRI ALEXA Mini gave the shots a realistic feel and helped the viewers get closer to the characters.

Mazin quipped: “I don’t understand any of that. I’m glad you do.”

“The Last of Us” is set in a post-apocalyptic America, 20 years after a fungal infection has turned much of the population into zombies. Neil Druckmann created the show alongside Mazin. It premiered on HBO in January.

Editor Timothy Good said he’d never played the video game before. Editor Emily Mendez, on the other hand, was a big fan. The two brought together their different perspectives to give the show a distinctive feel.

KEY MOMENTS

The editors spoke of the key moments in season one. Pedro Pascal’s Joel lost his teenage

Mendez mentioned Ellie stitching up Joel’s stomach later in the season, and the effort the producers went through to give the scene extra impact. “You’re with her in that moment,” she said.

Michael J. Benavente, sound supervisor, spoke of “a quiet world” in the show with no freeways, no kids on playgrounds, no airplanes. The viewer hears snowfall in one episode. “It really helps the story of the people,” Benavente said of the hushed vibe. “When you hear what they’re hearing, when you feel what they’re feeling.”

Mazin said sound is a vital “helper” in terms of delivering emotions and plot. He mentioned frequently writing sounds into his scripts. “I don’t understand what spherical lenses do,” Mazin said. “But I definitely understand sound.”

Season two will shoot in British Columbia. “This is what I do — I do ‘The Last of Us,’ ” said Mazin with a smile. “I couldn’t be happier.” l

(From l): Carolyn Giardina, panel moderator; Craig Mazin, co-creator/executive producer/writer/director; Kesenia Sareda, cinematographer; Timothy Good, editor; Emily Mendez, editor; Alex Wang, VFX supervisor; and Michael J. Benavente, sound supervisor, on an NAB Show panel on HBO’s The Last of Us.

Server-based Processing

ON THE MAIN STAGE NAB Show Welcome

FROM THE SHOW FLOOR

FROM THE SHOW FLOOR

Today | 9–10:30 a.m.

Today’s welcome session includes remarks from NAB leadership and a “Fireside Chat” with NAB President and CEO Curtis LeGeyt. Television news magazine “60 Minutes” will receive the second annual Insight Award from the Library of American Broadcasting Foundation.

Following, Federal Communications Commission Chairwoman Jessica Rosenworcel will address broadcasters and those from all corners of the media and entertainment industry.

Session participants also include Co-Chairs Jack Goodman, Law Offices of Jack N. Goodman, and Heidi Raphael, Library of American Broadcasting Foundation; Bill Owens, executive producer, “60 Minutes;” and Gabriela Teissier, news anchor, Noticias 34, Univision Los Angeles. l

Gene Yuqin, Chief Administrative Officer of Insta360, highlights various 360-degree action cameras and stabilizers—sturdy enough for your pet!

Classic films come back to life with Lasergraphics’ motion picture film scanners, digitizing reel to reel film.

DEMOCRATIZED STORYTELLING

How ‘The Rings of Power’ Is Fueling New Cloud-Based Collaboration Tech

Tools developed for big-budget streaming shows are being showcased by NAB Show exhibitors

By George Winslow TV TECH

Amazon Studios’ “The Lord of the Rings: The Rings of Power” is widely known as perhaps the most expensive and lavishly produced series in the history of television and streaming media. The Sunday session “A Case Study: Color and Finishing in the Cloud,” also highlighted how the program’s pioneering cloud-based collaboration tools promise to revolutionize production processes in years ahead for many other series, large and small.

During the session, Jesse Kobayashi, co-founder of The Modern Film Consortium and VFX producer on “The Lord of the Rings: The Rings of Power,” discussed how Blackmagic Design, Company 3 and Amazon Web Services (AWS) collaborated to create an entirely cloud-based infrastructure for conform, color-grading and to deliver the show.

“This technology has done something that’s important,” Kobayashi said. “It’s democratized storytelling. What’s so amazing about being here at NAB Show

and speaking to you about our experiences in creating ‘The Rings of Power’ is that when you walk the floor, you now see these tools available to all of us and to shows of all sizes. That is really exciting.”

While the results of these technologies can now be applied to productions large and small, which are being exhibited by vendors like Blackmagic Design and AWS, much of the original development work for the cloud-based production tools was designed to handle a production of mind-boggling scale and complexity.

“We had 186 hours of 4K camera dailies,” Kobayashi said. “We tracked over 9,164 visual effects shots. And we delivered more than 480 minutes of blockbuster action to Amazon Studios” from a production that “involved 12 global VFX vendors spanning three continents around the world.”

“We knew we needed a modern solution in order to deliver a show like this,” he said. Working with the team at Amazon, “they knew the answer for this was going to be leveraging the cloud in a way to bring together this global workforce in an efficient way.”

To do that, they set up a Pixstor storage solution in Auckland, New Zealand, and had 100-Gbps connections between two studios in Auckland. These were connected to AWS cloud storage in Sydney, Australia. Finally, they created a pioneering camera in the cloud system to deliver footage securely

to AWS by working with Rebel Fleet in New Zealand.

“This gave us the flexibility, the automation and the protection that we needed to feel safe that our most important asset or camera negative was being stored securely,” he said.

To develop a system so all the creatives around the world could collaborate, they turned to Blackmagic Design — already an integral part of the production, supplying equipment and software — and the post-production firm Company 3.

Blackmagic Design worked closely with Company 3’s dedicated engineering team to facilitate the creation of what would be essentially a post-production studio in the cloud, with color-precise High Dynamic Range (HDR) monitoring synced live at each location. Based on AWS architecture, the solution allows media to be manipulated and conformed in the cloud as if all involved were in the same location, using local storage to hold the media.

Looking ahead, Kobayashi is already working on some new projects using these tools. But companies need to pay attention to a number of new requirements if they want to take full advantage of them, he stressed.

“Understanding the importance of interconnectivity and having the right people when it comes to IT staff, asset management and storage, is crucial,” Kobayashi said. “Those things need to be as much of a standard part of production as having trucks and food on the set.” l

We knew we needed a modern solution in order to deliver a show like this.”

—JESSE KOBAYASHI

Jesse Kobayashi, co-founder of The Modern Film Consortium and VFX producer on “The Lord of the Rings: The Rings of Power,” talks about the pioneering cloud-based tools used on the show.

AWS Unveils Elemental MediaConnect Gateway

Amazon Web Services (AWS) is bridging the gap between on-prem multicast networks and the cloud with the introduction of the AWS Elemental MediaConnect Gateway.

The gateway, a cloud-connected software application that enables transport of live video between on-prem multicast networks and AWS, is equally well-suited for contribution and distribution workflows. It eliminates investment in the third-party hardware and software that’s typically required to deliver live video multicast streams from datacenters to the cloud, the company said.

With MediaConnect Gateway, users can build end-to-end workflows without the complexity of, nor the investment in, vendor-specific tools, the company said.

With MediaConnect Gateway, organizations can control how their hybrid live video workflows are deployed and monitored. “As a customer, you can control, and you can view and monitor the health of your video feeds,” said AWS Media & Entertainment Strategic Industry Business Director, Solutions Architecture, Stephanie Lone.

Each instance of MediaConnect Gateway can subscribe to one or more multicast groups on prem. Some groups may be a single channel, others

might be multiple channels multiplexed together into a multi-program transport stream (MPTS). MediaConnect Gateway converts on-prem multicast network traffic into unicast and then adds encryption before transporting that flow to the cloud, the company said.

Once in the cloud, a live streaming application is created from the feed, which ultimately is delivered to end viewers using various AWS solutions, including AWS Elemental MediaLive, Elemental MediaPackage and Amazon CloudFront, or other applications.

For distribution applications, MediaConnect Gateway can support hundreds or more end points. For instance, a TV network could bridge its own multicast network with those of its affiliates and O&Os in a seamless fashion using MediaConnect Gateway at both ends, the company said.

The new gateway runs inside Amazon Elastic Container Service (ECS) Anywhere, a service that allows users to manage ECS containers on their own servers. Once MediaConnect Gateway is downloaded and installed, all video feed management is done with the AWS Management Console or using the MediaConnect API. l

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SHOW SHOTS

Brett Dellandre, a senior engineer at VAST Data, stands bedecked in a “space suit” next to his fellow astronaut, also in a spacesuit. He says VAST Data is the “storage architect of the future!”

❺

Glenn Davies and Jacob Daniluck of Tieline talk over their Gateway and Gateway 4 IP audio codecs.

❹ Mike Wallin gets a demo of AIDA’s NDI|HX 120fps capable camera as it tracks a toy car flying across a racetrack.

❸ James Strawn at Adobe shows attendees how to use the Properties Panel in Adobe After Effects.

❷ Dedolight CEO Dedo Weigert points out one of his LED lighting systems, which feature dual non-spherical lenses.

ANALYZE. MONITOR. MANAGE. REAL TIME.

The AD600 is an essential addition to your Axient Digital professional audio setup.

MAIN STAGE

A Conversation With Brett Goldstein

Brett Goldstein burst into our lives as the beloved, foulmouthed Roy F**king Kent in the heartwarming hit TV series “Ted Lasso,” which helped boost AppleTV’s popularity during COVID-19. But Goldstein is more than just a talented actor portraying a hooligan futbol star; he is also a co-executive producer and writer on “Ted Lasso” and co-created and executive produces the new hit series “Shrinking,” also on Apple, starring Harrison

FROM THE SHOW FLOOR

Ford and Jason Segel.

Two-time Emmy Award-winning writer, actress and comedian Ashley Nicole Black will moderate the fireside chat. They will delve into Goldstein’s multifaceted creative career and how he manages to balance his various roles. l

Blackmagic Unveils New Products, Software Updates

Blackmagic Design announced new products and updates, including ATEM Television Studio HD8, Blackmagic Studio Camera 6K Pro and ATEM Microphone Converter.

It also unveiled software updates for Blackmagic ATEM Switchers 9.0, which provides support for the ATEM Television Studio HD8 range and Blackmagic Camera Setup 8.0, which adds support for new Blackmagic Studio Camera 6K Pro and Blackmagic Studio Camera 4K Pro G2.

The new ATEM Television Studio HD8 is a family of all-in-one live production switchers that combine broadcast features with portability. They feature broadcast-grade control panels with advanced features such as streaming and recording. There is also an ISO model that can record all video inputs and connect to up to eight remote cameras. These new switchers support live streaming, talkback and optional internal storage. The Blackmagic Studio Camera 6K Pro is a model that features an EF lens mount, a larger 6K sensor for improved colorimetry and fine detail handling, ND filters and built-in live streaming via Ethernet or mobile data.

Blackmagic Studio Camera 6K Pro shares the same compact allin-one design of the studio camera family with a lightweight carbon fiber reinforced polycarbonate body, large integrated 7-inch HDR viewfinder and broadcast connections.

Also announced was the Blackmagic Studio Camera 4K Pro G2, an updated model that now includes built -in live streaming. The company introduced the ATEM Microphone Converter, an audio analog-to-digital converter that lets customers add additional microphones to ATEM switcher models such as the new ATEM Television Studio HD8. The design features a low noise floor of –129 dBV, a dynamic range of 131 dB(A), low distortion of 0.002 percent and uniform tolerances across all channels. l

—George Winslow, TV Tech

Ashley Nicole Black Brett Goldstein

Over at SEC.SWISS, a 3D suspended camera system dubbed "EagleEye" zooms through the booth.

WhatmakesKVMmanagementsystemsuniqueistheabilitytocombinecomputersystemstotheoperatorsdeskwithreducedcablingandnetworkingcomplexity whileallowingincreasedsecurityandzerolatencyinteraction. KVMmanagementsystemscreateanoperationalenvironmentwherebackup,recovery,forensicsand datasecurityareembeddedinonenon-intrusivedatamanagementsystemisolatedfromyourLANorWAN.

SENNHEISER WIRELESS MICROPHONE SYSTEMS

C5217 | In addition to its range of mics for camera use, Sennheiser is showcasing its EW-DX and Digital 6000 wireless microphone systems and also unveiling its latest wireless audio system, designed for filmmakers, content creators and broadcasters.

EW-DX simplifies professional workflow by utilizing refined technologies and decades of research to deliver a digital UHF system that can be scaled with ease. Multiple hardware and software options create networkable solutions for nearly any stage or campus, while equidistant channel spacing, auto scan and Bluetooth Low Energy sync automatically coordinate and set frequencies with the push of a button.

The ProLabs team is demoing the capabilities of its AMBEO 2-Channel Spatial Audio renderer, which, working from immersive and 5.1 formats, creates a spatial soundscape for listeners on a stereo system.

SOUND DEVICES A20-NEXUS WIRELESS RECEIVER

C4611 | Marking its 25th anniversary, Sound Devices is showcasing the products that built its brand, including its new flagship wireless receiver, the A20-Nexus.

The company says it is featuring several configurations of the A20-Nexus multichannel, true diversity wireless receiver to show its versatility. The A20-Nexus offers

AND KVM FEELS RIGHT.

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a 470-1525 MHz global tuning range through SpectraBand; long-distance remote control of transmitters via Sound Devices’ proprietary NexLink protocol; integrated RTSA (real-time spectrum analysis); and Power-over-Ethernet and audio via Dante, all in a half-rack unit. Its eight receiver channels can be expanded to 12 or 16 channels with no extra hardware required, by purchasing or renting an A20-Nexus 4-Channel Expansion License.

Sound Devices also is demonstrating its 8-Series line, which includes Scorpio 888 and 833 mixer-recorders designed specifically for sound professionals’ workflow.

ARKONA TECHNOLOGIES BLADE//RUNNER SOFTWARE V2.2

C4345 | arkona technologies GmbH is featuring the latest BLADE// runner software. BLADE//runner 2.2 includes the new JXS application that extends the capability of the AT300, arkona’s latest generation Programmable Acceleration Card (PAC), with JPEG-XS. The company said the JXS app is a great feature expansion of the BLADE//runner ecosystem for customers with a need for low-latency, high-quality compression. In addition to JPEG-XS, the new JXS app is also capable of handling ST211020/30/40 and 2022-6 uncompressed routing and processing.

Designed for the modern broadcast facility where agility and scalability are essential, the BLADE//runner suite provides a highly flexible and modular core infrastructure for Tier-1 live broadcast productions. BLADE//runner provides a wide variety of tools for professional productions, including audio/video routing, compression, processing and visualization, with open standards support and an API 1st approach. API 1st allows for a degree of flexibility centered around user specific workflows. BLADE//runner is also controllable through NMOS IS-04/-05.

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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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With a Bit of Caution, Radio Navigates the Cloud

4 KEY TAKEAWAYS

By Paul McLane RADIO WORLD

Radio is becoming more familiar with “the cloud,” though its ultimate role remains unsettled.

“Many broadcasters have deployed cloud-based services in back-office functions for some time — Google, Microsoft, AWS, etc.,” said Shane Toven, senior broadcast engineer for Educational Media Foundation. “It has not often made its way directly into on-air operations. [But] the on-air model is shifting, particularly as more manufacturers move from hardware to software-based solutions.”

Derek Murphey, network production software manager at Northwestern Media, said the cloud commonly is used for file storage, transfer and production backup. “The delivery side still

makes broadcasters nervous, depending 100 percent on a network connection to stay on the air. I hope broadcasters will continue to explore cloud programming and find ways to build redundancy into network infrastructures.”

Stéphane Bert, pre-sales manager at Digigram, said, “We strongly believe that all-public cloud environments for live broadcasts will be possible.” He said “a vast majority” of broadcasters intend to adopt cloud in coming years, for automation, content management, mixing, encoding and delivery of programs to transmitting sites, CDNs and multiplexers.

PRIVATE OR PUBLIC

Marty Sacks, executive vice president of sales, marketing and strategy at Telos Alliance, said, “If we talk about wholesale

adoption — when we walk into a facility and everything is virtualized, there’s no hardware in the rack — we’re not there yet.” But he said clients are asking about it more and understand it’s a serious consideration for their future.

Sacks noted that the cloud is not the only way to virtualize. “Sure, you can go fully to the cloud and not have any instances on your premises, but it could be a hybrid of cloud and on-premises, which is a likely choice for many.”

Philippe Generali, president/ CEO of software company RCS, said, “Discussions with customers has shifted from ‘What is the cloud?’ to ‘Should I be on a private or public cloud?’”

At RCS, the most common use is automation backup, though hundreds of online stations have embraced it as their main plat-

The cloud has a wellestablished role in radio with back-office applications.

1

2 On-air disaster recovery and continuity of service is a common use case now.

3 Online-only stations and broadcasters who want to spin up temporary streaming stations are natural cloud candidates.

4 Expect more airchain functions like processing, mixing and EAS to find their way to the cloud more widely.

form. “They’ve rethought the assumption that to sound like radio with its crossfades, segues and compression, they have to have hardware,” said Generali. Wheatstone Corp. views the cloud as an extension of AoIP networks. “We’re using the same interfaces and similar networking architecture for our Layers software suite for mixing, streaming and FM processing in the cloud,” said Manager of Technology Dominic Giambo.

“If a cloud server in New York goes down, we can automatically load balance everything over to an Amazon server in Los Angeles. … Amazon has the data centers waiting to run whatever you need. We are able to direct a stream from anywhere as a cloud instance that can be brought up or torn down in a second. And you don’t have to pay for it until you use it.”

VIRTUAL MACHINES

Bill Jackson, principal studio engineer at Educational Media Foundation, said EMF has used VMware to virtualize certain studio and delivery functions. “We have virtual machines in two virtual clusters on opposite sides of the country. The goal is to be able to operate multiple networks out of either virtual cluster with as little consumer interruption and

Cloud continued on 20 ❱

We haven’t seen wholesale adoption yet, but models are shifting

PHOTO CREDIT: Golden Sikorka/Getty Images

Only HDR10+ dynamic metadata delivers such a compelling combination of benefits, including outstanding brightness and contrast, robust standardization, ease of implementation, global certification, no licensing fees and full compatibility with HDR10. Making it the ideal HDR technology for your most demanding encoding applications. For more information, go to

When it comes to HDR at the NAB Show, one ecosystem is at the center of it all.

INTELLIGENT ADVERTISING

Broadcasters Turn to Tech to Maximize Ad Revenue

Shift to streaming requires new strategies and systems

By Jon Lafayette BROADCASTING & CABLE

With the economy slowing down, maximizing advertising revenue is an important topic at this year’s NAB Show.

Technology has changed the way viewers consume content, with streaming taking an increasing share of the eyeballs that advertisers want to reach. And at the show, there are plenty of exhibitors offering technology as a way to bring more dollars with the content they distribute.

USING METADATA

“Difficult times sometimes accelerate things, sometimes they retard things,” said Malik Khan, CEO of tech company LTN Global. “In this case, one of the things that we’re starting to see a lot of discussion on is the use of real-time dynamic metadata.”

The metadata carries information about a piece of content that can

❱ Cloud continued from 18

talent disruption as possible. To do so for maintenance or disaster recovery has been paramount.”

A technology executive at another group, who asked not to be named, said his organization wants eventually to feed broadcast content to all its markets from a handful of locations.

“The most important issue for us is trustworthy, reasonably priced internet bandwidth. Transmission works well when we utilize private lines — MPLS — but that can get expensive for some of our smaller markets. Big fat public internet

TO LEARN MORE

Attendees can learn more by participating in the following sessions, open to all with an Exhibits Pass.

Measuring Up NextGen TV

Today | 11:30 a.m.–12:30 p.m. West Hall Meeting Rooms

W213-W215

The Evolution of Data

Targeting – Understanding Your Options

Today | 2–2:20 p.m. Intelligent Content Innovation Theater | W1143B

FAST Channels and Furious Growth

Today | 2:30- 3:30 p.m. Main Stage

Using AI to Accelerate Your Path to Content Monetization

Tuesday | 11–11:20 a.m. Intelligent Content Innovation Theater | W1143B

be read by programmatic engines that make decisions about into what content to insert advertising.

“There is a high amount of desire on the part of customers to start using more metadata downstream to make sure the right ad runs in the right place,” Khan said. Better metadata can also ensure

pipes are so much more cost-effective. … Increasing our public internet usage is one of our goals.”

Flexibility is key, said Bill Bennett, media solutions and account manager of ENCO Systems. “There’s a lot of comfort in remaining on-premises with a real-time disaster backup in the

that programmatic advertising follows business rules and comports with rights issues.

Standardizing the descriptors is an issue that still needs to be worked out. “There is work required of us to normalize it so YouTube TV can get what it wants, and Hulu can get what it

cloud. But a station of any size may have an event and want to spin up a temporary station for streaming. It’s so easy to build out a temporary instance for playout and a CDN streaming source and go live.”

Giambo of Wheatstone said the cloud does raise tradeoffs in

wants. Different platforms can get the data in the way they want it represented,” said Khan. “Our metadata signaling is becoming super important.”

“We are ready to start talking to customers about how to sim-

Advertising continued on 22 ❱

latency and buffering. “But we are getting so much better at making those tradeoffs, specifically mitigating packet loss. … For now, even putting mixing engines in a server in your rack room will save you racks of hardware and the associated engineering, electrical and real estate space.”

And Sacks of Telos encouraged broadcasters not to shy away. “The cloud is just one way of accomplishing your goals of having flexibility, robust disaster recovery and the ability to scale your operation as your business changes.” l

They’ve rethought the assumption that to sound like radio with its crossfades, segues and compression, they have to have hardware.”

PHILIPPE GENERALI PRESIDENT, CEO, RCS

plify all this complexity,” Khan continued, “and implement some ways that allow [customers] to maximize the revenue [they] can get from content without having to build out large amounts of staff or capital infrastructure.”

COUNTING VIEWERS

The changing media environment has impacted audience measurement company Nielsen. Its job counting viewers has become more complicated with content being consumed on more platforms and more devices.

Nielsen said its Audience Measurement and Gracenote sales teams are at the show to highlight the audience insights, data and analytics that are shaping the future of media.

“NAB Show provides an invaluable opportunity for us to

ON THE MAIN STAGE

engage in person with our clients and key partners,” said Jamie Moldafsky, Nielsen chief marketing officer. “We know that topics like cross-platform measurement, big data and its use in conjunction with panels along with information on advanced audiences will dominate many of the conversations we plan to have. As we are committed to working with the industry to help solve the critical issues facing media and advertising today, we are excited for thoughtful and positive conversations about how Nielsen can best provide value to its customers.”

There are a number of sessions planned to help attendees learn more about the technology opportunities to monetize their content.

ATSC 3.0, the broadcast television standard also known as NextGen TV, is available in more than 60 markets and is

projected to reach 75 percent of U.S. households by the end of 2023. NextGen TV not only includes enhanced picture and sound quality for consumers, but also heralds new targeting and advertising possibilities for the broadcasting industry.

Today’s panel discussion

“Measuring Up NextGen TV,” will feature executives at the forefront of this new marketplace who will explain the measurement capabilities available within the new broadcast standard and how it will complement traditional audience currencies.

During today’s session “FAST

EXECUTIVE Q&A

Thomas Tang President

Apantac

FAST Channels and Furious Growth

Today | 2:30–3:30 p.m.

Main Stage

FAST TV is a rapidly growing business. 2022 revenues for the U.S. market were roughly $4 billion and are projected to triple over the next five years. Leaders in the industry will talk about their strategies to harness the worldwide audience’s appetite for free, ad-supported TV. Panelists will discuss programmatic challenges and opportunities, how to effective-

ly utilize targeted advertising, and how to build infrastructure quickly.

Panelists include Amy Kuessner, executive vice president of Content Strategy and Global Partnerships, Paramount Streaming; Adam Lewinson, chief content officer, Tubi; Jim Packer, president of Worldwide Television Distribution, Lionsgate; and Bill Rouhana, chairman and CEO, Chicken Soup for the Soul Entertainment. The session will be moderated by Dade Hayes, business editor, Deadline. l

Channels and Furious Growth,” industry leaders will talk about their strategies to harness the worldwide audience’s appetite for free, ad-supported streaming TV. FAST TV channels enable programmers and stations to reach non-pay-TV subscribers with their content and ad messages. 2022 revenues for the U.S. market were roughly $4 billion and are projected to triple over the next five years. The panel will discuss programmatic challenges and opportunities, how to utilize targeted advertising effectively, and how to build infrastructure quickly. l

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

These two requirements always seem to come up in our conversations with our customers: flexibility and cost-effectiveness. We expect video over IP to continue trending, whether its NDI (network device interface) — an open standard for connecting video devices over a network — or our Apantac KVM over IP, for customers to extend and switch video signals, keyboard and mouse functions, as well as embedded and analog audio signals over IP.

Apantac is a long-time exhibitor at NAB Show. What brings the company back to this event each year?

As NAB Show celebrates its 100-year anniversary, Apantac is celebrating 15-years! I personally have been attending and exhibiting at NAB Show since 1992. It’s is a great environment to see the latest technology, meet colleagues, catch up with friends, make new friends and connections. It’s also a worthwhile time to provide our customers with in-person support, discuss their upcoming projects, what features they see as beneficial, and how we can further meet our customers’ needs. We always look forward to NAB Show.

Screen Media, a Chicken Soup for the Soul Entertainment company, acquires Jon Hamm and Tina Fey-led thriller “Maggie Moore(s).”

We are ready to start talking to customers about how to simplify all this complexity.”

MALIK KHAN CEO, LTN GLOBAL

DSPK-4 (DIGITAL SPEAKER STATION)

Introducing the new member of the RTS Digital Partyline family

The DSPK-4 is an IP-based wired speaker station providing nextlevel versatility and functionality, including four channels of talk/ listen via microphone and speaker or headset – all with high-quality digital audio and the use of standard Ethernet for easy integration

VERSATILITY

Available in desktop, flush-mount and wall-mount versions, each with an unmatched variety of power options and headset connectors.

into existing IT infrastructure. It adapts the unique hybrid IP/digital/ analog functionality, ergonomic design and intuitive UX of the bestselling DBP (Digital Beltpack) into a sleek new form factor that is available in compact desktop, flush-mount and wall-mount versions.

HYBRID FUNCTIONALITY

USER FRIENDLY

Operate DSPK-4 in partyline mode with OMS (OMNEO Main Station) or in portable keypanel mode with an RTS matrix (ODIN/ ADAM) – one device covers it all.

Compact and ergonomic design with full-color icon-based menu navigation for quick setup and intuitive operation.

STREAMING CONSOLIDATION CONTINUES

Live Sports Keeps Linear TV in the Mix

Parks Associates reports 88 percent of U.S. internet homes had at least one OTT subscription service

By Addie Morfoot BROADCASTING+CABLE

Every year, the number of households paying for over-thetop services increases, which has led to the assumption that linear television is nearing its death. But despite the gap widening between households subscribing to OTT providers or to traditional pay TV, broadcast networks are here to stay.

“There’s no doubt that how we watch, when we watch, what we want to watch and on what platform and device has changed,” said Dan Rayburn, an expert on streaming media and the chairman of the NAB Show Streaming Sum-

mit conference. “The windowing of content has changed, but this idea that broadcast TV is dead — absolutely not.”

NOT GIVING UP

According to Parks Associates’ OTT Video Market Tracker, last year 377 independent OTT providers existed in the United States and 88 percent of U.S. internet homes had at least one OTT subscription service. But despite that high percentage, Americans are not ready to give up their linear subscriptions thanks in large part to live sports content.

“If you unbundled sports from broadcast TV, broadcast TV would have a problem,” said Rayburn.

But live sports licensing contracts are expensive and the agreements currently in place with various broadcast networks including FOX, ABC, CBS and NBC are

key to keeping broadcast TV alive and well.

“It’s incumbent upon linear broadcasters to create programming that attracts audiences,” said Brown. “We saw it with the World Cup. The audience that is not necessarily a linear audience will come to see the programs they want on the platform where it exists. Live news, live sports, live game shows, those are things that we need to lean into to differentiate ourselves in the marketplace.”

A recent example of a network

multi-year arrangements that aren’t set to expire for several years.

Stephen Brown, executive vice president of programming and development for Fox First Run and Fox Television Stations, agreed that live programming is

veering away from original content that once proved successful is The CW Network. In January, The CW, known for shows that attract younger audiences, signed a multiyear rights deal with LIV Golf. Under the terms of the deal, The

It’s incumbent upon linear broadcasters to create programming that attracts audiences.”

STEPHEN BROWN FOX FIRST RUN AND FOX TELEVISION STATIONS

Madelyn Cline as Sarah Cameron and Chase Stokes as John B in “Outer Banks.” Despite the popularity of shows like Netflix’s “Outer Banks,” sports and other live events are keeping viewers tuned in to traditional TV.

PHOTO CREDIT: Jackson Lee Davis/Netflix © 2023

CW will air 14 global LIV Golf League live events in 2023.

“In an era of declining linear TV viewing, premium sports content is one of the few genres preventing viewers from cutting the cord,” said Elizabeth Parks, president and chief marketing officer, Parks Associates. “In Q1 2022, 40 percent of U.S. traditional pay-TV subscribers still watch live sports via legacy pay TV.”

MOVING ONLINE

But, according to Parks, the sports consumer’s experience will eventually move online and away from traditional pay TV. Evidence of this shift has occurred over the

profitable for them, they replied and said, ‘Well, we kind of don’t know. We are in one year of a 10year deal. We are certainly aiming to get it to profitability.’ So they flat out said even they don’t know because the cost to license is so high.”

That said, Parks Associates expect revenue from sports streaming subscription packages to increase 73 percent to $22.6 billion in 2027 after generating $13.1 billion in 2022.

What won’t be changing in the near future is the overwhelming bevy of content being offered by multiple OTT services and the numerous subscriptions needed to access that content. Despite

their catalog. However they have to bundle that for consumers, that’s what they are going to do.”

Parks predicts that further streaming consolidation will occur over the next few years.

“Experimentation with hybrid business models and varied pricing tiers, providing customers with the ultimate option in how they watch video will continue

as SVOD business models work to generate more revenue from TVOD and AVOD services,” said Parks. “In the next year, we may see Amazon, Disney or Apple buy smaller entertainment businesses in need of a bigger parent. These multi-billion-dollar purchases are clearly aimed at undermining Netflix’s dominance in the SVOD business.” l

TO LEARN MORE

OTT DEMO AREA

Be sure to visit the OTT Demo Area, which is located in the Connect Experiential Zone in the West Hall. Attendees can see more than 50 streaming video platforms and devices.

SESSIONS AND NETWORKING

The following sessions and roundtables are open to all.

last few years when Apple TV+, Hulu, HBO Max and Amazon each began delivering various live sports broadcasts.

But Rayburn said it’s a risky, expensive endeavor for streamers to take on.

“It’s way too expensive and so far, no (streamer) has shown a good return on investment to where they can make money from it,” he said. “Even Amazon, when they were asked publicly if Thursday Night Football is

consolidation, which includes Showtime being integrated into Paramount+ earlier this year, as well as the 2022 Discovery acquisition of WarnerMedia and the subsequent birth of Warner Bros. Discovery, consumer fatigue is here to stay.

“This isn’t about what consumers want or like,” said Rayburn. “That’s not what these companies are doing. What they are trying to do is make it easier for themselves to monetize and make money off

ISP Insights: Plugging the Gap in Content Delivery Monitoring

Monday | 10:30–10:50 a.m.

W3421: CONNECT Innovation Theater

Roundtable: How to Live Stream at Scale — Presented by Wowza

Monday | 11:15 a.m.–Noon

C2133: CREATE Inspiration

CTV Opportunities After a Decade of Existence!

Monday | 1:30–1:50 p.m.

W3421: CONNECT Innovation Theater

Roundtable: How to Live Stream at Scale — Presented by Wowza

Monday | 1:45–2:30 p.m.

C2133: CREATE Inspiration

Roundtable: Live Production for a New Era — Presented by Cinamaker

Tuesday | 11:15 a.m.–Noon

C2133: CREATE Inspiration

Live Production for a New Era — Presented by Cinamaker

Tuesday | 1:45–2:30 p.m.

C2133: CREATE Inspiration

The Globalization Management Solution

Monday | 10–10:20 a.m.

N2562: CREATE Innovation Theater

NABIQ: Design the Future of Sustainable Streaming

Monday | 10:30–11:30 a.m.

W3421: CONNECT Experiential Zone

Meet Unified Virtual Channel

Monday | 1:30–1:50 p.m.

W2015: CAPITALIZE Innovation Theater

From Teleports to Digital Transformation, Globecast’s Next Evolution of Media Services

Monday | 2–2:20 p.m.

W3421: CONNECT Innovation Theater

How TV Coins Rapidly Scaled Its Streaming Platform to Millions of Viewers Using AWS

Monday | 2–2:20 p.m.

W2051: CAPITALIZE Innovation Theater

Achieve Monetization Agility by Streamlining Partnership Onboarding

Tuesday | 1–1:20 p.m.

W1143: INTELLIGENT CONTENT Experiential Zone

Let It Flow With qibb: How to Make Integrations of Professional Media Workflows Easy

Tuesday | 2–2:20 p.m.

W3421: CONNECT Innovation Theater

The windowing of content has changed, but this idea that broadcast TV is dead — absolutely not.”

DAN RAYBURN CHAIRMAN, NAB SHOW STREAMING SUMMIT

APANTAC MULTIVIEWER/KVM APPLICATION

N2308 | Apantac is showcasing its new UHD Multiviewer with built-in KVM computer control driving an ultra-wide monitor. According to the company, a multiviewer driving an ultra-wide UHD monitor creates an exceptionally ergonomic control and monitoring station for the operator and user. Apantac’s UE-8-II-K multiviewer will be used in a wide-screen (32:9) setup rather than a 16:9 setup, which ensures ease for the operator viewing the screen.

The UE-8-II-K multiviewer offers built-in KVM (keyboard, video, mouse) capabilities, which allow the operator to have direct control over connected computers or KVM consoles from a single mouse and keyboard. The user simply has to hover the mouse over the selected computer window to gain full control of it. This enhanced and combined video monitoring and control expands the number of functions a user can perform on a single surface.

EVERTZ BROADCAST SOLUTIONS SHOWCASE

N2225 | Evertz is featuring a host of solutions for live media production, IP, 12G-SDI, content monetization and remote production in the cloud.

Broadcast facilities having a foot in both the IP and 12G-SDI camps will find products supporting both formats and providing a path to integrate future IP expansion. These include the NATX32/64100G Network Address Translation router that expands Evertz’ high-capacity IP switching platforms and delivers all the power of IP with the simplicity of SDI.

In addition, there is the MAGNUM OS orchestration, monitoring and analysis software at the heart of Evertz’ Software Defined Video Networking (SDVN) portfolio of IP-based end-to-end solutions, supporting both 12G-SDI and SMPTE ST 2110.

For broadcast facilities and OB trucks operating in a 12G-SDI world, there is NEXX, Evertz’ next-generation processing routing solution. This compact product has a modular-based frame for maximum flexibility and is controlled by MAGNUM-OS.

MEDIAPROXY LOGSERVER UPDATE

W1321 | Mediaproxy is demonstrating the latest version of its LogServer compliance monitoring system.

LogServer can integrate seamlessly with any operational environment, whether on-premises, virtual or in the cloud, and supports video, audio and real-time data from a range of current broadcast sources, including 4K, HDR, HEVC, TSoIP, SMPTE ST 2110/2022-6, Zixi and SRT.

In recent years Mediaproxy’s development program has aimed to offer more sophisticated and flexible monitoring, something important for the smooth and efficient running of broadcast and media services today. According to the company, users can be confident that LogServer will operate with a variety of distribution platforms and technologies, including NextGen TV, IP-driven workflows and cloud services. In this way Mediaproxy is able to deliver the monitoring and logging functionality necessary for its customers to both comply with regulatory demands and deliver the QoE expected by viewers.

SOUND IDEAS SOUNDELUX SOUND EFFECTS MASTER COLLECTION

C3006 | In July, 2019, Sound Ideas bought Sounddogs.com, an online sound effects website. Sound Ideas has a long history of collaboration with Sounddogs.com and its owner Rob Nokes, and this collaboration is bearing fruit with the release of the Soundelux Sound Effects Master Collection.

Soundelux acquired unique and versatile sounds that were created for hundreds of Hollywood motion pictures and television series. The company said Soundelux delivered on a promise of uncompromising commitment to bringing the most comprehensive level of audio expertise and service in sound editorial, sound supervision and sound design to the content community for more than 30 years, working with every motion picture studio in Hollywood. And now these sounds are available to the sound effects market at large.

VISLINK 5G-LINK

W1731 | Vislink is unveiling 5G-Link, a cellular video and data communication device that enables bidirectional data communication between free-roaming wireless cameras and production centers, a first, according to the company.

The 5G-Link can use either public or private cellular infrastructure to provide IP data links to and from Vislink’s HCAM wireless camera system, while also delivering remote control of the HCAM from any location. The 5G-Link can drive efficiencies in remote production workflows by allowing skilled technicians to carry out their duties at operations centers instead of onsite.

As an IP-based system, with the 5G-Link acting as a voice communication device, it can provide a connection bridge from a centralized operations center located anywhere in the world. In addition, full IP data control and management is provided through Vislink’s LinkMatrix cloud-based control system. This allows links to be made and configurations created from a centralized operations center on either a scheduled or ad-hoc basis.

BROADCASTERS GENERAL STORE AIRBOX NEO-20 PLAYOUT SYSTEM

C2213 | Broadcasters General Store (BGS) has expanded into the broadcast and video production market, hiring several former broadcast engineers to its staff and adding lines such as PlayBox Neo, AJA, Studio Technologies, BirdDog, BlackMagic Design and Kramer.

BGS is featuring PlayBox Neo’s AirBox Neo-20, a playout system that can be used as both a live playout server for master control and as a disaster recovery solution. The workflow of AirBox Neo-20 is adaptable to a customer’s needs. It provides automated content streaming and broadcast playout for any kind of TV channel — cloud-based, satellite, cable headends, over-the-air broadcasters, corporate TV and OTT. The optional Multi-Backup Manager (MBM) module is designed for backing up multiple playout channels simultaneously. MBM allows the user to choose the number of backup systems, reducing overall system cost while maintaining system integrity.

The Future is Bright

TRANSFORMING PRODUCTION

The metaverse is expected to be an $80 billion market by 2024 as more professionals use the technology to create an enriched, immersive, interactive experience — be that as an animated playroom or an augmented work experience.

Immersive Technology Lands in the Spotlight Via the Metaverse

Growth to take off as virtual interfaces transition from tech toys into tech tools

By Susan Ashworth TV TECH

If you needed a specific definition for what the metaverse can do, you may be waiting awhile.

It’s an immersive embodiment of the internet. And it’s a shared, personalized experience. But it’s also an animated, interactive playroom, one that gives us the chance to experience our existence in ways we can’t in the physical world.

For broadcasters, game makers and content creators, the metaverse has the capacity to transform production of the industry. By using affordable virtual reality technology, a media company might have the capacity to

view, manage and interact with an ongoing production regardless of where it is happening. Or engage linear television viewers with an immersive, companion experience.

What’s clear is that the metaverse is poised to be something big.

“In general, it feels like the industry is on the doorstep of taking major strides toward delivering on truly immersive entertainment,” said Chris Brown, NAB executive vice president and managing director of Global Connections and Events.

GROWING MARKET

In its Tech Trends 2023 report, Deloitte Insights found that the metaverse is expected to be an $80

billion market by 2024 as companies begin to use the technology to create an enriched alternative to the flat, two-dimensional world we currently access via video feeds, email and texts.

off as virtual interfaces transition from technology toys into technology tools, with new business models following closely behind. In a recent panel discussion about the metaverse, Deloitte Consulting Principal Jessica Kosmowski said that industries are just now at the cusp of exploring unique initial use cases of the metaverse.

“In other words, the metaverse is best thought of as a more immersive incarnation of the internet itself,” the authors of the Deloitte report wrote. “[It is an] ‘internet plus’ as opposed to ‘reality minus.’”

Growth is expected to take

“We are essentially looking at the next evolution of the internet,” Kosmowski said. “Every aspect of the tech, media and telecom ecosystem is in for a major change in the next few years. Media companies will need to develop new business models [and] engage consumers with new content and experiences. Products and services will be reimagined at every layer

What’s clear is that the metaverse is poised to be something big.

PHOTO CREDIT: Riki32 from Pixabay

of the technology stack.”

NAB Show is tackling the issue with a series of sessions, roundtable discussions and exhibitor displays. Leaders from Microsoft and Dentsu will take an in-depth dive into the metaverse and explore how companies have already begun to create destinations and experiences during the Tuesday session “Secrets of Building Your Brand in the Metaverse.”

Another Tuesday session, “East vs. West: How Will the Metaverse Evolve and Converge Globally,” will explore the commonalities and obstacles that exist between the Western entrepreneurial model and the Eastern centralized model and what businesses can expect when it comes to building within this new interconnected universe.

CREATIVE USES

What are the possibilities of all this? Consider scented packs that could be connected to a virtual reality headset to mirror the lush, scent-filled environment a user is watching on screen. Or a hyperreal augmented reality shopping experience led by an AI-powered

creation tool. Beyond simply viewing a live game, fans can engage before the season and before each game. Sinclair called the partnership a key step in driving new revenue streams and deepening engagement with its viewers by redefining the sports viewing experience.

Almost universally, experts are saying that those interested in what the metaverse has to offer should start with strategy, whether the main goal is to develop new streams of revenue or to improve production operations through an augmented work experience. On the show floor, exhibitors will spotlight their work in the metaverse and related experiences like Web3, AI and data-driven personalization.

“New immersive content experiences are imminent, from pure AR/VR or mixed reality variations to the full-blown promise of new digital worlds with users as the central character,” said NAB’s Brown.

While there are certainly hurdles ahead and the challenge of syncing all sides of the ecosys-

Streamline Your Workflow with IP KVM

avatar. Or the use of sensitive, interactive haptic gloves that would give a user a sense of touch.

There’s already demand for blending physical and virtual worlds in the media industry.

Sinclair Broadcast Group and Deloitte recently announced plans to launch a new metaverse sports fan community driven by a 3D

tem — from the development of content, the process of content creation and distribution and the creation of the consumer technology necessary to deliver the ultimate user experience — the industry looks to be ready to take strides toward delivering deeply immersive entertainment, Brown said. l

Many of the world’s leading post-production and VFX studios already use Adder’s IP KVM technology to improve flexibility and suite occupancy.

Delivering secure, uninterrupted, and real-time access to on-premise and remote workflows, the ADDERLink® INFINITY range lets you reconfigure suites at the press of a button, or customize a series of suites to handle a specific production in a matter of minutes.

TV BROADCAST UPDATE

NextGen TV is set to revolutionize television delivery, viewer experiences, broadcaster revenue streams and more. Begin your NextGen journey at the ATSC’s exhibit in the West Hall.

Continuing Expansion of NextGen TV Brings New Opportunities

Consumers are purchasing 3.0-enabled receivers in increasing numbers

By James E. O’Neal TV TECH

NextGen TV — also known as ATSC 3.0 — is poised to replace the existing U.S. digital television delivery system. This new form of hybrid over-the-air and broadband-connected TV is now available in many U.S. television markets, and new launches are happening with increasing fre-

quency. Consumers are becoming aware of what this new technology can deliver and are purchasing 3.0-enabled receivers in increasing numbers as manufacturers offer more and more models in all price ranges.

Television broadcasters who have yet to put NextGen TV on the air need to prepare by taking advantage of the numerous ATSC 3.0 happenings here at NAB

Show. Broadcasters who have already launched this form of television will want to explore the latest in 3.0 gear and learn about implementing non-traditional TV broadcast services that come with NextGen TV.

The ATSC booth (W3443) is in the West Hall, where attendees can explore exhibits from a variety of ATSC 3.0 promoters and sponsors, including the

Sinclair Broadcast Group, Tata Communications, Pearl TV and Gaian Solutions. Knowledgeable staffers are on hand to answer questions about launching NextGen or adding features to an existing service.

The ATSC is also showcasing a new initiative surrounding inter-tower connectivity for lowering costs of single-frequency network transmission systems (SFNs) for broadcasters interested in using this 3.0-facilitated technology to extend signal coverage.

“The goal of the Tower Network Implementation Team (TN-IT) is to design, implement, test, validate and demonstrate the Inter-Tower Communications Network (ITCN) and In-band Distribution Link (IDL),” said ATSC President Madeleine Noland. “IDL is a one-way distribution system that will provide the program feed to SFN towers like an ordinary STL. The ITCN may additionally distribute broadcast internet data.”

You’ll also find ATSC 3.0 equipment with more features on the exhibit floor this year. And as noted by Dave Folsom, engineering lead at Pearl TV, price tags are lower.

“Manufacturers of ATSC 3.0 transition equipment have reduced prices as they’re selling more of it now,” said Folsom. “Transmission equipment is now available in the approximate $200K price range that will support about five services. All-in-all, the barriers for getting 3.0 on the air have never been lower.” l

Consumers are becoming aware of what this new technology can deliver and are purchasing 3.0-enabled receivers ...

PHOTO CREDIT: Malte Mueller/Getty Images

Learn More About NextGen TV

In addition to the NextGen TV displays and new 3.0 equipment demos, this year’s show offers plenty of NextGen TV educational opportunities.

Today’s “Ask The FCC” session, 3 p.m., is an open discussion on “hot topic” issues by members of the Commission’s Media Bureau and is certain to include NextGen TV. Although great strides have been made, there’s still a lot to do before the 3.0 transition is completed. Have your NextGen TV questions ready for this knowledgeable team.

Tuesday features several ATSC 3.0 events, including a 10 a.m. panel discussion “C-Suite Insights: Monetizing NextGen Broadcast” with Pat LaPlatney from Gray Television, Chris Ripley from the Sinclair Broadcast Group and Adam Symson from the E.W. Scripps Co. It’s moderated by TVNewsCheck’s Michael Depp, who shares his thoughts about how

EXHIBITOR SPOTLIGHTS

broadcasters should be positioning themselves in the rapidly changing television landscape.

“As cord cutting continues and retrans cools, responsible broadcasters have to turn their attention to new forms of revenue to sustain themselves, and ATSC 3.0’s potential remains most important among them,” said Depp. “NextGen TV’s addressable advertising and datacasting hold great promise. We’ll tease out details over when they most likely will bear fruit in this panel discussion.”

The session is followed by “Forecasting NextGen TV Regulations” at 11:30 a.m., which examines the FCC’s place in easing the path for a full ATSC 3.0 transition. It’s moderated by Patrick McFadden, the NAB’s associate

general counsel, who offered these comments:

“The ATSC 3.0 transition is reaching a critical inflection point. While we have made great progress in launching the standard in dozens of markets reaching more than half the U.S. population to date, broadcasters are continuing to work on bringing 3.0 to new markets and delivering innovative services in markets they have

Industry EXPERTS Say...

Where are we on the road to a complete switchover to ATSC 3.0 broadcasting and what needs to be done to get to the finish line? These broadcasting industry experts speak out.

MADELEINE NOLAND ATSC

launched. This panel will discuss the regulatory obstacles the ATSC 3.0 transition faces, what actions are needed in the nearand medium-term and what’s next for broadcasters and their viewers in the coming years.” l

—James E. O'Neal

“We’re about to cross another milestone in the ATSC 3.0 transition, by reaching 70 markets—large and small—who have launched NextGenTV services. Several of those markets have more than one transmission tower with ATSC 3.0, and broadcasters anticipate reaching 75 percent of viewers later this year.”

AUDIO-TECHNICA BP3600 IMMERSIVE AUDIO MICROPHONE

C4931 | Audio-Technica is launching its BP3600

Immersive Audio Microphone, a broadcast audio tool capable of capturing three-dimensional sound beds at sporting events, concerts, festivals, movie sets and more. It has eight compact capsule assemblies with high-frequency characteristics integrated into the body while remaining compact and lightweight for single-operator usability and setup. Direct routing is also possible, with no need for additional decoding or latency processing with 5.1.4-channel speaker layouts.

The BP3600’s eight microphone modules extend from the body to form a cube with 15 cm (5.9 inches) between each microphone assembly. Each assembly is equipped with a 12-mm (0.47-inch) hypercardioid capsule to produce ideally separated, discrete signals and deliver immersive audio experiences with ample spaciousness.

The microphones’ visible color-coded and numbered channel indicator rings allow for easy identification of channels.

Additionally, each assembly features a lock that the company says guarantees precise, repeatable positioning and prevents accidental removal.

MAXON ONE SUITE

N2627 | Maxon, the developers of professional software solutions for editors, filmmakers, motion designers, visual effects artists, animators and creators of all types, is spotlighting the extensive capabilities of the full Maxon One suite (Cinema 4D, Forger, Redshift, Red Giant, Universe and ZBrush) at its booth.

A whole host of upgrades have been introduced to the Maxon toolset since last year’s shows; in that time, Maxon has delivered regular updates including a multitude of benefits to users — new features, enhancements, Capsules and resources — adding greater value to the Maxon One subscription offering. The relaunch of Cineversity, Maxon’s online educational platform, featuring the ongoing release of tutorials, learning resources and educational content (like the popular VFX and Chill YouTube series), further helps artists realize their creative potential and hone their creative skills.

“I think 2024 will be the inflection year for NextGen TV. There are plenty of ways for people to receive service, as many of the new receivers have NextGen built into them. And from what I’m hearing, manufacturers are going to be adding even more models.”

“The ATSC 3.0 transition is reaching a critical inflection point.”

DAVE FOLSOM PEARL TV

PATRICK MCFADDEN NAB

Explore the Possibilities at NAB Studio

The National Association of Broadcasters offers a state-of-the-art media production facility in our headquarters in Washington, D.C.

To learn more and get information about renting the studio, please visit nab.org/nabstudio.

Thank you to our studio partners:

EXPERIENTIAL ZONE CREATE

All Things Pre-Production to Post: Explore implementation strategies with curated education, networking and product discovery for the Create community.

PRESENTING SPONSORS

EXPERIENTIAL ZONE CREATE

All Things Pre-Production to Post: Explore innovation with curated education, networking and product discovery for the Create community. NABiQ 10:30–11:30

Develop a Creator-Led Nextgen Approach for Cine Live Productions 1–2

Develop a Creator-led Nextgen Approach for Cine Live Productions

Scan for current online schedule

EXPERIENTIAL ZONE CREATE

All Things Pre-Production to Post: Get ready to be inspired with curated education and networking for the Create community. Features Magicbox Gen 2, the world’s first mobile virtual production super studio.

Central Hall INSPIRATION

HEADLINER SPONSOR

Networking

11:15 a.m.–12 p.m. Roundtable: How to Live Stream at Scale - Presented by Wowza

1:45–2:30 p.m. Video: Do It Yourself and Do It at Scale

PRESENTING SPONSORS

Inspiration Theater

10:30–11:10 a.m. From Zero to Influencer: Stories of Success in the Creator Economy

1–1:40 p.m. Turning Zoom Into Your Creative Weapon

1:50–2:30 p.m. Has Hollywood Kept Its Diversity Promises? What The Data Says

2:40–3:20 p.m. CineLive - Cinematic Capture in Wider Markets

EXPERIENTIAL ZONE CONNECT

West Hall

Where content moves next — Here you’ll find cloud computing and media infrastructure pushing the boundaries of content delivery anytime, anywhere. This is the place for people who want to boost their productivity. Inspiration, innovation and implementation tips await you with curated education, networking and product discovery for the Connect community.

Innovation Theater

10–10:20 a.m. Succeeding Beyond TV Broadcasting

10:30–10:50 a.m. ISP Insights: Plugging the Gap in Content Delivery Monitoring

11–11:20 a.m. Unified Entertainment Data Architecture - Real World Benefits

1:30–1:50 p.m. CTV Opportunities After a Decade of Existence!

2–2:20 p.m. From Teleports to Digital Transformation, Globecast’s Next Evolution of Media Services

2:30–2:50 p.m. A La Carte Analytics - The Evolution of Data

3–3:20 p.m. Do You Maximize the Value of Your Assets?

3:30–3:50 p.m. Adding Efficiency to Captioning Workflows

4–4:20 p.m. Experience the Evolution of KVM With DESKVUE

Remote Production Corner

9:30–10 a.m. Using AI for Collaboration, Distribution & Discoverability

10:30–11 a.m. Using AI for Collaboration, Distribution & Discoverability

11:30–12 p.m. Using AI for Collaboration, Distribution & Discoverability

12:30–1 p.m. And...You’re LIVE! Building On-Camera Confidence for Live Streaming/Broadcasting

2:30–3 p.m. And...You’re LIVE! Building On-Camera Confidence for Live Streaming/Broadcasting

1:30–2 p.m. And...You’re LIVE! Building On-Camera Confidence for Live Streaming/Broadcasting

4–4:30 p.m. How to Build a Compact Streaming Kit

5–5:30 p.m. How to Build a Compact Streaming Kit

FMC Remote Production Corner

OTT Demo Area: Featuring hardware from Amazon, Apple, Roku, Google, LG, TCL, Vizio and Samsung – all showcasing dozens of streaming services including: Apple TV+, Amazon Prime Video, Discovery+, Disney+, HBO Max, Hulu+ Live TV, Sling TV, Netflix, Paramount+, Peacock TV, YouTube TV, Tubi, Pluto TV, ESPN+, Freevee, AMC+, fuboTV, DAZN and many others.

NABiQ

10:30–11:30 a.m. NABIQ: Design the Future of Sustainable Streaming

Networking

2:30–3:15 p.m. Roundtable: How Do I Create an Online Community and Foster Positive Connections?

4–4:45 p.m. Women in Streaming Media Meetup

Inspiration Theater

10:30–11 a.m. SMPTE: Cloud Playout Workflow Using IMF

11:15 a.m.–12 p.m. Video: Do It Yourself and Do It at Scale

1–1:30 p.m. SMPTE: Deploying a Broadcast Playout Workflow in the Cloud

1:50–2:30 p.m. Sports Streaming at Scale

2:40–3:10 p.m. Future Proofing Video Streaming Storage

2:40–3:20 p.m. Next-Generation Video Codecs for 8K

4:20–5 p.m. 2023 PILOT Innovation

Challenge Winners

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EXPERIENTIAL ZONE CAPITALIZE

West Hall

Where content meets commerce — Here you’ll find strategic solutions and next-gen technologies creating new revenue streams and fueling the content economy. This is the place for people who want to perfect their go-to-market and monetization strategies. Inspiration, innovation and implementation tips await you with curated education, networking and product discovery for the Capitalize community.

NABiQ

10:30–11:30 a.m. NABiQ: Create an Enhanced Immersive Ad Experience

1–2 p.m. NABiQ: Create an Enhanced Immersive Ad Experience

Innovation Theater

1:30–1:50 p.m. Meet Unified Virtual Channel

2–2:20 p.m. How TVCoins Rapidly Scaled Its Streaming Platform to Millions of Viewers Using AWS

Roundtable

2:30–3:15 p.m.

Roundtable: Protect This! How Apex Creators Capitalize and Leverage Their IP Rights

Inspiration Theater

10:30–11:20 p.m. How My Song Appears and Sounds on the Radio

11:20 a.m.–12 p.m. The Promise of HDR for Studios and Realities of Advanced HDR Workflows for Streamers

1–1:40 p.m. The NAB Show Web3 Advisory Council Annual Update

2:40–3:10 p.m. The Next Wave for NFT’s

4–5 p.m. NABiQ: Pitch Session and Happy Hour

Inspiration Theater

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EXPERIENTIAL ZONE INTELLIGENT CONTENT

Where content gets personal — Here you’ll find industry-wide transformation enabling customized, immersive content. This is the place for people who want to automate production, harness data to enrich user experience and engage new business models to drive reach. Inspiration, innovation and implementation tips await you with curated education, networking and product discovery for the IC community.

West Hall

NABiQ

1–2 p.m. NABiQ: Invent a Personalized Viewing Experience That’s Pure Magic

PRESENTING SPONSORS

Inspiration Theater

Inspiration Theater

1:50–2:30 p.m. NBA: Ingredients to Building a Successful Sports Streaming Business

Innovation Theater

10–10:20 a.m. Reaching Today’s Diverse, Global Audiences While Increasing Revenue

11–11:20 a.m. Create Thousands of Unique Videos and Media Assets in Minutes

11:30–11:50 a.m. The Evolution of Data Targeting –Understanding Your Options

2–2:20 p.m. The Evolution of Data Targeting –Understanding Your Options

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TELESTREAM CONTENT MANAGER

W1501 | Telestream is spotlighting the Telestream Content Manager, a next-generation system leveraging both on-prem and cloud storage.

The Telestream Content Manager provides a single point of access for content across an organization’s storage ecosystem, including cloud and on-prem storage. Built on the DIVA Core technology, it is integrated with the Telestream workflow orchestration tools, as well as supporting all major MAM, PAM and automation systems. It also provides an intuitive web-based user interface for content search, preview and repurposing.

Content Manager’s auto-discovery feature enables indexing of files from cloud storage without the egress costs associated with copying to another location. This approach lowers costs while enabling efficient management of legacy content and incoming files. By automating content management actions and triggering automated workflows, Telestream Content Manager enables supply chain workflows that incorporate content movement, lifecycle management and media processing. It is planned for worldwide availability in summer 2023.

DALET FLEX UPDATES

W1935 | Dalet is featuring enhancements to its Dalet Flex media logistics platform, including the launch of FlexMOBILE, a new app for mobile devices. The cloud-native solution is used by media companies, sports brands and corporate creative teams to manage and monetize rich, multimedia content libraries; streamline production workflows; and facilitate media supply chain packaging and distribution across traditional, digital and social platforms.

The latest Dalet Flex release delivers mobility and remote collaboration capabilities with the all-new FlexMOBILE application, available for Android and iOS mobile devices. The launch further expands connectivity to digital content, empowering teams to access their media library anytime, and collaborate from anywhere. Additional enhancements include an updated web user interface and added functionality within FlexREVIEW, Dalet Flex’s asset review and approval tool.

According to the company, Dalet Flex can be deployed on any cloud infrastructure provider, including Dalet fully hosted options.

FUJIFILM HZK25-1000MM F2.8 CINEBOX PL LENS

C5725 | Fujifilm is introducing the Fujinon HZK25-1000mm F2.8 CineBox PL lens. A new category of lens, HZK25-1000 is a native PL-mount box lens that combines broadcast functionality with beautiful bokeh, delivering a cinematic look to live production.

HZK25-1000 utilizes optical design technology to achieve a maximum aperture of F2.8 and 40x zoom ratio. This ultra-high zoom ratio lens is compatible with the large sensors of digital cinema cameras yet provides a brightness of F2.8 at the wide-angle. Not only does it enable filming in low-light environments such as indoor concerts or nighttime events, the shallow depth of field also provides the advantage of beautiful bokeh, bringing a cinematic look to both live and commercial production.

The Fujinon HZK25-1000 is being shown at the Fujifilm booth on a Panasonic AKPLV100 in Super 35 with both traditional broadcast zoom and focus controllers, as well as popular Preston FIZ and Microforce controllers.

ALTEON.IO ACCELERATOR

N1521 | Alteon.io is launching Alteon Accelerator, a new desktop application that maximizes media upload speeds for content creators. Alteon Accelerator delivers files up to 5 TB in size to the cloud faster than traditional upload methods.

Powered by IBM Aspera, Alteon Accelerator can be used on any Mac or Windows desktop and can be triggered to initiate remotely. Users can upload large files, including professional RAW file formats, to Alteon’s cloud platform. From there, Alteon generates proxy files of every asset, allowing project owners to share files or folders with whomever they want and set optional expiration dates and permissions.

Updates that Alteon has announced in the past year include real-time comments on videos, a workflow extension for Final Cut Pro, and the ability to transcode Blackmagic RAW media files in the cloud. Alteon plans to release more features in the coming months to continue improving the platform for content creators.

SNEWS BROADCAST SOLUTIONS ARION NRCS UPGRADE

N1975 | SNews Broadcast Solutions is presenting the latest version of its comprehensive newsroom computer system, Arion NRCS. This version has been designed with the user in mind, offering an even more efficient, streamlined news production system.

Arion NRCS enables broadcasters to manage all aspects of news production, including scripting, scheduling and delivery, in one central location. New features that improve efficiency and streamline workflows have been added to the system, making it easier for broadcasters to create and deliver compelling news content.

The company also is presenting its integrations with popular broadcasting industry software solutions, including EditShare, Playbox, EMAM, ChyronHego, Avid/Orad, VSN, vMix, Grass Valley, and many others. These integrations allow users to access and integrate existing workflows into Arion NRCS, creating a seamless experience for broadcasters.

TRIVENI DIGITAL ATSC 3.0 TRANSLATOR

W3251 | Triveni Digital is introducing an ATSC 3.0 Translator that reduces the cost of ATSC 3.0 service delivery. Leveraging the ATSC 3.0 Translator, broadcasters can repeat or translate their existing ATSC 3.0 signal to other areas without the need for an entire broadcast chain, minimizing costs, equipment and power.

The solution is suitable for both public statewide networks and private cloud-based environments. The ATSC 3.0 Translator is also suitable for business channels using SRT distribution, signal capturing for manufacturing, signal monitoring for automobiles and remote areas, ATSC 3.0 retransmission, changing channel numbers for local broadcast stations and more.

The company also is unveiling a new bundled solution with global video technology provider Synamedia for low-power TV broadcasters. The solution includes Triveni Digital’s GuideBuilder XM ATSC 3.0 ROUTE/MMT Transport Encoder and ATSC 3.0 Broadcast Gateway scheduler integrated with a Synamedia encoder.

CALREC ARGO AUDIO MIXING CONTROL PLATFORM

C6107 | Calrec is spotlighting its Argo audio mixing control platform with both the Argo Q and Argo S models on exhibit.

Argo is fully modular with interchangeable hardware panels and uses Calrec’s time-served Assist UI at its core. This means that whether you are working on physical hardware panels or on a remote GUI, the user interface is both familiar and easy to drive. Its modular panel system encourages broadcasters to adapt surface hardware to meet their unique requirements, with two mid-level rows of interchangeable panels on the larger Argo Q model, and one mid-level row on the compact Argo S model.

Calrec has also introduced a comprehensive system of user templates to instantly change the hardware user interface to meet changing requirements or user preferences. Argo’s physical control surface is also more streamlined, using optically bonded touchscreens to provide outstanding visual feedback and speed of access.

MARSHALL ELECTRONICS

4K60 PTZ CAMERAS

C5520 | Marshall Electronics is introducing two 4K60 PTZ cameras, the CV730-BHN with full-NDI and CV730-ND3 with ND| | HX3 technology. These cameras are designed to accommodate broadcast production facilities looking to produce high-impact content with less staff on-site and sometimes limited IP bandwidth.

The CV730-BHN Full-NDI PTZ camera incorporates the premium full-NDI FPGA while also offering the benefits of NDI | HX3 and standard IP (HEVC/SRT) streams. The CV730-ND3 PTZ camera utilizes the NDI | HX3 platform and standard IP (HEVC/SRT).

The CV730-BHN features a premium Sony 4K sensor with 9.2 million pixels and back-lit square pixel technology designed behind a long 30x optical zoom range (6.5~ 202mm). It also has support of BT.2020 color gamut for wide and precise color reproduction suitable for high-end productions. The CV730-ND3 features a similar Sony 4K sensor with 9.2 million pixels and back-lit square pixel technology designed behind same 30x optical zoom range (6.5~ 202mm).

OONA QA TOOL

W1474 | OOONA is launching a new tool, OONA QA, that provides broadcasters and language service providers with an intuitive management system to keep track of their quality control.

The OOONA QA tool is designed to manage the quality assurance process of asset types such as video, audio and subtitle files. It is aligned with OOONA’s philosophy of customization, allowing descriptive fields to be tailored to the user’s requirements.

Content to undergo QA can be entered manually or imported as an Excel file. Once logged, a ticket is generated, capturing issue type, source, description, severity and other relevant data to identify the error’s exact location and origin. The system includes intuitive controls for collaboration among team members who work on fixing errors flagged until an asset is greenlit. Originally developed for HOT Telecommunications, Israel’s largest cable TV and internet service provider, OOONA QA is now available to all enterprise clients.

SPARKUP VIDEO PLATFORM

W3220 | Sparkup, a French startup specializing in real-time audience engagement for large-scale virtual and hybrid experiences, is introducing its platform to the U.S. market.

The Sparkup platform helps organizations grab and hold their audience’s attention, whether they’re hosting business or entertainment events, or anything in between. The platform provides a virtual audience technology that pulls video feeds from online viewers to generate a large-scale video mosaic with no attendance capacity limitations and AI-based moderation to get full control over the look of the show. The video mosaic can then be customized to match the brand and scenography and be displayed on any type of screens (LED, green screens) or be integrated into 3D backgrounds for extended reality purposes, to create an even deeper immersion.

Speakers on stage can see their online audience and get that vital nonverbal feedback, and online viewers can watch the event from a front row, completely immersive seat.

EDITSHARE WORKFLOW SOLUTIONS

N2100 | The latest versions of EditShare’s storage solutions and workflow software are on display. The company says continuing development of EditShare core functionality is targeted at creative freedom and simpler, more resilient and secure workflows.

EditShare’s workflow solutions are driven by its EFS Storage and FLOW media management — these are combined in FLEX for fast cloud implementations. By integrating storage on premises, at multiple locations and in the cloud, connectivity is at the heart of the workflow and serves multiple market verticals and applications in broadcast, production, post, education, sports, news, corporate/enterprise and houses of worship.

Editors use the tools of their choice because FLOW and FLEX integrate with software from Adobe, Avid, Blackmagic Design and others without having to change screens. Included in this spring release are several features and improvements to the FLOW Panel for use with Premiere specifically.

WISYCOM MTP61 TRANSMITTER

C6011 | Wisycom is showcasing its new MTP61 Transmitter, the latest addition to its Symphony product line. The smallest and lightest multiband bodypack transmitter on the market, the MTP61 has the widest tuning range currently available (470 to 1260 MHz), according to the company. The MTP61’s compact design not only makes it comfortable, but also suitable for a range of applications from broadcast and film to live production.

Using the Wisycom App to control the device eliminates the need for network connectivity. Further, the MTP61 can also be configured by operators directly through the module’s high-contrast OLED display with front-panel navigation buttons for quick and easy access to menus and shortcuts.

At just over 2 inches tall and just under 2 inches wide, and 3.1 ounces in weight, the miniature design of the Wisycom MTP61 is lightweight and comfortable for longterm use in applications that require discreet placement.

PRODUCTS & SERVICES SHOWCASE

New innovations from exhibitors on the show floor

MONITOR BROADCAST, OTT, HLS, VOD & FAST STREAMS

Comprehensive compliance monitoring and logging solutions that include an extensive set of multiviewers, verification of SCTE and HLS ad triggers, tools for newsroom and ad sales workflows, and much more. On-prem, VM & Cloud Solutions.

Actus raised the bar again with a new release, Intelligent Monitoring Platform Version 9. Dozens of new Engineering improvements for Compliance Logging, Quality Assurance, Aircheck Recording, Multiviewers, plus New OTT StreamWatch and updates for RVM, AdWatch, and AI integrations. Features are

Prices are

EXPERIENCE UNMATCHED CLARITY AND RELIABILITY WITH ABSEN’S AWARDWINNING CLEAR COBALT (CL) SERIES FOR ULTRA-FINE PITCH DISPLAYS

Absen’s award-winning flip-chip COB product Clear Cobalt (CL) series has become one of our key ultra-fine pitch product solutions and will continue to bring clear, non-reflective, highly consistent, and reliable display with HDR support, high contrast ratio, and vivid color performance to the market. https://www.usabsen.com/products/date_visualization/ Clear-Cobalt-Series.html?utm_source=magazine&utm_ medium=future-NABdaily

WORLDCAST EXTENDS ECRESO AIO SERIES

WITH LOW-POWER TRANSMITTERS

WorldCast Systems launches low power transmitters, 100W and 300W, within Ecreso FM AiO series. A software oriented design enables users to replace outdated hardware at transmission sites via software integration of Audemat RDS Encoder, multiband processing, and APT IP Decoder. The Ecreso AiO series enable radios to achieve the lowest TCO.

Join us at NAB 2023 Show Centennial https://hubs.ly/Q01Dx1Mt0

BLACK BOX EMERALD® DESKVUE REDEFINES THE USER EXPERIENCE

Personalize your workspace with Emerald® DESKVUE. Monitor and interact with up to 16 physical and virtual systems right from your user desk on up to four screens. Experience a live demo of DESKVUE and more KVM solutions, and register for our Blackstone Grill Giveaway at Black Box Booth #W1322. www.blackbox.com

Visit Us At Booth C6711

Visit Us At Booth W2321

PRODUCTS & SERVICES SHOWCASE

New innovations from exhibitors on the show floor

PLANAR CARBONLIGHT VX SERIES LED DISPLAYS

Planar® CarbonLight™ VX Series is comprised of carbon fiber-framed LED video wall and flooring displays with exceptional on-camera visual properties and deployment versatility. Their wide color spectrum, narrow pitches , fast frame and refresh rates deliver excellent in-person and in-frame visual performance for broadcast and VPXR applications.

https://www.planar.com/CarbonLightVX

CANON PAID ADD-ON APPLICATIONS SYSTEM FOR 4K PTZ CAMERAS

Via a free firmware update, Canon has added a paid add-on applications system to their 4K PTZ cameras. Auto tracking application for the CR-N700, CR-N500, and CR-N300 allows users to automatically pan, tilt, and zoom to track moving subjects. The auto loop application for the CR-N700, CR-N500, CR-N300, and CR-X300 allows users to program and automate repeated camera movements.

https://www.usa.canon.com/

NAB Broadcasting Hall of Fame Ceremony

Today | 1–2 p.m.

Today’s “NAB Broadcasting Hall of Fame Ceremony” includes inductions into the NAB Broadcasting Hall of Fame and the presentation of awards.

Being inducted into the NAB Broadcasting Hall of Fame for Radio are Stretch Armstrong and Bobbito Garcia. The pair came to fame hosting their self-titled show at Columbia University’s WKCR-FM.

ABC’s long-running sports series “Wide World of Sports” is being inducted into the NAB Broadcasting Hall of Fame for Television.

Lora Dennis, executive vice president of Digital Media for NBCUniversal Local, is the Digital Leadership Award Recipient. l

EXHIBITOR SPOTLIGHTS

FREECAST HOME

W3421, W3443 |

FreeCast is unveiling FreeCast Home, a new in-home device using ATSC 3.0 technology to combine web-based streaming content with over-the-air TV, making them available in a single interface on both TVs and mobile devices. The whole-home media solution sells for a one-time charge of $200. Streaming aggregator FreeCast already offers more than 700 streaming channels and a half-million on-demand movies and shows.

FreeCast Home will integrate live, local broadcast channels into the streaming aggregator’s existing digital guide. Other FreeCast Plus features, such as MediaPay, will allow users to manage their streaming subscriptions and pay-per-view purchases to build a complete, unified TV experience.

Though FreeCast Home was designed with consumers in mind, the product is targeted at the multi-dwelling and hospitality industries, providing an economical solution for apartment buildings, hotels, college campuses or health-care settings. It can receive both traditional broadcast and NexGen TV signals, the latter of which will eventually support advanced services such as datacasting, OTA pay TV subscriptions or music subscription services.

SHOTOKU BROADCAST SYSTEMS TR-XT3 CONTROL SYSTEM

C5320 | Shotoku USA, Shotoku Broadcast Systems’ North American operation, is launching its latest studio control system. The TR-XT3 is making its worldwide debut, and Shotoku’s TI-11X elevator

pedestal paired with the company’s advanced TG-18i pan/tilt head is making its first appearance at a major North American event.

THE TR-XT3 incorporates the capabilities of Shotoku’s flagship TR-XT control system with a fresh user interface and several new capabilities. Built-in functionality makes simple work of designing and configuring SmartPed studio environment maps now and in the future. TR-XT3 is compatible with new and existing Shotoku systems making upgrades and migrations easy.

The TI-11X elevator pedestal is being shown paired with the TG-18i pan/tilt head to offer a robotic camera channel that includes elevation. The TI-11X is based on Shotoku’s new X-Height elevator column and offers a longer range of travel and increased speed over the TI-11 i-height pedestal.

COMPRIMATO LIVE TRANSCODER UPDATE

W2378 | Comprimato is showing the latest version of its Live Transcoder software. Already used for JPEG2000 contribution circuits, Live Transcoder also supports NDI, and now Comprimato has added JPEG-XS TR-07, which the company says makes it the most powerful and flexible solution for high-performance connectivity.

Comprimato’s unique solution uses the massively parallel processing power of standard GPUs, which means uncompromised quality for broadcast contribution and distribution circuits can be achieved with encoding and transcoding appliances on premises or in the cloud.

This COTS approach not only achieves the highest quality at a lower price point than other approaches, it also means that the software can be implemented in conjunction with other vendors’ software.

Grass Valley Emphasizes Power of Partnerships, Support

Grass Valley has come to NAB Show ready to take on the challenges of a changing media environment in which demand for live sports and entertainment is driving new production approaches fueled by partnerships, Executive Chairman Louis Hernandez Jr. said.

“For Grass Valley, you’re going to see a big change not only in the broad array of investments we’re making but our inclusiveness of third parties,” Hernandez said at the company’s press conference. Hernandez compared the appeal of live events — the bread and butter of its business — with its increased focus on partnerships. “One of the reasons why live events are so powerful is that they’re best served together as a shared experience while they’re happening,” he said.

Central to the company’s vision towards production is its Agile Media Processing Platform (AMPP), a series of apps, tools and services that, when combined, create an operating system for media production.

“It offers all of the functionality of traditional broadcast equipment and much more,” said Chief Technology Officer Marek Kielczewski.

Grass Valley also announced the creation of GV One, a new holistic approach to customer service, providing support in all phases from pre-sales design to project delivery to through-life support. “This intimate knowledge of our customers’ operations will facilitate faster response times,” said Senior Vice President, Global Delivery and Support Jim Kirkland. l

— Tom Butts, TV Tech

Chyron Products Move Further Into the Cloud

Chyron’s press briefing outlined a successful year and its continuing investment in its products, which are increasingly subscription-driven and based in the cloud.

“So 2022 has been a very good year,” Chryon Chief Financial Officer Mike Truex said. “It was our third year in a row of growth and this

year we did double-digit revenue [growth].”

Truex said the revenue growth was partly due to moving towards software-as-a-service (SaaS) offerings. Now, more than half of Chyron’s revenue comes from recurring revenue streams, he said.

Mathieu Yerle, senior vice president of strategy, said Chyron product updates were being made with user workflow in mind. “We try to keep that in mind at all times, to make sure we provide the best and most efficient user experience with consistency.”

Yerle said the company is working not to create products that do similar functions in silos, but in “proper platforms,” so “all customers or users are able to benefit from everything from a single web interface.”

Chyron’s products are increasingly cloud-focused. “Cloud enablement is not a new topic, but that really clearly has accelerated over the last couple of years to the point where all major platforms today are cloud-enabled and cloud-compatible,” Yerle said. l

— Jon Lafayette, Broadcasting+Cable

Grass Valley Executive Chairman Louis Hernandez Jr. at the company’s Saturday NAB Show press conference.

Sony Goes Big With Newest Spatial Reality Display

Sony Electronics answered the need for a larger, high-quality Spatial Reality Display monitor with the addition of the ELFSR2. At 27 inches, the larger 4K option can provide highly realistic, three-dimensional content without special glasses or VR headsets. Headline features of the new monitor include an upgraded high-speed vision sensor, image quality enhancing technologies and installation flexibility.

The ELF-SR2 enables more robust functionality through its support of applications and development. It is optimized for industrial design, surgical planning, architecture, engineering, construction, signage, retail, software/ application development, game developers and entertainment applications.

“Our original Spatial Reality Display continues to captivate customers by bringing 3D content to life with an astonishing authenticity and sophistication that demands to be experienced hands-on,” Sony Electronics Vice President of Professional Display Solutions Rich Ventura said. “While our users love the technology, we keep hearing the same question from

EXHIBITOR SPOTLIGHTS

CANON USA 8K FLEX ZOOM CINEMA LENS SERIES

C3825 | Canon U.S.A. announced two additions to its 8K Flex Zoom

Cinema Lens series, the CN-E14-35mm T1.7 and the CN-E31.5-95mm

T1.7 Super 35mm format lenses. Also new are four relay kits — the RL-S1 and RL-S2 (for Super 35mm) and the RL-F1 and RL-F2 (for full-frame), which adapt each Flex Zoom lens to suit whatever sensor format is required. The two new lenses expand the Flex Zoom series, first introduced in 2022, to include support for Super 35mm cinema cameras. They’re available in interchangeable EF and PL mounts and help produce video with beautiful and natural background blur.

Designed with flexibility in mind, each Flex Zoom can be adapted via relay kit for Super 35mm or full-frame censors as needed. Also at NAB Show, Canon will display the still-under-development MS-500, which the company says is the first-ever 1 ultra-high-sensitivity interchangeable-lens camera equipped with a 1.0 inch Single Photon Avalanche Diode (SPAD) sensor, featuring the high pixel count of 3.2 megapixels. Canon plans to begin selling the MS-500 in 2023.

ATELIERE DATA ANALYTICS SYSTEM

W1997 | Introducing a new functionality, Ateliere data analytics capabilities enable customers to measure the volume and performance of their media supply chain.

The new functionality, on display at the booth as part of the award-winning Ateliere Connect and Ateliere Discover cloud-native media supply chain platforms, aggregates all processing events from acquisition to distribution into a single, accessible data warehouse. High-level KPIs are presented in an “at-a-glance” dashboard providing

professionals: ‘Does this display come in a larger size?’ As we expand into more B2B verticals and environments, I’m happy to say that in addition to a bigger screen, we’ve added some powerful and commonly requested features to enhance content production. These include a wider color gamut, a newly developed engine, more advanced high-speed sensors and rich support for applications and their development — all for an extremely competitive price.” l

— Craig Johnston, TV Tech

customer visibility into titles processed, rejected and delivered, enabling stakeholders to make calculated adjustments and projections quickly.

Powered by AWS QuickSight, the dashboard simplifies access to granular data that customers can use to inform their business decision-making and streamline workflows, It provides information such as the number of titles processed, information on the number of hours of content ingested, packaged, transcoded, quality checked, how many gigabytes of content delivered and more.

VIDA CONTENT OS UPDATES

W2312 | Attendees can look forward to demonstrations of the latest workflow management and distribution features in the VIDA ecosystem including metadata-powered asset tree rendering and AI-enabled synopsis creation. Additionally, VIDA is offering content owners streamlined FAST Channel support, which, combined with VIDA’s workflow management tools and API integration, make it a simple way to deliver content to hundreds of destinations.

VIDA Content OS launched its flagship library management solution last year and has continued to deliver the latest in intelligent production asset management in a cloud-native SaaS solution. With dozens of onboarded customers, more than 2,000 users and more than 3PB of content securely stored, VIDA says it has advanced as one of the industry’s most innovative solutions for future-proof media library management and distribution.

Sony’s ELF-SR2 Spatial Reality Display

MWARE TV CONTENT PARTNERSHP

W1367 | MwareTV has joined in partnership with a U.S. content provider to deliver a complete one-stop service for ISPs, multi-dwelling organizations and more in the United States. With this partnership MwareTV can offer a complete content management and delivery service, including more than 200 national and regional television channels, in a single contract.

This content partnership means users can launch their services with a range of national and regional television channels. This speeds further the time to launch, because networks do not have to devote large amounts of management time to identifying and agreeing individual contracts with each channel. With one contract, MwareTV can get a tailored, fully branded service online in a matter of weeks.

Fully cloud-hosted and delivered as software as a service, MwareTV includes everything the operator needs from subscriber and channel management through to the ability to create branded bespoke apps for numerous popular devices.

PTZOPTICS MOVE SE CAMERA SERIES

N1814 | PTZOptics is expanding its award-winning Move 4K series of PTZ streaming cameras with the Move SE line, a collection of low-cost, high-quality streaming cameras suitable for small to medium-sized churches, schools and businesses. The SE series offers all the features of the original Move 4K, including auto-tracking, SDI, HDMI and USB connectivity, with a maximum resolution of 1080p, making them a suitable solution for users who don’t require 4K for normal use.

Along with the new cameras, PTZOptics is also releasing a new Camera Management Platform (CMP) that will add auto-tracking capabilities to the previous Gen2 camera models. The CMP software is available for download on Mac, PC and Linux computers. The CMP features tools for pan, tilt and zoom camera control, color management and auto-tracking.

PRONOLOGY STREAMFILE CORE UPDATE

W2717 | Pronology is updating its StreamFille Core platform for distributing and receiving IP video protocols and encoding them into editor-friendly formats such as ProRes, DNx, XDCam, H.264 and others.

The latest version adds the ability to write media files directly to Amazon S3 storage. This ability enables customers to save time and money when working in cloud-based workflows. More than just a cloud-based solution, StreamFile Core also seamlessly integrates into on-premises production workflows.

StreamFile Core integrates both NDI and Haivison SRT, providing increased IP and streaming capabilities. It supports SMPTE 2110 utilizing off-the-shelf hardware. This additional feature allows for NMOS discovery or manual stream entries. StreamFile Core has the ability to record ProRes and DNx with both .mxf and .mov wrappers allowing users working from home, on location or anywhere, to take their IP-video streams and turn them into edit-ready files.

SWXTCH.IO CLOUDSWXTCH SOFTWARE SOLUTION

N2225 | swXtch.io has joined the AWS Marketplace Channel Program as a software partner, and its cloud-native software solution, cloudSwXtch, is now available in the AWS Marketplace. This development follows in the wake of swXtch.io entering into an agreement with AS to deliver its high-performance multicast networks in the AWS Cloud for the first time. As part of this agreement, swXtch.io has completed the Foundational Technical Review (FTR) of cloudSwXtch to accelerate AWS engagement.

cloudSwXtch is a virtual overlay network that adds feature-rich, high-performance networking to cloud or edge deployments at the simple touch of a button with no code changes to existing applications. cloudSwXtch enables multicast in on-prem-to-cloud and cloud-to-cloud environments, helping companies scale without limitation and with sub-millisecond latency. cloudSwXtch provides many of the advanced features not previously available on cloud networks including multicast, broadcast, ground-to-cloud bridging, network path redundancy and more.

ENCO CHATGPT AI

W1743 | ENCO is introducing two new ChatGPT-inspired solutions. The new AI products — AITrack and ENCO-GPT, leverage the ChatGPT model to generate language responses from text-based queries added to automated TV and radio production workflows.

AITrack integrates with ENCO’s DAD radio automation system to generate and insert voice tracks between songs. Users can adjust the length of each automated voice track, and AITrack leverages CHAT-GPT and synthetic voice engines to produce natural-sounding, engaging content between songs.

ENCO-GPT simplifies copy creation within TV and radio broadcasts and program streams, according to the company. ENCO-GPT automatically creates ad copy on behalf of sponsors. For example, a producer can leverage ENCO-GPT to produce audio content for an auto dealership that committed to a recent media buy without producing their own ad content. ENCO-GPT ingests text from the producer with details on an upcoming special sale, with highly accurate, immediate turnaround of synthetic speech that is ready to air.

STUDIO TECHNOLOGIES INTERCOM INTERFACES

C2730 | Studio Technologies is introducing the Model 545DC and Model 545DR Intercom Interfaces. The units allow users to utilize analog party-line (PL) intercom circuits with contemporary Dante Audio-over-Ethernet (AoE) applications.

The Model 545DC supports two single-channel PL intercom circuits and is directly compatible with single-channel analog party-line products from Clear-Com. The Model 545DR offers one two-channel interface and works directly with the RTS TW-series of two-channel analog intercom circuits. Both can interconnect with Dante-supported devices such as matrix intercom systems, digital audio processors and audio consoles.

The Model 545DC is designed for use with single-channel analog PL intercom circuits that are commonly used in corporate, industrial, theater, entertainment and education applications. The Model 545DR is intended for use in applications, typically broadcast, that provide two-channels of analog PL on a single three-conductor cable. High-frequency call signals are combined with voice audio and are supported by the Model 545DR.

Sinclair President and CEO

Chris Ripley outlined the station group’s plans to create a Data Distribution as a Service (DDaaS) platform allowing broadcasters to easily take advantage of NextGen TV datacasting opportunities.

Sinclair Will Build New Platform to Manage

NextGen TV Datacasting

With analysts like BIA Advisory Services forecasting NextGen TV’s datacasting capabilities will produce more than $10 billion in revenue for broadcasters by 2030, Sinclair Broadcast Group has announced ambitious plans to help stations capitalize on those opportunities with an interconnected broadcast platform to automate and manage data distribution over ATSC 3.0 broadcasts.

During a press conference, Sinclair President and CEO Chris Ripley likened the company’s planned Data Distribution as a Service (DDaaS) platform, which it expects to go live in the first quarter of 2024, as “the glue between all the stations so we’ll be ready to go to market to go live with this system. Any broadcaster who wants to participate can use this system to automate … the provisioning of the data. They can do it manually, but no one will possibly ever want to do it that way. It just wouldn’t ever scale.”

This effort is not to be confused with the rollout of NextGen TV broadcasts, now in more than 60 percent of the country and expected to hit 80 percent by year’s end. Rather, it’s more like a system used to manage a station’s advertising, Ripley said.

Tech partners for the effort include CAST.ERA and Saankhya Labs in India. l

— George Winslow, TV Tech

SHOW SHOTS

Built during the pandemic, the name of this 1.5 x 2 ft. box is quite literal. Max Rutledge of

says it’s

to shoot professional video remotely (no crews needed!)

At the CG Pro booth, attendees can step inside the “Magic Box”; a mobile virtual production studio — the same tech used in Marvel movies!

Joy Chu of Well Buying Industrial Co. chats with attendee Fabienne Van Berkel over a colorful display of customizable buttons. The switch manufacturer is based in Taiwan.

Blackmagicdesign demos its Ultimatte 12, its newest chroma keyer with 12G-SDI connections for HD and Ultra HD work.

Studiobox

used

How an Oscar-Winning Film Was Produced Remotely

‘The Boy, The Mole, The Fox and The Horse’ lined up 120 people in 15 countries

By Jon Lafayette BROADCASTING+CABLE

Remote production, accelerated by the pandemic, can now do some incredible things.

In fact, the animated holiday short film “The Boy, The Mole, The Fox and The Horse” became the first remotely produced film to win an Academy Award. When it had its debut in December on BBC in the U.K., it drew more than 7 million viewers. The film is now available on Apple TV Plus.

To make the film, 120 people in 15 countries were tied together over LucidLink.

Sunday’s Main Stage session titled “How to Win an Oscar With a Fully Remote Creative Team,” sponsored by LucidLink, featured

two of the creative managers on the film, Mike McCain, an art director and visual development artist, and Ben Wood, animation senior support specialist.

Moderator Dave Leopold, LucidLink’s strategic development director, noted that this show was

creating a playbook for remote productions going forward.

Being in charge of technology for the film’s art department, Wood said one of the first things he needed to do was to access the people working on the project and the electronic equipment they had to work with.

FROM THE SHOW FLOOR

One important factor was bandwidth, he said, “because we were still deep in the COVID pandemic and it was important to know if I’d be able to remotely get into their system while they were on the machine.”

While the people hired had amazing creative abilities, he added, they did not have the best machines at home. “In about two or three cases people had to buy new iMacs because it can support the latest OS.”

“The remote aspect to leading this team was incredibly daunting,” McCain added. The team had some early Zoom calls to demonstrate techniques. “The early phases were laying the track for the train,” he said. “By the end of the project, we had a lot of momentum.”

The author of “The Boy, The Mole, The Fox and The Horse,” Charlie Mackesy, used his own unique watercolor style to illustrate the book. That style would prove tricky to translate to film until they found the right kind of brushes to use in Photoshop. “I think with any adaptation of a book, especially something that’s so beloved as Charlie’s book had become, I felt there’s always that sort of initial trepidation,” McCain said. But to the credit of the film’s producers, “pretty much as soon as I saw some of the early story animatics and storyboards, I was just excited and hopeful that we could make it through this whole thing and stick the landing.” l

A crowd gathers at Vu and Unilumin’s Virtual Production Central for a presentation on LED walls and how they can be used as a “virtual extension” to sets.

Evertz Focuses on Content Production Flexibility, Monetization

Evertz announced a number of new products, services and partnerships at a press conference ahead of the opening of the show, designed to help broadcasters manage, distribute and monetize content over an increasing array of services.

“Our customers not only want to know how they can integrate content cost-effectively and generate more content, but how they can monetize archives and keep audiences engaged,” said Mo Goyal, senior director for Evertz.

Among the highlights at its booth, Evertz is showing how its BRAVO Studio’s new “Highlight Factory” — where clips and stories are automatically created — uses AI to publish to Ease Live where users can pick their own highlights. The cloud will be a big focus for Evertz as it demos how its Mediator-X and OvertureRT-LIVE — available on Google Cloud — provide media companies enterprise-class and cloud-based playout and content management solutions. It is also showing its popular DreamCatcher platform operating in Google Cloud for ingest, playback, live editing and slow-motion replay. Evertz is also featuring evertz.io Stream, a streaming and playout SaaS for OTT, DTC and FAST services.

The company is celebrating the 75th anniversary of its Studer audio line, introducing Video PFL (Pre-Fade-Listen), a new feature for the

Studer Vista that gives engineers enhanced capabilities, especially when working in a live environment. l

—Tom Butts, TV Tech

FOR-A: Partnering for 12G, Virtual Studio Production

FOR-A announced it worked with Nationwide Video to create a 4K 12G-SDI UHD flypack system that fits in two rack cases.

“The goal is to fit the entire 12G broadcast truck inside two cases,” said Kevin Ring, Nationwide Video National training manager. FOR-A products, including the HVS-1200 switcher, are at the heart of the system.

FOR-A also announced it would offer the EZtrack camera tracking system from French vendor oARo Studio as part of a virtual studio and augmented reality offering in the U.S., Italy and UAE.

FOR-A has already run demonstrations of EZtrack integrated with the Elitium system from FOR-A partner ClassX, an Italian IT company that develops software and systems for graphics content management. FOR-A said the system is suitable for green screen studios and can also be used with LED walls and volumes.

The company recently announced a strategic partnership with Spanish LED panel developer Alfalite to provide complete systems. Initially the agreement allows FOR-A to market the screens in selected areas but the intention is that this will become a global arrangement.

FOR-A and automation provider Aveco also announced a strategic alliance where HVS Series production switchers, Insight video servers and ClassX graphics systems are now integrated with Aveco ASTRA Studio production automation and GEMINI media management systems in a package particularly targeting mid-sized, small-market and public stations. l

—Mark Hallinger, TV Tech

Nationwide Video National Training Manager Kevin Ring with Satoshi Kanemura, President & COO of FOR-A America.

Evertz Senior Director Mo Goyal talks about BRAVO Studio’s Highlight Factory.

Racing Drones Bring ‘Video Game’ Feel to Live Snowboard Competition

How Uncle Toad’s Media Group tackled the Natural Selection Tour’s coverage from Canada

By Phil Kurz TV TECH

Imagine flying behind 12 of the world’s top snowboarders as they make dangerous, remote runs through deep, fresh powder in the mountains around Revelstoke, British Columbia, Canada, and doing it live with cinematic flair.

That was the vision Uncle Toad’s Media Group brought to the production of the Natural Selection Tour, a demanding backcountry snowboarding competition through some of the most challenging terrain imaginable.

Jordan Velarde, Uncle Toad’s founder and executive producer; Chris Steblay, also an executive producer and creative director at the media group; and Ben Boriss, vice president at RF Wireless Systems, discussed the production during their “Racing Drones and Live REMI Production” session.

“We kind of invented a lot of ways of doing things because — for lack of a better term — we didn’t know any other way to do it,” Steblay said.

In practical terms, that meant modifying airborne racing drones to capture 1080p 59.94 stabilized video of snowboarders from above and behind the athletes as they made their way down the mountain. It also meant setting up a base of operations 20 miles from civilization in snow that in places was waist-deep, beaming live video via satellite to a centralized production control room in Santa Monica, California, for a classic remote integration model (REMI) production.

The remoteness of the location required all video gear and crew to get to the site via helicopter,

Steblay said. The potential danger of the surroundings also required those on-site to don avalanche survival gear, he said.

“When we first started visiting some of our locations, we realized you’d need 50 cameras,” Steblay said. “You’d have to fly in trucks … [and] drop them in in the summer. The budget did not allow for us to cover it like we would all be used to.”

“We really wanted to bring that big show to the mountain, so that’s where we kind of realized we needed to be wireless,” he said. “We could do a small setup on the mountain and transmit to an area where we can do the production.”

Maintaining wireless connectivity with the drones to transmit live video from the aircraft was particularly challenging.

“My mind was really kind of blown for a long time while I was really trying to understand the vision,” Boriss said.

Using drones to follow the snowboarders on a field of play that was massive, delivering live video from wherever they went, combined with the presence of snow-covered treetops, boulders and other obstacles, compounded the challenge of the project for RF Wireless systems, he said.

Uncle Toad’s had a total of six racing drones prepared for coverage. At any given time, one was in the air and two others were flightready to take over in the event the drone in use was lost.

The company developed two different types of drones. One was a heavy payload model for the “gimbalized” lens drone. The most recent iteration of that drone was a DJI Inspire drone. The other type was the racing drone, Steblay said.

The biggest challenge the REMI team in Santa Monica faced was getting connected to the Uncle Toad’s crew in the mountains, said Velarde.

“Usually, when we go to a venue, if there is a problem I’ll run to Ben at the venue and talk to him,” he said. “But we had to wait each morning for them to get to the location, for them to fire up the satellite, for them to then check all of the audio paths. … We had to go through that checklist before we could even talk to them.”

While a challenge, it worked well, enabling Velarde to speak with the team on the mountain “like they were in the other room,” he said.

The REMI production created another challenge for Velarde and others in the production control room: They had no firsthand knowledge about the layout of the field of play.

“Our true understanding of the venue — I saw what you guys saw,” Velarde said, alluding to those attending who watched clips of the production during the presentation. “It was a challenge to really understand it.” l

(From left): Jordan Velarde, Chris Steblay and Ben Boriss of Uncle Toad’s Media Group discuss the tech challenges of covering snowboarding’s Natural Selection Tour.

Matrox Unveils ORIGIN Framework for Broadcast Infrastructure

APTS, RAPA Strike NextGen TV Cooperation Pact

Patrick Butler, CEO of APTS (America’s Public Television Stations) and Jungsu Song, CEO of RAPA (the Korea Radio Promotion Association) met Sunday afternoon at NAB Show to sign an agreement promising cooperation in promoting ATSC 3.0 technology for U.S. public media as it transitions to the NextGen TV standard.

Some experts think it will take a decade before Tier 1 live production in the cloud for broadcasters is a reality. Matrox is hoping to shorten that timeline. During a press conference on Sunday afternoon, the company introduced Matrox ORIGIN, a common development framework for broadcast infrastructure.

“They want to move the equipment room to the cloud,” Francesco Scartozzi, Matrox vice president of sales and business development, said. “However, the move to the cloud comes with absolutely no compromise from their perspective. Unlike many solutions, ORIGIN breaks the “lift and shift” approach that keeps us from harnessing the benefits of the cloud and from realizing the full economic advantages of cloud migration.”

Available now, Matrox considers the ORIGIN software development kit (SDK) to be the “missing link” for Tier 1 live production. The asynchronous, vendor-agnostic media framework is built in a cloud-native architecture and is designed to address live production requirements, including quality, latency, reliability and scalability.

ORIGIN gives broadcasters the ability to choose best-of-breed solutions, from equipment to cloud services, as well as options for optimizing production costs, Scartozzi said. For OEM solution providers, ORIGIN allows them to focus on core competencies while delivering cloud-native solutions, built-in redundancy and hands-free latency. l

— Mark J. Pescatore, TV Technology

FROM THE SHOW FLOOR

“South Korea has more experience with ATSC 3.0 than any other country in the world,” noted Joonyoung Park, senior vice president of DigiCAP, one of several companies involved in a strategic alliance related to the cooperation agreement. “We have a great deal of knowledge and experience that will benefit public broadcasters on both the transmit and consumer side, which we are eager to share.”

“Broadcasting in ATSC 3.0 is only part of the challenge,” said John McCoskey, chief operating officer of SpectraRep and former PBS chief technology officer. SpectraRep is another company in the strategic alliance.

“We very much look forward to helping the industry move forward through this strategic alliance,” he said.

“Twenty-four public TV stations in the U.S. are already transmitting in ATSC 3.0,” said Rick Ducey, managing director of BIA Advisory Services. One of the challenges he identified for public stations is to acquire enough spectrum to be able to transmit in both ATSC 1.0 and 3.0 simultaneously. l

—Craig Johnston, TV Tech

Francesco Scartozzi (left) and Marwan Al-Habbal discussed Matrox ORIGIN on Sunday afternoon.

APTS CEO Patrick Butler and RAPA CEO Jungsu Song sign an agreement for ATSC 3.0 cooperation.

Regan Jacobs of Akwesasne TV and Alex Jock of First Nations TV get a demo from TV Pro Gear’s Scott Donovan.

Carbonite Ultra 60 Leads New Ross Video Product Offerings

Ross Video unveiled a pile of new products at its Saturday keynote address, which featured a number of executives.

The big reveal was the Carbonite Ultra 60 production switcher, which can be configured to support up to 60 inputs and 25 outputs, plus up to three MEs with six keyers, four miniMEs with two keyers, six multiviewers, six media stores, 12 channels of Digital Video Effects (DVEs), and more.

Beyond the new switcher, the keynote’s traditional “lightning round” of new product introductions included four new openGear cards, two camera motion systems, the Voyager Trackless Studio, and three video server announcements, including the new Kiva Express (and new software for TRIA and MIRA).

President and CEO David Ross unveiled the company’s new theme: From idea to audience, let’s make it real. Ross Video has enjoyed 31 years of consecutive growth, he said, and now has a global manufacturing footprint of almost 200,000 square feet.

Other new products include the new Spidercam X Dolly cable-mounted camera, which has a top speed of more than 13 miles per hour. There’s also the new D3 LED Perform Series of screens and the D3 LED Stage Series displays for live events. The company was able to shave a few pounds from each cabinet and incorporate an easy interlocking system, resulting in a more lightweight, manageable solution.

Ross said the company’s NAB Show contingent went from 80 people in 2022 to 280 this year. “We’re pulling out all of the stops,” he said. “We’re excited to be back.” l

— Mark J. Pescatore , Systems Contractor News

Adobe Announces New Innovations to Old Favorites

Many of the updates and innovations that Adobe is showcasing have been driven by a key group of creative professionals, and that drove the enhancement of Adobe’s newest slate of products.

“Our tools are designed to improve the creative control that our film-

makers and creative collaborators have, from the moment the camera starts rolling to the delivery of the final product,” said Paul Saconne, senior director at Adobe.

Several of Adobe’s major products — After Effects, Frame.io, Premiere Pro and Camera to Cloud — offer new features, including an announcement within Premiere Pro that includes a new way to edit. Calling it a “groundbreaking shift” in post-production workflows, the creation of new text-based editing will result in improved workflows for professional editors and motion designers, the company said. Users can edit video simply by copying and pasting text using Adobe Sensi, which automatically analyzes and transcribes clips so sentences can be inputted and then seen on the video timeline.

Celebrating 30 years of After Effects by releasing what it is calling a faster and more efficient solution by putting the settings that users care most about front and center. New this year is an updated Properties Panel designed to make it faster and easier to create motion graphics. Other new features within After Effects include native support for ACES and OpenColorIO to maintain consistent color when sharing assets with other apps.

The company also released updates to its Frame.io solution, including a new end-to-end workflow from content capture and editing to review and approval through one centralized hub, leveraging new Camera to Cloud native integrations with Fujifilm cameras. A new Forensic Watermarking feature is designed to boost cloud security. l

—Susan Ashworth, TV Tech

Ross Video President and CEO David Ross said his company was back at NAB Show in a big way.

HITACHI KOKUSAI 4K LIVE PRODUCTION CAMERAS

C6117 | Hitachi Kokusai is showcasing its SK-UHD7000 (introduced at NAB Show 2022) along with the new SK-UHD7000-S2 4K UHD cameras.

The SK-UHD7000, now shipping and in use worldwide, incorporates three 2/3-inch CMOS image sensors with native 4K resolution to enable the pristine capture of 3840x2160 UHD video. The sensors’ global shutter technology minimizes unwanted artifacts including flickering and banding that could otherwise occur when capturing LED walls and asynchronous lighting in event venues. The SK-UHD7000 is ideal for live events but also makes premium 4K acquisition cost-effective for everyone from television broadcasters future-proofing their production to houses of worship linking live and satellite feeds.

The new SK-UHD7000-S2, now shipping, leverages Hitachi Kokusai’s latest HD and 4K camera technology, but it can convert to a 4K camera with an affordable license upgrade option. This offers a lower initial purchase point for customers that want high-quality 1080p immediately along with a cost-effective, field-upgradeable path to 4K in the future.

SPOTLIGHTS

BARIX REFLECTOR EVO CLOUD TRANSPORT SERVICE

C2835 | Barix is at NAB Show introducing Reflector EVO, its next-generation cloud service for audio contribution and distribution. Reflector EVO improves on the original Reflector service by adding guaranteed absolute audio delay, improved stream redundancy, browser-based confidence monitoring and OPUS audio support. Barix also is introducing a new broadcast-specific hardware codec at NAB to pair with the Reflector EVO service.

The new corresponding hardware codec, developed specifically for Reflector EVO, can be configured as an encoder and decoder. The codecs feature the same embedded technologies under the hood and are quick to deploy once configured, with simple connections at the transmit (encoding) and receive (decoding) points. The codecs also provide flexible switching options (contact closures, UDP commands), relay support and selectable input gain.

New features include OPUS audio, which gives broadcasters a high-quality, bandwidth-efficient option to uncompressed PCM streaming and other compressed audio codecs that Barix continues to support in Reflector EVO.

NEW: EXCELLENCE IN SUSTAINABILITY AWARDS

Recognizing those promoting conservation and reusability of natural resources and those fostering economic and social development, winners were announced during a special ceremony on the Main Stage, April 16. Look

XYTECH MEDIA OPERATIONS PLATFORM UPGRADE

W2949 | Xytech is unveiling the upgraded version of its Media Operations Platform, showcasing the latest Granite software advances.

These new updates ensure Xytech can deliver the critical media operations resources that customers need to manage and deploy end-to-end video content lifecycles. In addition, customers looking to take advantage of workflows in the cloud can now make use of all the benefits that SaaS offers, thanks to the 400-plus new features and 1000-plus operational improvements implemented.

The latest enhancements and additions to APIs, as well as integrations with OpenID, Azure AD, MS Exchange, Google Calendar and MS SharePoint, also mean production teams no longer need to switch programs while completing critical tasks. The solution enables them to work in a single platform to trigger workflows across the content lifecycle of production, from scheduling, crewing, asset management, billing and accounts receivables, saving time while increasing productivity.

GB LABS UNIFY HUB GENERATION 2

N2961 | GB Labs is releasing Unify Hub Generation 2, a global unified file system that allows users to optimize, adapt and secure their on-premise cloud and remote workflows.

Unify Hub has three key features to enhance workflows and is a way to seamlessly adapt to unusual ways of working in a more effective, secure and low-cost manner, from the smallest of companies to larger multinational corporations.

These features include: OnePath, which presents a singular file path regardless of a user’s location, meaning relinking is no longer necessary; Centralized Access Management, which offers the ability to manage users with greater efficiency and security, with AD/LDAP support as well as primary storage controls to secure authentication for every login; and HyperAcceleration, which allows users to seamlessly cache just the blocks of data required to play portions of clips used in the timeline.

IKEGAMI UHK-X700 IP-CAPABLE

UHD HDR HFR CAMERA

C3819 | Among its wide range of broadcast-quality camera systems and monitoring equipment featured at NAB Show, Ikegami is showcasing its UHK-X700 IP-capable UHD HDR HFR camera.

The Ikegami UHK-X700 is a robustly built camera combining high signal quality with versatile connectivity. Its front end comprises three 2/3-inch CMOS UHD sensors with a global shutter to minimize artifacts when shooting LED screens or scenes illuminated with flash or strobe lighting. Full HDR/SDR support is included, plus the ability to choose between BT.2020 and BT.709 chroma spaces. HFR shooting at up to 2 times speed in UHD or up to 8 times in HD via the base station is possible as an option. When combined with the Ikegami BSX-100 base station or CCU-X100 camera control unit, the UHK-X700 can output UHD/HD video formats simultaneously. IP interface of video, audio and intercom I/O is available conforming to SMPTE ST.2110 standards as an option at the base station or CCU.

TAG VIDEO SYSTEMS DASHBOARD VISUALIZATIONS

W1542 | TAG Video Systems is introducing dashboard visualizations. The new functionality, integrated into TAG’s Media Control System (MCS), will bring sharper, more targeted application-specific monitoring to users, the company said. Users will now have the ability to further optimize and customize their TAG monitoring experience and create custom dashboards and visualizations to suit their exact requirements. Using TAG’s MultiChannel Monitoring (MCM) system’s deep probing and analysis capabilities, combined with the MCS data aggregation and management toolset, dashboard visualizations can be easily built with well-known open toolsets, such as ELK and Grafana, to address any specific area of focus. Representative visualizations for various workflows and applications will be on display at NAB, highlighting the depth and flexibility of displays enabled by the MCS, including application-specific functions such as MPEG-TS and OTT delivery, audio analysis, SCTE Triggers and Nielsen monitoring.

INTINOR DIREKT LINK COMPACT

W2879 | Celebrating 20 years in the industry at the 2023 NAB Show, Sweden-based Intinor is spotlighting its range of solutions for remote production; 4G/5G news and sports contribution; remote commentary; esports; house of worship; multi-vendor interoperability with SRT/RIST/NDI; and its proprietary transport protocol Bifrost reliable transport that offers network bonding, error correction, ARQ, least cost management and adaptive bitrate. Making its U.S. debut at the Intinor booth is the latest Intinor Direkt link compact (mobile and backpack).

Built from the ground up to meet the needs of single-camera sports and news productions that rely on small, highly agile crews, the Direkt link compact ensures a true point-to-point connection, removing the need for costly cloud subscriptions that also add latency. Direct link compact provides 4-wire intercom for comms with the master control room (MCR), return video path, bonded VPN data bridge and features two built-in modems. Additional modems can be added easily as needed.

MULTIDYNE NIA9205 SERIES ENCODERS & DECODERS

C4730 | MultiDyne Video & Fiber

Optic Solutions is launching the new format-flexible NIA9205 Series for broadcast and streaming media workflows. The MultiDyne NIA9205 is the first new product series resulting from MultiDyne’s acquisition of Niagara Video in the fall of 2022, combining the technical strength and innovative spirits of both companies.

The NIA9205 Series is MultiDyne’s next-generation professional line of advanced video encoders and decoders. The compact, powerful and cost-effective products are designed for real-time streaming, broadcast transport and related applications. MultiDyne has adapted Niagara’s advanced video transport codecs and broadcast and networking standards with state-of-the art error correction to take advantage of the inherent flexibility of IP and the internet. HEVC and AVC 4:2:0 10-bit encoding, coupled with SRT, Zixi and RIST video transport and error correction, help maintain professional broadcast quality transport with interoperability over almost any IP network, as well as wireless internet.

Make your media life radically simpler and more productive with our new generation of Ultrix Hyperconverged hardware, which merges routing, production switching, audio processing and mixing, multiviewers and SDI / IP signal processing into a single, highly configurable platform.

Self Contained Broadcast Quality Switcher!

ATEM Television Studio HD combines a switcher and control panel into the same unit, so it’s extremely portable. The front panel includes buttons for selecting sources, triggering transitions and setting up video effects. You also get a built in t-bar for manual transition control! The front panel even has aninnovative audio mixer control area with live metering on a dedicated LCD.

Record to Internal Network Storage!

ATEM Television Studio HD8 ISO supports recording all video inputs to optional M.2 internal flash storage! The internal storage will then be available to share over the local Ethernet network so you get a whole post production workflow! This means people can work on post production tasks such as editing, color correction and graphics preparation while recording new live shows!

Built In Fairlight Audio Mixer!

With a built in Fairlight audio mixer, ATEM Television Studio HD makes it possible to do complex live sound mixing. The internal mixer features enough channels for all SDI inputs, as well as extra channels for the XLR, RCA and MADI inputs! Each input channel features the highest quality 6 band parametric EQ, compressor, limiter, expander and noise gate as well as level and pan controls.

Bring Multi Camera Live Production to any Location!

The new ATEM Television Studio HD is a professional live production switcher built into a broadcast control panel so it can be used for high end work while being extremely portable. You get a powerful switcher with 8 standards converted SDI inputs, 2 aux outputs, 4 chroma keyers, 2 downstream keyers, Super Source, 2 media players and lots of transitions! There’s even an ISO model that records all 8 inputs for editing!

ATEM Television Studio Bellyband_FA.indd 3-4