Installation Ebook 001 December 2023

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CONTENT Editor-in-Chief: James McKeown Editors: Jenny Priestley, Rob Lane Graphic Designer: Marc Miller Managing Design Director: Nicole Cobban nicole.cobban@futurenet.com Contributors: David Davies, Ciarán Doran, Kevin Hilton, Andrew Starks Group Content Director, B2B: James McKeown james.mckeown@futurenet.com

MANAGEMENT

THE DEMOCRATISATION OF USE

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James McKeown Group Content Director, B2B, Future TVBEurope Installation ISE Daily Cover image: Worre Studios, Las Vegas

edia reporting on the converging worlds of pro AV and broadcast has ramped up a gear in 2023, particularly so in the lead-up to ISE 2024 where the crossovers will be examined in the Content Production and Distribution Summit taking place during the show. Conference chair Ciarán Doran offers his perspective in this ebook.

As Doran points out, coverage of this area largely focuses on the trickle-down effect of broadcast-grade equipment finding its way into the non-broadcast hands of companies and institutions across business, education, events, government, and houses of worship, among others. However, we’re now at a stage where there is just as much trickling in the other direction in terms of ‘traditional AV’ technology and systems emerging as options for content/production businesses. Arguably the most visible example of this can be seen in virtual production where ‘volumes’ render together LED canvases, broadcast acquisition systems, and gaming engines.

Ultimately, it boils down to the capabilities and accessibility of technology for those who produce and distribute video content; which in this day and age is pretty much every business you can think of. Broadcast-grade equipment has been democratised. And subsidised? Is it now more affordable for non-broadcasters to access high-end tech, or are they committing more investment towards it?

Either way, it feels like we’re edging towards the ‘democratisation of use’; an environment where technology is no longer made solely for broadcast or AV, but simply for those who need to use it.

In this ebook, you’ll find plenty of insight on – and exploration of – the increasingly common ground being shared by companies in these markets, plus a showcase of current products from suppliers catering for both sectors.

SVP Wealth, B2B and Events: Sarah Rees UK CRO: Zack Sullivan Commercial Director: Clare Dove Managing Director, B2B Tech & Entertainment Brands: Carmel King Head of Production US & UK: Mark Constance Head of Design: Rodney Dive

ADVERTISING SALES Advertising Director: Sadie Thomas sadie.thomas@futurenet.com +44 (0)7752 462 168,

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THE RISE OF AV BROADCASTING Brands are the new broadcasters, writes Ciarán Doran, managing director at Deep Blue Sapphire, as he pores over the converging worlds of broadcast and AV technology. He also looks ahead to ISE 2024 where he will be chairing the Content Production and Distribution Summit 04 | TVBEUROPE | INSTALLATION

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“The rise of AV broadcasting is a fascinating journey that is daring to transform the way we consume and share information and entertainment, about our favourite brands and companies” At ISE 2024, the Content Production and Distribution Summit will directly address the technical challenges and benefits of the latest technologies becoming more widely available. Brands can easily create, with greater flexibility than ever before, and deliver it directly to consumers, who in turn are keen to engage directly with their favourite brands. The age of pro AV being less suitable for broadcasting is over; the days of broadcast technology only being the preserve of the elite are gone.

Are brands becoming the new broadcasters?

Companies like Anna Valley (pictured) are providing professional spaces for users to test out virtual production; a technology central to the rise in AV/broadcast convergence

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hen we talk about the massive convergence between broadcast and pro-AV technology, we tend to think about democratisation as broadcast equipment filters down. But in reality there is as much movement upwards. The rise of AV broadcasting is a fascinating journey that is daring to transform the way we consume and share information and entertainment, about our favourite brands and companies.

In the modern marketing landscape, brands are increasingly becoming their own broadcasters.

Changes in consumer behaviour and media consumption patterns, along with accessible technologies, now allow brands to deliver new video content to their audiences in more direct and engaging ways. This is a win-win: companies communicate directly with their audiences for commercial transactions; why not give them exciting content too?

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BRANDS: THE NEW BROADCASTERS Pro AV has grown significantly within the corporate and brand world in recent years, but something different is happening now. Brands are streaming live content to millions of viewers all over the world, and in the process they are scraping up subscribers – and customer details – and building one-to-one relationships with them.

This is a massive shift from only communicating with consumers via television advertising and its notoriously hard-to-measure ROI. Two groups are leading the current wave of change.

We have seen the rise in importance of the chief information officer (CIO) as data becomes king across the organisation. Now, the chief marketing officer (CMO) is getting in on the action. The logic is clear, as are the benefits to the whole enterprise.

The CIO role has typically focused on the management and strategic use of technology within an organisation; the primary role of reaching customers is the province of the CMO. Now we see them working together to generate unprecedented levels of customer engagement and satisfaction. While the CIO’s primary role is not necessarily customer-facing, their ability to ensure the effective and secure use of technology can significantly impact how an organisation reaches and interacts with TVBEUROPE | INSTALLATION | 05

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“As brands recognise the powerful engagement of directly addressed content, it is likely we will see a measurable shift.

A significant portion of marketing spend will move away from broadcasters towards the creation of new forms of content, and new ways of delivery” customers. Collaboration between the CIO and the CMO is critical to align technology initiatives with marketing and customer engagement strategies.

For years, the office of the CIO has been introducing technologies to assist communications with employees, sales channels, investors and shareholders. The CIO team has been using high-end pro-AV kit to help their organisations differentiate and deliver messaging in a more engaging way. CEOs have become comfortable standing in front of a green screen in the basement, talking to a camera and perhaps a handful of people, rather than an expensive conference room full of 400 investors. This has not been an insignificant shift in skill sets: technical for the CIO team, presentational for the CEO. Together, they have had to learn new creation techniques and how to produce live content on the fly.

The CEO has had to learn to become an actor, although admittedly the audience is usually tame and friendly.

Thanks to digital transformation and the growing understanding of data analytics, the role of the CMO has evolved significantly in recent years. Marketing teams, under pioneering CMO leadership, are beginning to switch some of those broadcast advertising dollars to a more direct form of communication with the end customer.

NEW OPPORTUNITIES Is television broadcast in danger of losing out to direct streaming services? I cannot see it happening in the near future, because the appetite for broad entertainment and sport is key to broadcast revenues. But as brands 06 | TVBEUROPE | INSTALLATION

recognise the powerful engagement of directly addressed content, it is likely we will see a measurable shift. A significant portion of marketing spend will move away from broadcasters towards the creation of new forms of content, and new ways of delivery.

Brands and corporates are not doing this alone.

They are engaging broadcast facility houses and highly experienced service providers to create, manage, stream and serve on-demand this new information entertainment genre for their consumers, and using every delivery channel available to do so.

This is just another step on a well-established path.

Content marketing is and has been a central strategy for brands who are comfortable in producing articles, videos and podcasts. In video terms, they may be entering the big league by engaging broadcast facility houses to help them create exciting and entertaining videos, but this is a logical development.

By creating a compelling streaming platform and

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Content Production & Distribution Summit

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Grup Mediapro’s Tatxo Benet provided the keynote at the Content Production & Distribution Summit at ISE 2023

delivering high-quality content directly to consumers – and bypassing traditional broadcasters – they create opportunities to increase revenues for their brands, keen to cash in on a new found marketing ROI. Since corporates and brands usually own their own digital properties, apps and channels to market, they have been in control of most of the elements that they need to seize these opportunities. Even better from the CMO’s point of view, they are creating material that their consumers are interested in, and they are delivering it to people they know. They know their name, their email address and – most important – their buying patterns. Now they’re getting them excited to buy.

The rise of AV broadcasting is a story of continuous technological innovation in a time of changing consumer preferences. It encompasses a large, interconnected ecosystem of platforms and technologies that are coming more and more within the reach of

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SE 2024 is addressing the issues raised in this article directly. On 31 January, the Content Production & Distribution Summit runs as part of the ISE conference agenda, looking specifically at the theme of ‘Brands: The new broadcasters’.

Speakers and panellists will be those who are not only creating these technologies but are using them in earnest, with stunning results. Case studies will include a virtual studio production that enables F1 racing to be filmed in a remote location but look like it’s in the Nevada desert; XR production and AI specialists who will share their inside stories about integrating live virtual performance technologies and real-time production using the Unreal engine; and major broadcast technology vendors and service providers will share why they regard this space as central to future developments, the opportunities available, and the challenges.

Industry analysts will look at the challenges and the opportunities, and give a deep dive into the research that clearly demonstrates why ‘AV broadcast’ is so exciting.

brands and corporates who, until now, have handed the initiative and control to other professional channels to act as intermediaries between them and their market.

The concept of good content from new sources is already proven and accepted. Look at the community of ‘influencers’, some of whom command audiences measured in the millions, and who earn good revenues.

Or consider YouTube creators, often addressing niche topics, who have stumbled into full-time careers in crafting content their way.

Businesses will look at these pathfinders and see the obvious advantages. But equally, they will be mindful of their brand values, and will want to represent them through the highest production values and creative concepts. That is why this is not a threat but a new opportunity for broadcast production companies. The clients may be different, but the ideals are the same. Because, of course, content is still, and will always be, king.

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Be at the Heart of the Live Experience.

AV/BROADCAST CONVERGENCE

Discover the latest venue and live event technology solutions at ISE 2024.

ISE is the world’s largest AV and systems integration exhibition. It’s your destination for innovation, to connect, collaborate and create. Join us in 2024 and see the future of live event technology.

A joint venture partnership of

10 | TVBEUROPE | INSTALLATION

Photo credits: (Left) Gran Teatre del Liceu ©️ Paco Amate.

(Right) First rehearsals of Macbeth at Gran Teatre del Liceu ©️ Jaume Plensa.

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AV/BROADCAST CONVERGENCE

Fira Barcelona | Gran Vía 30 Jan - 2 Feb 2024

Get your FREE TICKET Register with code: installation www.tvbeurope.com

iseurope.org

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BRIDGING BROADCAST AND PRO AV

THE TRANSFORMATIVE ROLE OF IPMX Andrew Starks, marketing work group chair at AIMS, and director of project management at Macnica, explains the role of the IPMX standard in bridging the broadcast and AV worlds

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n the dynamic world of media production, the broadcast and pro AV industries have long existed as separate entities, each with its unique standards and practices. However, the emergence of Internet Protocol Media Experience (IPMX) is set to revolutionise this landscape, offering a unified standard that bridges the gap between these two worlds, fostering innovation and streamlining operations.

Converging paths: avigating the pro AV and broadcast divide Historically, the pro AV industry has been without uniform standards, leading to a complex mix of interfaces such as HDMI, DisplayPort, SDI, and composite video. This fragmentation has created a bewildering landscape for users, inducing frustration and operational inefficiencies. In contrast, the broadcast industry has a long-standing tradition of developing and maintaining consistent standards, dating back to the era of black-and-white television, accepting the occasional proprietary technology sneaking through.

Despite their differences, however, the broadcast and pro AV industries share common ground. They are both notably influenced by consumer technologies such as GoPro cameras and laptops, and the rise of integrating tools like Zoom for video communication has further blurred the lines between them. Furthermore, in broadcast, it’s common for professionals to take on pro AV duties, managing tasks such as digital signage and integrating pro AV components into their workflows.

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Similarly, large organisations, including financial institutions and universities, often engage in substantial live production, investing in broadcast-grade equipment within the pro AV sector.

Yet, there remains a notable divide when it comes to melding traditional pro AV gear with broadcast equipment, which often necessitates expensive converters. This divide becomes even more evident, and even more frustrating, with the advent of IPbased systems such as AV over IP, which diverge from traditional broadcast practices. IPMX – an emerging AV-over-IP standard created by AIMS – was introduced to bridge this divide.

Bridging the gap with enhanced standards for pro AV and broadcast IPMX borrows from broadcast industry standards and enhances them to meet the extensive demands of the pro AV sector. The goal of IPMX isn’t to retrofit broadcast standards for pro AV use; it retains the advantageous elements of SMPTE 2110 and introduces new features such as PTP operations, asynchronous audio and video support, and includes a profile that supports 4K60 transmission over a single gigabit network connection,

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AV/BROADCAST CONVERGENCE along with key protections like HDCP for content security in the pro AV landscape.

IPMX represents a holistic approach designed for dual purposes: to facilitate live production – the core of broadcast – and to cater to the pro AV industry’s presentation needs. For example, it supports synchronous content delivery for live production workflows, while also supporting asynchronous presentation workflows that adjust the content to fit the needs of the display environment. By adding support for use cases in both industries, IPMX promises to become an indispensable technology for both. With both industries adopting IP technology and already sharing common physical connections, standardising these protocols seems a logical step. The groundwork is already laid, making standard alignment a practical and straightforward progression.

A universal standard for enhanced interoperability in pro AV and broadcast The advent of a universal standard such as IPMX signifies the dismantling of long-standing barriers within the equipment market. This innovation ensures that the gear produced can be made compatible with both the broadcast and pro AV environments with much less effort and more efficiently, streamlining the process for users to amalgamate equipment suited for live production or pro AV contexts.

This also simplifies the process for manufacturers who can now readily support a wider range of applications due to the transport layer’s interoperability, removing the complication of converting between systems. This shift opens a gateway for manufacturers to either conceive new products or modify existing ones, thus extending their reach across diverse markets by creatively repurposing their established technologies.

From the perspective of the customer, the integration of IPMX into their systems heralds a range of new capabilities while also helping to cut costs. It does so by simplifying the complexity of infrastructure management, removing the need for converting signals or engaging in intermediary tasks that add no real value to the production or the system’s core functions. These tasks are often about bridging disparate technologies with unnecessary complexities, and it’s here that IPMX shines, offering a way to streamline and make these processes more efficient.

For broadcasters, it also means a much wider array of compatible equipment options than before. A system that intrinsically supports the video formats prevalent in a facility’s workflow means more affordable and appropriate television sets for off-site monitoring, streamlining the integration process by obviating the need for complex modifications and expanding camera choices. Crucially for broadcasters, regular engagement with both the pro

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AV and consumer realms means that adopting a common control plane and uniform video formats across these domains enhances production quality, cuts costs, and consolidates system management, while broadening the pool of compatible gear.

For broadcast equipment manufacturers, IPMX’s widespread adoption represents a pivotal shift. It opens up a larger market space, enabling them to focus on innovations that cater to a broader audience rather than navigating through a maze of divergent protocols and standards. It’s particularly well-suited to the display and camera sectors. IPMX’s role isn’t confined to basic updates like a camera’s firmware to support H.264 video, although support for H.264 is being considered. It ushers in a native format that ensures top-notch quality, low latency, and efficient codec performance; key components for achieving superior results, made feasible only through an open standard.

This universal standard is not only reshaping equipment compatibility but also revolutionising control systems in the industry.

Pioneering a universal control layer for seamless device interoperability A key breakthrough of IPMX in the realm of converged systems is its robust control layer, provided by AMWA’s NMOS specifications; a control framework for device discovery and connection, with an emphasis on interoperability. This eliminates the need for specific proprietary systems to manage these devices. IPMX allows for device interaction using any controller that supports NMOS, unlike the limited compatibility seen with previous proprietary technologies.

The inclusion of NMOS as IPMX’s control plane is set to significantly boost the adaptability of control systems for users, regardless of the specific hardware they opt to use. This shift is expected to drive innovation across a broad spectrum of AV-over-IP applications, paving the way for even small companies to develop bespoke control solutions, thereby promoting new creativity and advancements in the sector.

IPMX represents a monumental shift in the broadcast and pro AV industries, bridging the gap between these historically separate domains. Its introduction is a gamechanger, promising enhanced interoperability, streamlined operations, and the opening of new avenues for creativity and technological advancement. As the industry moves towards more IP-centric workflows, the role of IPMX as a catalyst for innovation and standardisation cannot be overstated. It marks the beginning of a new era in unified media experiences, where the lines between broadcast and pro AV are not just blurred but effectively erased.

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Worre Studios in Las Vegas is used for both conventional & virtual presentations and features Evertz technology

AV’s BROADCAST EVOLUTION 12 | TVBEUROPE | INSTALLATION 2023 SUMMER PRODUCT SHOWCASE

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The adoption of IP and IT systems in AV and broadcast means that the line between the two is becoming increasingly blurred. Kevin Hilton discovers that this overlapping trend is set to continue with parallel development and the introduction of new standards

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n the past, and for many years, broadcasting had a reputation amongst many of being the pinnacle of technology and technological development.

The term 'broadcast quality' was regarded as a guarantee of excellence and still carries considerable weight today. For some, the equipment used for professional AV applications was regarded as being not on the same level. The main reason for this was cost, with the events and presentation sectors not having the same budgets as their TV counterparts.

The situation has changed markedly in the last 30 or so years. Broadcast standards have been relaxed in that time, particularly in the UK where legislation was introduced to encourage more competition in the market. On a strictly technical level, the adoption of digital and IT-based technologies – most notably IP – by both broadcasters and pro AV contractors has also levelled the field considerably. There are still differences between the two sectors, with each retaining individual requirements, but the former dividing quality lines are now hazy, and with AV and broadcast technologies converging rapidly, lines are increasingly blurred.

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Technology developers that appeared during the mid-1980s and into the 90s, when the software and computer boom was beginning to influence both AV and broadcast, were among the first to see how there were techniques in the two sectors that could be mutually beneficial. "The broadcast industry has always been about the purest quality of signal possible, working uncompressed to the best standards," says Liam Hayter, senior solutions architect at NewTek, part of Vizrt, a developer for graphics, virtual studio and infrastructure systems for broadcast.

"Ultimately it would go out on DVB [Digital Video Broadcasting, the standard for digital terrestrial TV], which is compressed. Then there's live streaming, which is also compressed and, generally, whenever you work with compression you want to start with something at the highest quality to deliver the best possible quality."

Whereas broadcasting is about reaching as big an audience as possible through transmission technologies, pro AV was for a long time primarily concerned with addressing people in a specific

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environment. In recent years, Hayter explains, this dichotomy has changed considerably, largely because of new tech, but with the pandemic inevitably having an influence in driving the use of video conferencing.

"AV has always been more focused on the in-room experience, rather than remote contributors," he says.

"The need has been different and the people doing AV didn't have the budget of broadcasters. But the shift to IP and software has levelled that out. Broadcasters are no longer afraid of working compressed because, for example, the film industry has gone from working with the best possible quality to using compression. That's also bled into AV because people want to work across the internet in a networked environment. Our production systems natively allow people to run Teams, Zoom, Skype and Discord, all the major video conference platforms, even WhatsApp and FaceTime, as a live source. So you can just call in and [it's allowed] quite an exciting space where they can be used as creative tools."

BROADCASTING DEMANDS Graham Sharp, chief executive of Broadcast Pix, observes that "IP/IT technology has always been used in AV" but today it is now fast and reliable enough to meet the demands of broadcasters. "Because of this, it is being rapidly deployed, which in turn is making a lot of broadcast functionality available to the AV market," he says. "Both sectors are looking for a cost-effective infrastructure that can meet the needs of today and yet scale and adapt as market requirements change. And as streaming exploded, users were searching to improve their production values beyond just feeding from a camera. Which is why so many broadcast tools have migrated into the AV world, such as camera control effects, transitions and TV quality graphics."

Sharp is a veteran of the broadcast market, having held engineering and executive positions at a number of companies including Tektronix, Avid, Discreet Logic and Grass Valley. While Broadcast Pix produces production switchers, a mainstay of TV presentation, Sharp has moved it more into the AV market, with systems designed specifically for houses of worship and meetings, supported by live streaming capabilities. "Most technology is now software running on COTS [commercial off the shelf] hardware or in the cloud, so the flexibility and price point have brought many broadcast-specific tools into AV. We like to say we now serve the A-to-Z of video production, from aquariums to zoos. News-style graphics, professional-looking transitions and effects, remote camera control and automation are all used to make more compelling content."

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Right: Absen-powered virtual production studio Bottom right: Lawo mc²56 console mixing signals from the front of house at Zurich Opera House rehearsal venue, a mile down the road, over an IP WAN

While it would be easy to assume that the direction of technologies and techniques between broadcasting and AV was one-way, broadcasters are also benefiting from systems that originated in the events and installed markets. "Broadcast technology seemed like a relatively well-defined field only ten years ago but with the general access to high definition recording, editing and processing tools now, we are seeing a greater scale of convergence and blurring of formerly clear boundaries," says Hans Stucken, global marketing advisor at AV Stumpfl.

The company produces projection screens and the PIXERA media server, which Stucken says is being used for in-house corporate broadcast facilities based around a 'mini studio'. "More and more installations feature aspects that would once have been labelled as broadcast technology," he says. "And with the software integration of powerful [virtual] authoring tools like Notch, Unreal Engine and Unity, the circle of convergence has widened even more."

CONVERGING MARKETS A primarily broadcast-focused manufacturing group that has also benefited from these converging markets is Evertz. Known for a wide range of products – including contribution and distribution systems, control and monitoring units, encoding/decoding/multiplexing technologies, and fibre transport – as well as now

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owning audio console maker Studer, the company has seen its routers, switchers and IP gateways being deployed in pro AV. Dominic Doherty, AV product specialist with the dedicated EvertzAV division, acknowledges "an increase in the crossover between the two sectors", adding that although there is commonality in the underlying technologies, the applications, users and user expectations tend to be very different between broadcast and pro AV. "The AV sector expects broadcast-like quality and resilience but packaged in a way that is simple to use, intuitive and does not require a senior broadcast engineer to operate it," he says.

Doherty describes broadcast technology as "influencing" the development of AV products at Evertz, with systems being modified to suit the application.

"Products will be adapted for AV in the most part but there is some of it that would be as it is in broadcasting," he says. "That would certainly apply to the switchers and routers, while the IP gateways would be developed more in parallel. There are two aspects to it: the switchers and routers would be more of a fast follow-up with the broadcast products; and the AV gateways would be developed for AV-type applications as opposed to just incorporating broadcasting features."

EvertzAV essentially offers AV-over-IP (AVoIP) systems for varied applications, including lecture halls, corporate institutions such as banks, and the military

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“While it would be easy to assume that the direction of tech between broadcasting and AV was one-way, broadcasters are also benefiting from systems that originated in the events and installed markets"

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sector, which necessitates secure connectivity. "In a podium situation, such as a classroom, lecture hall or presentation theatre, you would have a number of pieces of gear at the front of the room with the podium or teacher's desk," comments Doherty. "It could be as simple as the ability for them to switch between their laptop screen or local PC screen or a video source like a camera.

That would be routed through the system to a large screen monitor, for example. Another typical use you see more in AV is the KVM application, where I could be sitting at a single desk and be able to switch between multiple servers."

VISUAL PRESENTATION In the area of visual presentation, broadcast companies have been using large format displays and LED video walls on-air over the last 20 years, particularly in news programmes as a backdrop to the bulletin. The increasing use of LED volumes for virtual sets is now offering TV drama producers and filmmakers more flexibility and creativity as a replacement for back projection and green screen, while AV productions are also exploiting the technology. LED manufacturer Absen sees its products used by both broadcasters and AV specialists. The company's director of virtual production, Brian Macauto, 16 | TVBEUROPE | INSTALLATION

observes that "the technology used in the broadcast world is constantly influencing the world of professional AV", particularly with the ever-growing need for content creation in recent years.

"LED walls have changed the way they have been used in the industry extremely quickly," Macauto says.

"Originally, when only low-resolution, large-pixel pitch displays were possible, LED walls were typically used only for large outdoor billboards. Now that extremely high-resolution, low-pixel pitch LED displays are common, with great brightness and colour accuracy, the use of LED technology in broadcast studios and content production skyrocketed. LED technology now has a huge variety of solutions and LED is more affordable. LED is now used in all sorts of applications in AV previously not thought of, greatly due to the crossover with broadcast.

For example, corporate boardrooms now use LED backdrops and full video production capabilities along with virtual production."

An aspect of technology that Macauto highlights as having maintained the divide between pro AV and broadcasting is standards. There has always been a strict difference in specifications and applications between broadcast standards and formats such as SMPTE (Society of Motion Picture and Television Engineers), SDI (serial

Above: NewTek TriCaster and NDI tech, used for corporate presentations at Danske Bank in Finland

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digital interface) and SD/HD (standard definition/ high definition resolutions) and their respective AV counterparts VESA (Video Electronics Standards Association), HDMI (high definition multimedia interface) and computer resolutions.

"In years past, they could each remain in their own spaces and crossover was not as common," he says. "As broadcast sets began to adopt technology based in the computer world, such as large video canvases and green screen/augmented reality, the two different worlds of pro AV and broadcast had to work much more closely together. Standards in IP and IT that have developed and work well in both worlds make the crossover much easier and faster. New standards in video and audio over IP have been instrumental in bringing pro AV-type media server and graphics processing technology to the workflows and standards of the broadcast world."

The broadcast world has contributed a vast amount to the standardisation of IP as a media transport mechanism. In particular, SMPTE ST 2110, which standardises professional media over managed IP networks, is regarded by technologists and manufacturers alike as a key factor in the widescale adoption of IP video. Similarly, the AES67 audio over IP (AoIP) interoperability standard has enabled incompatible AoIP protocols such as Dante, RAVENNA and Livewire to work together.

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While AES67, which also forms the basis of the audio component of ST 2110 (as ST 2110-30), is also being used widely in AV, the sector still has a need for a more prescribed approach to networking and distribution of video. Broadcast-centric standards such as ST 2110 for video and NMOS (Networked Media Open Specifications) for system management and control, are seen as either over-specified or too complicated for AV applications, particularly in terms of PTP and full linear data formats.

Because of this, AIMS, the AMWA and VSF are working on a standard that will set out specific recommendations for IP networks in pro AV. IPMX has been in development for four years but work continues on the standard, which is intended to take the most relevant elements of AES67, ST 2110 and NMOS to create a tailored solution for pro AV. A large proportion of the building blocks of IPMX has come from the broadcast world. IPMX is based on triedand-tested broadcast standards such as ST 2110 and NMOS. The aim of IPMX is to work on lower bandwidth networks, whereas, in a broadcast production context, uncompressed signals are transported via 40Gbps, 100Gbps and soon perhaps 200~400Gbps.

Lines blurred then, and as the tech overlaps at IBC and even more so at the upcoming ISE 2024 are demostrating, the convergence of AV and broadcast is unlikely to show signs of slowing any time soon.

Below: Corporate product launch featuring AV Stumpfl systems

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PRODUCT SHOWCASE

PRODUCT SHOWCASE

BLACK BOX

EmeraldAV WALL

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t ISE 2024, Black Box will unveil EmeraldAV WALL, the latest addition to its KVM-over-IP-based Emerald Ecosystem that offers scalable universal access to physical computers, cloud appliances, virtual machines, and H.264/265 streams. EmeraldAV Wall complements Emerald

DESKVUE for easy display of a source from an Emerald system on a video wall. It enables seamless interoperability with Emerald while also supporting non-KVM environments. The company will also demonstrate its AlertWerks wireless IoT Gateway integrated within the Emerald Ecosystem

allowing operators to link to physical or virtual sensors, watch values on a browserbased dashboard, set notifications and alarms, and

configure automatic actions.

Black Box will be exhibiting at ISE 2024, stand 5E330. www.blackbox.co.uk

BEAM DYNAMICS

Beam Asset Intelligence Platform

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eam Dynamics helps global production companies increase the ROI of their fixed assets and improves compliance and security across internal departments and global locations/divisions. The Beam Asset Intelligence Platform is a data-driven approach to technology asset management that combines financial, operational, and technical data to deliver unparalleled insight into a company’s technology estate. Beam transforms the management of technology assets and gives a comprehensive overview of the

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asset inventory, along with powerful tools such as firmware updates, end-of-life notifications and issue resolution steps.

Beam is powered by a product database composed of more than 500,000 products from more than 8,000 OEMs. This is the industry’s largest data set and means that in addition to tracking service tickets and repairs, it also can predict future issues, perform root-cause analysis, and determine when it is best to repair, upgrade or replace products. www.beamdynamics.io

www.installation-international.com

PRODUCT SHOWCASE BLACKMAGIC DESIGN

Blackmagic Micro Studio Camera 4K G2

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esigned specifically for live production, the Blackmagic Micro Studio Camera 4K G2 is a next generation model of the popular Blackmagic Micro Studio Camera 4K. Retaining the compact design of the original model, it now features an upgraded 4K digital imaging sensor with 13 stops of dynamic range and dual native ISO up to 25,600 (+36dB) for excellent low light performance.

The addition of 12G-SDI provides support for 10-bit uncompressed video in HD and ultra HD up to 2160p60 and a new USB-C expansion port, enabling direct recording of Blackmagic RAW to external disks and network control via Ethernet adapters.

Priced at €945, this model combines cinematic image quality and

advanced live production connectivity when used in conjunction with Blackmagic Design’s ATEM switchers in a remarkably compact form, making it ideal for space constrained set-ups or as an additional camera for multi-angle coverage.

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ne of the big challenges in hybrid collaboration is delivering an equitable experience for the in-room participants engaging with remote users. Recently

certified as a Microsoft Teams Room Device for large and extra-large rooms, Crestron’s Automate VX solves these problems by placing multiple optical zoom cameras around the (class)room and employing voice-activated switching that seamlessly moves between speakers for a production-quality meeting experience. Crestron will be exhibiting at ISE 2024, stand 3H300 www.crestron.com

DataSprint

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www.tvbeurope.com

Automate VX

Blackmagic Design will be exhibiting at ISE 2024, stand 4K700 www.blackmagicdesign.com

DOT GROUP

ataSprint, Dot Group’s file transfer solution powered

by IBM Aspera, redefines speed, security, and affordability in data transfer. Capable of moving files of any size at speeds up to 20Gbps, DataSprint ensures rapid and secure delivery to any location.

Its competitive edge lies in its pricing model; a low-fixed quarterly

CRESTRON

cost that includes unlimited data transfers, users, and workspaces.

Clients enjoy the flexibility of onpremises and cloud deployment options without incurring cloud egress costs.

This transparent approach has earned the trust of industry leaders from corporations and postproduction houses alike such as Molinare, Viasat, and Square Enix.

DataSprint’s robust performance in handling large volumes of video and audio content, coupled with Dot Group’s expert support and the advanced monitoring and reporting feature, guarantees a reliable and efficient file transfer experience. www.dotgroup.ai

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PRODUCT SHOWCASE GENELEC

The Ones

G FOR-A

SOAR-A IP Platform

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he SOAR-A platform from FOR-A adapts to the shift towards IP connectivity and remote production. This agile appliance delivers ultra-low latency, standards-based streaming, making it ideal for diverse AV and broadcast applications. SOAR-A supports multiple workflows, crucial for the varying functionalities required in today’s media world.

The platform is versatile, offering two hardware options: a compact two-channel device, and a standard 1U appliance supporting up to 16 channels. Both configurations maintain extremely low latency, perfect for live production and content distribution. SOAR-A integrates widely recognised standards such as SMPTE ST 2110 and NDI, with RIST ensuring reliable, bi-directional streaming of multiple video, audio, and data streams. www.for-a.com

enelec’s ‘The Ones’ family of three-way coaxial loudspeakers have long been embraced by broadcasters for their 24/7 reliability and their ability to produce accurate, truthful audio mixes that translate consistently to a wide range of playback devices.

This is achieved through a combination of neutral, uncoloured performance and the power of GLM calibration software, which optimises each individual loudspeaker for the acoustics of the room.

Those same qualities have seen The Ones also being deployed for high end installations, since they offer the AV world unrivalled clarity, intelligibility and uniform coverage, with GLM software allowing them to deliver premium performance even in challenging acoustic environments.

With broadcast and AV both relying increasingly on networking, The Ones’ seamless compatibility with audio-over-IP via Genelec’s new 9401A system management device has now made them an even more flexible and futureproof solution.

Genelec will be exhibiting at ISE 2024, stand 2J400 www.genelec.com

with their corresponding video feeds. The Analyser’s Gold Standard capabilities ensure quick and accurate

measurements, crucial for live broadcasts where timing is paramount. www.hitomi.tv

HITOMI

MatchBox

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itomi’s MatchBox lip-sync and latency solutions facilitate seamless integration and synchronisation of audio and video components in live AV and broadcast settings, ensuring highquality, perfectly timed productions. These events, involving multiple cameras and sites, often face alignment challenges due to varying latencies and

the multitude of audio and video channels.

The MatchBox solution involves the generation of a test pattern either from a piece of hardware, the MatchBox Generator, or from the MatchBox Glass iOS app. This test pattern is then measured by the MatchBox Analyzer which listens to multiple audio channels in real time and aligns them precisely

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www.installation-international.com

PRODUCT SHOWCASE IMAGINE COMMUNICATIONS

SNP-XL

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he ability to scale and adopt new formats has made IP an appealing design pattern in pro-AV environments.

With the recent introduction of SNP-XL, Imagine Communications has delivered a flexible, practical signal processing device that enables AV organisations in any market to optimise their existing SDI investments and migrate to IP at a pace that aligns with their business.

Delivering all the capabilities of the Selenio Network Processor (SNP) – UHD and HDR conversion, multiviewers, JPEG XS and more – the SNP-XL increases flexibility

by adding a new double-density gateway personality and support for more SDI-intensive integration patterns, including HD, 3G, and 12G SDI in and out in all combinations. When leveraging the double-density gateway personality, the SNP-XL delivers twice the gateway capacity within the same unit footprint.

The SNP is widely deployed in both broadcast and AV applications, including education, live event venues, and houses of worship. www.imaginecommunications.com

INTINOR

Direkt router

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ntinor specialises in high quality, very reliable and low latency links, transporting compressed IP over available connections. At the heart of this is the Direkt router, designed for the management, processing and delivery of IP streams. Rather than using cloud services, which add costs, management overheads and latency, the Direkt router allows users to scale and manage to their requirements.

The software architecture allows more functionality to be added and activated when required. With up to 16 SDI ports, the Direkt router can be easily integrated into legacy infrastructure while providing a seamless path to an all-IP future.

The Intinor Direkt router supports

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SDI in and out, NDI services, and advanced connectivity protocols such as RTMP, SRT, RIST and VPN. Stability across multiple network connections

is assured through the proprietary Intinor Bifrost transport protocol. www.intinor.com/products/direktrouter

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PRODUCT SHOWCASE

K-ARRAY

Kobra

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obra is K-array’s series of slimline, stainless-steel line arrays. Consisting of passive loudspeakers with closely spaced transducers that boast the manufacturer’s Pure Array Technology (PAT), the KK1021 and KK521 are sleek, durable products that produce natural quality sound.

K-array’s PAT creates the perfect phase response in both near and far fields, which makes the columns the ideal solution for covering long distances uniformly. The narrow vertical coverage minimises sound spillage, thus increasing intelligibility in highly reverberant environments.

With a unique performance-to-size ratio, the Kobra line is a great example of K-array’s innovative product design. Varying in length, the two models can be customised in a range of colours and finishes and are housed in a lightweight stainless-steel frame. This makes the loudspeakers perfect for applications including theatres, houses of worship and broadcast environments, especially where the system is required to be visibly discreet.

K-array will be exhibiting at ISE 2024, stands 2J300/7F300 www.k-array.com

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LAWO

HOME Apps

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s far as Lawo is concerned, 2024 will be the year of ‘appsolute elasticity’. After their successful premiere at global sporting events, the first batch of HOME Apps, which run on standard servers and in the cloud, are now readily available and will soon be joined by additional applications.

Supporting NDI, SRT, ST 2110, JPEG XS, H.26x, and more, HOME Apps are a clever way of maximising compute efficiency for enterprise installations, remote applications, and broadcast facilities.

Customer-centric licensing plans allow users to elastically grow and shrink their processing capability at a moment’s notice. They are complemented by Lawo’s .edge hyper-density, software-licensable gateway with room for between 16 and 192 active inputs and outputs on 2U for video, audio, control and metadata, the constantly evolving mc²/A__UHD Core audio mixing platform, an acclaimed mix of hardware-based and virtual radio tools, and the multiple award-winning control system, VSM. Lawo will be exhibiting at ISE 2024, stand 5F700 www.lawo.com

www.installation-international.com

PRODUCT SHOWCASE MATROX VIDEO

ConvertIP

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atrox Video ConvertIP was built for signal management, including two-way, high-density ST 2110-to-HDMI/SDI monitoring and conversion.

Users can reduce the cost of ownership, ease switching requirements, and gain baseband monitoring flexibility and redundancy.

Thanks to the new daisy-chaining feature in ConvertIP Version 2.0, users can even send multiple streams

through one connection and display any stream on any connected monitor. These fanless, NMOS-aware devices are 4K- and IPMX-ready, support both ST 211020 uncompressed and ST 2110-22 compressed JPEG XS workflows, and include PoE+ for easy integration.

Matrox Video will be exhibiting at ISE 2024, stand 5D500 www.video.matrox.com

LIGHTWARE VISUAL ENGINEERING

Taurus TPX

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ightware’s Taurus TPX is a line-up of USB-C extenders for high-resolution transmission over long distances. Based on SDVoE technology, the Taurus TPX features a transmitter (TX) and a receiver (RX) that enable users to connect their devices, share their content, switch hosts and control their meeting room easily and intuitively.

The Taurus TPX is built on the foundation of Lightware’s award-winning Taurus UCX unified

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communications (UC) connectivity solution. The transmitter-receiver configuration allows for the use of a single CAT cable to extend room control, Ethernet, USB, and 4K video signals over longer distances, up to 100 metres.

Lightware Visual Engineering will be exhibiting at ISE 2024, stand 3N750 https://lightware.com

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PRODUCT SHOWCASE

MAGEWELL

Director Mini

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ombining switching, graphics, streaming, recording and monitoring in one portable device, Magewell’s Director Mini all-in-one production system enables a single operator to easily create visually compelling productions.

Director Mini offers input source flexibility allowing users to switch between HDMI, USB and mobile camera inputs plus live IP sources including SRT, RTMP and NDI® HX streams. File-based media assets including video, audio and images can also be combined freely with live sources. The user interface is accessed through an integrated 5.44” touchscreen and is complemented by the Director Utility smartphone and tablet apps, which provide remote configuration, audio controls, input switching, scoreboard control and more.

Productions can be streamed to popular platforms

such as YouTube Live, Facebook Live or custom destinations, or output via SRT or NDI HX. Content can also be recorded to an SD card, USB flash drive or the device’s internal storage.

Magewell will be exhibiting at ISE 2024, stand 5E710 www.magewell.com

OCA

AES70-2023 device control standard update

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he latest update to the AES70-2023 device control standard brings a raft of new features and improvements. It’s fully backward compatible with all existing AES70 devices.

A major focus has been on improving the understandability of the specification with revised, expanded documentation, more precise language and ten informative annexes to assist developers. The update also extends its connection management architecture with better support for redundant network connections and a clearer organisation of functions. There’s flexible

support for connection negotiation and media transport sessions for media networks including AES67, ST 2110-30 and MILAN™.

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AES70-2023 also defines various types of datasets such as media files, logs, parameter files, and executables, allowing manufacturers to define

custom dataset types as needed.

OCA will be exhibiting at ISE 2024, stand 7G400 https://ocaalliance.com

www.installation-international.com

PRODUCT SHOWCASE RASCULAR

RouteMaster VR Lite

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ascular’s RouteMaster VR Lite provides powerful and flexible stream management and routing for NDI applications, with ultrafast switching. It’s ideal for AV applications. The built-in GUI is perfect for preset and take switching, showing resizable video previews and audio metering of the current video/chosen source.

No video streams are passed through the router system meaning only minimal bandwidth and processor requirements are needed, regardless of the number of video streams/resolution. While control from the built-in GUI is fast and easy, it’s not ideal for all situations. RouteMaster VR Lite supports external control from: web panels served by the integrated web server; familiar hardware panels like Blackmagic Design Smart Control; or third-party software that uses the Blackmagic VideoHub protocol. All

these control methods can be used simultaneously, with router status immediately visible to all users. RouteMaster VR Lite can also be controlled via popular AV automation technology from Crestron. https://www.rascular.com

ROHDE & SCHWARZ

SpycerNode2

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ohde & Schwarz has launched SpycerNode2, an enhanced version of its popular storage platform, to meet the growing demand for additional functionality. Built on IBM’s high-performance computing technologies, SpycerNode2 incorporates Spectrum Scale with Erasure Coding for ultimate data safety. A redundant pair of external 1U servers gives a boost to performance by up to 50

www.tvbeurope.com

per cent in demanding 4K applications.

Unique VSA technology, an option for failover protection, provides uninterrupted data access. S3 import and

export protocols deliver seamless integration into hybrid storage and cloud tiering systems. Each controller supports up to eight NVM Express plugin drives for the optional

Dynamic Media Cache, reducing demand on the main storage and improving performance.

Modular and dynamic scalable storage capacities of up to 6.7 petabytes per node.

With limitless expansion under one namespace, SpycerNode2 offers highly secure storage with zero downtime, catering to the needs of broadcast and post production facilities. https://www.rohdeschwarz.com

TVBEUROPE | INSTALLATION | 25

AV/BROADCAST CONVERGENCE

NEW CHALLENGES AS PRO AV GETS ‘BROADCASTREADY’ 26 | TVBEUROPE | INSTALLATION

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AV/BROADCAST CONVERGENCE

The pandemic era has brought huge changes for many pro-AV end users, with conferencing in particular stoking a desire for broadcast-quality gear.

But what does this mean for skills and is there scope for more universal broadcast/ AV training in future? David Davies explores

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Lawo staff troubleshooting at the company's data centre

f the expression ‘may you live in interesting times’ is to be employed as an historical barometer, then the last few years have been extremely interesting indeed. No shortage of challenges – Covid-19, a huge spike in remote working, accelerating digitisation and so on – have confronted businesses, and brought with them massive implications for their use of technology.

No prizes for guessing that the most significant one for many businesses during the pandemic era was how best to enable remote working and collaboration. Faced with a pressing need to review their communications infrastructure, there was inevitably a tendency in some quarters to adopt short-term fixes based around basic conferencing options and off-the-shelf gear. With remote working now solidified into a permanent part of many companies’ operations, it’s inevitable that many organisations are in the process of reviewing their ability to capture, stream and store high-quality content.

Indeed, it’s clear that broadcast-quality AV is now an expectation, not just an item for the wish-list.

Fortuitously, this development is occurring at precisely the same time that broadcast and AV are converging in multiple ways. With IP-based networking arguably the most important single enabler, there is now more crossover of solutions between the two markets than ever before. And with the migration to the cloud – including for ultra-low latency live productions – accelerating, it’s likely that at least part of each company’s core workflow will have a cloud element.

In this article, we’ll look at the implications of using broadcast-quality equipment in pro AV implications, from both solutions and skills perspectives; the current availability of AV-oriented training around broadcasttype gear; the areas that require most urgent attention TVBEUROPE | INSTALLATION | 27

AV/BROADCAST CONVERGENCE

with regard to primary skill-sets; and the scope for more shared training in the future as the convergence of broadcast and AV matures.

Among those interviewed for this feature, there was a general consensus that the convergence – with all its potential benefits and pitfalls – is most acute in corporate AV. It’s in this market where the crossover of systems – especially those used to produce and distribute video content – is most fertile. And with the resources of the larger corporations, in particular, it’s also where there tends to be the greatest available budget to implement broadcast-quality infrastructures.

Ben Wolk is managing partner of Seattle-based AV integration and engineering company ZTransform.

With interests in broadcast, corporate, education and government sectors, the company is well-placed to track the recent convergence in disciplines. “I can say with all certainty that it’s the corporate space where we are seeing this the most,” says Wolk. “It has a tremendous need in the marketing and PR part of the business, and that often brings with it a very heavy video requirement.”

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Noting that he is currently working on a blog text about how corporations can end up as ‘accidental media companies’, Wolk implies that many larger companies, in particular, now effectively have their own content operation. “If you look at the combination of large event AV with broadcast AV and streaming, [it’s a real blend] of how a company wants not only to generate high-level content, but also provide elements of the media itself and then distribute the content over streaming platforms.”

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AV/BROADCAST CONVERGENCE Wolk is not alone in suggesting that the pandemic has “expedited this kind of communication need; not only for internal communications, although that’s definitely a big factor, but also to develop their own corporate culture and establish mission statements and goals. [With the appropriate technology] it can be very powerfully done".

Intriguingly, although it’s corporate where the convergence is actually proceeding most rapidly, Wolk suggests it’s actually sports venues where the trend first became pronounced. A combination of AV and broadcast gear has long been in place there; the huge screens and LED walls, added to which is a broadcast component that “not only goes to the outside world, but also the inside production that feeds what the audience watches.”

KEY ENABLER

Above: More from inside the Lawo data centre

Below: Nixer RD Dante monitoring and diagnostics tool

There is no doubt that one of the key enablers of convergence is networking and cabling infrastructure.

With 4K now becoming ubiquitous, significant video processing and transportation requirements are no longer the preserve of broadcast centres and OB trucks.

Inevitably, this has resulted in more companies – especially those who produce connectivity products – delivering solutions to multiple sectors, despite having primarily focused on broadcast or AV in their earlier days.

Chris Smeeton is director of Argosy, which describes itself as a ‘one-stop-shop’ for pro video, audio, data, fibre and racking products. Traditionally, the company was focused on supplying into the TV broadcast sector, but “since about 2015/16 we have started to see clients from adjacent markets come to us when they are using broadcast equipment in their operations. For example, it could be a house of worship or a garden centre where they are putting up large screens and a centralised control system”; the latter increasingly likely to be provided by broadcast-grade equipment.

Smeeton’s own personal moment of realisation about the convergence began a few years back when Argosy made its ISE exhibitor debut. “We went there assuming that not many people would have heard of us,” he recalls. “But one day we got talking to an AV installer about cables and that a started a dialogue between us.

Eventually, we ended up selling them mains distribution units, KVM switchers, and so on; all generally expensive stuff. And when we found out the kit was going to Dubai for an install, we made them aware that we had an office there that could support them. So it shows that things can develop in unexpected ways, although whether it’s AV, IT or broadcast, people buy cables and connectors, and need rack rooms to house them in, so we are seeing a lot of convergence there.”

If it’s beyond doubt that broadcast and AV’s

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convergence is most apparent in corporate, then it also follows that there are going to be potentially significant implications for skills and training. One might imagine that the shortfall would be primarily on the side of pro AV as technicians and end users get to grips with broadcast-quality switchers and video broadcast systems; and that is certainly an important factor. But with some of the more traditional training structures falling away, it’s a hot topic in broadcast too.

As Smeeton points out: “What we have traditionally seen in broadcast is that the major broadcasters had apprenticeships and training programmes, but I think that is happening less and less. It’s now not so much to do with the [broadcasters] and more linked to independent training and consultants.” He singles out the IABM for addressing this problem and working to resolve various skills issues.

Initiatives such as the [SMPTE] ST 2110 standards – devised primarily for broadcast but now used in other environments – have definitely helped to enable convergence. Nonetheless, configuring and managing an “IP network is something that requires the same kind of skill set [in broadcast and AV],” says Smeeton.” Then when you bring in different aspects – for example, doing 4K over IP – there is also an IT skill set that fits into both spaces.”

In addition, broadcast is facing a generational shift that is not so acute in pro AV. We have reached a stage in the cycle where many senior engineers at broadcasters are retiring, and they are not necessarily proving easy to replace. It’s a point that’s explored by Glodina Lostanlen, chief process officer for Imagine Communications.

Increasingly, personnel in broadcast companies are being “drawn from the IT industry a lot, but they have to learn the world of media and 24/7 broadcast environments,” she says, adding that this tends to involve a step-change in “expectations around resilience”. In contrast to the broadcast engineers of yore who might have stopped at the same employer for the majority of their careers, there is also a “tendency to move on after a couple of years. I very much doubt that [many engineers] will stay with the same broadcaster for 30 or 40 years in future, as used to be the case".

In terms of Imagine’s own approach to personnel, there is a firm emphasis on “building on their skill sets – which can sometimes be quite unique – and developing them so they understand how best to use our equipment in a variety of contexts. That is a big part of it."

Nick Fletcher is founder and CEO of Nixer Pro Audio, whose audio over IP monitoring and diagnostic tools are now used widely across broadcast, live, install and AV industries. “From our perspective, what we are seeing as the biggest skill set that is lacking and needs attention is networking,” he says. “It’s not to do with TVBEUROPE | INSTALLATION | 29

AV/BROADCAST CONVERGENCE

audio itself, which tends to have a nice and cosy feeling to it, but the networking side which perhaps appears not so interesting [to outsiders] but is actually hugely important in terms of having the necessary skills.”

He cites the example of an organisation he is aware of who “installed a network backbone in a facility and then had all equipment plugging into that! So it can be the basics [that are lacking] with regard to installing cables and switches into a facility, as well as understanding how to prepare redundancy as well as achieve remote access and management".

Fletcher indicates that the industry shortfall in this regard could have its roots in a perception problem. “It could be that networking is not perceived as being quite as glamorous as audio, and instead is seen as being a bit mundane, perhaps,” he says. But the reality is there is a great deal to be learnt and done there, with regards to installing and operating networks and backbone infrastructures.”

This will have to be addressed as soon as possible given that that continued convergence – especially around IP for audio and video – is beyond doubt. Noting the pro AV and broadcast origins of Audinate’s Dante and the Ravenna IP technologies, respectively, he says that “some companies are now having both [technologies]."

Meanwhile, it’s also important for a wide range of operational environments that technicians can manage and operate the older equipment with just as much elan as the newer tech. Andreas Hilmer is director of marketing & communications at Lawo, whose solutions are used in broadcast, live performance and theatre. He says that there is a danger that new recruits might not be sufficiently familiar with “legacy or existing gear” used by a wide customer base.

Focusing on broadcast in particular, he adds: “Having trained customer-facing and knowledgeable DeVop staff is one thing; allowing your customers to leverage the full potential of the solutions they purchased is even more important. Far from being a self-serving initiative, well-trained operators who are aware of what is, and is not, possible will save their employers (or customers) a tremendous amount of man hours, which ultimately allows the latter to stay on air and produce more compelling content with an optimised tool set.”

With many core technologies now shared by both broadcast and AV, the questions inevitably arise: 'Will we see more combined training courses for both sectors in the future?' And, 'Is there is scope for more technical standards developed jointly as opposed to individual sector-based alliances, as has historically been the case?'

“I think that [combined courses and training] could be the way to go,” says Smeeton. “We have been approached 30 | TVBEUROPE | INSTALLATION

on a number of occasions at broadcast and tech shows about the possibility of contributing to courses. At a very basic level that could be about how to terminate cables, dress a rack and so on. Some skill sets are definitely general [to both sectors] and with so many companies now doing video over networks, that is also an area where there is convergence [and you can do shared training] about best practice.”

It helps in this regard that there has been an increase in the availability of multi-disciplinary media technology training, as offered by the likes of Ravensbourne and UWE Bristol, to name just two in the UK. But at least for now, companies looking to bolster their technical personnel are “probably best to have an AV or IT person and then teach them some specific broadcast stuff than the other way around,” suggests Smeeton.

www.installation-international.com

AV/BROADCAST CONVERGENCE

Argosy provided critical infrastructure for the next phase of Timeline’s state-of-the-art Ealing Broadcast Centre

Indeed, much as the main public focus might be on the skills shortages at the national or global broadcaster level, it’s fair to say that most companies are grappling with some variation of the problem. A recent scaling-up of activities has highlighted this to Argosy. “Demand came back very quickly [after the pandemic] and we have been doing a lot of investment in our team to get to a certain level,” says Smeeton. “But we are very booked out and [time has to be spent] working out how to staff the next projects when you have three or four going at the same time. For a company of our size, it’s always going to be a challenge to get the right people with the right mentality as the biggest danger to growth is a slip in quality; and that is unacceptable at our company.”

Ultimately, though, it’s an area that will benefit from universal action by employers and trade associations. No

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area in which broadcast or AV tech is utilised will be exempt from the impact of a generational shift and a diminished pool of available talent. But action at an individual company level to inspire employees and provide them with an appealing working environment, culture and long-term developmental prospects is also going to be more critical. With more transferable skills to call on, the most gifted newcomers will be able to have their pick of employers and sectors.

“Coupled with a shrinking population in most parts of the world, it will be harder to secure the humanand brain-power a vendor or broadcaster needs moving forward,” says Hilmer. In which context, those “immaterial perks – such as solutions worth working hard for and a team spirit where you can count on someone having your back – are more important than ever.”

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