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The increase in streaming services is just one of the tech trends we explore. See Inside
www.nabshow.com | October 2021 | NEW PRODUCT GUIDE 3
PRESIDENT & CEO
Dear NAB Show Community,
Gordon Smith NAB President and CEO
It was my sincere hope to welcome you back to Las Vegas for the 2021 NAB Show. All of us at the National Association of Broadcasters (NAB) were excited about hosting an in-person convention that connected our exhibitors, partners, speakers and attendees and got our industry back to doing business face-to-face. Unfortunately, the challenges posed by the COVID-19 pandemic proved too difficult to surmount. I share your disappointment and appreciate your understanding of this decision, made in the best interest of our community and for the health and safety of everyone involved. This year’s convention would have been my 11th and final NAB Show as president and CEO of NAB. While I will be transitioning to an advisory and advocacy role at the end of 2021, NAB enjoys the good fortune of having cultivated top talent to provide for a smooth transition in leadership. Curtis LeGeyt will become the new president and CEO on January 1, 2022. Curtis has been with NAB for nearly a decade, including five years leading our Government Relations department before his promotion to chief operating officer in February 2020. His leadership, insight and judgment have proven to be invaluable assets in helping NAB navigate the challenges of the pandemic. I am fully confident Curtis and the rest of the NAB team will continue to be forceful advocates for broadcasting, leaders in advancing cutting-edge innovations, and producers of a world-class convention for media and entertainment professionals. It has been my great honor to represent America’s broadcasters in the halls of Washington and around the world for the past 12 years. I am proud of the significant legislative, regulatory and legal victories NAB has achieved on behalf of radio and television broadcasters during my tenure, including our work to help broadcasters weather the effects of the pandemic. At the heart of a broadcaster, beats Before I joined NAB, I was asked by the hiring committee what it means to have the soul of a broadthe heart of a public servant. caster. Through the years, I have enjoyed immensely discovering the answer to this question. Deep in the soul of broadcasters is an unrelenting commitment to always be there for your communities, to be connected to your audiences, to inform them, to educate them and to help them. At the heart of a broadcaster, beats the heart of a public servant. I want to express my admiration and gratitude to the countless broadcasters who epitomized that ideal during my time at NAB and in the many years that I served in public office. Whenever NAB called upon broadcasters to support our community service efforts — from donating 10,000 radios to Puerto Rico following Hurricane Maria to airing public service announcements promoting conversations about mental health and the opioid crisis — we received an incredible response. The ongoing evolution of broadcasting will also allow us to continue and expand this mission of public service. I will miss the opportunity to walk around the NAB Show floor this year, exploring the amazing innovations transforming our industry, talking to exhibitors about their new products and services, and learning about the trends that are changing how we consume content. However, this is not goodbye for me. I will continue in an advisory role for the next few years, and I plan on attending the 2022 NAB Show in April. We are focused on delivering an exceptional convention next year and cannot wait to share what will be a truly amazing experience — an opportunity to reconnect, reengage and get back to business. I hope to see you there. Sincerely, Gordon H. Smith
6 NEW PRODUCT GUIDE | October 2021 | www.nabshow.com
Table of Contents TECHNOLOGY TRENDS | INDUSTRY NEWS | NEW PRODUCTS ALL IN THIS ISSUE FOR THE MEDIA & ENTERTAINMENT COMMUNITY
31 Using Virtual
It’s an important time for broadcasters, automakers and metadata service providers to communicate
Artificial intelligence is enhancing the AR experience
Entertainment Facing Critical Milestones
24 OTT Keeps Viewing
10 M&E Chessboard
Options Open for Consumers
Leveraging technological advancements to grow audiences
With more services launching and corporate strategies diverging, don’t expect a streaming shakeout soon
12 New Cameras,
Jumps Content to the Next Level
LED Walls Are Game Changers for Production
Expands Its Foothold in Radio
The potential to reduce VFX time and costs is a big one
More flexible and efficient workflows allow creative solutions
28 5G Poised to
Advertising Seen as Reshaping New TV Business Model
Technology enables better targeting incremental reach
Technology to ‘Amaze the Viewer’
33 Audio Over IP
Brings Flexibility and Savings for Content Creators
It brings with it “emerging developments such as immersive mixing”
35 The World of
Podcasting Pushes Forward
Remote production helped meet skyrocketing demand
38 Product Spotlights
Transform Media Workflows
Combined with Multi-Access Edge Computing, 5G will propel adoption of cloud workflows
From Future US, Inc., the publisher of TV Technology, Broadcasting+Cable, Multichannel News, Next|TV, TVB Europe, Radio World, Mix, Sound & Video Contractor, Systems Contractor News, AV Technology, TWICE and more!
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On the Cover: Marvel Studios’ “Hawkeye” stars Jeremy Renner (R) as Hawkeye, who teams up with another well-known archer from the Marvel comics, Kate Bishop (L), played by Hailee Steinfeld. “Hawkeye” debuts on Disney+ on Nov. 24, 2021. Copyright Marvel Studios 2021. All Rights Reserved.
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10 NEW PRODUCT GUIDE | October 2021 | www.nabshow.com
RESHAPING BUSINESS with family and friends, or with coworkers around the watercooler.” Brown said that we are all hoping for something far more profound, positive, three-dimensional and immersive — the three-dimensional chessboard. That brings us back to M&E companies trying to connect with audiences that are rapidly assimilating new ways of communicating and working. This audience is ready to move on to the next big thing to consume and enjoy entertainment, and it is perfectly willing to consume it in our new virtual world.
KTSDESIGN/SCIENCE PHOTO LIBRARY/Getty Images
M&E Chessboard Jumps Content to the Next Level Leveraging technological advancements to grow audiences By Bob Kovacs TV TECH
3D chessboard that was shown on “Star Trek” back in the day.
If your media and entertainment organization seems to be doing “well enough” now, sustaining or redoubling those efforts will likely not be enough moving forward, said Robert Hoyle Brown, vice president of the Center for the Future of Work at Cognizant. There has been so much change over the past 18 months that it can be hard to evaluate what exactly has been done, then devise a plan for the future. We’ve moved our chessmen around the board so much that we may not have noticed that the game has evolved into the
It’s reasonable to assume that things will get back to normal once the COVID crisis is over, but it will be a “new” normal, not the same M&E environment we had on Jan. 1, 2020. “M&E organizations that make leading-edge technology a ‘partner-in-work’ can generate significant opportunities that extend beyond pure efficiency; they can begin to fundamentally reshape how the business performs, with benefits for both customers and employees,” said Brown.
When the COVID-19 pandemic hit, we quickly adopted virtual meeting applications such as Zoom. Over time, we’ve been able to get our work done, but can this go on indefinitely? “The virtual world is here to stay,” Brown said. “While we’ll be eternally grateful for seamless videoconferencing platforms like Zoom [and others] that gave us some semblance of much-needed social connection and work-fromhome productivity during the COVID-19 crisis, these remote, technology-driven experiences have also served to magnify our desire for new and better ways to connect for a [virtual] night on the couch
“At no time in history has society consumed as much media as we’ve done in the months upon months of COVID-induced lockdown,” Brown said. “However, the post-COVID media consumer will be an acutely more discerning individual following this vastly increased consumption. Media providers with sub-standard or minimal content will be judged harshly, while those that can provide a wide array of timely, high-quality content will flourish.” We all have friends that have feasted on old content during the COVID-19 crisis, watching one television series for hours a day, then moving on to another. You may have even done this yourself. Leveraging this existing content has value, but so does cutting a new path in the M&E field. “The key is your direct-to-consumer approach: A winning strategy needs to combine data, AI, ML, digital engineering and automation-centric solutions to bring forward a differentiating experience that maps directly to consumers’ needs,” Brown said. Audiences will be on the lookout to see what programming and entertainment breakthroughs happen during the next few months and years. Taking the (chess) game to the next level will be exciting — and profitable — for astute media companies. ■
12 NEW PRODUCT GUIDE | October 2021 | www.nabshow.com
New Cameras, LED Walls Are Game Changers for Production The potential to reduce VFX time and costs is a big one By George Winslow TV TECH
Virtual production techniques have a long history in Hollywood but have really exploded in popularity in the last two years, thanks to travel restrictions during the pandemic and a host of tech improvements.
Planar CarbonLight VX Series line of LED displays is designed to meet the needs of the exploding virtual production markets.
MANY OTHERS AGREE: “There are hundreds of stages going up around the world and we’re directly involved in dozens of them already,” said Adam Schmidt, executive vice president at Planar, a supplier of LED panels that recently launched a virtual production initiative Planar Studios. Gaming engines drive new production capabilities. “What is really exciting is [how] the film industry [is starting] to truly understand the power of game engine technology in the context of world-building,” explained Miles Perkins, industry manager of film and television at Epic Games. It recently released a new version of its gaming engine, Unreal Engine 4.27, with the highly anticipated full release of 5.0 set for early 2022. The 4.27 includes a host of new features designed to improve “quality, efficiency and ease of use” for virtual productions, Perkins said. “When Epic Games releases the full version of Unreal 5, the current limits imposed on the cinematic architecture will be lifted, allowing for more realism,” said A. J. Wedding, The use of gaming engines like Epic Games’ Unreal co-founder of Orbital Engine has been “a game-changer” in virtual production said cinematographer Greig Fraser who Studios. won an Emmy for his work on “The Mandalorian.”
BOOM TIME: Much of the current interest stems from the use of large LED walls and gaming engines to create the fantastic virtual worlds seen in “The Mandalorian.” “When we did ‘The Mandalorian,’ we used off-the-shelf technologies like the Unreal game engine that were created for games, not TV production,” said Greig Fraser, who won a Primetime Emmy Award for Outstanding Cinematography for his work on the Disney+ original. “Now you have technologies that are purpose-built for virtual production with many more capabilities. We’re still in the early days but the [upcoming] release of Epic Games’ Unreal Engine 5 will be a game changer.”
FINAL PIXEL SHOOTING: “The ability to shoot basically anywhere without travelling to that location was the primary driver” of interest in virtual productions early on but as the technology has improved, “the potential to reduce VFX time and costs is a big one,” explained Sean Sheridan, regional technical manager for the Americas at Brompton Technology, which has emerged as a major player in the virtual production tech space. That is improving the image quality of video shot of actors in front of LED walls without a lot of post-production work. “Final pixel-shooting [is] really hot,” added Michael Geissler, CEO at Mo-Sys Engineering, which recently released the VP Pro 4.27 software that has been used on virtual productions for Amazon and Netflix.
Brompton Technology has supplied 4K Tessera SX40 LED processors and five XD 10G data distribution units for the Gum Studios’ virtual production studio.
Brompton Technology has supplied 4K Tessera SX40 LED processors and five XD 10G data distribution units for the Gum Studios’ vwirtual production studio.
High-resolution cameras such as Blackmagic Design’s URSA Mini Pro 12K are being used at the SIRT Virtual Production Hub and other places to help virtual productions capture higher quality images.
EXPERTISE IS AS IMPORTANT AS TECHNOLOGY: NEP, which recently launched its NEP Virtual Studios with the acquisition of Prysm Collective, Lux Machina and Halon Entertainment, has made providing production expertise a central part of their strategy, explained Zach Alexander, co-president of Lux Machina NEP Business unit at NEP Virtual Studios. To help the industry cope with the complexities of a virtual production, SMPTE has embarked on a high-profile virtual production initiative. “It has become very, very clear that education is a big obstacle, not only among professionals wanting to use the technology but in terms of training people to handle virtual productions,” said Kari Grubin, a consultant who is spearheading the project, which is focusing on such areas as interoperability, best practices and education.
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EDUCATORS ARE ALSO GETTING INVOLVED: Sheridan College’s Screen Industries Research and Training (SIRT) Centre in Toronto, for example, has built a new Virtual Production Innovation Hub. “We really want to be a sandbox where creatives can advance the technologies and better understand how they can use it,” said SIRT production lead Jason Hunter. New cameras shoot new virtual worlds. More innovation is coming from traditional vendors of production tech. The SIRT Center, for example, relies on a number of technologies from Blackmagic Design, including the URSA Mini Pro 12K. ARRI has also jumped into the virtual production sector in a big way. It created some smaller experimental stages in Munich and Burbank to integrate their products into those from other companies and launched a new virtual production studio in U.K. in the summer of 2021. The ARRI solutions group also worked with the German production company to set up a virtual production stage in Berlin.
ARRI supplied technologies to several virtual production studios and recently opened its own virtual production facility in the U.K., where Mo-Sys is also a tech partner.
18 NEW PRODUCT GUIDE | October 2021 | www.nabshow.com
Prasit photo/Getty Images
ADVANCED AD TECH
Advanced Advertising Seen as Reshaping New TV Business Model Technology enables better targeting incremental reach By Jon Lafayette BROADCASTING & CABLE
Advanced advertising was set to be a key topic at NAB Show as technology reshapes the business of television. “You can’t talk about media right now without talking about the business model, and advertising is part of the business model,” said Lori Schwartz, CEO of StoryTech. Competition from digital media is fierce at a time when broadcasters are shifting to streaming as consumers cut the cord and the pay-television universe is evolving. DATA AND ANALYTICS
“The rise of digital advertising channels with data and analytics
capabilities poses a significant challenge to traditional publishers and platforms that lacked the similar capabilities to capture, analyze and quantify advertising impact,” said Mark Peters, a managing director in Accenture’s media industry group. “Though this is a time of uncertainty, it creates an opportunity for ad sales leaders to build trust with their users, transform their workforce and build new tools and capabilities to set them up for a bright future ahead,” Peters said. Networks and stations are turning to advanced advertising technology to be able to deliver the incremental reach advertisers crave and more immersive experiences for viewers.
Steve Lanzano, president and CEO of the Television Bureau of Advertising, said that a key aspect of advanced advertising is making TV more targeted. Data is available, as is the technology, but buyers and sellers still have issues that need to be settled. “Everyone’s talking, which is good, but we still have work that needs to be done.”
buy their products. “The most important thing in media is reach,” Lanzano said “You need your linear product to get reach, and then you can be a little more targeted with your OTT product. OTT can also help extend reach when it is viewed by cord-cutters and others not watching traditional television.” As stations convert to NextGen TV, there will be additional opportunities for advanced advertising, he added. Targeting requires granular knowledge about viewers and consumers, said Larry Harris, CEO of Alpha Precision Media. The company uses data from Amazon
TARGETING AN AUDIENCE
In addition to broadcast ads, TV stations and station groups are creating over-the-top and digital products that give them additional inventory to sell. Coordinated with broadcast, those other platforms can help advertisers reach the audiences most likely to want to
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Networks and stations are turning to advanced advertising technology to be able to deliver the incremental reach advertisers crave and more immersive experiences for viewers.
to target advertising viewed over smart TVs. Those ads “are just a good complement to most TV plans,” Harris said. “Amazon’s first-party data helps advertisers reach incremental viewers and drive more consideration of the products in the ads.
“We’ve seen the results in terms of purchase intent and brand lift. And if you’re on the Amazon platform, its hugely powerful because you can automate retargeting, so you can build your brand and sell your product in the same flight. That’s something you can’t do on any other CTV platform.” LTN Global’s signaling products help enable addressable advertising. This year, the company’s LTN Target product, which signals insertion equipment that an address-
able-capable ad break is coming up and which slot the addressable commercial should run, is adding a new capability that will ensure that if a client has been promised category exclusivity, another ad for a similar product won’t run. “Our message is LTN Target provides that communication layer that automates the entire process,” said Roger Franklin, general manager, Full-Time Business Unit, LTN Global. Franklin acknowledged that addressable advertising has been
talked about for a long time, but now seems ready to roll. It was a key element in the upfront, and “we’re seeing some very good responses from advertisers.” For sales executives at networks and local stations, “It’s time to enable that capability,” he said. ■
Advertising Trends to Watch Lori Schwartz, CEO of StoryTech, identified some trends worth watching. THE RISE OF CONNECTED TELEVISION: With the introduction of
THE RACE TO SECURE GEN Z: Reaching Gen Z requires a real
co-watching apps, there’s a lot of co-viewing on connected TV, particularly with families at home because of the pandemic. With the rise in watching connected TV, there’s been an ad spending surge as advertisers follow viewers. Those advertisers are looking for incremental reach and the ability to target micro-audiences and go right for their wallets.
focus on ethics, as younger viewers show an interest in civics and issues such as mental health, healthcare, COVID-19 and the environment. They are also focused on diversity, equity and inclusion. “You’re starting to see companies and content reflect these concerns,” Schwartz said. ■
THE REINVENTION OF DATA: Digital advertisers must find new ways of tracking viewers because of “the cookie apocalypse,” Schwartz said. That means more focus on first-party, second-party and third-party data to follow viewers across devices. This will also raise the importance of contextual advertising, which tries to make a connection between what people watch and what they want to buy. More branded content is also likely to follow. BLOCKCHAIN: With more transactions and video
serving becoming automated and decentralized, transparency and security will become paramount, and blockchain is likely to emerge as the industry’s enabling technology. Blockchain also enables content companies to turn their video assets into an NFT play.
augmented reality and virtual reality filters, technology enables content companies to really engage audiences. These new content models also enable shoppable TV, with micropayments engaged.
IMMERSING AUDIENCES: Between interactivity,
22 NEW PRODUCT GUIDE | October 2021 | www.nabshow.com
In-Vehicle Entertainment Facing Critical Milestones It’s an important time for broadcasters, automakers and metadata service providers to communicate By Randy J. Stine RADIO WORLD
The quickly evolving car dashboard has radio broadcasters sifting through multiple opportunities
and challenges, and experts say the crucial decisions they make will help define the future of how entertainment is consumed in the vehicle. The new in-vehicle dashboard
with internet-based features is fast arriving with auto infotainment systems being sold to consumers with digital radio tuners and support for advanced connectivity. Experts say it is
a crucial time in the development of infotainment systems with broadcasters engaged with metadata service providers and automakers to keep over-the-air radio in the discussion.
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shipped with Android Automotive in 2030. John Clark, executive director of PILOT, wrote in a recent Radio World ebook about how radio receivers are becoming software — at least, access to radio is becoming software-based. And Android Automotive is the critical component in that transition because it is fundamentally open-source software. “And developers are the ones creating knobs and dials for the consumers,” Clark wrote.
with RadioDNS, which is an organization committed to creating open standards for hybrid radio. ELEVATING RADIO
Xperi Corp., which licenses HD Radio technology, has also introduced its hybrid radio solution — the DTS AutoStage ecosystem. Xperi hopes the infotainment platform will further elevate radio in future connected cars. “Hybrid radio in the connected car allows over-the-air radio to
compete with the pure-play digital platforms. However, today’s automotive platforms are capable of rendering far richer content
There is no let up in the influx of in-vehicle entertainment options for drivers and passengers, radio advocates say. Even co-driver displays targeting front seat passengers in connected cars are becoming a thing in Europe. than broadcasters are providing,” said Jeff Detweiler, executive director of broadcast technology for Xperi. Detweiler said there remains a significant functionality and service gap between the broadcasters and the OEMs. “With broadcaster-generated content, auto brands are concerned about copyright ownership, offensive image filtering, and how listener data and privacy are treated,” Detweiler said. ■
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HD Radio and terrestrial, hybrid radio, dash visuals and in-vehicle voice interaction remain the primary in-car focus of radio broadcasters in the United States, experts say. In addition, the uptake of Android Automotive by multiple automotive manufacturers, including Ford, GM, VW, Group PSA and Volvo, is especially crucial when considering the connected car. ABI Research recently said it expects 36 million vehicles will be
Broadcast advocates say their goal is to preserve the prominence of traditional radio in new in-vehicle entertainment systems. However, they acknowledge competition from IP-based streaming services has increased challenges in the space. The auto industry is on the verge of a dramatic increase of hybrid radio deployment in automobiles, said David Layer, vice president of advanced engineering at NAB, and radio as a medium, needs to be forward-looking and positioned to serve audiences on multiple levels. “The metadata produced by radio broadcasters remain critical. NAB recently updated and re-issued the ‘NAB Digital Dashboard Best Practices Report,’ which provides lots of details and recommendations for broadcasters on how to implement and improve their metadata operations. “New information on hybrid radio and metadata service providers has been added to the report, which complements the material on metadata provided for both radio station programming and technical personnel,” Layer said. NAB has been heavily involved in the rollout of hybrid radio, including its involvement
Thomas Barwick/Getty Images
HD Radio and terrestrial, hybrid radio, dash visuals and in-vehicle voice interaction remain the primary in-car focus of radio broadcasters in the United States, experts say.
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24 NEW PRODUCT GUIDE | October 2021 | www.nabshow.com
OVER THE TOP
Photo by Chuck Xlotnick
A scene from “Magnolia Table With Joanna Gaines.” Magnolia Network, Discovery’s joint venture with Chip (l) and Joanna Gaines (r), officially launched its slate of original programming in June.
OTT Keeps Viewing Options Open for Consumers With more services launching and corporate strategies diverging, don’t expect a streaming shakeout soon By Addie Morfoot NEXT TV
It is arguably the best time in history to be a content consumer. Gone are the days of relying on the Big Three (ABC, CBS and NBC) for news and entertainment. Today, between linear broadcasters and the flood of OTT services — a new one being introduced what seems like every day — consumers have more viewing options than ever before. New streaming services continue to be launched. HBO Max,
Roku Originals and IMDb TV joined the Big Three — Netflix, Amazon Prime Video and Hulu — as well as Disney+, Apple TV+, Peacock, Paramount+ and Discovery+ among the major entertainment choices. Altogether in the United States there are over 100 OTT services and more than 1,000 worldwide, according to Dan Rayburn, principal analyst, Frost & Sullivan, who said that the growing OTT market is giving consumers more options to find their entertainment. “Whether it’s cars or stream-
ers, consumers love choice when it comes to services as a general rule,” said Rayburn. But with choice comes confusion, and understandably so. The multitude of OTT services in the market, with prices shifting on a regular basis, has left consumers confused and wary of adding on more monthly fees. “These services are going to get more expensive, so consumers are going to have to decide how much money they have to spend and which services are most important to them,” said Rayburn. “And that’s
not going to change going down the road because you’re not going to have services combining.” Consolidation is not likely to happen among the biggest worldwide OTT services, according to Rayburn, because conglomerates with different business models and ecosystems own them. Liam Gaughan, a researcher at Parks Associates, agrees. “Larger players are less likely to merge due to their role as brand ambassadors for their respective entertainment companies,” he explained. “But consolidation will continue to be common among smaller and niche services.” Some might say documentaries are a niche market, but with the boom in content services, according to Gaughan, that programming is essential to OTT service libraries. “Nonfiction programming ranks high among viewers’ preferred
www.nabshow.com | October 2021 | NEW PRODUCT GUIDE 25
content,” Gaughan said. “Of U.S. broadband households, 37 percent watch documentary content on the online video services they access. Nonfiction exclusive services such as CuriosityStream and Discovery+ have rapidly grown.” While nonfiction content might
be the sweet spot for several OTT services, Rayburn said that when it comes to what programming works for a streaming service is debatable. “If you look at content, [each service] has their own formula based on who their audience is,” Rayburn said. “They have a for-
mula and data, which they don’t share. What’s interesting, though, is to see how many times a formula doesn’t work. How many shows on Netflix and Amazon and Hulu get cancelled after a year? It’s a hard formula to figure out and a very expensive business.” Disney+ aired a six-part docuseries, “Among the Stars,” with fly on the wall access into the wider world of NASA, with cameras on Earth and in space. NASA astronaut Captain Chris Cassidy is on a quest to get back in his spacesuit for one last mission.
There’s no denying that the digital version of the Magnolia Network, the highly anticipated multimedia venture between Discovery and Chip and Joanna Gaines, helped Discovery+ when it launched in July with more than 150 hours of unscripted programming. Originally the plan was to launch Magnolia on the linear grid first, taking over Discovery’s DIY Network. The challenges of the pandemic altered that plan, pushing the linear takeover to January 2022 and making Magnolia a streaming exclusive for now. Magnolia Network President Allison Page said that while the Gaineses already had plenty of viewership among all demographics, being on Discovery+ has introduced the duo to nonlinear audiences and has also “brought some of that linear audience over into streaming because they’re passionate about [the Gainses] and they are passionate about this brand. So, even though they don’t want to pay $5 more a month, they came to Discover+.” Content, as they say, is king and all the kings in this streaming war, or race, want to win. Only time will tell what OTT services survive. ■
26 NEW PRODUCT GUIDE | October 2021 | www.nabshow.com
Virtualization Expands Its Foothold in Radio More flexible and efficient workflows allow creative solutions By Paul McLane RADIO WORLD
Broadly speaking, virtualization is “technology that lets you create useful IT services using resources that are traditionally bound to hardware” (in the words of redhat.com). Proponents of its use in radio say virtualized solutions can increase flexibility and scalability while bringing down costs and making workflows more efficient. Here’s a sampling of how virtualization is playing out in radio broadcast infrastructure.
WNMU(FM) Public Radio 90 at Northern Michigan University deploys an ENCO WebDAD system. Kurt Hauswirth is music host, programmer and producer.
PLAYOUT & AUTOMATION: Virtualization brings powerful benefits, said Bill Bennett, media solutions account manager at ENCO Systems. He points to the web browser-based HTML native control interface for the DAD playout and automation system as an example. “It enables more flexible DAD workflows by letting multiple users access DAD from any Chrome-based browser including Macs, PCs and tablets, to manage their libraries and playlists, go live with Presenter and Arrays, cut and edit voice tracks, and more,” he said. It can be used from down the hall or around the globe via VPN. Virtualization is part of other ENCO products including its cloud-based DAD automation system, allowing broadcasters cloud-based playout if needed, or as a backup via the company’s DAD-DR Disaster Recovery solution, which can synchronize a studio’s DAD systems to the cloud should a crisis, power failure or virus event Nautel and Telos Alliance have demonstrated software take the main primary systems down.
approaches to create flexible and easy to deploy solutions for long-standing issues such as HD RadioTM time alignment drift. nautel.com/radio-air-chain
Software-Based Air-Chain AIR CHAIN INNOVATION: While a Demonstration web stream lot of attention is being paid to virtualizing the front end of radio infrastructure, Nautel icecast Station Logo Sofia RX and Telos Alliance are looking at ways HD1 Proc Core RadioJar Justin 808 to leverage software-based approaches to 128 kbps MP3 HD2 Proc Core simplify the transmitter-facing portion of the HD3 Proc Core air chain. FLAC St. Cloud Mn HD4 Proc Core “As an example, last year the technical RDS FM MPX Gen4 Importer teams of the two companies demonstrated FLAC TCP/IP: firewall a standards-based, software-implemented Vporter St. Cloud Mn E2X + method of precisely locking the FM and MPX HD1 signals to completely eliminate time alignment drift issues,” said Nautel Head of Software-Based Air-Chain Marketing John Whyte. with Time-Locked FM + “Audio processing, signal locking, HD Radio™ importer, exporter and exgine functions were all implemented in software and hosted on Nautel and Telos Alliance have generic hardware, or even the cloud, to achieve superior functionality, flexibility and operational advantages demonstrated software approaches to compared to traditional fixed-design hardware.” create solutions for difficult issues such These approaches, Whyte said, will spur innovation in the radio air chain. as HD Radio time alignment drift.
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READY FOR DISASTER: RCS has seen many clients virtualizing operations, according to Director of Sales Engineering Nate Mumford, with both Zetta automation servers and with GSelector for scheduling. “With the introduction of Zetta Cloud Disaster Recovery, we are adding another form of ‘virtual’ redundancy with all of your audio, schedules, logs, metadata, backups and more saved within Amazon
Web Services — not simply an AWS instance, but software written for and on AWS, following best practices and securities.” New facilities at Hubbard Cincinnati use Zetta Cloud Disaster Recovery. Director of Engineering Brett Patram said, “We are always sending a current backup snapshot of our database and audio assets into the cloud. … Our logs are also being synced and played out in the cloud environment.” This creates a backup audio solution that’s always available and provisioned with programmed audio, not canned fill. “At our transmitter sites and even in the studios, the streamed feed of the Zetta Cloud DR instance is made available to switch into,” Patram said. “Because all our logs and assets are backed up into this environment, all our spots would continue to play if we needed to use it for any length of time.” And being able to control these sequencers from a familiar interface makes it easier in a crisis to take control and “run” the station from that environment. New facilities at Hubbard Cincinnati use Zetta Cloud Disaster Recovery, said Director of Engineering Brett Patram.
The console has a tactile surface as well as a touchscreen interface; thus, you can move faders and cue events on the surface, but pinch and drag EQ settings from the touchscreen. “You can move into a fully virtual scenario, too. Remote GSX client software can be set up on a laptop at home or elsewhere to mirror and remotely control the GSX physical console at the station studio,” McVicker said. Radio Zürisee in Switzerland offers a dramatic example of hardware/software convergence. This nontraditional radio facility includes a ballroom stage and a living room studio set with fully functional kitchen. Wheatstone LXE IP audio surfaces are networked by WheatNet-IP; the DJs control them using Microsoft tablets that they carry as they roam the facility wearing wireless mics and doing their air shifts.
Susanne Fritz Architects Zurich/fotos@Carlo Lavatori
CROSSOVER FORMAT: “We’ve reached a point in virtualization where there is now a crossover between hardware and software,” said Wheatstone’s Dee McVicker. “Our new GSX IP audio console is a very good example. It has soft controls — you can program the buttons and controls on the console, similar to how you would a software interface, and you can reprogram them at any time for customizing by show, talent or studio.”
Ballroom stage at Radio Zürisee. The inset shows Wheatstone audio controls on Microsoft tablets used by talent as they walk around the facility while on the air.
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5G’s low latency and speed are accelerating a move to the cloud for sports production.
5G Poised to Transform Media Workflows Combined with Multi-Access Edge Computing, 5G will propel adoption of cloud workflows By Phil Kurz TV TECH
The continued rollout of 5G is already beginning to touch the media and entertainment industry in ways ranging from contribution to distribution, but these transformations simply look to be among the first and most apparent changes fifth-generation mobile networks will make on how TV and movies are produced and consumed by the public. This isn’t just hype, something that’s dominated media coverage of 5G, said John Wastcoat, senior vice president of alliances and marketing at Zixi. “We hear so often about new
products being revolutionary that the term has lost its meaning, and certainly the hype surrounding 5G peaked early at a point where the networks and the use cases were not able to deliver on the promise,” said Wastcoat. “But we can now point to a long list of benefits that [5G] brings.” Among the most significant for the M&E industry are the lowest latency possible and faster data delivery speeds, greater accessibility, the ability to deliver higher-quality content to consumers, cost savings made manifest by reduced fixed infrastructure investment and enhanced cloud integration, he said.
CLOUD-BASED REMI AND MEC
On a development track parallel to 5G is the deployment of real-time edge computing that moves the data and processing typically done in the cloud closer to the end user. Known as MEC, or Multi-Access Edge Computing, the concept is to locate cloud resources to local sites connected to cell phone towers rather than concentrate them in datacenters hundreds or even thousands of miles away from where those resources are needed. “This helps critical, performance-impacting applications
5G with Multi-Access Edge Computing (MEC) is a disruptive technology combination.
Together, 5G and MEC will accelerate movement of existing production workflows to the cloud.
5G’s low latency and high data speeds together with the proximity of MEC servers will make cloud-based REMI (remote integration model) production more appealing to sports producers.
Companies such as Verizon have deployed ultrawideband 5G service at NFL stadiums and other venues.
Beyond sports production, 5G and MEC will affect news production, live reality TV and scripted TV production.
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respond faster and more efficiently,” said Josh Arensberg, managing partner of global solutions for media and entertainment at Verizon Business Group. Verizon and AWS are making MEC available today through Verizon 5G Edge with AWS Wavelength. REMI, or remote integration model production, in the cloud, real-time camera coordination and control, advanced ad opportunities and real-time rendering are prime candidates for the transformative effect of this powerful combination of technologies. Artificial intelligence and machine learning figure to play bigger roles in cloud-based REMI thanks to 5G and MEC, as well. “With telcos adding multi-access edge computing (MEC) to the edge of the 5G networks, low-latency connectivity provides the opportunity for more AI and machine learning to optimize productions — for example with
data for virtual cameras,” said Mo Goyal, senior director, international business development at Evertz. 5G and MEC will be “a disruptive force,” heavily “influenc[ing] the movement of existing workflows to the cloud,” said Jim Jachetta, executive vice president and CTO of VidOva-
television and cinema are already enjoying the benefits of this new architecture and workflow. OFF-SITE PRODUCTION
The arrival of 5G, especially at large sports venues, is helping broadcasters and producers respond to the challenge of producing high-profile events
[MEC] helps critical, performance impacting applications respond faster and more efficiently.” JOSH ARENSBERG VERIZON BUSINESS GROUP
tion, which distributes AVIWEST contribution solutions in the United States. “All aspects of content creation and distribution will benefit from this new architecture,” he said, adding that news production, live sports, live reality TV, scripted
The availability of 5G at sports venues will enable remote production workflows, including those powered by Signiant Media Shuttle.
with fewer production people on site. For example, Verizon has deployed its 5G Ultra Wideband service specifically at NFL football stadiums and other large venues to — among other things — provide greater bandwidth for television production. The
network’s speed and low latency makes it practical to take some production workflows off site, a particularly welcomed benefit during the pandemic. “Production teams are trying to do more with fewer people on site, and while this was a trend that was already happening, it was certainly accelerated by the pandemic,” said Jon Finegold, chief marketing officer at Signiant. “With the new deal announced between NEP and Signiant, live production teams of all sizes can quickly and easily move content to and from the trucks, producing highlights more quickly during the game, pre-loading segments before the game and shutting down the trucks more quickly after. While this isn’t specific to 5G, the availability of 5G at more venues will further enable these types of remote workflows for any size production,” he said. ■
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AUGMENTED REALITY The stadiums may have been empty due to the novel coronavirus pandemic, but Dreamwall’s technology was able to populate the stands for the viewer at home.
Using Virtual Technology to ‘Amaze the Viewer’ Artificial intelligence is enhancing the AR experience By Peter Suciu TV TECH
The beginning of the pandemic brought empty sports stadiums around the world. Even when the teams began to return to the playing field, the fans weren’t allowed back in the stands — at least not actual fans. Some production companies were able to create virtual fans, though similar technology was already in use before the COVID-19 breakout to enhance what the viewer was seeing at home. With the adoption of 5G wireless technology, smart phone users didn’t have to miss out either.
“We have been leveraging AI — artificial intelligence — to enhance the way we can bring the augmented reality experience to the audience,” said Thibault Baras, general manager of Dreamwall, which has been working with virtual and augmented reality technology for more than 20 years. “This has included different content, from virtual fireworks to virtual zeppelins that can fly overhead in a stadium.” ENTERTAIN AND INFORM
This technology can entertain, inform and even be used to provide additional advertising opportunities for sports franchises.
And with 5G, those in the stands will also be able to experience it as well. “Virtual studios are designed to amaze the viewer — even with growing expectations, amazing the viewer is still achievable,” said Gerhard Lang, CTO at Vizrt. “Photorealism is approaching a level where it is almost impossible to distinguish between a real studio and a virtual studio. This means our customers can take their viewers to locations and spaces with a quality previously only achievable by large movie productions in post. The technology exists, and it does not matter whether a game engine or native rendering is used
for the production.” The use of graphical technology has advanced so that augmented reality can blend near seamlessly with the physical, and this has been extremely important as the pandemic forced many to work remotely. If the sportscasters and broadcasters can’t go to an event, the technology can help better immerse them into the environment, which could immerse the viewer in the experience. “Virtual technology and augmented reality help content creators to improve the viewing experience for the audience, especially when delivering large amounts of data or when creating information graphics. Because, if complex data are displayed in a visually attractive way, the audience can understand them better; and helps retaining audiences and explaining the concepts,” said Miguel Churruca, marketing director for Brainstorm. “The COVID-19 pandemic has
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consolidated the virtual technology revolution. Virtual and remote solutions are here to stay and taking advantage of these will only help in satisfying an ever-growing demand for content,” said Churruca. “Viewers are demanding ever-more sophisticated graphics, and the increased demand for content creation, coupled with the contention of production costs and current mobility and distancing limitations, make augmented reality and virtual reality the perfect choice for any broadcaster or production company aiming to create high-end content.” Game engines are also providing production teams with real-time feedback, and even allowing those teams to make informed creative decisions on set, explained James Uren, technical director at Mo-Sys Engineering. “The technologies incorporated into our VP Pro and VP Pro XR solutions enable final pixel filming in LED volumes, previsualization for green screen filming and augmented computer graphics in live television broadcast,” Uren said. “These technical tools are giving directors, actors and production teams a tremendous boost and will be helping blur the lines even further between the real and the virtual components in a shoot,
Viz Engine offers integration with the Unreal Engine, which can be used as a virtual studio or augmented reality to enhance productionsw.
creating stunning visuals to engage and delight their audiences.” CREATING MAGIC
We are at a point where graphics technology can create video magic like never previously seen. AMD is making inroads in those efforts with its third-generation AMD Ryzen Threadripper, which has been used by studios to create the wondrous and terrifying alike. “All good content is about the suspension of disbelief — and that is absolutely true whether you are
watching a five-minute cartoon or a two-hour feature film,” said James Knight, visual effects and media and entertainment director for AMD. “It is about making the characters move accurately so that they seem like they are real,” he said. AMD’s technology helps in the production by making this work less time-consuming, by increasing the power the production teams are afforded. Technology still is only half of it said Vizrt’s Lang, who said
that the final output still largely depends on the talent and skill of the artists working in the studio. “This talent is sometimes underappreciated and underfunded in our industry,” said Lang. “In addition to beautiful backdrops, our solutions allow for stories to be told in understandable ways. Content is presented using the most efficient workflows in the industry, or by putting the anchor in the steering seat by enabling interactivity in the studio for them.” ■ An image from the 2019 film “Terminator: Dark Fate,” which used AMD technology. Photo courtesy of Blur Studio.
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Athima Tongloom/Getty Images
Audio Over IP Brings Flexibility and Savings for Content Creators It brings with it “emerging developments such as immersive mixing” By Steve Harvey MIX
The transition to AoIP networking helped pick up the pace in the face of the coronavirus pandemic, spurring the development of new hardware, software and hybrid solutions as manufacturers responded to the sudden need for remote workflows. “AoIP is moving along at more of a fast sprint than a slow
march these days,” said Phil Owens, senior sales engineer at Wheatstone. “There’s not much you can do beyond the walls of the studio without IP, and certainly IP audio networking plays into all those changes we’re seeing as far as remotes and virtual mixers and even emerging developments such as immersive mixing.” TRANSPORT PROTOCOLS
Manufacturers support a va-
riety of transport protocols, such as Dante, AES67, SMPTE ST 2110-30 and the nascent IPMX. “However, solutions have to be cost-effective,” Berny Carpenter, TSL Products’ audio product manager, said. “The ability to provide 1 Gig/E device deployment within ST 2110 networks, alongside a deep understanding of control protocols and integration, is vital for audio monitors.” Simon Browne, vice president
WHY THIS MATTERS The media and entertainment industry’s transition to AoIP workflows was already underway when the coronavirus pandemic arrived. Manufacturers of software-based platforms responded, rolling out new products or expanding existing models to enable the implementation of remote operations and workflows for broadcasters, live event and sports venues.
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Angry Audio introduces the Headphone Disconnector. Insert it between your equipment and your headphone cable. The exclusive magnetic coupled connector is designed to release gracefully when you forget you’re wearing headphones and walk away from the console. This prevents damage to your headphones, cables and equipment. It might even prevent injury. The magnets have been carefully engineered for optimum holding strength. Designed to come apart quickly in the event of excessive force, but strong enough to stay together during normal use. Additionally, the magnets are oriented so that the connector cannot be plugged in backwards. Available with ¼ inch or 1/8 inch (6.3mm and 3.5mm) connectors. There are even versions that can be used as adapters to convert a plug in one size to a jack in a different size. Shipping now with a list price of $29; available from Broadcasters General Store and other fine resellers. ANGRY AUDIO angryaudio.com
10/6/21 4:28 PM
of product management, ClearCom, said, “Broadcast installations are finding flexibility and savings in an all-IP structure with our V-Series panels, and FreeSpeak wireless intercom based on the AES67 standard with additional third-party audio, for example cameras, over SMPTE 2110-30 is gaining pace. There has been some interest in AV also taking this approach with the expectation that compressed video and surround audio will find a home in the SMPTE standard or something akin to it in IPMX.” “While shifting to IP can be expensive initially, it could prove more cost-effective in the long
“We have virtual mixers that are used as standalone consoles in a remote venue or as mirrors of the hardware console at the studio; and we also now have a hybrid software/hardware combination of both.” Wheatstone’s new 32-fader Tekton console, a tactile surface with soft controls, offers the best of both worlds, he added. “You can move faders and cue events on the surface, yet pinch and drag EQ settings from the touchscreen.” Browne said Clear-Com is launching its new Arcadia Central Station, a smart box that marries AoIP standards with conventional wired and wireless comms with one overall management system.
Content creators need to be able to easily reconfigure devices for use across events, large studio productions and sports to keep to a tight production schedule.” BERNY CARPENTER TSL PRODUCTS
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With the uptick in pandemic-induced remote productions, “Centralized remote management of audio monitoring platforms and tools is a necessary requirement,” Carpenter said. “Content creators need to be able to easily reconfigure devices for use across events, large studio productions and sports to keep to a tight production schedule.” Wheatstone’s Owens agreed:
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run and may be the preferred choice for new-build facilities,” TSL’s Carpenter said. With 4K UHD delivery, for instance, “Upgrading to 12G-SDI allows existing SDI-based facilities to provide UHD content without requiring a full refresh of existing infrastructure.” A couple of manufacturers have introduced cloud-based audio solutions since COVID-19 hit. For others, Carpenter noted, the lines are blurring between traditional I/O-led products and software-focused solutions.
10/8/21 11:56 AM
Many Clear-Com products rely on standard internet or cellular data networks and are also suited to remote operations, he said. “The new Station-IC for PC and Mac, based on the I.V. Core technology, is finding use in this COVID-19 era as a desktop intercom station for remote workers.” Wheatstone’s WheatNet-IP has grown into an AoIP network environment offering audio codecs, processing, mixing, routing, control, OS and AES67, NMOS and ST 2110 support. “This year we have added audio codecs like Opus, MP3 and AAC natively as part of the network for streaming between the station studio and home or remote locations,” Owens said. As for the future of AoIP, he concluded, “We are not far from cloud-based apps that will give us the ability to dial up from the cloud encoding, IFB, routing, mixing, playback and even the kind of console needed for a given show or operator skill level.” ■
www.nabshow.com | April 2020 | NEW PRODUCT GUIDE 35
The World of Podcasting Pushes Forward Remote production helped meet skyrocketing demand By Clive Young MIX
When the pandemic swept around the world in early 2020, every industry was affected, but the situation looked especially dire for podcasting. While the on-demand audio format has been around for a bit, the last five years had seen it explode in popularity with the number of shows, listeners and production companies rising by the day. With the arrival of COVID-19, however, it looked like the party might suddenly be over.
For many listeners, podcasts had become a staple of the daily commute or a trip to the gym, and meeting that rising demand, production companies large and small sprang up to provide that content, with hosts and guests typically taping episodes together. The advent of lockdown changed those dynamics — but not necessary for the worst. MOVE TO REMOTE PRODUCTION
After a brief lull as society reoriented itself to a work-from-
home world, listeners returned to their favorite shows — and had time to sample even more of them — while podcasters quickly moved to remote production to meet that skyrocketing demand, often adopting and then soon outgrowing videoconferencing software such as Zoom to record their shows. As a result, podcasts are more popular than ever, and the format has proven itself as a content conduit that’s here to stay. According to Podcast Insights, as of July, 2021, there’s more
than 2 million podcasts, which have generated more than 48 million episodes—a considerable jump from 2018, when there were only 500,000 podcasts. While Statista reports that 57 percent of American consumers over the age of 12 have listened to at least one podcast, a rising
Podcasts are more popular than ever, and the format has proven itself as a content conduit that’s here to stay. number of people have made the shows an integral part of their lives. MediaRadar has found 37 percent of Americans listen
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to podcasts every month, with a daily average consumption of nearly an hour. Of course, where there are listeners, there’s money to be made. Podcast advertising rose nearly 24 percent YOY for the first five months of 2021, with advertisers spend roughly $222 million during that time,
Spotify’s Gimlet Media built a production facility in Brooklyn, N.Y., with 12 podcast studios (Studio A is seen here), a recording studio, conference room and lounge, created by Walters-Storyk Design Group. The move illustrates the money being spent on — and generated by — modern podcasting.
Podcasts are more popular than ever, and the format has proven itself as a content conduit that’s here to stay. MediaRadar found. Further, the company predicts U.S. podcast advertising spend will grow 60 percent this year and expects it to hit over $2 billion in value by 2023. With podcasting becoming big business, the go-to stereotype of amateur hosts gathered around a kitchen table all yelling into one microphone is going the way of the Dodo. Top podcast houses like Stitcher and Spotify’s Gimlet built production facilities in major cities, employing studio architect firms to create multi-studio compounds that keep the episodes rolling out. The pro-audio hardware and software
on hand matched the level of their surroundings, and those resources continued to be put to the test even during the height of the pandemic in 2020, with high-end mics, headphones and interfaces shipped to crucial producers and hosts for remote recording. If the gear was high-end, the soundproofing often wasn’t, giving rise to the brief trope of podcast-
ers sitting on the floor of their bedroom closets, surrounded by soft, sound-absorbing clothes in an effort to sound as professional as possible. AMATEURS AND ENTHUSIASTS
That said, amateur and enthusiast podcasters still exist — and the pandemic gave plenty of them
Number of Podcasts in 2018
January–May 2021 Advertisers Spent
Nadine C/Getty Images
Number of Podcasts 2021 From January–July
Source: Podcast Insights
Full Year 2023 Expected Total Ad Spend
$2 Billion Source: MediaRadar
time to try their hand at it. Part of the format’s appeal has always been the comparatively low cost of entry — a factor that has helped raise the format’s popularity, because there’s a podcast or five for almost any niche interest. While classic radio mics like the Shure SM7B remain the aspirational choices, entry level-and-better offerings aimed directly at aspiring podcasters have come out in the last 18 months from pro-audio mainstays. Some pro-audio manufacturers have also responded to the format’s increasingly specific needs with specialized podcast mixers that bring simplified but robust features of the broadcast world to the table, all at price points that are reachable by individuals and organizations alike. With podcasting only continuing to grow in popularity, it’s easy to see why all corners of the broadcast world, from broadcasters to the audio manufacturers and service providers who work with them, are finding ways to make inroads into the burgeoning on-demand audio format. ■
38 October 2021
AJA VIDEO SYSTEMS :: BRIDGE LIVE V1.12 AJA Video Systems has released BRIDGE LIVE v1.12, a new software update for AJA’s turnkey multichannel live video solution for remote production, contribution, collaboration, streaming and delivery. The release features bidirectional NDI (Network Device Interface) input, output and transcode; HLS output; video preview; and user interface updates for more intuitive configuration. Whether facilitating remote production, two-way interviews, live event streaming, multicam backhaul, field contribution, program return, confidence monitoring, collaborative production or ABR ladder profiles to hand-off for OTT packaging, BRIDGE LIVE v1.12 delivers functionality. Bidirectional NDI support makes it easy to encode SDI inputs for NDI output to the network and/or to receive NDI for outputting SDI. The ability to transcode IP Video Streams to NDI and/or transcode NDI Inputs to IP Video Streams enables a host of new workflow possibilities. For example, BRIDGE LIVE can now sit at the edge of an NDI event or facility network, enabling professionals to transport outbound NDI video as a streamable format and/or return the stream to NDI for use at a remote NDI production destination.
WHEATSTONE CORP. :: BLADE 4 Blade 4 is Wheatstone’s fourth-generation WheatNet-IP I/O unit and a significant AoIP improvement, according to the company. Unique to Blade 4 is its integration of key studio elements into one native AoIP environment, including audio processing, codecs, mixing, routing, control and operating system. It has a built-in OS for running apps and customized scripts for specialized software, metering apps and virtual interfaces. Also included are Opus, MP3 and AAC codecs for streaming audio between the station studio and home studios.
Blade 4 puts both I/O and intelligence into one AoIP environment for everything from routing audio, mixing sounds and processing feeds, to turning mics on or off, controlling consoles and triggering mix-minus presets by show, location or talent. Blade 4 is AES67-compliant for interoperability with a range of AES67 networks and devices and supports SMPTE ST 2110, including the NMOS discovery standard for AES67 and next-generation television networks. Wheatstone is also putting more flexibility onto its IP audio console surfaces. Wheatstone’s new 24-channel GSX console surface with soft controls is made specifically to keep up with the changing broadcast workflows deeply affected by the events of the past year. Blade 4 and GSX are part of WheatNet-IP audio network.
EVERTZ MICROSYSTEMS :: BRAVO STUDIO PLATFORM ADDITIONS Evertz has introduced enhancements to its BRAVO Studio collaborative live switching platform, which gives broadcast operators producing shows in a cloud an environment that looks and feels like a traditional control room. Dynamic and scalable, BRAVO Studio incorporates web-based interfaces that can be accessed worldwide so staff can collaborate with any number of team members to produce live events from their homes, regardless of the size or complexity of the project. The platform encompasses many Evertz products already familiar to operators, including MAGNUM OS Orchestration and Control for seamless signal routing and resource coordination, multiviewing, VUE user interfaces for operations and access to the entire DreamCatcher suite of live production tools. The latest additions to BRAVO Studio include new co-pilots to automate and simplify production workflows. BRAVO Studio can now leverage real-time data collected by sensor-based systems, including Evertz partner ShotTracker’s on-court and on-field sensors, to automate camera workflows. BRAVO Studio’s Metadata co-pilot also uses the real-time date to automatically curate highlights and clips. In addition, Evertz has integrated its Ease Live graphics engine into BRAVO Studio, making it much faster and easier to enhance the viewing experience by producing data driven interactive graphics.
BLACKMAGIC DESIGN :: BLACKMAGIC STUDIO CAMERA 4K PLUS, PRO Blackmagic Studio Camera 4K Plus (U.S. $1,295) and Blackmagic Studio Camera 4K Pro (U.S. $1,795) have the same features as large studio cameras, miniaturized into a single compact and portable design. With digital film camera dynamic range (13 stops) and Blackmagic Generation 5 Color Science, the cameras can handle extremely difficult lighting conditions while producing cinematic-looking images, according to the company. The sensor features an ISO up to 25,600, so customers can create images even in dimly lit venues. Advanced features include talkback, tally, camera control, built-in color corrector, Blackmagic RAW recording to USB disks, built-in microphones and more. Blackmagic Studio Camera 4K Plus is designed as the perfect studio camera for ATEM Mini live production switchers with a 4K sensor up to 25,600 ISO, MFT lens mount, HDMI out, 7-inch LCD with sunshade, built-in color correction and recording to USB disks. Designed for professional SDI or HDMI switchers, Blackmagic Studio Camera 4K Pro includes all these features while adding 12G-SDI, professional XLR audio, brighter HDR LCD, 5-pin talkback and 10G Ethernet IP. The optional focus and zoom demands let customers adjust the lens from the tripod handles like a large studio camera
39 October 2021
APANTAC :: SDM DISPLAY INTERFACES
LAWO :: HOME
Apantac is launching a series of SDM Display Interfaces based on the Intel Smart Display Module (SDM) Platform. The benefits of the SDM platform ensure that interfaces can be integrated into slim displays, provide future-proof connectors, and in the case of Apantac SDM solutions, are based on the Intel Cyclone 10 and Arria V FPGAs. Apantac’s SDM modules and interfaces offer flexibility for extending and connecting UHD signals to SDM displays. Some models feature AV-over-IP connectivity, and other models provide point-to-point and AV-over-IP extension. The new SDM modules cover these functions: • SDM-SDVoE-R - SDVoE receiver for SDM-S (software-defined video over Ethernet) • SDM NDI - NDI V5 high-bandwidth AV over IP UHD Receiver • SDM-SDI-HDTV-UHD - 12G SDI Receiver for SDM • SDM-HDBT-R-UHD - UHD HDBaseT Receiver for SDM SDM takes up minimum space. It is designed so you can swap out one module that supports one format to another or even swap out the display and keep the same module. The integration with the slim form factor fits nicely in the display and provides a clean installation without external mountain or power supplies.
Lawo has debuted HOME, a management platform for IP-based media infrastructures. HOME is natively built on a cloud-ready microservices architecture, enabling users to connect, manage and secure networked production setups from the ground up. Furthermore, it provides centralized access and control for all Lawo gear within a setup. HOME helps broadcast professionals address some of the demanding requirements of modern IP infrastructures, including automated discovery and registration of devices, connection management, flow control, software and firmware management, scalability and security. HOME features: Discovery and Registration (IP complexity solved with automatic plug-and-play discovery of IP audio and video devices); Device Management (speedy, unified device configuration routines; save and recall of configurations); Operability (simple, user-friendly UI allows users to organize and access processing services), Security (variety of security strategies like quarantining of unknown devices, authentication strategy, arbitration of devices and individual streams); Scalable Architecture (cloud-native by design — architecture is built to run detached from hardware constraints and scales on demand). Lawo’s HOME platform is based on open standards such as ST2110, NMOS, IEEE802.1x and RADIUS, and follows LUX, Lawo’s unified experience design principles, which provide a consistent workflow across all Lawo IP products.
SIGNIANT :: JET AUTOMATED FILE TRANSFER Thanks to continued innovation, an enterprise version of Signiant Jet is now available to navigate more complex networks — adding bandwidth controls, firewall relays, expanded APIs and more. With the enterprise version and with Jet’s inter-company capability, it is now easier, faster or more economical to automate content exchange between companies of all sizes. Jet employs Signiant’s fastest transport yet. We had also planned to provide sneak previews of how key components of the technology base from our acquisition of Lesspain Software, a provider of embedded media processing software and the desktop application Kyno, are being integrated into the Signiant Software-Defined Content Exchange (SDCX) SaaS platform. According to the company, its software ensures fast, secure movement of large data sets over any IP network, in any hybrid cloud or multi-cloud environment, with comprehensive control and visibility at any scale. Signiant provides foundational technology that enables content exchange within and between companies of all sizes to connect the global media supply chain. The hybrid architecture of Signiant’s SDCX SaaS platform provides people and systems with fast, seamless and secure access to media assets located across disparate and distributed storage repositories.
ENCO SYSTEMS :: CLIPFIRE TELEVISION AUTOMATION ENCO has added new features to its ClipFire television automation platform. ClipFire is designed to offer broadcasters, cable operators and streaming media providers a comprehensive, reliable and cost-effective platform for organizing, managing and automating critical broadcast production and integrated channel playout tasks. ClipFire combines functionality including ingest, media asset management, dynamic graphics, live production and playout automation within a unified, easy-to-use platform while integrating with third-party solutions to form frictionless, end-to-end media workflows. ClipFire can now ingest and play out multiple channels of video simultaneously, with support for both baseband SDI and NDI inputs and outputs. On-the-fly transcoding enables ClipFire to play a variety of mixed file formats and resolutions with transitions, while the new native Clip Editor allows users to adjust in/out points and merge clips directly within the ClipFire application. A resizable L-bar automates live video squeeze backs to accommodate wrap-around graphics to enhance visual experiences, while graphic overlays can be automated for real-time information display. ClipFire also can be optionally expanded to feed custom streaming channels with Visual Radio content on platforms such as YouTube Live and Facebook Live.
40 October 2021
AVIWEST :: RACK400 UHD AND MULTI-HD ENCODER The RACK400 is AVIWEST’s new video encoder, which the company says delivers outstanding efficiencies in sports remote production. Designed in a compact half 1U form factor, the RACK400 supports 4K UHD and multicamera workflows for up to four high-resolution, fully framesynced feeds, and, according to AVIWEST, is a game-changer for the broadcast industry, offering the potential for greater productivity and huge savings in opex and capex. The RACK400 provides robust, error-free transmission over any network (cellular, satellite, IP leased line or the public internet) at low latency, down to 0.5 secs, with AVIWEST’s two-time Emmy Award-winning SST transport Technology. As a remote production encoding solution, the RACK400 offers all the features that enable broadcasters to produce content with greater efficiency from a central facility. This includes video sync between multiple cameras to ensure seamless camera switching in the studio, video return to the field for confidence monitoring, a full duplex intercom between field crews and studio operators, and data bridging for the remote control of cameras, tally lights or any other IP-connected device during a live event.
AMAZON WEB SERVICES :: AWS FOR MEDIA AND ENTERTAINMENT Amazon Web Services (AWS) for Media and Entertainment (M&E) is an initiative featuring new and existing services and solutions from AWS and AWS Partners, built specifically for content creators, rights holders, producers, broadcasters and distributors. It aligns the most purpose-built capabilities of any cloud — including nine AWS Services, 11 AWS Solutions, dedicated AWS appliances and more than 400 AWS Partners — against five solution areas to help customers transform M&E: Content Production; Media Supply Chain & Archive; Broadcast; Direct-to-Consumer & Streaming; and Data Science & Analytics. It also adds Amazon Nimble Studio, a service that enables customers to set up creative studios in hours instead of weeks, to the AWS portfolio of purpose-built M&E services that includes AWS Elemental MediaPackage, AWS Elemental MediaConnect, AWS Elemental MediaLive, AWS Elemental MediaConvert, AWS Elemental MediaStore, AWS Elemental MediaTailor, and Amazon Interactive Video Service (Amazon IVS). AWS for M&E enables M&E customers to select the right tools and partners for their highest-priority workloads, accelerate production launches and see faster time to value.
IMAGINE COMMUNICATIONS :: NEXIO NEWSCRAFT One of the highlights Imagine planned for the NAB Show was to showcase the new Nexio NewsCraft all-in-one news production solution. After talking to news broadcasters around the world, the company built a remote-friendly platform that aligns with what their customers said they need most from a news production solution — to be first with an accurate telling of the story. The functionality that NewsCraft brings together enables that. The company says it has the performance to capture the story, package it, repackage for multiple platforms, and get in on air and online fast — no matter where operators are located. All with the mission-critical resilience that the newsroom demands. NewsCraft is a virtualized, modular software system. Users can precisely build the functionality required and implement it on premises, in the cloud or in a hybrid environment. It is able to deliver a full-featured workflow solution that the company says is at a competitive price point NewsCraft is one of the first results of Imagine’s close collaboration with EditShare, adding best-in-class media management capabilities to the Nexio production servers and IOX share storage. It is equally at home in SDI, IP or hybrid environments.
LOGITEK :: MIXIT-18 Rounding out Logitek’s mixIT series, the mixIT-18 brings an affordable AoIP console platform to stations needing extra faders for on-air or production applications. This digital touchscreen package includes an 18-fader console and the 1RU JET67 engine. Its easy-to-use touchscreens provide access to metering, source selection, routing, presets, monitor assignments and other console and router functions. Mix-minus is built into every fader so every remote source can have a clean feed no matter where that source is routed on the console. Touchscreen router controls can be used to control feeds to computers, codecs or the air chain; programmable scene selects allow operators to save their favorite fader configurations for their shows. Along with 18 faders, the mixIT-18 has 12 mono analog inputs (six stereo), two digital inputs, 16 mono analog outputs (eight stereo), two digital outputs, four mic inputs with phantom power and a built-in CUE speaker. Networking is accomplished via AES-67, RAVENNA, Livewire and Logitek’s JetNet, allowing interconnection with popular networking platforms; a Dante option is also available. Two Gigabit and two 10/100 Ethernet ports are provided. Connections to the JET67 AoIP router are made with quick connect terminal blocks; no soldering, punchdowns or specialized crimping tools needed.
41 October 2021
MARKETRON :: REV
CLEAR-COM :: ARCADIA CENTRAL STATION
Marketron REV is a sales growth platform purpose-built for broadcast TV and radio sales professionals. It brings the entire sales process together in a single platform, streamlining customer, proposal and order management processes. Sellers can focus on selling, not re-entering data between disparate systems. According to the company, sellers can easily manage clients with a built-in CRM, convert proposals to linear TV and radio orders in seconds, ensure order accuracy with insights into real-time avails, offer the best price using dynamic pricing and then have the orders seamlessly flow into most traffic systems for execution. Sales managers have access to a visual reporting suite that gives visibility into pipeline, committed orders, top sellers and how stations are performing against targets. REV increases media companies’ top-line revenue through the power of dynamic pricing that uses algorithms to automatically set spot prices based on current fill. Salesperson-specific limits on discounting protect margin and simplify approvals. Accelerate with REV.
Clear-Com’s Arcadia Central Station is a next-generation scalable IP intercom platform, which integrates all wired and wireless partyline systems and is suited for live sound production workflows. Arcadia provides support for the entire FreeSpeak family of digital wireless solutions — encompassing the 1.9 GHz, 2.4 GHz and 5 GHz bands — together with two-wire and four-wire devices, third-party Dante devices and, in an upcoming release, HelixNet Digital Partyline. The system scales to meet different needs, starting with a base-level of 32 IP ports, and can be licensed for up to 96 IP ports in a single RU device, with further capabilities anticipated in the future, making Arcadia the intercom centerpiece for a range of applications best served by partyline workflows.
ARTEL VIDEO SYSTEMS :: SMART OG The SMART OG (SMART Multimedia Delivery Platform in openGear) is a four-channel, auto-sense SD-SDI/HD-SDI/3G/4K-over-IP multifunction gateway that operates in an openGear frame. It attaches to the IP network without the need for external network elements and can be configured through an SNMP interface or Ross DashBoard control system. With a software download, users can change the gateway’s function (e.g., SMPTE ST 2022-1/2/5/6/7, JPEG2000 compression, SMPTE ST 2110 and JPEG XS compression, plus other future functions).
The product has four BNCs for SDI or ASI input/output, and four 10GbE SFPs for trunking and aggregation. The SDI, ASI and GbE signals are routed to an onboard FPGA and microprocessor complex, where functions are implemented. The FPGA and microprocessor are involved in manipulation of the data plane, whereas the microprocessor serves as the main conductor for the control and management planes. This architecture provides for feature flexibility, which translates to lower costs and a smaller footprint. The software update allows the platform to take on additional functionality without the need for a hardware update. The platform’s roadmap presently includes JPEG2000, JPEG-XS and SMPTE ST 2022-7. Based on market feedback, other functionality includes SMPTE 2022-1/2/5/6, SMPTE ST 2110 and HEVC.
The need for simple and quick adjustments to the system is reflected in Arcadia’s two large front-panel touchscreens, with four rotary encoders to quickly scroll through menus or for use as a four-way key station. The system is configured and monitored through a re-imagined version of Clear-Com’s browser-based CCM software featuring an intuitive interface that guides users through all steps of the process. From the Broadway stage to a growing community congregation to large live events, Arcadia is suited for a variety of applications, delivering architectural flexibility with simplicity for the end-user.
AUDIO-TECHNICA :: BP28, BP28L LINE + GRADIENT LARGE DIAPHRAGM CONDENSER MICROPHONES Audio-Technica is launching its BP28 14-inch (355.6 mm) and BP28L 22.4-inch (569 mm) Line + Gradient Large Diaphragm Condenser Microphones. These microphones combine a large-diaphragm condenser element with a 28 mm diameter shotgun design for exceptional low-noise performance. With extremely tight polar patterns and a patented acoustic port design that maintains directionality across the entire frequency range, these shotgun microphones are specially designed to meet the needs of broadcast, film, television, outdoor recording and theater applications. Particularly suitable for long-distance miking for audio acquisition for film or professional broadcast, the BP28 and BP28L offer a highly directional pickup pattern, with the BP28L’s pattern being exceptionally narrow. They provide a flat frequency response and exceptionally low noise levels (BP28: 8 dB; BP28L: 3 dB) and transformer-coupled outputs that produce a smooth sonic character. Extremely high sensitivity (BP28: –28 dBV; BP28L: –23 dBV), wide dynamic range (135 dB), and high-SPL capability (BP28: 143 dB; BP28L: 138 dB), and they are equipped with a switchable 80 Hz high-pass filter and 10 dB pad. The mics’ rugged housing is made of lightweight, structural-grade aluminum alloy.
42 October 2021
DALET :: PYRAMID Dalet Pyramid is the next-generation solution for Unified News Operations. Accommodating both digital-first and linear end-to-end news workflows, the cloud-native Dalet Pyramid solution enables a collaborative Storytelling 360 approach to production and multiplatform distribution. Dalet Pyramid can be deployed either as an extension to an existing Dalet Galaxy five installation or on its own running on-premises, in the cloud or a mix of both. It features news production, planning, distribution and playout tools to facilitate fast-breaking news across all viewing platforms. The underlying Dalet asset management and orchestration engine facilitates content flow from ingest through planning to distribution and archive. Users can contribute, produce and manage the full news story lifecycle from anywhere using smartphones, tablets and laptops connected to basic internet. Dalet Pyramid facilitates collaboration at the story level, propelling a Storytelling 360 workflow that lets users develop the various story angles for digital, social, TV and radio simultaneously. Taking full advantage of AI-powered Dalet Media Cortex’s capabilities, it provides speech-to-text services, including assisted captioning and translation, with AI services that automatically index or recommend content to storytellers. New features are continuously developed and released, and the solution can adapt to changing environments quickly while reducing TCO.
INTERRA SYSTEMS :: ORION 2110 PROBE As the broadcast world transitions to IP, monitoring ST 2110 workflows is vital for ensuring a high quality of service and an outstanding quality of experience. Interra Systems’ ORION 2110 Probe for IP-based media workflows supports the SMPTE ST 2110 standard, providing broadcasters with what the company says is a future-proof, end-to-end monitoring solution for assuring video quality in an IP distribution environment. The ORION 2110 Probe performs comprehensive ST 2110 monitoring, including ST 2110 main and redundancy signals, and NMOS-based ST 2110 feed discovery in the network. It also addresses the diverse complexities and challenges of the SDI and IP environments, offering an approach to content monitoring suitable for production and contribution applications. In addition, ORION 2110 Probe offers a rich set of REST APIs to ensure integration with third-party software, including most network management systems. The addition of ORION 2110 Probe to the ORION monitoring platform enables media companies to rapidly detect video quality issues throughout entire video workflows, including ingest, content preparation and delivery. Gaining insights about video errors as early as the ingest stage helps broadcasters improve video quality of service and quality of experience.
GRASS VALLEY :: AGILE MEDIA PROCESSING PLATFORM Grass Valley’s Agile Media Processing Platform (GV AMPP) is a cloud-based SaaS platform that leverages the power of elastic compute. Purpose-built for the cloud, and using just a browser, AMPP brings unprecedented flexibility to spin up/down applications as needed — and customers only pay for what they use. Its modular construct means specific workflow functions run as modules (solutions) constructed from a range of microservices. This solution unlocks the power of elastic compute for live sports, news and playout workflows, helping customers transition to the future-ready public, data center or hybrid infrastructures. With GV AMPP, your production control room or NOC is located everywhere and anywhere you are. It empowers media companies to transition to cloud- and data center-based operations by addressing the concerns that complicate IP and cloud deployments — particularly network connectivity and latency — enabling elastic content creation and storytelling from anywhere to everywhere. GV AMPP is cloud native and cloud-agnostic, while supporting the processing of video/audio both in the public cloud, in a private, on-premise data center, or in hybrid topologies. This flexibility and power will change live content production, allowing shows to be produced from any location, taking advantage of the nearly-limitless compute power in the cloud.
CABLECAST COMMUNITY MEDIA (TIGHTROPE MEDIA SYSTEMS) :: CABLECAST 7.4 Tightrope Media Systems is expanding the closed-captioning options in its Cablecast Community Media broadcast automation, playout and content publishing platform with a new cloud-based captioning engine and enhanced third-party integration. Community broadcasters using Cablecast VIO servers can trigger automated captioning of both live and file-based content for all viewing platforms — including cable television, web, mobile and OTT — directly from within the Cablecast user interface. New interface controls in Cablecast version 7.4 allow users to add captions to live input feeds — including SDI or IP-based sources — and file-based programming. Intelligent speech-to-text conversion is performed using Cablecast’s new captioning engine running in the cloud, with a usage-based billing model. “Cablecast 7.4 makes it even easier for broadcasters and content producers to add automated captions to their content, while our new cloud-based engine offers customers a cost-effective captioning option with no additional, up-front equipment or software investment,” said Steve Israelsky, president, Cablecast Community Media. For customers who prefer to use the enCaption4 automated captioning solution from ENCO Systems, expanded integration simplifies operations by letting users trigger enCaption4 from within Cablecast rather than utilizing separate software interfaces.
PRODUCT SPOTLIGHTS DPA MICROPHONES :: 4466, 4488 HEADSET MICROPHONES DPA Microphones’ 4466 CORE Omnidirectional and 4488 CORE Directional Headset Microphones provide the security, durability and flexibility necessary for use in broadcast, worship, theatre and corporate conferencing. The 4466 and 4488 offer the renowned clear and transparent DPA sound with high-speech intelligibility. The headsets share the same interchangeable cable and boom options as the 6066 Subminiature Headsets, including the 90-degree cable management at the neck, and feature the brand’s popular 5mm round microphone capsule. With a one-size-fits-all design and adjustable height and boom length, the headsets accommodate all head types. A unique, three-point gripping system ensures a greater level of security, while the flexible ear hooks provide continued comfort during extended use. The headset frame, boom and capsule have a non-reflective surface for unobtrusiveness and ease-of-use for camera crews. With a high-quality, professional look, the headsets are available in black and beige options, with brown available soon. Pricing for the new headsets begin at $770+ USD for the 4466 and $840+ USD for the 4488, both with MicroDot connector. For a three-pin LEMO solution, pricing is $870+ USD for the 4466 and $940+ USD for the 4488.
IHSE USA :: DRACO TERA FLEX IHSE USA introduces the Draco tera FLEX series of secure KVM matrix systems. From a basic 16 Port in 1RU to the larger 160 Port in 4RU, FLEX provides time savings for system installers who normally must pre-configure network ports as inputs or outputs. The company says, no matter the connectivity requirements, the FLEX can accommodate customers’ needs. Systems are available with either copper or fiber connections. For systems needing a mixture of fiber and copper, FLEX-HYBRID frames are offered.
With FLEX, simply plug in the desired extender unit and the built-in controller system will register the type of device and assign it to that port as an active source or destination. This is accomplished through IHSE’s Flex-Port technology that provides switching capabilities for popular video formats up to 4K resolution and beyond Sources can be shared between frames with the optional FLEX 10G Grid Interface Card allowing multiplexing of up to eight channels over a single duplex fiber connection. This is important where cable runs are limited, and more sources or workstations are needed. For applications where both fiber and copper are specified, the FLEX-HYBRID option is the perfect solution, according to the company.
43 October 2021
MAGEWELL :: MAGEWELL CLOUD The Magewell Cloud software provides centralized configuration and control of multiple Magewell IP encoders and decoders plus stream management features including protocol conversion and SRT relay. While Magewell streaming and IP conversion solutions all have their own intuitive user interfaces, customers with multiple Magewell devices or integrators supporting Magewell solutions across several end-user installations may wish to manage them all remotely from a single dashboard. Magewell Cloud makes it easy for integrators, administrators and IT staff to configure and manage multiple Magewell IP devices across any number of sites through an intuitive, browser-based interface. Users can remotely configure device parameters, monitor device status, trigger operational functions — such as starting or stopping encoding — and perform batch firmware upgrades across multiple units of the same model. SRT relay functionality simplifies one-to-many or many-to-many streaming with the Secure Reliable Transport protocol by enabling Magewell and third-party SRT solutions to connect via Magewell Cloud rather than directly to each other. Bidirectional protocol conversion between SRT and RTMP lets users take advantage of the benefits of SRT in their streaming workflows while providing compatibility with non-SRT hardware and software. Magewell Cloud is offered free for installation on an on-premises server or cloud hosting platform.
MARSHALL ELECTRONICS :: MICRO CV568 GLOBAL SHUTTER CAMERA Marshall Electronics’ is launching its new Micro CV568 Global Shutter Camera with Genlock Signal Sync, which the company says produces crystal clear video even in fast motion and dynamic light environments. The CV568 is suitable for broadcast, sportscast, newscast, racing, concerts, esports and other live production events that require POV cameras to capture faster motion. It is effective mounted inside and outside vehicles or capturing them as they speed by. This micro-sized HD camera offers additional options for broadcast users when speed or motion is part of the event dynamic and there is a need to eliminate motion anomalies. The CV568 is designed around a larger Sony 1/1.8-inch Global Shutter sensor with 25 percent larger individual pixel size capturing more light with accurate color. The Micro CV568 is built into a durable micro-sized case cut from one block of aluminum alloy with rear panel protection, flexible M12 mount, secure locking connections and remote matching capability. CV568 also incorporates Tri-Level Sync, which runs at a higher frequency making the signal-sync more accurate, faster and seamless to the viewer.
44 October 2021
NUGEN AUDIO :: PARAGON
EARTEC :: GLOBAL CONNECT
NUGEN Audio Paragon is a 3D-compatible convolution reverb that offers full control of decay, room size and brightness via resynthesis modelled on 3D recordings of real spaces. Suitable for TV and film applications, it provides a level of tweak-ability, with zero time-stretching and no artifacts, and features spectral analysis and precise EQ of the Impulse Responses (IR). Unlike traditional convolution reverb, Paragon does not use static IRs. Operating in up to 7.1.2, Paragon is well-suited to creating reverb in mono, stereo, surround and immersive formats, including Dolby Atmos. It is suitable for recreating authentic sounds of real spaces and manipulating IRs while still maintaining true convolution characteristics. This technology reduces the sheer volume of recordings and encourages a greater level of creativity. Further, it features individually configurable crosstalk per channel, unique technology for resynthesis of authentic IRs, HPF and LPF per channel and switchable LFE. The crosstalk feature creates liveliness and interaction between channels, produces surround from mono or stereo sources, offers control and flexibility and increases dialog intelligibility. NUGEN Audio Paragon is currently available for $599 (+tax).
EARTEC says the HUB with Global Connect wireless provides outstanding, long-range, full duplex communication over IP webchat. Add the HUB to any computer or smartphone, initiate a web chat, and a crew of up to eight mobile wireless users can communicate in full duplex within a 400-yard range through the internet to anyone on a computer or cell phone anywhere else in the world. Global Connect systems begin with a custom wireless intercom including a HUB Mini Base along with any combination of up to eight transceivers including UltraLITE wireless or UltraPAK radios with lightweight headsets. This full duplex intercom is linked to the internet via a Global Connect kit, which includes a custom cable assembly for smartphone and USB with soundcard for laptop/desktop. Once a web chat is established via Zoom, Skype, Microsoft Teams, etc., simply add your HUB system and everyone that is communicating within a 400-yard range is automatically linked to your party or parties on the other side of the internet chat.
XYTECH :: MEDIAPULSE 10 Xytech, which offers resource management software for the broadcast, studio, media services and video transmission industries, has launched MediaPulse 10. The three areas of concentration for the update are mobility, the cloud and features to support the changing nature of the business. The MediaPulse Managed Cloud is faster and more secure, and the new mobile features support a customer base with new remote needs in a different and evolving environment. The new budgeting module addresses the need to control costs on projects of all sizes including large annual facility projections. Xytech is also tapping into the ScheduALL client base and has developed new features across the transmission and scheduling modules to make MediaPulse more impactful for users. “One of our goals for MediaPulse 10 is to provide every user exactly the functionality they need, when they need it, on the device of their choosing,” said Greg Dolan, Xytech COO. “As more and more businesses emerge from the COVID-19 pandemic, the need for reliable solutions able to operate anywhere continues to be vital. This version of MediaPulse 10 provides just this.”
FLOWICS :: FLOWICS GRAPHICS Flowics Graphics is a cloud-based, HTML5 broadcast-quality graphics system for digital and linear broadcasters. Flowics Graphics works in any production workflow — including SDI, NDI, cloud-based and desktop-based. With Flowics Graphics, users can design and operate all kinds of broadcast graphics and easily integrate social media content, real-time audience interaction and external data sources, with no custom development needed. With Flowics Graphics, broadcasters can create graphic overlays for live streaming, linear TV, digital shows and big screens. By combining building blocks, pre-built widgets and data providers, they can add different types of creative live overlays and full-screen graphics. They can customize designs by applying distinctive fonts, backgrounds, colors and other unique visuals. The system also allows broadcasters to animate the different elements’ components to define duration and delay and configure in/out transitions. Flowics Graphics provides a web-based editor for graphics artists and a remote-control interface for graphics operators, producers or technical directors. The system is cloud-based allowing clients to work remotely from any location. Users can also capture content from social networks through keywords, hashtags or @accounts, allowing producers to moderate content by approving, rejecting and organizing comments and media on Facebook, Twitter, YouTube, Instagram, WhatsApp and Twitch.
45 October 2021
WOHLER :: IVAM SERIES MONITORS
BITCENTRAL :: CENTRAL CONTROL V8
Wohler has discontinued its AMP2-16V-M series monitor, replacing it with the company’s IP-ready iVAM2-2 monitor. The AMP2-16V-M series was Wohler’s flagship AV monitor for many years. Wohler engaged its engineering team to develop the 1U iVAM1-3 and the 2U iVAM2-2. The iVAM series can be configured with multiple signal options, including AES3, AES67, MADI SMPTE 2110 and 2022-6, and incorporate Dolby decoding as an available option. For customers requiring 2022-7, an AoIP option card is available and includes primary and secondary RJ-45 ports, plus support for either Dante or Ravenna and 211030 streams. As the demand for monitoring of HDR was also growing, Wohler decided to include HDR detection, which is standard on both the iVAM1-3 and iVAM2-2. All of Wohler’s IP-ready monitoring products are built to handle diverse monitoring requirements. Importantly, they also provide customers with the ability to meet changing technical requirements with the option to add features and functionality at any given point in time. This allows for targeted and timely control of spend and enhanced product flexibility and longevity.
Central Control version 8 is the latest update to Bitcentral’s innovative on-premise playout solution, which enables broadcasters to work more efficiently. Central Control version 8 makes it easier to manage channels efficiently by streamlining the daily activities of ever-busy master control operators.
WORLDCAST CONNECT :: KYBIO 4.0 CONNECT’s NMS platform, Kybio, is now available in version 4.0, which the company says brings more flexilibility, security, scalability and ease of deployment to its monitoring tool. Designed to oversee the monitoring of media infrastructures, it serves verticals such as IPTV, satellite, cable, radio and TV for multiple applications including NOCs, MCRs, OB vans, live video production and more. Among the most important new features, Kybio 4.0 is enhanced with a customizable Dynamic Multi-Screen Display, Automatic Reporting, an Automation module for RF switch management and compatibility with all communication protocols. It can now communicate with well-known protocols like Ross OpenGear X and Ember+ but also with IT protocols such as HTTP Rest API or WMI. The Dynamic Diagram enhancements now include views beyond the site level to also offer views at the root, site and equipment level. They provide relevant representations for managers and other user profiles involved with overseeing the infrastructure. In addition to the above enhancements, KYBIO’s language portfolio has grown to include Portuguese, Korean, Italian and German. KYBIO is available as an on-premise or SaaS license solution and with its pricing policy for licenses, drivers and associated services, KYBIO users are in control of their Total Cost of Ownership throughout the product’s lifetime.
Designed around an integrated playout model, Central Control boasts highly automated ingest routines so that all incoming video files are format verified and transcoded if necessary. In addition, Central Control also uses MAM-style storage routines and provides an easy-to-use operator interface, which displays all information required to manage a single or multichannel environment with ease. Bitcentral has provided a shift to local playback with a distributed storage system architecture. It detects when a new playlist is appended to a channel and moves content to the appropriate playout server. This eliminates the risk of a main content storage failure that would take all channels off the air. Central Control also provides the added benefit of management reports that are available to support system operations management, including a live progress dashboard displaying status of all ingest jobs and activity.
SONY :: CAMERA-CONNECT-CLOUD PORTAL Sony is launching Camera-Connect-Cloud Portal (C3 Portal), a new solution that allows two-way communication and exchange of data between in the field cameras and production floors. It connects cameras to the cloud through a fast and stable transfer using a mobile connection, allowing users to share and set metadata and data remotely. C3 Portal allows operators to send files from location to the edit suite by simple and quick steps via a dedicated Android OS and iOS mobile application. The solution adds metadata to files when they are uploaded to the cloud, which then integrates into the user’s post-production system. Users can connect cameras to their smartphone via USB and securely transfer files to cloud using both mobile and Wi-Fi networks. “C3 Portal will positively impact the workflow, moving away from linear and physical media bound processes, to instantly accessible files by anyone involved in the production,” said Kajita Hiroshi, head of marketing, media solutions at Sony Professional Europe. “Time to air or time to edit will therefore be greatly reduced, leading to cost efficiencies overall and simplified collaborative work, in an era of increased remote production and postproduction.” C3 Portal will be available beginning the end of November.
46 October 2021
STUDIO TECHNOLOGIES :: MODEL 209 TALENT CONSOLE Studio Technologies introduces the Model 209 Talent Console, which features a combination of microphone input, headphone output, remote control and tally-output resources. The unit is designed to support podcast applications, as well as a variety of voiceover room and fixed/REMI broadcast installations. The Model 209 supports AES67, Dante Audio-over-Ethernet and Dante Domain Manager technology for integration into contemporary applications. The Model 209 integrates directly into Dante environments. An installation requires just a PoE Ethernet connection, a microphone and headphones or an earpiece to establish a complete audio “position.” Additionally, remote control inputs and tally outputs allow personnel to deploy the unit in more complex applications. This includes direct support of the Yellowtec microphone-boom LED status lights. With a compact enclosure, diverse capabilities and intuitive user experience, the Model 209 can be integrated into a range of podcast applications and is ready for integration with DSP-based processors or remote-control systems. It can also provide a suitable, high-performance solution for REMI or “at-home” applications, sports and entertainment events, streaming broadcasts, corporate and government AV installations, and post-production facilities. The unit’s extensive set of features are configured using the Studio Technologies STcontroller software application.
PRONOLOGY :: STREAMFILE CORE ENTERPRISE Pronology’s StreamFile Core Enterprise is a cross-platform webbased software application that is specifically designed for teams that run on-prem or through cloud providers, including AWS. It receives IP video protocols and encodes them into editor-friendly formats such as ProRes, DNx, XDCam and H.264. It integrates both NewTek NDI and Haivision SRT support, providing increased IP and streaming capabilities. This allows users working from anywhere, to take NDI or SRT streams and turn them into edit-ready files for Avid Media Composer, Adobe Premiere or Final Cut Pro. StreamFile Core Enterprise allows for an unlimited number of record channels based on hardware performance, with licensing based on the number of channels. It enables facilities and studios transitioning to an IP-based platform to utilize their existing nonlinear editing, graphics and digital infrastructures. It bridges the gap between IP-based video technology and legacy baseband recording workflows. StreamFile Core Enterprise also includes a web-based IP stream multiviewer, which allows for extensive template flexibility and user-defined display customizations. All features are secured through administrator-defined user credentials, providing various permission levels. StreamFile Core Enterprise is agnostic to frame rate and resolution. Its architecture provides a future-proof way to utilize evolving IP video standards.
MAXON :: CINEMA 4D R25 Maxon’s Cinema 4D is a professional 3D modeling, animation, simulation and rendering software package. Its toolset makes 3D workflows more accessible and efficient for design, motion graphics, VFX, AR/MR/ VR, game development and all types of visualization professionals. From the next-generation electric vehicle UI in Cadillac’s LYRIQ to visualizing the history of financial trading for Interactive Brokers to Hollywood TV shows and films like “WandaVision” and “Westworld,” the company says it’s hard to consume content without coming across Cinema 4D. Building off of Cinema 4D Subscription Release 24 in April 2021, Cinema 4D Release 25 demonstrates Maxon’s ability to enhance and increase user value on a regular basis to ensure ongoing creative success for its varied network of users. This latest release features a new modern skin, UI enhancements and a large preset system for optimizing workflows. All-new Spline Import options allow users to use Illustrator, PDF and SVG vector artwork in 3D scenes. Capsules allow anyone to tap into the power and flexibility of Cinema 4D’s Scene Node system, with plug-in-like features directly in the Classic Object Manager. Plus, the New Spline and Data Integration functionality can be used to build Capsule Assets.
DIELECTRIC :: POWERLITE TFU-WB-LP ANTENNAS Dielectric has developed a new antenna series with a pattern portfolio that will help broadcasters optimize coverage for SFN and LPTV applications. The Powerlite TFU-WB-LP Series is built with the unique parameters of NextGen TV in mind, with a series of elevation gains, azimuth patterns with high front-to-back ratios, and software tools to provide broadcasters maximum flexibility in designing and deploying ATSC 3.0 single-frequency networks (SFN). Dielectric developed the series while working with consultants on theoretical plans for SFN deployments. When used with Dielectric’s Proposal Generator software, broadcasters using Powerlite TFU-WB-LP antennas can configure systems that meet specific network designs. For networks with many low-power transmitter sites, broadcasters can select the proper power level, directional pattern, height above ground level, and other pertinent design criteria for each location. These flexible parameters will help broadcasters make the most of their NextGen TV bit distribution. Powerlite TFU-WB-LP antennas are built in four-bay increments, with a maximum ERP of 100 kW for each antenna. The new series is adaptable to multi-frequency networks and can serve both narrow-band and broadband RF configurations. The series can also work in concert with high-power high-tower antennas.
PRODUCT SPOTLIGHTS PTZOPTICS :: PT-SUPERJOY-G1 The PT-SuperJoy-G1 joystick controller from PTZOptics is a comprehensive solution supporting serial and network-based camera control, putting multi-camera production control at the fingertips of users of any ability level. Users can control any PTZOptics or HuddleCamHD camera, as well as Sony, Birddog, Newtek and other PTZ cameras for select settings. The SuperJoy can be programmed with up to 255 PTZ camera presets, including nine quick presets and up to five camera control groups, allowing change of scenes easily. The SuperJoy’s four customizable buttons can be programmed to trigger “super presets” that reach beyond the camera, sending custom commands via HTTP, UART, TCP or UDP to network-based equipment including lights, speakers and displays. Practically any device that can be controlled over IP can be triggered by the SuperJoy. Beyond camera position and zoom, users can manipulate incremental buttons to adjust the camera’s pan, tilt, zoom, and preset speed. Knobs make minute adjustments to zoom, focus, iris/shutter settings, and red and blue gain possible. The built-in “basic mode” disables most control other than single-camera joystick control and presets, while “matrix mode” gives the user the ability to call presets for up to three cameras.
TSL PRODUCTS :: SAM-Q AUDIO MONITORING PLATFORM TSL’s SAM-Q Audio Monitoring Platform has been proven to offer flexibility to content creators around the world. The motivating factor behind SAM-Q is the desire to rethink the fundamentals of audio monitoring, putting the user experience above all. As audio monitoring moves further towards networked and next-generation platforms and experiences for viewers, the lines are blurring between traditional I/O-led boxes and software-focused solutions. With new set mix (input) and mode (display) permissions, SAM-Q units are now tailored to the operational position. This simplifies workflow processes as only the required modes are displayed. SAM-Q also features operational modes that allow the monitor to be configured for specific applications and skillsets, with options to add loudness monitoring and logging. SAM-Q’s remote management tools will allow operators to configure and manage audio signals from any location, further enhancing the system’s flexibility and overall operator experience. TSL’s solutions are continuously advancing to meet the latest needs of the broadcast industry. For SAM-Q, the platform continues to grow, with new additions soon to be launched. The latest additions to the SAM-Q platform will bring cost-effective, 1gE audio monitoring to ST-2110 networks.
47 October 2021
MEDIAKIND :: MEDIAKIND ENGAGE MediaKind Engage is a new direct-to-consumer (D2C) solution for video contribution, production, streaming and audience engagement. The solution empowers sports entities, broadcasters and other content rightsholders to make a seamless transition to operating workflows in the cloud while expanding the reach, scale and reliability of their video streaming content to a global fanbase. Operating on a broadcast-grade framework, MediaKind Engage directly addresses the market challenges content owners face looking to launch over-the-top (OTT) D2C services. By tackling issues with quality of experience, ROI and commercialization, MediaKind Engage enables content owners of all sizes to maximize the value of their OTT offerings. Built on a robust platform, the cloud-native technology service speeds up time-to-market and lowers setup costs for fast, D2C service delivery, and, according to the company, guaranteeing stability at scale. MediaKind Engage offers a pricing model aligned to the revenues that content owners can achieve across subscription, transactional and ad-supported services, creating greater relevance to sponsorship and branded content. It’s structured around platform and Software-as-a-Service (SaaS) models, embracing modern agile and DevOps to drive feature velocity. It enables new OTT innovations to be launched with greater control, as the services are already deployed and rigorously tested with all cloud providers.
ORBAN :: XPN-ENTERPRISE Orban has announced delivery of XPN-Enterprise, a Linux-based customizable processing platform for multiple broadcast stations or streaming services. Orban’s OptiCloud processing is provided for up to 16 FM/HD/DAB+ and Streaming processing channels in a 1RU package, using an enterprise-class SoftGear™ server and appropriate OPTIMOD XPN-Enterprise Nodes. Supporting AES3, AES-67, SMPTE-2110-30, Dante or Livewire+ AoIP, the system creates the necessary outputs (FM Composite, DMPX, uMPX and DAB+HD) using the appropriate Orban XPN-Enterprise Nodes for each transmitter site. Processed channels for streaming are handled by the XPN-Enterprise softGear server, which sends those outputs to the appropriate streaming devices.
Each signal can be individually processed with Orban’s OptiCloud tailoring of each station’s broadcast or stream to meet the requirements of the audience and delivery method. OptiCloud factory presets give users a quick start for each format; Orban’s exclusive “Less-More” controls simplify “dialing in” the desired sound. Kantar or Nielsen watermarking is provided via the appropriate XPN-Enterprise node. Additionally, Orban offers a full line of “Last Mile” solutions including XPN-Enterprise I/O nodes and low bandwidth (<500 kbps for FM & HD-1, HD-2 & HD-3) solutions. XPN-Enterprise is currently shipping with 400+ channels commissioned.
48 October 2021
BLONDER TONGUE :: NXG-SDI-4 PLATFORM Suitable for broadcasters that have already deployed legacy video solutions but want to upgrade to the latest OTT and IPTV technology, Blonder Tongue’s NXG Platform is a customizable, module-based IP digital video processing platform designed for delivering next-generation video services on any generation of coax or Ethernet wiring — without the need for replacing existing infrastructure. The carrier-grade 5RU NXG Platform, as well as the new compact 2RU NXG Edge, feature swappable blades for complete customization to meet the technological needs of any broadcast facility or enterprise location, including hospitality, educational, MDU residential, healthcare, business parks or stadiums. The NXG-SDI-4 blade is the first HD-SDI interface for the NXG Platform and enables users to encode up to four SD-SDI, HD-SDI or 3G-SDI sources for custom IP and RF re-distribution. This includes encoding to HEVC/H.265, MPEG-2/H.264 or MPEG-2, while supporting resolutions up to 1080p60. Audio can also be encoded to MPEG-2, AAC, AC3 (Dolby Digital) and MP3 formats. It’s a suitable solution for the broadcaster community, cruise ships and others who heavily rely on HD-SDI equipment interconnects. NXG can be installed in a single visit, and the platform and blades are designed and made in the United States.
NEXTGEN TV NextGen TV is a new broadcast technology standard (ATSC 3.0) and is the first major overhaul to the Advanced Television Systems Committee’s standard for receiving over-the-air signals since the group first introduced ATSC 1.0 in 1996. It enables television stations to better personalize broadcasts with information and interactive features, making the content more relevant and engaging for viewers. NextGen TV enables two-way interactivity and applications with internet connection, creating a seamless combination of broadcast television with the internet. It’s a shift in how the consumer receives linear TV, giving broadcasters ways to leverage these new technologies, create meaningful experiences and approaches to develop new products and services targeted for multiple generations of consumers. Early adopter broadcasters and the broader industry recognize that NextGen TV is considered the biggest technological update to linear TV since the transition to digital broadcasting. Now in full commercial phase and adding signals across the United States, NextGen TV is in 35 percent of U.S. households, with a trajectory of reaching 75 percent in spring 2022. The marketplace has approximately 70 models of NextGen TV television sets — Samsung, LG and Sony — of what will be a ubiquitous technology in all television sets in the next three–five years.
SHURE INC. :: AXIENT DIGITAL ADX5D PORTABLE RECEIVER Shure’s Axient Digital ADX5D Portable Receiver is a dual-channel, portable wireless slot receiver that, according to the company, provides superior RF performance, spectral efficiency, and transparent audio quality. Building on the Axient Digital System, the ADX5D’s portable form factor helps bring Shure’s wireless capabilities to new and existing customers. ADX5D was the result of one simple need: how to translate the capability of Axient Digital into a portable option. Shure designed ADX5D to incorporate the same wireless technology that Axient Digital is known for, all in a portable form factor for professionals in the field or on-the-go. ADX5D is suitable for environments such as sports/events broadcasting, electronic news gathering, film/episodic television and electronic field production — all of which rely on quality location sound. The portable receiver supports the demand for a remote wireless solution that ensures the message is clearly delivered. For sound mixers, producers and engineers who need to move around efficiently and effectively on set, ADX5D allows them to transition from cart to bag — whether they’re on location or in the studio. ADX5D gives them the ability to harness portability and a streamlined workflow.
TERADEK :: BOLT 4K MONITOR MODULES 1500 TX/RX Teradek has launched the Bolt 4K Monitor Modules 1500 TX and 1500 RX, giving users a long-range option with the 1500 monitor modules and a short-range option with the original 750 monitor modules. Both the Bolt 4K Monitor Module 1500 TX and 1500 RX can seamlessly integrate with SmallHD Smart 7 Monitors and the entire Bolt 4K product series. When paired, they transmit and receive zero-delay wireless video signal from 1080p up to 4Kp30. The new longer-range devices offer 1,500 feet of lineof-sight range and support for 10-bit 4K and HDR. The Bolt 4K Monitor Module TX 1500 has an integrated hardware connector for SmallHD Smart 7 Monitors (Cine 7, Indie 7 and 702 Touch), optional wireless camera control with a Smart 7 Monitor and SmallHD license (sold separately), easy setup and signal management with the Bolt App for iOS and Android, and supports Broadcast Mode to unlimited receivers. Wireless camera control is available now for ARRI cameras, and a beta can soon be downloaded for RED KOMODO. The Bolt 4K Monitor Module RX 1500 includes a V-Mount or Gold Mount Battery Plate for power pass-through.
49 October 2021
FRAME.IO :: CAMERA TO CLOUD
TELESTEAM :: INSPECT 2110 AND PRISM
Frame.io Camera to Cloud (C2C), is a secure camera-tocloud workflow that lets users upload video proxy files from on-set cameras to creative teams anywhere in the world, closing the gap between production and post production. The Camera to Cloud workflow requires a Teradek CUBE655 paired with a C2C-compatible camera through Frame.io. Select ARRI, Panavision, RED, Sony, Canon and Panasonic cameras are currently supported. Once authenticated, compact, high-quality H.264 proxy files with matching timecode and metadata to the original camera files are directly uploaded to Frame.io when the camera is triggered via LTE, 5G or Wi-Fi. Sound Devices 888 or Scorpio field recorders can be paired to record, encode and send either proxy or full-bandwidth audio files to Frame.io, which sync to the video. The H.264 proxies can be viewed on computers, iPhones and iPads via the Frame. io web and iOS apps. The files are also available directly in professional editing systems with Frame.io native integrations such as Adobe Premiere Pro, Final Cut Pro and DaVinci Resolve. The proxy workflow allows for immediate editing, and because timecode and metadata match the OCFs, proxies can later be swapped out for “hero” dailies and can be relinked for final conform and grading.
Telestream iQ Solution’s latest monitoring technology, Inspect 2110, monitors and troubleshoots the QoE and QoS of SMPTE ST 2110 and ST 2022-6 streams in video production networks providing the automated visibility and diagnostics operations teams need. Built for content producers and owners, broadcasters, service providers, including OVSPs and CDNs, Inspect 2110 simplifies automated detection of issues and diagnostics in PTP-based ST2110/ST2022-6 networks, saving time and reducing errors. It’s essential that viewers see content with the highest quality intended, and that the companies that broadcasters pay to store, prepare, deliver and play content are consistently providing the service expected. When the quality of content is not up to par, broadcasters need to know immediately. Inspect 2110 provides the densest video network monitoring by exception solution in the marketplace (100 Gbps of monitoring capacity in a 1RU form factor) and includes a “click-to-view in PRISM” button to automatically launch any stream into the Telestream PRISM Waveform Monitor for deep ST 2110 video waveform, audio, data and PTP analysis. This ability to monitor QoE and QoS broadly and then instantly dive deep to find and fix faults fast is unique in the industry, according to the company.
SHOTOKU :: SMARTPED
CANARE :: SMPTE HFO CAMERA CABLES
Not with Branson or Bezos, but new functionality incorporated into Shotoku’s TR-XT control panel sends SmartPed, its fully robotic XY pedestal, into Orbit. Orbit is a functionality that allows the pedestal to travel in clockwise and counterclockwise movements around circular sets, a growing design element in today’s broadcast studios. Traditionally, Shotoku’s pedestals moved in a straight line to the left or right using the “X” axis joystick, but now, by selecting the smart new Orbit function on Shotoku’s TR-XT Control Panel, the pedestal immediately translates the X-axis into a perfect arc around an orbital center point — usually the center of the set. The operator can move SmartPed smoothly clockwise or counterclockwise; free to concentrate on the framing of the shot without having to think about manually driving the pedestal base in an arc. Orbit is a compliment to SmartPed’s Sequence mode, which has been a standard function of all Shotoku systems since the first release approximately 15 years ago. Sequence allows operators to complete complex curve motions by seamlessly moving through a series of key frames. Both Orbit and Sequence are standard features of the TR-XT control system.
Popular with major news, sports networks and live events productions, Canare SMPTE Hybrid Fiber Optic (HFO) SMPTE ST304 and ST311 cable assemblies have become a global industry standard. Designed for broadcast and A/V professionals, the SMPTE HFO cables come standard in 9mm (LF-2SM9N), with 7mm patch cable (LF-2SM7N) and 7mm or 9mm tactical (LF-2SM7T and LF-2SM9T) options available. The LF-2SM9T is an upgrade/ replacement for standard camera cables and is available in custom lengths of up to 300 meters. The 7.1mm (LF-2SM7T) is a lightweight alternative, great for patching or shorter cable runs of up to 100 meters. Canare designed the cable jacket of the tactical options for flexibility and mechanical properties, providing both crush and impact resistance. Both cables offer a 1x O.D. (Outside Diameter) bend radius, and feature a crush and impact-resistant outer jacket. According to the company, the cables are compatible with all industry-leading camera manufacturers, including Blackmagic, Grass Valley, Hitachi, Ikegami, JVC Professional, Panavision, Panasonic and Sony, among others. Manufactured in Japan, the Canare SMPTE HFO cables offer users affordable pricing, reliable availability, complete cable and connector assemblies and custom-length options with quick turnarounds and a one-year warranty.
50 October 2021
COBALT DIGITAL :: INDIGO ST 2110
PEBBLE :: PEBBLE CONTROL
Cobalt Digital’s INDIGO ST 2110 is a highly integrated ST 2110 option that adds native SMPTE ST-2110 support to the company’s 9904-UDX-4K and 9905-MPx audio/ video processor cards. INDIGO includes multiple 25G Ethernet interfaces to support 4K signals without the need of compression. Support for ST-2022-7 seamless redundancy switching is incorporated for improved network reliability as well as IS-04/IS-05 NMOS for automatic discovery and configuration. This makes interfacing to an existing network straightforward, as the devices are auto-discovered by the network management. The advanced audio/video processing engines of the 9904 and 9905 are capable of up/down/cross conversion, audio routing, color correction, 3D-LUT processing, as well as SL-HDR encoding and decoding. Now, with INDIGO ST 2110, they’re open for the advanced processing to be available with IP inputs and outputs, eliminating the need for external gateways. The two cards combined create a dense solution capable of natively processing HD, 3G and 4K IP streams without compromising quality. The compact openGear form factor allows customers to mix and match functions in the same chassis or achieve higher densities by using multiple cards in a platform that ticks all the boxes and features hot-swappable cards and redundant power supplies.
Pebble Control makes IP connectivity as simple as SDI. Every broadcast engineer needs to connect equipment. Signals need to be routed and switched around a setting and in the world of SDI there are many options to help broadcasters do this. But for IP, connection and device management becomes much more complex. Getting it wrong can be costly. Pebble saw a need for an IP connection management system that would enable users to make the leap to an all-IP facility, without the need to deploy a bespoke enterprise solution and get caught up in all the configuration, consultation and potentially large expense that that involves. Pebble Control is a new self-contained, scalable, IP-native, connection management solution, which is easy to configure, deploy and operate using web-based UIs. Delivering benefits to even the smallest IP facility, it leverages open standards and interfaces with NMOS-enabled devices. It’s easily reconfigurable; users can change, add or remove devices. In addition, Nevion’s VideoIPath integration enables customers to easily control software-defined networks. Pebble Control solves the challenges of IP connection management in a way that is independent, cost-effective, retains interoperability and doesn’t require any lock in to a specific manufacturer’s ecosystem.
MRMC :: POLYMOTION CHAT PRO
SDVI :: RALLY INSIGHT
MRMC recently acquired the Agile Camera Range, adding rugged waterproof PTZ cameras to the company’s range of outdoor pan/tilt solutions including the Arc 360. The company says these cameras are very well-regarded by their existing customers and will serve to enable MRMC’s range of sports automation solutions such as Polymotion Player. Polymotion Chat Pro is a new lower price and simplified version of our Polymotion Chat automated camera tracking product. Starting from just $2,450 the machine vision limb detection solution is suitable for AV, houses of worship, education and corporate customers looking to automate PTZ camera control, creating natural humanlike movement, and it works with almost any camera. Also new is the Quiet Rail System (QRS-01), designed for use with the MRMC AFC range or almost any third-party PTZ camera. The rail system provides flexibility for productions looking to achieve something more than a regular PTZ can offer. The track can be combined with the Polymotion Chat range for tracking, manually controlled so customers can move the carriage with the PTZ or AFC as they desire or set to shuttle.
SDVI’s Rally Insight data analytics service transforms the volume of supply chain data gathered by the Rally platform into actionable intelligence. Data is collected by the SDVI Rally media supply chain platform at every step of every supply chain into a cloud-based data lake. The new Rally Insight service enhances media organizations’ ability to extract meaningful information from this massive amount of data by organizing and visualizing all supply chain data into more relevant views. Custom charting and dashboards create rich visualizations that enable users to spot trends, identify outlier data points and understand costs and time associated with any media process more quickly. Visualizations correlate supply chain data (cost, duration, tool usage, etc.) with custom media metadata (title, episode, season, etc.) to provide more relevant results when analyzing specific media-related metrics. The Rally platform collects large amounts of data from every step in the media supply chain. Where generic business data visualization tools fail to address the unique characteristics (i.e., metadata) of media content, Rally Insight offers a level of sophistication that helps media supply chain operators to obtain relevant analysis of this data.
51 October 2021
DIGITAL NIRVANA :: MONITORIQ 8.0
Driven by video content’s ongoing shift from broadcast to streaming, Broadpeak Advanced CDN solution unlocks common opportunities for ISPs and content owners, allowing them to collaborate and uniquely support several essential features: Openness to third-party content: By integrating APIs, such as SVA Open Caching, third-party content providers can directly access the operator’s network. Thanks to its native, multi-tenant approach, Broadpeak Advanced CDN can manage and monitor each content provider independently, ensuring that their traffic doesn’t interfere with its own. Dynamicity of optimization processes: Automatic adaptation begins with extensive analytics gathered from all network points, down to the player level. The data are correlated in an analytics server and can be compared through a powerful A/B testing tool. Elasticity in deployments: Based on the 3GPP Multi-Access Edge Computing (MEC) standard, all CDN instances are deployed as orchestrated containers, in PoPs or at the edge for better granularity and deep caching, to mobilize infrastructure resources where they are most needed in the network. Broadpeak Advanced CDN is particularly suited to future-proof systems thanks to the combination and interactions it enables between the three capabilities.
Digital Nirvana has launched MonitorIQ 8.0, the newest version of its AI-driven compliance logging and monitoring tool that integrates with its Media Services Portal. With MonitorIQ 8.0, Digital Nirvana brings the tool’s Linux operating system and all included software up to their latest versions. As a result, the company has eliminated security vulnerabilities, increased resiliency, made the system much quicker to navigate, and enabled new streaming technology with lower latency for live video. Digital Nirvana’s MonitorIQ allows operators to record, store, monitor, analyze and repurpose content quickly and efficiently with a minimum of clicks. Natively recording content from any point in the video delivery chain, from production (SDI) to consumption (OTT and STB), MonitorIQ enables broadcasters to collect and use knowledge about their broadcast content to meet a range of regulatory and compliance requirements. Users can view live or recorded content across hundreds of channels from desktop and mobile devices in any remote location worldwide for instant recall of proof of performance, compliance or ad placement. MonitorIQ is based on the secure and reliable Linux operating system.
TRIVENI DIGITAL :: STREAMSCOPE ENTERPRISE
COMREX :: GAGL
Triveni Digital’s newly enhanced StreamScope Enterprise is a centralized software solution for maintaining quality of service (QoS) and regulatory compliance throughout DTV enterprises. By helping broadcasters and MSOs prevent problems that degrade service quality, StreamScope Enterprise reduces system downtime and operational costs. Utilizing StreamScope Enterprise, users can now connect to an expanding range of enterprise platforms, including Triveni Digital’s ATSC 3.0 Broadcast Gateway scheduler, GuideBuilder XM ATSC 3.0 Transport Encoder, StreamScope XM for ATSC 3.0 broadcast streams and StreamScope MT-60 Analyzer for ATSC 1.0 input analysis. New centralized fleet management functionalities simplify software upgrades and system configuration across the enterprise, while ensuring system backup and restoration in the event of an outage. With the centralized service quality management solution, broadcasters and MSOs can manage a diverse range of quality assurance elements, view overall system status and launch problem-solving sessions for specific faults detected in ATSC 1.0 and ATSC 3.0 environments. Users can view the status of ATSC 1.0 and ATSC 3.0 services in real time from the same dashboard. Custom dashboards are also available to streamline the transition to NextGen TV.
Gagl cloud service by Comrex allows one and five users to send and receive audio from computers and smartphones. That audio is conferenced (if more than one user) and delivered to a Comrex hardware codec (such as ACCESS or BRIC-Link, usually in a studio), and all participants can hear other participants and the codec “sends” audio back to them. Gagl was designed from the ground up with audio in mind. It doesn’t send video at all, meaning it requires less internet bandwidth and therefore, has higher stability, according to the company. Unlike video-oriented conferencing offerings, audio quality is the first priority for Gagl. It uses the Opus audio encoder and a bit rate that delivers quality voice and music. It also delivers audio directly to your Comrex codec. Gagl can be the entire hub for a round-robin reporting program. It can run an entire morning zoo radio show. Latency is low enough for call-in talk radio. Or it can simply be a portal for a single contributor to connect back to the studio over a computer or smartphone. The service will be available to Comrex ACCESS and BRIC-Link users before the end of the year for a nominal monthly fee.
BROADPEAK :: ADVANCED CDN
52 October 2021
BARIX :: EXSTREAMER M400 Barix has launched the Exstreamer M400 IP audio decoder, the first model in a new generation of Exstreamer solutions for radio applications ranging from studio-to-transmitter (STL) and studio-to-studio (SSL) links to remote contribution. According to the company, the hardware brings the Exstreamer family’s hallmark reliability, flexibility and cost-effectiveness to a modern, extensible platform with expanded support for the latest technology standards. The Exstreamer M400 features stereo, line-level, analog audio output with RCA-type connections and can decode streams in MP3, AAC-HE, FLAC, PCM, Opus and Ogg Vorbis formats. Newly added AES67 support enables the Exstreamer M400 to instead be configured as a dedicated AES67 receiver and decoder, enabling integration into AES67-based audio-over-IP networks plus interoperability with Dante-compatible devices. Supported discovery methods include SAP, mDNS and RTSP, enabling the decoder to automatically identify and list available streams from Dante, Ravenna and other audio-over-IP solutions that use these protocols. SDP information can also be manually inserted for interoperability with third-party solutions that do not support these standards. Powered by Barix’s high-performance, Linux-based IPAM 400 audio module, the Exstreamer M400 features higher processing power than earlier Exstreamer models and a more programmable, software-driven architecture that enables expansion, rapid prototyping and customization.
SCREENWEAVE LLC :: SCREENWEAVE The Screenweave content publishing platform is a complete, cloud-based, SaaS solution for managing, presenting and delivering video to consumers via over-the-top (OTT) platforms and mobile apps. Screenweave allows organizations to launch and manage their own branded video channels on iOS and Android mobile devices, and on OTT platforms including Roku, Apple TV, Amazon Fire TV and Android TV. Screenweave’s “add once, available everywhere” efficiency makes it easy for customers to make their content available to consumers on any viewing device. For VOD content, users simply upload their video files and metadata from anywhere through Screenweave’s intuitive, web-based dashboard. Screenweave automatically transcodes the files to the required formats for each viewing platform and publishes the results across all content portals and apps. Content is dynamically sorted into collections through user-defined categories and metadata, making it easy for viewers to find topics of interest. Live streams can also be scheduled and integrated into customers’ channels for real-time viewing of meetings and events. Organizations can publish their content as customized channels within the standard Screenweave-branded OTT and mobile apps for no additional charge, or upgrade to their own fully custom-branded, dedicated apps for a modest design fee.
TAG VIDEO SYSTEMS :: REALTIME MEDIA PLATFORM TAG Video Systems’ Realtime Media Platform is an open-source paradigm that monitors, aggregates, manages and utilizes data-driven viewer analytics to provide users with the insight required to build performant linear media systems. The company says the unique, multilevel platform provides the tools needed for informed and intelligent decision-making resulting in a precise and pristine viewer experience and leading to an increase in consumption, customer engagement and loyalty. The foundation of the platform is TAG’s MCM (Multi-Channel Monitoring), a software-based IP end-to-end monitoring, deep probing, logging and visualization solution offering numerous deployment options including bare metal, virtual machine, cloud and hybrid. The MCM monitors every signal from live production through OTT delivery, supporting hundreds of sources. Metrics are displayed in real time, retained in TAG logs for analysis and exposed to third-party systems for aggregation and root cause analysis. TAG’s MCS takes that voluminous raw data to be aggregated and correlated using the cloud and machine learning, leveraging TAG data and metrics to create actionable insights. Using an open-source paradigm, the MCS serves as an aggregation engine capable of exposing the data collected by the MCM to standard third-party analytic and visualization applications to analyze and visualize, resulting in an exceptional viewer experience.
CODEMILL :: ACCURATE.VIDEO EDIT Codemill’s latest release, Accurate.Video Edit, is a professional, cloud-based video editing tool specifically designed for content supply chain workflows. It provides an efficient way to make edits needed for content compliance, content localization for different channels or markets, versioning for different platforms and segmentation for promo and marketing teams. It offers the ability to remove unwanted elements, such as color bars, slates, black frames and other inappropriate content. Users can create subclips, instantly add definable black frames between clips if required, and render these to their location of choice at broadcast-quality, ready to use for promotional material. Features include frame-accurate video and audio playback, time-coded metadata, and with its interactive timeline, users can insert and overwrite timeline operational modes, snap to the closest segment, split segments and undo and redo. Simon Bergmark, product owner at Codemill, commented: “With video production and media workflows increasingly moving to the cloud, editing has until now remained a cumbersome process, often requiring content to be downloaded, taking time and incurring data egress charges. Accurate.Video Edit enables essential edits, while keeping video content in the cloud throughout that process.”
53 October 2021
PLIANT TECHNOLOGIES :: CREWCOM CB2
VIACCESS-ORCA :: TARGETED TV ADVERTISING
Pliant Technologies’ CrewCom CB2 is a full-duplex, install-friendly and feature-packed professional wireless intercom system that is suitable for small- to mid-level communications applications requiring a reliable sounding intercom with excellent RF coverage and range. Available in 900 MHz and 2.4 GHz frequency models as well as 900 MHz Oceania and 2.4 GHz CE-compliant models, the system includes the CrewCom CB2 BaseStation and up to six CRP-12 two-channel radio packs to create a powerful but economical wireless intercom system. Two CB2 BaseStations can be connected to create one system with up to 12 full-duplex users. Two separate CB2 systems can also be synced to ensure RF performance if they need to be co-located in the same RF area. The CB2 can even be co-located in the same coverage area as an existing CrewCom system due to its unique RF sync feature. According to the company, the CrewCom CRP-12 radio packs feature proven reliability, excellent user acceptance and includes the same battery pack as CrewCom radio packs. They also feature an optional 6+6 Drop-In radio pack and battery charger as well as AA battery compatibility that requires no adapters. The system is compatible with Pliant’s complete line of SmartBoom headsets.
Viaccess-Orca’s (VO) Targeted TV Advertising solution is changing the way first-party usage is monetized. With this AIbased solution, service providers can maximize their revenues and surpass the limitations of traditional TV advertising. VO’s Targeted TV Advertising features a full-stack programmatic infrastructure and innovative TV data segmentation tools for translating viewers’ usage data into highly valuable segments for advertisers. Through advanced personalization features, service providers, broadcasters and content owners can increase viewing times and expand the number of ad opportunities, leveraging AI-based data analytics and insights to improve their understanding of users and household compositions. VO’s Targeted TV Advertising solution supports all platforms, devices, operating systems, content forms (i.e., VOD, linear, time-shift TV), viewer touchpoints, delivery methods (i.e., IPTV, OTT, cable, DTH, DVB) and a diverse range of ad types. By combining server-side and client-side ad insertion techniques, VO’s solution allows operators to achieve the best monetization, viewer experience and reach. Moreover, VO’s solution offers a multi-ad-server connection that finds the most rewarding and relevant source in a given context to optimize monetization, the company says. VO’s Targeted TV Advertising solution works with any service delivery platform, providing operators with full control.
SKAARHOJ :: RCP PRO Together with the new layout, new hardware design as well as new operating platform, SKAARHOJ’s RCP Pro remote camera controller provides features well known from other SKAARHOJ products — universal IP control allowing control for more than 120 products by different manufacturers and flexibility. This means that each button, fader, knob and joystick can be freely configured by the user to perform multiple actions on multiple devices, at the same time. The unique feature of the RCP Pro is in its heart: it has a new built-in Linux-based operating system. SKAARHOJ’s new software, Blue Pill Reactor, allows the RCP Pro to control unlimited devices from different vendors and build advanced control workflows, with a new, user-friendly GUI. In addition, SKAARHOJ developed a new joystick for the RCP Pro, which has a built-in Tally Light, and OLED Display Screen to display values set by the user. SKAARHOJ has always strived for innovation when designing its products, and the new RCP Pro is no different. Along with shading multiple camera brands, the PTZ Pro can also control PTZ Camera position, trigger external tally, control lenses or lifts and sliders in one controller.
GATESAIR :: INTRAPLEX ASCENT PLATFORM GatesAir has added native Livewire+ IP audio networking to its Intraplex Ascent cloud transport platform. Intraplex Ascent can now ingest and output multiple audio channels directly via IP without the need for conversion equipment, adding a new layer of scale and efficiency for radio broadcasters managing many digital audio channels between studios. GatesAir introduced Intraplex Ascent as a next-generation audio-over-IP platform built to transport broadcast and media content at scale. The industry-first cloud transport platform was built with broadcast and IT convergence in mind, leveraging common off-the-shelf hardware to reduce the costs of multichannel contribution and distribution between many locations. The high-density Ascent platform ensures seamless integration into Livewire networks without the need for audio converters, with simplified integration and capital cost reduction among the benefits. As with all Intraplex transport applications, GatesAir’s Dynamic Stream Splicing (DSS) software supports reliable transport across redundant networks, and optimizes stream integrity through protection against jitter, packet losses and network failures. Within Ascent, DSS software also supports duplication of SRT streams with video and audio over separate network paths, leveraging a single stream-splicing buffer for hitless protection against errors and failures. GatesAir will add WheatNet+ support soon.
54 October 2021
VIKING SATCOM :: FILTERS, ANTENNAS
PROMISE TECHNOLOGY :: PEGASUSPRO
Viking Satcom can assist customers making the 5G C band transition. The company offers filters, LNBs and antennas to help make the transition to the 4.0–4.2 GHz frequency band seamless. 5G Filters available: • Phase 1 Filter: Bandpass 3820–4200 MHz; Rejection: 30 dB Min from 3800 to 3805 MHz • Phase 2 Filter: Bandpass 4000–4200 MHz; Rejection: 30 dB Min from 3980 to 3985 MHz
PROMISE Technology’s updated rich media storage solutions include the newly released features enabled for PegasusPro. Launched in September 2020, the PegasusPro data storage solution solves the incompatibility of blockbased Direct-Attached Storage (DAS) and file-based Network Attached Storage (NAS). The company says this unprecedented convenience allows users to convert, collaborate and transfer data at lightning speed. Since the official launch, PROMISE has continued upgrading PegasusPro to equip users with additional flexibility. In the new Service Release, PegasusPro supports both APFS and NTFS file systems, empowering Mac users (APFS read) and Windows users (NTFS read and write) with extra flexibility. The proprietary FileBoost now offers new functions to users including more options for synchronization policy, in-time folder status updates, folders auto-refreshing, etc., to enable customers with efficiency and effectiveness. Moreover, the PROMISE Utility Pro will now be supporting previous Pegasus Series including Pegasus3, Pegasus32, R4i product lines. For macOS users, the PROMISE Utility Pro supports macOS 10.15 (Catalina), 11 (Big Sur) and newer versions.
Antennas: Viking Satcom is offering a range of specially configured RxO terminals to accommodate the changes to C-Band satellite spectrum under the 5G initiative. The 2.4m, 3.7m and 4.5m terminals include 5G band-pass filters and PLL LNBs to satisfy these new requirements. The FCC has allocated the lower 300 MHz of C-Band 3.7–4.2 GHz frequency spectrum to facilitate 5G technology. This essentially leaves the upper 200 MHz of frequency spectrum for the use of C-Band satellite technology. Viking’s C-Band terminal solutions are integrated with a special band-pass filter and high-performance LNB to accommodate the 5G applications. Viking Satcom also offers these antennas in a base configuration for customers who wish to provide their own filters and LNBs.
VIDEON :: EDGECASTER Videon’s EdgeCaster video compute platform and LiveEdge ecosystem allows users to take flexible and reliable cloud-computing functions to the point where video is created. Live video can now be processed and distributed at the source by combining functions running on our video compute platform with additional capabilities from the cloud. Videon’s video compute platform is great news for providers as it comes at a time when the amount of content being produced is increasing, which consequently means that the number of concurrent viewers is going down. With Edgecaster and LiveEdge, broadcasters can reduce average end-to-end latency from 30 seconds down to as little as between 2 sec and 500 ms, making live event coverage truly live. Its benefits also include a reduction in video streaming complexity and cloud video processing costs while helping to deliver higher quality and reliability for thousands of hours of live streaming every day for broadcasters, sports leagues and OEMs. Videon’s approach to video streaming enables content owners and broadcasters to revolutionize live video streaming and create unique experiences.
DELTA DIGITAL VIDEO :: MODEL 7840R 4-CH HD/SD H.265 VIDEO ENCODER As a longtime supplier of video encoders, decoders and video scan conversion products, Delta Digital Video is launching its new Model 7840R 4-Channel H.265 Video Encoder. The company says the rugged, high-performance encoder delivers bandwidth savings with the highly efficient H.265 (HEVC) video compression algorithm. This is all accomplished in the same size, weight and power of our legacy 2-Channel video encoder. In addition to the extra HD/SD-SDI video inputs, the 7840R uses the same physical I/O as the 6820R, making it a drop-in for existing units in real-time telemetering systems. The 7840R meets its customers’ mission’s standards, MISB/STANAG, MILSTD-810, MILD-STD-461/DO160. Mission-ready, mission-proven.
PRODUCT SPOTLIGHTS FINCONS GROUP :: BROADCASTING APP Fincons Group has developed a unique Broadcasting App (BA) for a major U.S. broadcaster to enable personalization of viewer experience over both broadband connected and linear TV. The BA leverages ATSC 3.0 technology and integrations to provide viewers with dynamic content both via broadband (OTT) and broadcast (OTA) connection. The app is self-consistent and works on a TV browser without the need for a broadband connection, providing extended navigation to TVs that are connected to the internet. The app enables functions for OTA TV, such as the delivery of additional information, access to QR-coded content such as the download of an app or the possibility to start shopping via mobile and dynamic local weather forecast. For OTT viewers, the app also provides access to on-demand personalized local news clips. The weather section specifically enables two levels of navigation depending on the TV connection: either a single picture of the day’s weather for OTA viewing, or an animated GIF of radar weather maps for OTT viewing. The dual application for both broadband-connected and broadcast TV, supported by the new ATSC 3.0 standard ushers in a reimagining of viewer experience.
MEDIA LINKS :: MDP3020 MAX With demand for live content, there is an increasing infrastructure need for portable, network protected, remotely configurable and cost-effective IP media gateways. The MDP3020 MAX meets this demand as a standalone edge device with configuration support for JPEG-XS compression. The MDP3020 MAX encodes/decodes video, audio and data content for carriage over wide area optical IP networks. It is designed primarily for use in live remote production environments where economical, highest contribution quality IP media conversion and transport robustness are essential. MAX can be configured to support four 1080P video channels using JPEG-XS compression, which achieves bandwidth reduction ratios of up to 10:1 and beyond, visually lossless quality and sub-millisecond latency. This makes it suitable for the edge of an IP WAN network where bandwidth is typically constrained, where minimal latency is necessary for live interactive broadcasts, and where the transport of uncompressed high-quality video is just not feasible. The MDP3020 MAX is compact and portable, housed in a half-1RU footprint. Dual 1GbE or 10GbE trunk interfaces supporting ST 2022-7 Seamless Protection Switching as well as frame synchronization come standard, as do dual “hitless” 1G/10G data ports.
55 October 2021
BEAM DYNAMICS :: BEAMON Beam Dynamics is introducing BeamON, which the company says is the first product intelligence platform. It’s a single interface for broadcast engineering teams to manage their high-end production technology asset, visualize inventories across department and regions and act upon important product lifetime events. Platform users receive product update notifications, early failure warnings and one unified service process for all vendors represented in their production workflow. The company’s goal is to help users reduce product failure and downtimes.
DELTA DIGITAL VIDEO :: MODEL 7840R 4-CH HD/SD H.265 VIDEO ENCODER As a longtime supplier of video encoders, decoders and video scan conversion products, Delta Digital Video is launching its new Model 7840R 4-Channel H.265 Video Encoder. The company says the rugged, high-performance encoder delivers bandwidth savings with the highly efficient H.265 (HEVC) video compression algorithm. This is all accomplished in the same size, weight and power of our legacy 2-Channel video encoder. In addition to the extra HD/SD-SDI video inputs, the 7840R uses the same physical I/O as the 6820R, making it a drop-in for existing units in real-time telemetering systems. The 7840R meets its customers’ mission’s standards, MISB/STANAG, MILSTD-810, MILD-STD-461/DO160. Mission-ready, mission-proven.
BLACK BOX :: BOXILLA Black Box announced new future-proofing updates to Boxilla, its centralized KVM/AV manager that connects and manages several signal extension solutions enabling centralized secure remote access to an unlimited number of endpoints from one single intuitive access point. Boxilla R2 is interoperable with the existing Boxilla system and works in conjunction with the company’s award-winning Emerald KVM matrix switching system and DKM KVM Matrix Switching solutions to give users full monitoring and control of their entire KVM and AV/IT system — including devices — across the enterprise. New features include the ability to: manage an entire Black Box Emerald KVM-overIP Matrix Switching solution; provide unlimited device scalability; provide instant snapshot and extended management through an intuitive dashboard; manage bandwidth allocation, upgrades, user access rights, automated security alerts and more; monitor and initiate KVM connections with auto discovery for Emerald and DKM systems; enable active directory integration and bonding for multihead user desks; support 25-to-unlimited connected endpoints (each upgradable via optional licenses).
NAB SHOW DAILY EDITION - 2021 NEW PRODUCT GUIDE