TV Technology - 0437 - May 2019 by Future PLC

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KEEP THE CHAINS HANDY, P. 6

LPTV GROUP UPDATES NAME, MISSION

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TVTechnology MAY 2019

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BROADCAST • PRODUCTION • BROADBAND • SATELLITE • MOBILE

➤ ATSC 3.0

—page 14

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—page 22–26

➤ Exhibitor News —pages 34–42

BY BOB KOVACS LAS VEGAS—Crowded, loud, overwhelming, sensory overload … all are observations one could take away from the 2019 NAB Show in Las Vegas. However, to a certain extent, those sensations depended on where you spent your time at the show. In particular, the South Lower Hall seemed the loudest and most crowded to me, with the South Upper Hall taking second place. This reflects the continuing shift of attendees away from traditional over-the-air broadcasting and more toward web-based and streaming video applications, the latter two of which were well represented in the South Hall. There are still plenty of traditional over-the-air broadcast activity at the NAB Show, but there are also lots of non-OTA vendors and activities.

Review

2019 at NAB SHOW

Next Gen TV, OTT, Connected Cars And 8K Shine

NAB SHOW, PAGE 8

Every one of these attendees has a story to tell.

©NAB 2019

The Standard Made Its Presence Known at NAB Show

www.tvtechnology.com TV TECHNOLOGY May 2019

IN THIS ISSUE

TUNE IN TO TVTECHNOLOGY.COM Want to learn more about the most important transition in our industry? Check out our “IP for Media” webinar series. Visit tvtechnology.com/ webinars

MAY 2019 ➤ TVTECHNOLOGY.COM ➤ VOLUME 37, ISSUE 5

2019

2019 NAB Show Focused on Stories Next Gen TV, OTT, Connected Cars and 8K Shine

NAB Show Celebrates Heroes, Innovation and Storytelling

16 12

Google, CBS Tech Execs Tackle Cloud 18

Review NAB Show: Is There Traffic On the ‘Road to ATSC 3.0’? ‘The single biggest opportunity that’s ever been available to the broadcast industry’ Four-Transmitter SFN Powers Show’s ATSC 3.0 Demos Model trains were used to demonstrate the standard in Central and North Halls

Reporters Assess Challenge of Covering Trump

FCC Commissioners Discuss Ownership, Diversity

Telemundo Targets Young Latinos With New Approach to Hispanic Media

What’s New in the Sports Toolbox Graphics, AI and esports in focus

EXHIBITOR NEWS 34

Riedel Reveals Artist System Expansion

Evertz: Flexibility, Reduced Cost for Dynamic Environments

2019 at NAB SHOW 36

JVC Extends CONNECTED CAM Live Production Capabilities

Sony Tech Streamlines Content Creation Workflow

Blackmagic Design Accelerates Editing With DaVinci Resolve 16

Ross Highlights ‘High Impact, High Efficiency’ Production Launches

Harmonic Leverages Microsoft Azure, Akamai CDN for VOS360 OTT Offering

EVS Celebrates 25th Anniversary With New Products

Nine Moves Toward Platform-Agnostic Ad Buying With Imagine

Vizrt Touts Complementary Merger With NewTek

Avid Redevelops, Relaunches Media Compose

AJA Advances Workflows With Ki Pro GO, Converters

Panasonic ‘Smart Studio’ Shows Production Possibilities

Grass Valley Showcases Commitment to IP, Live Production

ChyronHego New Virtual Set Technology Combines AR With Unreal

22–26 Best of Show Winners

EQUIPMENT 33, 40 Product Showcase 41 Classifieds

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4 May 2019 TV TECHNOLOGY www.tvtechnology.com

FROM THE EDITOR-IN-CHIEF

NAB Show and the Tech Behind the Stories W

TVTechnology TVTechnology Vol. 37 No. 5

May 2019

www.tvtechnology.com FOLLOW US twitter.com/TVTechnology CONTENT Content Director Tom Butts, tom.butts@futurenet.com Content Manager

ing technology updates. In his ongoing campaign to push the standard, Sinclair President David Smith used Bill Gates’ prediction that the internet was the beginning of the end for broadcasting as a metaphor for the state of Next Gen TV at this year’s show. “It wasn’t the beginning of the end,” Smith said. “This show is really the end of the beginning. [ATSC] 3.0 really is ready for deployment, and it’s time for this industry to get out of its own way.” FCC Chairman Pai announced that the commission “hopes” to begin accepting

ith all the talk about “storytelling” at the annual NAB Show, sometimes it’s easy to forget about all the underlying technology that goes into creating 4 TOM BUTTS EDITOR-IN-CHIEF it. Given that we are tom.butts@futurenet.com in what pundits like to refer to “peak TV” with the explosion of content for television, it was somewhat surprising that attendance was slightly down this year, but that’s also a reflection of the state of the industry, with consolidation, regulatory and personnel factors all being affected by the ongoing race to an IP future. And make no mistake about it, television is already there, at least on the consumer end. OTT has moved beyond what was just a few years ago a niche service to become the dominant player in original programming. All of this has been enabled by the cloud, which has arguably had the most significant impact on our industry in the past decade. A look on the show floor 8K had an increased presence on the NAB Show exhibit floor. was positive proof, with the applications for the licensing of ATSC 3.0 expanded presence of AWS, Google, Mifacilities by the end of June. crosoft Azure, among others. What was Despite the encouraging trends, a once just considered a repository is now number of questions still remain: Will an essential part of any content workconsumer devices be ready and what flow, with editing, rendering, QC and just form (beyond the traditional TV set) will about any other software-based process. they take? Dongles are only good as a While hardware continues to play an imtransitional stopgap measure but expect portant role, the increasing use of SaaS a number of them to debut by next year’s and microservices that move enterprises CES. from a CAPEX to an OPEX model is an What about CBS and ABC? Neither increasingly compelling model for the have expressed any support for ATSC modern broadcast facility. 3.0 and like their fellow networks, have This year’s show also provided the optheir future sights set on the OTT model. portunity to update the industry’s progAnd what about local broadcasters’ interress toward the anticipated rollout of est? We may begin to see where it stands ATSC 3.0/aka Next Gen TV. The big news once the FCC begins accepting applicaof the show was the announcement that tions but alas, ATSC 3.0 suffers from the the new standard would be deployed in same chicken and egg conundrum as the approximately 40 markets by the end of transition to ATSC 1.0, albeit without the next year, with the expected availability mandate. of consumer products by the 2020 holiFor a portion of the industry, they have day season. more pressing concerns—just staying on Participants in early testing includthe air by meeting their repack deadlines. ing Pearl TV, Sinclair and Wiegel BroadDespite FCC’s declarations that the procasting in Chicago provided encourag-

cess is “on schedule,” the unknown variables of weather and tower crew availability creates enough uncertainty to prompt many to delay their move to Next Gen TV. “I’m not hearing a lot from the broadcasters [about ATSC 3.0], because they’re so focused on the repack,” said Martyn Horspool, product manager, TV transmission for GatesAir. “They are asking questions about ATSC 3.0, but it’s about ‘what do I need to do today to be prepared within the next two to three years.’” 8K was another big theme at the show and a number of exhibitors introduced formatcapable products at the show, including Blackmagic Design, which introduced an 8K live production switcher and deck. Company President Dan May doesn’t think it’s too soon to approach this market. “When we sit down and say ‘look, we want to build these products,’ let’s talk about adding as much value as we can,” May said. “Let’s just make it 8K—not because we think we can sell them for 8K but if I’m going to charge someone $10,000 for a switcher, let’s make sure they’re ready for the future, even if they’re only going to use it as a UHD device for now.” For media companies, 8K is not a consumer product yet, but rather a tool for archiving, mastering and region of interest applications. Thierry Fautier, vice president of solutions and strategy with Harmonic and president of the UHD Forum provided a reality check, emphasizing the attraction of sending 4K content to 8K displays, which the company demonstrated at its booth. “For the content producer, encoder company, there is zero interest in sending 8K to a TV,” he said. “8K content post produced in 4K—that’s what we think is the interesting discussion.” Watch this space for further developments, he added. “I think 8K content on 4K TV is great. And then you can upconvert to 8K, everybody’s happy—production, TV vendors, networks,” he said. “For me, this is my personal bet and I’ll prove that at IBC.”

Terry Scutt, terry.scutt@futurenet.com Content Producer Michael Balderston, michael.balderston@futurenet.com Contributors Gary Arlen, Susan Ashworth, James Careless, Gary Eskow, Steve Harvey, Craig Johnston, Claudia Kienzle, Bob Kovacs, Mark R. Smith and Peter Suciu Production Manager Beatrice Weir Managing Design Director Nicole Cobban Senior Design Director Lisa McIntosh ADVERTISING SALES VP/Media Technology Group Carmel King carmel.king@futurenet.com, 703-852-4602 SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.tvtechnology.com and click on About Us, email futureplc@computerfulfillment.com, call 888-266-5828, or write P.O. Box 8692, Lowell, MA 01853. LICENSING/REPRINTS/PERMISSIONS TV Technology is available for licensing. Contact the Licensing team to discuss partnership opportunities. Head of Print Licensing Rachel Shaw licensing@futurenet.com MANAGEMENT Managing Director/Senior Vice President Christine Shaw Chief Revenue Officer Luke Edson Chief Marketing Officer Wendy Lissau Head of Production US & UK Mark Constance FUTURE US, INC. 11 West 42nd Street, 15th Floor, New York, NY 10036

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LPTV Group Changes Name, Mission focused on the future next gen TV standard,” LAS VEGAS—As the repacking process consaid Mike Gravino, the coalition director, durtinues, the LPTV Spectrum Rights Coalition ing the rally. used its annual LPTV Rally at the NAB Show to announce a change in name and mission. The coalition will now be known as the Next Gen TV Coalition, with its new mission aimed at “leveling the playing field” for independently owned and operated broadcast television licensees. A station’s power level is no longer an issue, as the thousands of Class A, LPTV, civic and noncom TV translator groups Mike Gravino speaking at the LPTV Rally that made up the coalition can now be joined by full-power stations that Gravino continues that the coalition will go from need additional spectrum in their coverage areas a defensive positioning to one that leans toward to implement Next Gen TV. the future, and into the world of Next Gen TV. “With our licensed spectrum rights now “For the past six years we have had to band firmly secured by $150 million in Congrestogether to protect the spectrum we agreed to sional funding for auction and repacking of displacement stations; and with more than two homestead and farm for the Federal government, and now the industry can now finally years of clear sailing ahead with a known and reorient itself to once again be the leading edge already approved process; and further and of innovation and community service,” Gravino most importantly with highly favorable Next said. Gen TV rules to flash cut to the new ATSC 3.0 service, our industry needs to now be hyperMichael Balderston

Streamers’ Top Viewing Choice Remains the TV The beginning of 2019 has shown no signs of the streaming revolution slowing down, as Conviva’s “State of the Streaming TV Industry” report covering the first quarter of 2019 details. However, the TV still holds a strong grip as the chief method for watching the latest content. According to the research firm, streaming viewership grew 72% year-over-year, and the rate of consumption growth increased by 49%. While this growth of streaming includes mobile devices (73% growth) and PCs (55% growth), it is connected TVs that is having the biggest impact. Connected TVs viewership growth came in at 74%, while in terms of hours spent viewing streaming content, TVs were the top choice at 56%. Among available connected TV devices, Roku maintained its lead share of the market at 42.4%, but there was strong growth with Ama-

zon Fire TV, which grew from 11.4% in Q1 2018 to an 18.6% share in the new report. As far as how people are watching, virtual MVPDs—DirecTV Now, Hulu, Playstation Vue and Sling—had a 108% growth in viewership year-over-year; other services came in at 60% growth in the U.S. Sports also remain a key component for viewership numbers, as the College Football National Championship game held the highest peak concurrent viewership of the quarter, 37.6% higher than the Q1 2018 peak event. Super Bowl LIII and March Madness also saw streaming boosts of 157% and 67%, respectively. Not all of the findings were positive. Up to 47% of streaming TV ads are failing according to Conviva, carrying a high cost and impact on engagement. Michael Balderston

OPINION

Keep The Chains Handy, Mr. Goodmon

When it comes to broadcast spectrum, the appetites of others seem insatiable LEAWOOD, KAN.—A few years ago at the ATSC Annual Meeting in Washington, D.C., a reporter asked a simple question to James (“Jimmy”) Goodmon Jr., now president and COO of Capitol Broadcasting Company, during a panel discussion on the impending TV spectrum repack. “What’s your repack strategy?” the reporter inquired. “To chain myself to my tower,” Goodmon retorted, winning nods of approval and laughter from many in the 4 PHIL KURZ audience. After attending a breakfast sponsored by Palo Alto, Calif.-based law firm Cooley LLP at the 2019 NAB Show, I have one piece of advice for Goodmon and other broadcasters interested in maintaining their over-the-air TV service: Keep the chains handy. During the event, former FCC Commissioner Robert McDowell, now a partner with the law firm, conducted a one-on-one interview with current FCC Commissioner Michael O’Rielly. The commissioner, who has demonstrated an interest in TV broadcasters over the years—warning the industry not to fence sit with regards to 3.0 at last year’s ATSC Annual Meeting, visiting Phoenix to view Next Gen TV up close and personal in the Pearl TV-led 3.0 model market and proposing to ease what many see as antiquated children’s TV rules—warned TV broadcasters that he sees another voluntary incentive auction of TV spectrum at some indefinite point in the future. It’s one thing to hear broadcasters, vendors, consultants, industry advocates, pundits and others speculate about the prospect of another auction; it’s entirely another thing to have an FCC commissioner relay such a warning. To be clear, O’Rielly did not say that another incentive auction is scheduled, or even planned, but rather that he’s had a sense since his earliest days at the agency as a commissioner that another auction will occur sometime in the future. Good news, perhaps, for the 858 TV stations that unsuccessfully bid in the reverse auction and were willing to go off air or share a channel for a slice of the pie. But for those who wish to remain, continue serving their local markets and maybe one day soon begin pursuing new revenue opportunities made possible by 3.0, it’s hard to see the silver lining, even if a new incentive auction is “voluntary.” Sure, neither Congress nor the FCC held a gun to the heads of broadcasters to participate in the first voluntary incentive auction. But there were many other individuals and parties who didn’t volunteer to be part of the process but have been forced to respond nonetheless. The most obvious are the repacked TV broadcasters, who didn’t volunteer to change channel assignments and endure the disruptions that it is causing. Nor did the broadcasters who didn’t change channel assignments but had to engage in tower work to accommodate the real estate requirements of repacked tower mates. Ditto FM broadcasters. Then there were the transmitter manufacturers and other RF vendors that held on by their fingernails or actually closed up shop when the FCC shut the construction permit window while it took years to set up the auction. Those companies didn’t volunteer for the pain. Nor have the OTA TV viewers who have been or will be required to rescan –in some instances multiple times—to find the repacked channels they wish to watch. Maybe when the next voluntary incentive auction comes along things will be different, and broadcasters will be in the business of wireless delivery of IP packets. Maybe Congress and regulators will recognize broadcasters as a vital part of next-generation broadband service, a valued part of a National Broadband Plan 2.0. Maybe broadcasters will even be given the chance to bid on their own spectrum, allowing them to disengage from other takeaways. In lieu of that, take a page from Goodmon’s book. Keep the chains handy.

8 May 2019 TV TECHNOLOGY www.tvtechnology.com

NAB SHOW CONTINUED FROM PAGE 1

To get a feel for the overall show, let’s start with the numbers. The official word from the NAB is that the 2019 show’s preliminary registered attendance was 91,460, compared to 2018’s final attendance, which was 92,912. Preliminary registered attendance is based on preshow and onsite registration, and subject to an ongoing audit. “Although total registered attendance was down slightly, the number of attendees who identified as ‘buyers’ was up, which is a positive development for exhibitors, many of whom commented positively about an uptick in business deals at the show,” said Chris Brown, executive vice president for conventions and business operations at NAB. “More than 200 companies exhibited for the first time and were among the nearly 1 million net square feet of space that make up the NAB Show exhibit floor. These new

2019 ACROSS THE WORLD Attendees stream to the NAB Show from all over the world, and each has his or her own expectations and impressions of the show. Some are old hands at attending NAB Shows, while others experienced their first. Brian Scott, from Image Design Productions in Charlotte, N.C., has been to more than 30 NAB Shows, and was looking closely at cameras, among other things. He noticed that there was some 8K gear on the exhibition floor, but found another aspect of the show more interesting. “I think the emphasis on storytelling this year has been really good, because I think that is what we do as a company, whether we’re doing a documentary or doing marketing,” he said. Scott had been to many NAB Shows and knew what to expect, but Taylor Bascue, from PBS station KCWC in Riverton, Wyo., was at his first show. “It’s big—there’s a lot to take in,” Bascue said. “It’s been a lot of fun, and there are a lot of interesting things here.”

Review the sessions. “I’ve signed up for the Post-Production World pass and I’ve gotten to go to a lot of great classes,” she said. “I thought I was pretty good with Adobe Premiere but after going to all these classes, there’s a lot to learn. I got to see Dan Judy, the senior colorist for ‘The 100,’ which was really cool because I like that show.” Macintosh was also a first-time attendee at the NAB Show and gave her perspective on what it was like to walk through the door. “It’s a little overwhelming at first, but I think it is definitely worth coming,” she said.

SUNDAY WILL NEVER BE THE SAME One small change in the schedule of next year’s NAB Show was the subject of some discussion. At the 2020 NAB Show, the exhibition floor will open on Sunday instead of Monday. “Shifting the dates provides professionals the opportunity to attend the show outside of the busy work week, while aligning with our existing education programs,” said NAB’s Brown. “This change is in response to research we conducted and feedback from the NAB Show community at large.” Keep the new schedule in mind as you begin long-range planning to attend next year’s show.

Attendees crowd the Blackmagic Design booth in the South Lower Hall.

The In-Vehicle Experience drew a steady stream of attendees to the North Hall.

exhibitors, along with specialized exhibit areas, reflect the unique position of NAB Show at the center of the convergence of media, entertainment and technology.” There was also a small drop in the number of exhibitors at this year’s show. “In total, 1,632 companies exhibited at the 2019 NAB Show, compared to 1,718 in 2018,” Brown said. “This reflects an industry in the midst of consolidation and transition. Newer technologies, like 3D, VR and drones, have gone through the classic bell curve of innovation and shake out, with an initial rush of new entrants giving way to consolidation and ultimately resulting in a few key suppliers. We were also impacted by global economic factors, including a slowdown in some of the bigger emerging media technology markets like China. We saw a noticeable drop-off in Chinese exhibitors this year versus 2018.”

Bascue said that he was looking at transcoders, decoders, filters and other products to help get the station’s signal out there and cleaned up. MORE THAN EXPECTED Shamillia Rock works at a church in Trinidad and Tobago, and was also attending her first NAB Show. “I was astonished,” she said. “I didn’t foresee the scale [of the show]. I was looking for a camera, but here there are 10 different cameras! There was much more than I expected.” Rock arrived at the show thinking that three days would be too long. “But you really need all that time,” she said, and went on to say what she would be doing next year: “I will surely be back.” One of the draws for attendees is the extensive program of sessions and learning opportunities. Mattie Macintosh, a producer for the University of Nebraska at Lincoln, was effusive in her praise of

WHAT’S TRENDING The attendees I spoke to were generally focused on their specialties and didn’t have a feel for new technologies that were on display. However, members of the NAB’s staff had their thoughts on the latest tech trends. “The two big items I saw at NAB Show were Next Gen TV [aka ATSC 3.0] and connected car infotainment systems,” said Sam Matheny, executive vice president for technology and chief technology officer for NAB. “There were more than 50 exhibitors featuring ATSC 3.0 equipment and solutions, multiple live single-frequency networks and a major announcement of planned deployments in the top-40 markets. In our PILOT booth, we featured televisions from LG, Samsung and Sony all showing Ultra-HD content, while running interactive applications that combine broadcast and broadband connectivity to provide new and improved user experiences. “I thought the new In-Vehicle Experience exhibit area showcased the latest and greatest in how radio continues to play a central role in future infotainment systems,” Matheny said. “There were new and evolved infotainment systems from Audi, Panasonic, Xperi, and many others. There is a lot of new technology coming to the car, and this area highlighted the amazing opportunities broadcasters have to engage audiences in new ways.”

In my 30-plus years of attending the NAB Show, I’ve seen it transition from being predominantly about gear and engineering into a show focused more on the technology of entertainment and how to use it to tell stories. There is still plenty of engineering here, but tens of thousands of non-engineers feel completely satisfied when they attend the show and find content and products to meet their interests. This is a good sign—the broadcast and filmmaking industries have moved beyond their technical roots and now place easy-to-use content creation tools in the hands of more artists than ever before. In the process, there are also far more outlets for this creativity, so that no one has to wonder about how his or her story will find an audience. If you make good content, the audience will find it. “This is a resilient industry, built by people passionate about creating and delivering the best - the most exciting, most visually appealing content possible,” Brown said. “There was a lot of buzz around this year’s theme: Every Story Starts Here. There was widespread acknowledgement that stories are what make this industry hum. The good news is that there are more people and companies out there developing stories than ever before, with video as the preferred medium.” The 2020 NAB Show will take place in Las Vegas, April 18–22, 2020.

10 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Review

NAB Show Celebrates Heroes, Innovation and Storytelling BY SUSAN ASHWORTH

©NAB 2019

The focus was on storytelling at NAB Show, and its Opening Session did not disappoint, from stories about the power of broadcasting to the recollections of a Hollywood star about a magic trick he did on TV as a 10-year-old. From the outset, this year’s show stayed true to its mission of exploring the power of storytelling—how sincere exchanges lead to greater connections with the audience, and how the cutting-edge technology on display is revolutionizing modern storytelling. NAB President and CEO Gordon Smith asked attendees to remember broadcasting’s greatest power: Its commitment to the community. “This vital lifeline is the electronic thread that keeps every community together,” he said. “The story of broadcasting is the story of everyday heroes.” Its role is, if anything, more important today. “When people can access virtually everything in any way, broadcasting’s role is even more critical as people search for a more trusted source of news,” he said. “What makes us so different from competitors is our

TV and stage actor Alan Alda, recipient of the NAB Distinguished Service Award, was met with a standing ovation.

array of exhibits that tell the innovative story of the media and entertainment industries,” he said, including advances in AI, cloud computing, next-generation wireless, esports and connected cars. The NAB continues to be excited to tell the story of Next Gen TV, also known as ATSC 3.0. He described it as a convergence of over-the-air and over-the-top that enables stations to send programming not only to new TVs but to next-gen enabled tablets and phones, and without using cellular data. Benefits include ultra-high definition video, immersive sound, interactive applications and mobility. Holding aloft a white Next-Gen TV attachment connected to a mobile phone, Smith said the device eventually will allow users to watch broadcast programming anywhere on such devices. “While this attachment is great, we want a chip built into the phone,” he said to applause. “We may be on the cusp of a new era of manufacturing that should and could include broadcast reception in devices. But to date, manufacturers, Apple being one, refuse to enable broadcast chips in their devices.” Smith said while he doesn’t often agree with Sen. Eliz-

connection to local communities.” Smith said it is passion for storytelling that brings together broadcasters, content creators and distributors. At the show attendees would see “an astounding

STORYTELLING, PAGE 12

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12 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Review

Google, CBS Tech Execs Tackle Cloud Media companies must adopt “new mindsets” to navigate the steady and fast-paced succession of challenges they face, said John Honeycutt, vice president of Telecommunications, Media & Entertainment at Google Cloud. Leading “The Evolution of the Cloud” session, Honeycutt, who recently joined Google after spending more than 25 years as a broadcaster with Fox and Discovery, said the television industry has been a bit stagnant over 20 years in its technology evolution, failing to deploy solutions that keep pace with where the business is headed. “We continue to operate on linear supply chains for nonlinear content distribution,” he said. A problem facing many media companies is overcoming the fragmented business system touchpoints that an asset must go through before it can be distributed to viewers. “In short, it’s complicated, it’s slow, it’s manual and it’s inefficient. And it has multiple failure points,” he said. Media processes based on legacy infrastructure do not offer the speed and agility required to enable that growth mindset. “Many companies know they have to make this transition. And this transition can only be enabled by beginning the move to the cloud,” he said. However, fully leveraging the strengths of the cloud involves more than simply

STORYTELLING CONTINUED FROM PAGE 10

abeth Warren, he was intrigued by her recent comments about big tech companies. “She said, ‘They’ve bulldozed competition, used our private information for profit and tilted the playing field against everyone else. And in the process, they have hurt small businesses and stifled innovation,’” Smith recounted. “I wonder if this growing tech power is one of the reasons why this consumer benefit is being held back by the manufacturers.” Meanwhile NAB’s advocacy efforts in Washington, he said, remain focused on issues that matter most to broadcasters. “That fight includes urging legislators to oppose the reauthorization of narrow satellite legislation that prevents many viewers from receiving their local TV channels; preventing a performance tax that would cripple local radio stations;

innovation to re-architect media workflows and infrastructures in ways that are native to the cloud. Google has made a major investment in building out infrastructure over the past few years with 19 cloud regions and four more on the way, and it has deployed hundreds of thousands of miles of fiber optic cable, including 13 under-sea stretches, to ensure fast, se-

He was joined on stage by Phil Wiser, chief technology officer of CBS, for a lively exchange about the cloud. At big media companies, a series of separate silos, including those for IT, broadcast operations, engineering and digital, have grown up over the years, said Wiser, who took on his top tech role at CBS at the end of last August. Upon arriving at the network, Wiser

said, he advised CBS to identify “a true North Star” to drive thinking on what a media company should be. “A future media company does not look like one that has these pockets of technology that are distinct as everything converges to IP,” said Wiser. While viewers are consuming content in droves on their mobile devices, a complete strategy is much more than simply about how best to stream video. “It goes all the way back into the datadriven decision-making that’s back in the production process, the distribution process,” said Wiser. Wiser has been pleasantly surprised by the response among various stakeholders at CBS to the cloud. While he anticipated some resistance, the opposite has been the case. “I think there is a real awareness in the broadcast operations side of the business that this transition is important. They are feeling it, and they want to be a part of it.” Production and distribution of Super Bowl LIII served as a catalyzing event to pull together the various teams within the company and tackle how to use the cloud to enable delivery of the game, he said. Wiser also cautioned media companies to be “precise and thoughtful” about their move to the cloud and to find satisfaction in small initial steps that build a feeling of accomplishment. ©NAB 2019

fighting pay-TV companies’ attempts to dismantle the retransmission consent process; and ensuring fair streaming rates that make simulcasting viable for local stations.” Smith then pointed to two heroes of storytelling. TV/stage actor Alan Alda was met with a standing ovation. Alda, whom Smith called “an icon of the American scene,” was honored with the NAB Distinguished Service Award. Forgoing the prompter, Alda, 83, shared a memory that he said recently made him reflect on the impact broadcasting has had on his life. Listening to comedian Steve Allen on the radio as a 10-year-old “changed my life,” Alda said. “I heard this new comedy that I never heard before. All of this [led] me to what I finally became.” That same year, Alda took a chance at being on television. “TV was brand new, and KTLA didn’t know how to fill the day,” he said. One

of the shows would ask members of the public to come in and offer something entertaining. Despite his youth, Alda, who was interested in magic, showed a trick he’d invented that involved pulling a birthday cake out of a hat. “No idea now how I did it,” he said. Though his career started on the stage, his big success came from television and his celebrated portrayal of Hawkeye Pierce on the long-running TV show “M*A*S*H.” “We don’t realize the effect that broadcasting has on other aspects of our lives,” he said. The audience laughed during the Q&A portion of a session with Variety Business Editor Cynthia Littleton, as Alda recalled the fan devotion evident during the airing of that final “M*A*S*H” episode, watched by 105.9 million viewers across the United States. At the first commercial, he said, millions of New Yorkers went to the restroom at the

same time. “It nearly broke the water works.” Later Alda worked on the program “Scientific American Frontiers” and recently started the blog Clear+Vivid on communication. “All of this is because that 10-year-old boy was listening to the radio and was inspired by it,” he said. The NAB also honored veteran journalist Tom Taylor with the NAB Spirit of Broadcasting Award for his lasting contribution to the industry. Taylor, who covered the radio business for 30 years, said he constantly kept in mind the mantra that journalists are here to serve the public. “Successful stations are those who serve their local markets,” he said. Gordon Smith also took a moment at the top of the session to honor Bruce Reese, the former head of Hubbard Radio and Bonneville International and past NAB Joint Board Chair, who passed away the week before the show. ©NAB 2019

shifting workloads from an on-premise data center to the public cloud. “It is an easy way to get started … but only a first step,” he said. What’s needed is continued

cure transport of data, he said. “This is the backbone upon which media companies can build a truly global business,” said Honeycutt.

©NAB 2019

BY PHIL KURZ

From left: Philip Wiser, chief technology officer, CBS Corp., and John Honeycutt, vice president of telecommunications, Google Cloud

14 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Review

NAB Show: Is There Traffic On the ‘Road to ATSC 3.0’? ‘The single biggest opportunity that’s ever been available to the broadcast industry’ BY JAMES E. O’NEAL LAS VEGAS—The “Road to ATSC 3.0” journey in the United States began more than five years ago, and for those waiting for the new DTV transmission standard to start edging out the existing ATSC 1.0, it has been a long one. The question from the back seat, it seemed, was not so much “when are we going to get there?” but rather “are we ever going to get there?” To anyone who “trod the boards” at this year’s NAB Show, it was very apparent that the ATSC 3.0 “road” is finally open for business and ready to start taking high-speed traffic. Perhaps the single biggest news story emanating from the Las Vegas Convention Center this year was the announcement that some of the biggest players in television broadcasting have joined together in an effort to fast-track Next Gen TV’s availability in the 40 largest U.S. television markets. Players in this collaborative effort include Cox Media, Fox, Gray Television, Hearst Television, the News-Press & Gazette Co., E.W. Scripps, Hubbard Broadcasting, Capitol Broadcasting and, of course, the Sinclair Broadcast Group, which has been championing 3.0 practically ever since the ATSC issued its “call for proposals” to develop a new system in 2013. At the press conference, FCC Commissioner Brendan Carr advocated for broadcasters to use ATSC 3.0 to innovate and better compete with telecommunications companies. “It’s important that the FCC authorized broadcasters to start experimenting with ATSC 3.0, giving you the freedom to innovate—a freedom that your competitors and many others in the tech sector already enjoyed,” he said. “And when I think about the ways that broadcasters can use that freedom to innovate, one use case stands out to me: ATSC 3.0 as a new and competitive broadband pipe.” A key component in a successful introduction of ATSC 3.0 in the United States is the availability of receivers to receive the hybrid off-air/IP transmissions. There seems to be movement on this front too, based on a show-time an-

NAB President/CEO Gordon Smith announced the planned deployment of ATSC 3.0 in 40 U.S. markets by the end of 2020.

nouncement from the senior vice president of the Consumer Technology Association’s research and standards division, Brian Markwalter. “We expect CES 2020 will feature a wide variety of reception devices—integrated 4K Ultra HD TVs, gateway receivers, portable devices and more—optimized for reception of Next Gen TV signals,” he said. ATSC 3.0 NO SHRINKING VIOLET AT 2019 SHOW So, aside from these announcements of 3.0 solidarity and support from both broadcasting and consumer electronics sides, what else was there at the 2019 NAB Show to strengthen the belief that ATSC 3.0 will be arriving on these shores

Jae-young Lee

with diminutive CSX freight engines pulling minuscule cars carrying tablets showing off 3.0 over-the-air reception. ATSC 3.0 IN FUTURES PARK While there were plenty of ATSC 3.0 reminders distributed throughout the three exhibit halls, perhaps the largest cluster of devices and demos was found at the Korean exhibit in North Hall’s Futures Park. Korea’s Electronics and Telecommunications Research Institute (ETRI) showed a complete line of ATSC 3.0 dongles, settop converters and home gateways for distributing received 3.0 to companion devices in a user’s home, and more. One of the demos seemed especially relevant, as 8K UHD continues to gain ground. This was the RF transmission and reception of 8K video, something that at the present state of compression technology, even the new ATSC 3.0 standard isn’t quite up to yet in an “ordinary” deployment. As explained by ETRI’s principal research scientist, Jae-young Lee, the 7680x4320 resolution video transmission feat was accomplished by the bonding of two six-MHz ATSC 3.0 channels. “The bitrate needed is about 80 Mbps,” said Lee. “We can accommodate this by

in short order? In a word, plenty! In strolling through the halls this year, it appeared that there were more ATSC 3.0-related broadcast products being shown, 3.0-oriented technical and business presentations going on, and demonstrations of Next Gen TV than at all other previous shows. And promoters of the DTV transmission standard made sure that show attendees didn’t miss Jang Seok Young anything, with copies of “Your combining two standard TV channels. Guide to ATSC 3.0 at the Show” being The channels can be contiguous or nondistributed at a large circular information contiguous.” center in the Central Hall concourse. The He noted that the bonded-channel guide, in addition to flagging all exhibitransmitters and receivers being used tors with 3.0-relevant items or services, were fully compliant with ATSC 3.0 provided a day-by-day schedA/3222, which supports the bonding of ule of events taking place at channels to achieve greater throughputs. a special “Riding the Road to Jang Seok Young, South Korea’s depATSC 3.0” presentation stage uty minister of Science, Information and set up in the North Hall, and Communications Technology, was also even included a reference listat the Korean Pavilion and was asked ing of the “elements” comprisabout the very rapid rollout and acceping the 3.0 suite of standards. tance of ATSC 3.0 in his country, which Even if attendees manbegan more than two years ago. aged to miss the information “As compared to the U.S., South Korea center and guide, there were was in a better position to roll out ATSC other visuals to attract atten3.0,” said Young, speaking through an tion to the new standard in interpreter. “Major broadcasters needed the form of model railroad displays at various locations, ATSC, PAGE 16

16 May 2019 TV TECHNOLOGY www.tvtechnology.com

ATSC CONTINUED FROM PAGE 14

to change their business model, as terrestrial stations [have been losing] market competition against paid TV service providers such as cable, satellite, IPTV and OTT. “ATSC 3.0 has the ability to be connected to the internet, so terrestrial broadcasters can provide more services

2019 were commercially available, he answered in the negative, but did offer that “we’re working with vendors to bring this to market by early next year.” Saanhkya was also showing a complete low-power ATSC 3.0 transmitter designed for mast mounting, which can be used either for deploying service in a small community or as a possible adjunct to an existing wireless broadband carrier’s service to reduce overloading the network when large numbers of customers decided to stream a popular event. A PLEA FROM AN INDUSTRY GIANT With all of the excitement about ATSC 3.0 at this year’s NAB Show, untold thousands of words were spoken there about it and its deployment.

Vasanth Shreesha holds a cellphone enabled for ASTC 3.0 reception via a Saankhya prototype dongle.

and provide better viewing experience,” Young added. “Also, the Korean government put aside 700 MHz spectrum for UHD broadcasting service. This decision drove the industry harder to launch UHD broadcasting using ATSC 3.0 in Korea.” He added that the move to 3.0 NextGen broadcasting in his country has benefitted broadcasters, set manufacturers and consumers alike. MORE ATSC 3.0 HARDWARE At an invitation-only suite shared by the Sinclair Broadcast Group and chipmaker Saankhya Labs at the Wynn, a constant flow of industry representatives wanted to learn more about uses for the tiny low-power ATSC 3.0 integrated circuit that Saankhya unveiled at the International CES in January. Demos have progressed from a “breadboarded” prototype receiver in January, to a fully-developed “dongle” that snaps into a vacant USB port on a handheld device, instantly turning it into a 3.0 TV receiver. According to Vasanth Shreesha with Saankhya, the company integrated their SL3000 chip for demodulating and decoding ATSC 3.0 into a USB dongle that can plug into mobile devices, enabling them to receive the ATSC 3.0 signal and display it. Shreesha said the chipset could equally function as the heart of ATSC 3.0 TVs, set-top boxes and gateway devices. However, when asked if the dongles shown

Review

Sinclair President David Smith

None though, seemed as direct and passionate as those of the executive chairman of the Sinclair Broadcast Group, David Smith, when he addressed a large

audience gathered for a Monday afternoon press event. “ATSC 3.0, as far as I’m concerned, is the single biggest opportunity that’s ever been available to the broadcast industry,” said Smith. “… 3.0 is really ready for deployment and it’s time for this industry to get out of its own way and do what’s clearly in its own best interest … it’s going to be incumbent upon us as an industry to literally coalesce market-bymarket, and get this thing built out for the express purpose of the broadcast industry’s survival. “I would encourage anybody in this industry who has any influence whatsoever to do everything in your power to get your platform rolled out as fast as possible. It’s a matter of life for this industry, and it’s a matter of the public interest and for the public to be served at large in the grand scheme of things.”

Four-Transmitter SFN Powers Show’s ATSC 3.0 Demos Model trains were used to demonstrate the standard in Central and North Halls BY JAMES O’NEAL LAS VEGAS—To provide the RF signals for the “Riding the Road to ACTS 3.0” model train displays, the NAB arranged for a four-transmitter single frequency network (SFN) to be designed and installed at the LVCC to demonstrate both the relative ease with which an SFN could be rolled out using ATSC 3.0 technology and the rock-steady video that the standard delivers to receiving devices that are on the move. Kelly Williams, the NAB’s senior director of engineering and technology policy, described the project as very rewarding and stated that even with the miniscule power being delivered by the network’s “transmitters” (they’re actually ATSC 3.0 modulators Kelly Williams or exciters with no power amplifiers added), he was very pleased with the results at all of the receive sites in the cavernous exhibit halls. “[We found that] the signal had good coverage,” said Williams. “The modulation was set for 16-QAM, as we wanted it to be pretty rugged and robust, and the payload was set at about 10.5 mbps pushing video at about eight, and we’re using Surface Pro tablets with 3.0 dongles as receivers. The results were pretty darn good.”

One of these model railroad demos was set up in the Central Hall Concourse, and two others in the North Hall. Williams explained that the idea for the SFN to complement the ATSC’s “Road to ATSC 3.0” and “Riding the Road to ATSC 3.0” themes came about in a brainstorming session, and that the time from concept to installation at the LVCC was less than four months. “Lynn Claudy (the NAB’s senior vice president of technology) conceived [the SFN idea] around the first of the year,” said Williams. “We always want to do something new here at the show, and we knew we wanted to do some sort of ‘on-the-air’ demo, as we’re broadcasters and we’ve done something that involved being on-the-air for the last three years. In noodling it around, Lynn said ‘why don’t we build an SFN?’” Williams said that John Turner of Turner Engineering was tasked with designing and building the SFN, and once he was on board, things moved out very quickly. Another principal contributor to the demos was Comark, which provided the entire rack of integrated ATSC 3.0 headend equipment and two of the four exciters. “I think we shipped everything to John by mid-February and here we are today,” said Williams. “John is a master of figuring out how to do things that have never been done before.”

18 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Review

What’s New in the Sports Toolbox Graphics, AI and esports in focus BY MARK R. SMITH LAS VEGAS—While attendees at the 2019 NAB Show milled the floor by day and partied into evening, players large and small in the broadcast sports market presented their newest wares to take the user experience to the next level. While the larger players tended to promote product upgrades, smaller companies promoted exciting technologies that, if not necessarily new, were making further inroads into the market.

media sharing network offers unique live control over any XT/XS-VIA production servers available on a network,” said spokesperson Tanya Roberts, “whether working in HD, full HD and UHD-4K.”

the acquisition of U.K.-based Piero Sports Graphics, a sports analysis toolset, from Red Bee Media, of London. It’s used by broadcasters to provide audiences with new angles and virtual views

ENHANCED VIEWS Speaking of upgrades, at NAB ’19 ChyronHego focused on promoting its Paint 7.5 sports video telestration and analysis solution, “which includes enhanced tag and text features that bind to multiple data sources, on multiple rows of text and all parameters from the 3-D model,” said spokesperson Olivier Cohen. (L to R) In the NDI Central Pavilion at this year’s NAB Show, Sam Provencher, Laura Gallagher, Megan Also on the company’s plate was VirGustafson and Dan Gustafson from SportzCast demonstrated ScoreHub, designed to work with aptual Placement 7.1, which Cohen called proximately 150 types of scoreboards across the U.S. a “simple-to-use solution” that allows of sports events through 3-D for the placing of virtual elegraphics and image recognition; ments into a live scene, such and by sports teams as a coaching as sponsor advertisements tool to guide players and improve (see the sidebar section about performance. Anzu). Scene tracking, ChyKevin Cottam, director of sports ronHego’s latest method of and live events for Ross, said the optical tracking, allows viracquisition “is a perfect completual placement to gather metment to our industry-leading rics without using pitch lines XPression Graphics and VS/AR or sensors. offerings” because it offers cusChyronHego also featured tomers a new avenue for storytellClick Effects PRIME 3.5, an ing and sponsorship engagements. arena graphics creation and custom digital display control PLUG IT solution noted for its singleSmaller companies also offered click action. “While competing solutions force you to Tedial showcased SMARTLIVE, a live sporting event production tool that upgrades to existing technologies at NAB. SportzCast provides realscript every configuration acquires data from various sources and automatically sets up its logtime scoreboard data for broadchange, Click Effects PRIME’s ging screen for multiple uses. casts and webcasts, now with its no-scripting approach to dataupdated ScoreHub technology. The company launched a new, flexbinding and extremely low operating That may seem a rudimentary funcible ingest-to-post solution for multicam cost means fan engagement is always tion, but consider the vastness of that studios, combining two new products: your first priority,” said Cohen. “[It’s] a market. SportzCast Director of MarketXS-NEO, its first software-defined server powerful resolution and format agnostic ing and Sales Sam Provencher said that relying on the new VIA software engine, graphics system for the sports arena that device is designed to work with “about hybrid IP/SDI connectivity, simultaneous allows graphics and clips to play out in 150 types of scoreboards across the U.S. multiformat support including cinematic HD, 4K, HDR via SDI, IP 2110-2022-6, Daktronics, for instance, has about 50 24p frame rate; and IPD-VIA Ingest, the DVI or NDI, with a high level of channel models, all with individual specs. Scorefirst application of its next-generation of density.” Hub can pull the data out of every one.” EVS Media Asset Management relying EVS showcased how its latest VIA While most professional and major on the VIA platform, with a brand-new technology connects creative teams, recollege stadiums offer LED scoreboard HTML-5 web browser, enabling intuitive duces technical demands and enables technology, “we still have more than control over content. more efficient live IP-based productions. 1,000 clients that use matrix boards,” The big news from Ross Video was “The new XNet-VIA ethernet-based live

Provencher said, like colleges, high schools, the minor league franchises, etc. What separates SportzCast in the market, he said, is that ScoreHub connects physically to any technology at the scorer’s table, in the press box, etc., and that the new model is wireless and works with systems that cover “about 99 percent of the U.S., and we’re adding more overseas.” While the bulk of the company’s profits come from working with production trucks at large venues for ESPN, Fox, regional sports nets, etc., the 10-yearold Winter Springs, Fla.-based company has always honed in on smaller markets. “Plenty of small venues now have an LED board, too,” Provencher said, “and we can often take data from one venue and send it to a number of other schools in a school district, for instance, that present real-time scores and data on their websites.” AI-DRIVEN Tedial showcased SMARTLIVE, a live sporting event production tool that acquires data from various sources and automatically sets up its logging screen for multiple uses. It’s 100% compatible with EVS data, according to Jay Batista, general manager of U.S. operations, and relies on artificial intelligence for speech-to-text commentary and annotates video proxy, both in a fraction of a second. “That allows users to set key words and key events—such as the offensive line of a football team getting into the set position, for instance—and automatically make a clip; then use those, with like clips, to make automatic highlight reels,” Batista said. “The reels are then used for production in the truck or can be set as a social media campaign that enables the insertion of advertising.” Batista also said it’s a great tool for smaller productions, like a small college basketball game. “It’s a software-as-aservice tool that’s meant to be connected to a truck with EVS. It’s also a new key to saving truck content that has traditionally been discarded, as it expands the truck’s capabilities to work in tandem with the studio.” Tedial is set to roll SMARTLIVE out “by June to three customer locations,” he said. What’s next? IBC this fall and the intro of multi-camera, as well as multi-venue, feeds, “which will allow the user to garner content from 10 games at once.”

www.tvtechnology.com TV TECHNOLOGY May 2019

Esports Takes the Stage in North Hall With the growth of esports creating opportunities for broadcasters and the wider media industry, the 2019 NAB Show featured the debut of the “Esports Experience” in the Las Vegas Convention Center’s North Hall, as the once-emerging form of content is becoming more mainstream, requiring higher levels of production and distribution. “The increasing popularity of esports is attracting attention and investment from traditional and new media alike,” said Ann Marie Cumming, senior vice president of communications. “By all indications, NAB Show’s attendee base is very interested in the developments related to this exciting medium.” Topics up for discussion included brand integrations; implications of 5G; live events that are held in venues such as the 30,000-square-foot, multilevel HyperX Esports Arena, at the Luxor on the Las Vegas Strip; collegiate and amateur esports; broadcast infrastructure; convergence of esports and TV; storytelling and Hollywood IP; and game development. Anzu, another company that’s keened in on the esports market, exhibited at the Sprockit Hub, also in North Hall, which featured startups. The company, based in Greece, has developed a new in-game advertising ecosystem that crosses digital game worlds, where ads are blended directly into the setting.

2019

Review

personalization capabilities, and ads can even be based on an event that occurs during the game session,” said Vasilyeva. “From the game developer’s angle, they can integrate the technology into the game, take control over ad placements and add as many ad spaces as they want, which leads to greater monetization opportunities.” Anzu acts as a middleman between the game developers and advertisers. “After the integration of Anzu, we start selling ad spaces to brand advertisers and advertising agencies, matching their preferences with the right game audiences via Anzu’s private marketplace; and also programmatically, using the real-time bidding technology (RTB),” she said. “We’ve brought interactivity, brand safety and RTB to the in-game world at scale and have already partnered with a number NAB Show’s new Esports Experience in the North Hall sponsored a Fortnite of big game studios and brand name advertisers.” Tournament As for the Esports Experience, it “was a success by all measures with well-attended sessions Anzu gives advertisers “another way to promote products and lots of activity and excitement surrounding the live gaming to the unicorn [or premium] audiences they could never reach before—on PC, console, mobile and in the esports space, dur- component, in which attendees could observe professional teams and also have the opportunity to play themselves,” said ing actual game competitions,” said Natalia Vasilyeva, vice Cumming. “It was a popular destination for attendees, and the president of marketing. “So advertisers can now advertise sponsors appreciated the exposure it provided.” in-game and engage the players without disrupting their user On that note, she said to look for the eSports Experience experience.” One advantages of Anzu is that the creative can be updated next year, “perhaps with an even larger footprint.” Mark Smith dynamically. “The platform offers advanced targeting and ©NAB 2019

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20 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Review

Reporters Assess Challenge of Covering Trump BY MIKE MALONE

(L to R): White House correspondents Cecilia Vega with ABC News, Steven Portnoy with CBS News, Hallie Jackson with NBC News, Yamiche Alcindor with “PBS NewsHour” and NAB President and CEO Gordon Smith

dent tweets or makes news after hours. The participants discussed the president’s frequent dismissal of the press corps as creators of fake news or even an enemy of the American people. Portnoy provided historical context, saying President Woodrow Wilson complained about “fake” news over a hundred years ago. Alcindor said some U.S. communities have been skeptical of media long before Trump began questioning it.

Journalists must meet a high standard to prove naysayers wrong, the correspondents said. “We cannot give them that, that argument—that we’ve screwed it up,” Vega said. She drew applause when she described the president’s enemy of the people phrase as “very dangerous language.” Jackson said reporters must make sure that their tone as well as their words are appropriate. “So much of what people in

©NAB 2019

What’s it like to cover the most untraditional presidential administration in modern times? The panel “Beyond the Briefing Room: Tales From the White House Beat” saw reporters who cover President Donald Trump break down the nuances of covering his presidency. Hallie Jackson, chief White House correspondent, NBC News; Steven Portnoy, White House correspondent, CBS News; Cecilia Vega, senior White House correspondent, ABC News; and Yamiche Alcindor, White House correspondent, “PBS NewsHour,” comprised the panel. “This is gonna be fun,” said moderator Gordon Smith, NAB president and CEO, as the session kicked off. The correspondents talked about the 24/7 challenge of covering President Trump, a task Vega likened to drinking from a fire hose. Alcindor said she’d long resisted acquiring an Apple Watch but uses one to wake her up when the presi-

the media say viewers take offense to is tone,” she said. “If you say it in a kind of nasty way, that does undermine your credibility.” Sometimes reporters become the story, perhaps when the president lights into them after a tough question. Most on the stage had been through that and none relished it. “We have become the story unwillingly,” said Vega. TRUMP, PAGE 28

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2019 at NAB SHOW

This year TV Technology celebrated excellence for the sixth year in a row at the 2019 NAB Show with the Future Best of Show Awards! Congratulations to this year’s winners! You can read about all the nominees in our Best of Show Nomination Guide available at tvtechnology.com.

Jerry Agresti, Thomas P. Jennings, Ron Laurence and Brian Curry of Accelerated Media Technologies bask in the sun and their Best of Show win for AMT’s Quick Response Vehicle-IP.

Alteros’ Director of Sales and Marketing Jonathan Novick shakes the hand of TV Technology Content Director Tom Butts following the Best of Show win for the GTX-FX8 direct-to-fiber system.

The BB&S Lighting booth was able to show some additional hardware after its Area 48 Color Lighting Fixture was named a Best of Show winner; Toby Sali and founder Peter Plesner accepted the award.

Best of Show winners for the Emerald Unified KVM Platform, the Black Box team—(from top left) Bill Frazier, Douglas Kuzma, Josh Whitney, Merle Farquhar, Ed Krach, Tom Fitzgerald, Joshua Sellers, Chris Hsu and Max Kryvenko—pose with the award.

Norwegian-based Bridge Technologies left Las Vegas with a Best of Show award for its VB440 IP Probe with Instrument View, shown here with Chairman Simen K. Frostad.

Darren Lew, senior product manager with Blackmagic Design, receives the Best of Show award for the ATEM Constellation 8K Switcher.

Brightcove was among the Best of Show winners, as Chief Revenue Officer Rick Hanson accepted the honor for the Brightcove Live platform.

Advantech General Manager Ween Niu displays the Best of Show award won for the VEGA6-6304 8K Broadcast Video Encoder.

Mike Callahan, AWS head of media solutions marketing, was all smiles after AWS Elemental MediaConnect received the Best of Show award.

Ari Baron of Bittree alongside the Best of Show-winning Patch32A Dante Patchbay.

With a Best of Show win for the 9 Series 1-inch sensor 4K PTZ camera, Bolin Technology CEO Hoi “Kyle” Lo accepts the award.

Canon Senior Fellow Larry Thorpe accepts the Best of Show for the DIGISUPER 122 camera.

Larry Thorpe with Canon’s second Best of Show Award for its CJ18ex28B and CJ15ex8.5B lenses.

The spotlights were on Cineo Lighting - and Marketing Manager Ashley Hutchings - after winning the Best of Show award for the LightBlade Edge modular lighting system.

Jacob Jeevanayagam, Francesco Meo and Pavani Reddy Barenkabi share in the celebration after Cisco’s IP Fabric wins a Best of Show award.

Clear-Com’s Mitzi Dominguez and Simon Browne accept the Best of Show Award for the company’s V-Series Iris.

Cobalt added another award to go along with their Emmy, as Suzana Brady accepts the Best of Show Award for the 9992 Compression Series.

Bogdan Frusina, founder and CTO of Dejero, and the Best of Show-winning CuePoint low latency return feed server.

The ENCO Systems enTranslate automated live translation platform was a Best of Show winner, shared here by ENCO President Ken Frommert and Product Manager Matt Walther.

Evertz Marketing Manager Bob Fung accepts the Best of Show for MediaFlow.

Glensound, represented here by Managing Director Gavin Davis, won a Best of Show Award for its Divine AoIP PoE powered monitor.

With the award-winning vCN behind him, Jérôme Floch, Enensys Technologies’ product manager, holds up the Best of Show plaque.

Bob Fung, marketing manager with Evertz, holds up the company’s Best of Show award for the evEDGE virtualized processing services system.

Grass Valley was a two-time winner of Best of Show Awards this year, first here for the Creative Grading, accepted by Ronny van Geel, director of product management, ...

Enensys Director of Product Marketing Laurent Roul touts TestTree’s ReFeree 3 in one hand and its Best of Show award in the other.

Standing beside the award-winning XM311K 31-inch 4K HDR Mastering Monitor, Flanders Scientific CEO and General Manager Bram Desmet displays the Best of Show plaque.

2019 at NAB SHOW

...and also for the GV Stratus One, shared here with Damon Hawkins, product manager, and Drew Martin, technical product manager.

Joseph Turbolski, vice president of sales and marketing, and Richard E. Fiore Jr., president and CEO from Hitachi flank the Best of Show-winning E-Compact model EC710MP-BB.

Louise Moggio of Imagine Communications receives the Best of Show Award for the company’s xG GamePlan ad inventory optimizer.

Craig Yanagi, JVC’s national marketing manager, holds up the Best of Show award that was given to the GY-HC550 hand-held broadcast camcorder.

Limelight’s Keith Weinberger, director of product management, video, and Steve Miller Jones, vice president of product strategy, proudly display the Best of Show award for the Limelight Realtime Streaming device.

Miroslav Wicha, chairman, CEO and president of Haivision, beams following the Best of Show win for the Secure Reliable Transport technology (SRT).

Harmonic was a Best of Show winner for its Primary Distribution Solution, with Jean Macher, director of broadcast market development, accepting the award for the company.

Hitachi’s second Best of Show award, Engineering Manager Emili Aleman holds up the award alongside the SK-HD1800 production camera.

TV Technology Content Producer Michael Balderston presents the Best of Show Award to IHSE President and CEO Manny Patel for the Draco Ultra DisplayPort.

The Interra Systems team - Shailesh Kumar, Sanjay Rao, Sanjay Mittal, Asish Kumar Das Bera and Benjamin Rapoport celebrate the Best of Show win for the WINNOW Classification & Compliance system.

Marketing & Communications Executive Nils Finger and Director of Business Development Katty Van Mele of intoPIX receive the Best of Show award for the FastTICO-XS lowlatency software codec.

Tom Butts congratulates Leader Director of Sales Peter Anderson for the LV5900 8K waveform monitor’s Best of Show win.

Anderson shares in another Best of Show award for the LV5600 SDI/IP hybrid waveform monitor with Hiromitsu Matsubayashi, Leader’s president.

LiteGear President and CEO Al Demayo stands by the Best of Show winning LiteMat Spectrum.

Winning for the LiveU Matrix cloud video management platform, the Best of Show award was accepted by Product Manager Christopher Perry.

Pete Challinger represents Lupo Srl, which was a winner for its Superpanel Full Color 60 RGBW LED panel.

Mary Spangler accepts the Best of Show award for the Pro Convert SDI/ HDMI to NDI converters from Magewell Electronics.

Make.tv earned itself a Best of Show award for the newsroom in the cloud Live Video Cloud system; CEO Andreas Jacobi accepted the award.

Earning a Best of Show Award for the DSX LE5 Q25 ST 2110 NIC card, Matrox’s Jennie Kimpel smiles for the camera.

Nick Garvin, Philip Garvin, Dale Canino and Mark Chiolis share in the Best of Show win for Mobile TV Group’s 45 Flex IP mobile production unit.

In front of the winning VMC Software, Brian Olson and Scott Carroll of NewTek receive the Best of Show plaque; NewTek also won for its NDI 4.0.

Jim Wickizer and Harry Patel of Panasonic celebrate a pair of Best of Show wins for Panasonic, for the company’s AW-UE150 4K/60p pan/tilt/zoom camera and AG-CX350 4K handheld camcorder.

Prime Focus Technologies’ Nick Kaimakami, T Shobhana and CEO Ramki Sankaranarayanan accept the Best of Show Award on behalf of the company’s AI-led Promo Assistance.

Pronology’s Jonathan Aroesty places the Best of Show Award for the rNAS.m3 ruggedized, high-performance NAS next to its previously won Emmy.

Stephen Kraft, next to Dr. Alexander Hackmann, gives the thumbs up after winning the Best of Show Award for Rohde & Schwarz’s Prismon.cloud monitoring solution.

The first of two Best of Show Awards for Ross Video was presented to Nigel Spratling for the Carbonite Ultra UHD production switcher.

Ted Korte, Qligent chief technology officer, proudly displays the Best of Show Award earned for the Vision Analytics-Churn Prevention platform.

2019 at NAB SHOW

The second of Ross’ wins, accepted here by Todd Riggs and matt Zimmer, was for the Ultritouch System control panel,

Signiant’s Andrew Belo accepts the Best of Show Award on behalf of the Jet SaaS solution.

2019 at NAB SHOW

Vice President Dan Gustafson and the rest of the Sportzcast team scored a Best of Show Award for their ScoreHub data and graphics distribution system.

Michael Potts and David Rosen of Sony share in one of two of the company’s Best of Show awards, this one for the Ci MediaLog.

The Live Element of Orchestrator was the second of Sony’s wins, accepted here by Deon LeCointe, Tsuyoshi Nakao and Osuke Kubo.

Tektronix, represented her by Applications Engineer Andrew Scott, were Best of Show winners for its Aurora 7.0 File QC.

The team at Telemetrics responsible for the award-winning RCCP-2A Robotic Camera Control Panel includes (l-r): David Workman, Director of Sales & Business Development; Anthony Cuomo, President; Ed Lopresti, Design Engineer; Michael Cuomo, Vice President; and Sergio Penetra, Design Engineer.

All smiles after the win, Telestream’s Scott Murray holds up the Vantage Cloud Port’s Best of Show Award.

Teradek’s Bolt 4K wireless video technology won the Best of Show Award, and David Bredbury, Dorian Backus and Tim Malooly embrace after hearing the news.

Broadcast Equipment Division Managing Director Charlie Shin gives the thumbs up after TV Logic wins two Best of Show awards, one for the F-7H mk2 field monitor (pictured) and another for the IS-mini 4K video color processor.

Eric Chang of TVU Networks stands beside the Best of Showwinning TVU One 4K cellular mobile transmitter.

The entire Vislink team reveled in the Best of Show win for the company’s HCAM 4K UHD wireless camera solution.

Enensys Director of Product Marketing Laurent Roul touts TestTree’s ReFeree 3 in one hand and its Best of Show award in the other.

Kevin Grubiss and Ken Rubin from Vela receive the Best of Show award for the Encompass Compliance Monitor SmartLogger.

Phil Owens, Dave Breithaupt, Paul S. Picard, Scott Gerenser and Brad Harrison stand with Wheatstone’s Best of Show-winning Strata 32 digital audio television console.

www.tvtechnology.com TV TECHNOLOGY May 2019

2019

Review

FCC Commissioners Discuss Ownership, Diversity Three FCC commissioners shared the stage for the panel “Raining 3s: A Q&A With FCC Commissioners O’Rielly, Carr and Starks.” Gordon Smith, NAB president and CEO, introduced Michael O’Rielly, Brendan Carr and Geoffrey Starks, describing the panel as “unusually important.” Moderating the session, Rick Kaplan, NAB executive vice president of legal and regulatory affairs, brought up the subject of ownership of TV stations. Carr said ownership rules were scripted when a morning paper and an evening newscast represented the extent of local news voices. “The market you all compete in today is vastly different,” he said, mentioning Pandora, Spotify and the “Silicon Valley giants” as prominent competitors to local TV. “We’re mindful of the tremendous competition you are facing.” He also described the importance for a regulator to get out and about to see how ownership groups operate. Starks, the only Democrat of the three, mentioned the practice of some large broadcast operations of writ-

©NAB 2019

BY MIKE MALONE

nos, 12 by African-Americans and 10 by Asians. “Diversity in media ownership is something that’s become critically important to me,” he said, calling it “deeply troubling” when station ownership does not reflect the nation generally. Starks cited access to capital as an issue for minority ownership, along with access to opportunity. O’Rielly brought up a program designed to bring more minority owners into radio. “We have an incubator program on the radio side, how do we do it on the TV side?” he said. Carr mentioned the struggles newspaper owners are going through, and said they might have been helped by changes years ago in newspaper/ station cross-ownership limitations. “It’s really incumbent on us to update (L to R): FCC Commissioners Geoffrey Starks, Brendan Carr and Michael O’Rielly and session moderaour rules, to understand tor NAB Executive Vice President of Legal and Regulatory Affairs Rick Kaplan the marketplace,” he said. TV station sales were lively in 2018, Starks noting ing news scripts to be shared throughout their groups that they outpaced transactions the year before. “This is and across the country. Without singling out any comstill a nice, robust business,” he said. panies, he lamented a lack of localism in such cases. When Kaplan asked about the TV repack, O’Rielly He also cited statistics of more than 1,300 TV stations nationwide, 102 are owned by women, 62 by LatiFCC, PAGE 28

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28 May 2019 TV TECHNOLOGY www.tvtechnology.com

FCC CONTINUED FROM PAGE 27

said he is “generally pleased with where things are at the moment.” Carr noted that he had climbed a broadcast tower in Rowena, S.D., and developed a new appreciation for what tower teams accomplish.

2019 Carr said he considers the incentive auction to have been a success, and O’Rielly noted that the demand for midband spectrum is “off the charts.” O’Rielly saluted his fellow Republican, FCC Chairman Ajit Pai, for clamping down on pirate radio, and said some politicians advertise on illegal stations, calling it “not acceptable behavior.” On

Review the subject of Equal Employment Opportunity, he also stressed that broadcasters don’t need a government mandate in their EEO efforts. “The vast majority of broadcasters are doing a wonderful job,” he said. As the panel wound down, each of the commissioners saluted broadcasters for their efforts when extreme weather

and other calamities hit their communities. “In times of crisis, no one stands up bigger than the broadcaster,” said O’Rielly. Carr admired how stations that normally compete ruthlessly will work together when it comes to covering these crises. “Hopefully you’ll find the FCC a good partner in those efforts,” he said. The FCC returned to full strength in January when the U.S. Senate confirmed Starks and approved Carr to a full term. Jessica Rosenworcel holds the remaining seat. ©NAB 2019

TRUMP CONTINUED FROM PAGE 20

They stressed the importance of sticking with a line of questioning amidst such an attack. “If I get in the mud, I don’t think I’m going to get my question answered,” said Vega. They also spoke of following up another reporter’s question if that person has been shot down by the president. The correspondents lamented a lack of daily briefings at the White House but described Press Secretary Sarah Sanders as accessible. Gordon Smith brought up the Mueller report and asked what news might come next about that investigation. “We’ll all be diving into the report when it comes out,” said Portnoy (Editor’s note: this event took place a week before the report was made public). Vega referred to this as “a defining moment” of the Trump presidency, adding, “I think the jury is still out.” While many in the public may hold media in low esteem, Smith noted that young people are clamoring to get into journalism. Vega picked up on that theme: “In my lifetime, there’s never been a better time to be a journalist,” she said, citing “Watergate-level” work from the likes of the New York Times and Washington Post. “I hope it is inspiring people to get into this business.” Jackson offered advice for students in journalism school. “Do it, do it hard and do it well,” she advised. When asked what might happen on Election Day 2020, none of the panelists would bust out a crystal ball. But Alcindor did offer a plug for local journalism. “I implore people to support their local news,” she said. “It’s so integral to understand what’s going on in the country.” That prompted hearty applause from the audience. ©NAB 2019

30 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Review

IS YOUR VIDEO MICROWAVEYoung Latinos Telemundo Targets With New Approach to Hispanic Media BY BOB KOVACS

PREHISTORIC?

During a morning NAB Show session,

DON’T REPAIR. REPLACE WITH MOSELEYvice president and Mónica Gil, executive

DTV LINK-A

Telemundo, part of the NBCUniversal family of networks and media outlets, has lately been a ratings powerhouse in its targeted Latino demographic. With shows such as “La Voz,” “Exatlon,” “Betty en NY” and several other original series, Telemundo seems to be leveraging its new Miami headquarters and production center to deliver Latino entertainment and news in the U.S. with a hipper, more modern approach. This is not your abuela’s telenovela network.

chief marketing officer for NBCUniversal Telemundo Enterprises, discussed the network’s recent ratings successes, how it turned its fortunes around and how it is approaching the 2020 U.S. presidential election. She was interviewed onstage by A.J. Katz, a TV/media reporter for Adweek and co-editor of Adweek’s TVNewser blog. “About two years ago we made a decision that we wanted to redefine Hispanic media,” Gil said. “We wanted to make sure that we would be the choice

IS YOUR VIDEO MICROWAVE

PREHISTORIC? IS YOUR VIDEO IS YOUR ISISMICROWAVE YOURVIDEO VIDEOMICROWAVE MICROWAVE IS YOUR YOUR VIDEO VIDEO MICROWAVE MICROWAVE PREHISTORIC? DTV PREHISTORIC? PREHISTORIC? IS YOURLINK-A VIDEO MICROWAVE PREHISTORIC? PREHISTORIC? DTV DTV LINK-A DTV LINK-A DTV LINK-A LINK-A DTV LINK-A DON’T REPAIR. REPLACE WITH MOSELEY

AJ Katz and Mónica Gil

and voice for Latinos today who represented the ‘U.S. experience,’ and wanted to make sure that our programming was for Hispanics in the United States, made by Hispanics in the United States.” Gil noted that much of previous Latino-oriented content was based on the tried-and-true telenovela format that featured a love triangle, a villain and a med-

FUTURE PROOF: REPACK & ATSC 3.0 READY

DON’T REPAIR. REPLACE WITH MOSELEY REPAIR. REPLACE WITH MOSELEY DON’T REPAIR. REPLACE WITH MOSELEY Replace your aging microwave link with powerful DON’TDON’T REPAIR. REPLACE WITH MOSELEY DON’T REPAIR. REPLACE WITH DON’T REPAIR. REPLACE WITH MOSELEY MOSELEY

to a mobile entertainment lifestyle as any other American, and this means creating content for all platforms, including some content specifically targeted at mobile users. “We received a grant from YouTube to do the very first altEnglish newscast for Hispanics, so we’re able to experiment with language more,” Gil said. “And we’re already on streaming services such as Netflix and Hulu. Our goal is to help [our viewers] discover the new ways across multiple platforms.” The conversation turned to the upcoming presidential election and preliminary electoral events, such as debates. “We will be launching a full campaign around the election that will consist of

technology for less than the cost of repair. DTV Link-A STL/TSL is an economical digital video microwave link two years ago we made a decision that that delivers DVB - ASI streams together “About with Gigabit we wanted to redefine Hispanic media.” Ethernet to and from your HDTV transmitter site. DTV —Mónica Gill, NBCUniversal FUTURE PROOF: REPACK & ATSC 3.0 READY Telemundo Enterprises Link-A is perfect for future upgrades, transporting both ATSC 3.0REPACK and ATSC 1.0 simultaneously. your aging microwave link3.0 with powerful FUTURE Replace PROOF: REPACK & ATSC 3.0 READY FUTURE PROOF: & ATSC READY DON’T REPAIR. REPLACE WITH MOSELEY

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dling mother. Although that had been a FUTURE REPACK & ATSC 3.0 READY technology forPROOF: less than the cost of repair. DTV Link-A successful strategy for years, programFUTURE PROOF: REPACK &&ATSC 3.0 READY Replace your aging microwave link withdigital powerful Replace your aging microwave link with powerful FUTURE PROOF: REPACK ATSC 3.0 READY STL/TSL is an economical video microwave link • DVB-ASI, 4xGigE • 2xE1/T1 • Optional 8x DVB-ASI + SMPTE 310 thought they were mers at Telemundo Replace your aging microwave link with powerful Replace your aging microwave link with powerful Replace your aging microwave link with powerful technology for less than the cost of repair. DTV Link-A not giving the young, raised-in-the-U.S. for less than the cost of repair. DTV Link-A technology for less than the cost of repair. DTV Link-A thattechnology delivers DVB - ASI streams together with Gigabit technology for less than the cost of repair. DTV Link-A Replace your aging microwave link with powerful • Data Rates up to 155 Mbps • 1.5 – 13 GHz frequency Bands Latino demographic content that was technology for economical less thanmicrowave thedigital cost video oflink repair. DTV Link-A STL/TSL is an economical digital video STL/TSL is an microwave link STL/TSL is an economical digital video microwave link Replace your aging microwave link with powerful Ethernet to and from your HDTV transmitter site. DTV STL/TSL is an economical digital video microwave link relevant to their modern, mobile-centric technology foreconomical less than the cost of repair. DTV Link-A STL/TSL is an digital video microwave link that delivers DVB - ASI streams together with Gigabit that delivers DVB --1+1, ASI streams together with Gigabit that delivers DVB ASI streams together with Gigabit • an 1+0, 2+0, 2+2 redundancy and lifestyle. technology for less than the cost of repair. DTV Link-A that delivers DVB ASI streams together with Gigabit STL/TSL is economical digital video microwave link perfect for upgrades, bothcomplex configurations delivers DVB - future ASI streams with Gigabit Ethernet to Link-A andthat fromis your HDTV transmitter site.together DTV transporting Ethernet to and from your HDTV transmitter site. DTV The network shortened its series to Ethernet to and from your HDTV transmitter site. DTV that delivers DVB - ASI streams together with Gigabit Ethernet to and from your HDTV transmitter site. DTV STL/TSL is an economical digital video microwave link Ethernet to and from your HDTV transmitter site. DTV ATSC 3.0 and ATSC 1.0 simultaneously. • Built in Web Server Interface & SNMP 10 or 13 episodes and looked for storyLink-A is perfectLink-A for future upgrades, transporting both is perfect for future upgrades, transporting both Link-A is perfect future transporting both Ethernet to andfor from yourupgrades, HDTV transmitter site. DTV Link-A is perfect for future upgrades, transporting both lines “ripped right from the headlines.” Link-A is perfect for future upgrades, transporting that delivers DVB - ASI streams together withboth Gigabit ATSC 3.0 and ATSC 1.0 simultaneously. ATSC 3.0 and ATSC 1.0 simultaneously. ATSC 3.0 and ATSC 1.0 simultaneously. Link-A is perfect for future upgrades, transporting both “This may not sound like rocket sciATSC and 1.0 simultaneously. ATSC 3.0 3.0 and•ATSC ATSC 1.0 •Ethernet DVB-ASI, 4xGigE 2xE1/T1 •simultaneously. Optional 8x DVB-ASI + SMPTE 310 to and from your HDTV transmitter site. DTV ence, but it had never been done in ATSC 3.0 and ATSC 1.0 simultaneously. • DVB-ASI, 4xGigE •• DVB-ASI, 2xE1/T1 •4xGigE Optional 8x DVB-ASI + SMPTE 310 BE DON’T A DINOSAUR • 2xE1/T1 • Optional 8x DVB-ASI + SMPTE 310 Spanish-language television,” Gil said. • DVB-ASI, 4xGigE •155 2xE1/T1 • Optional + 310 • Data Rates up tofor Mbps •upgrades, 1.5 – 8x 13DVB-ASI GHz frequency Link-A is perfect future transporting both • DVB-ASI, 4xGigE • 2xE1/T1 • Optional 8x DVB-ASI + SMPTE SMPTE Bands 310 • DVB-ASI, 4xGigE •13 2xE1/T1 • OptionalBands 8x DVB-ASI + SMPTE 310 “We also start[ed] doing racier headlines • Data Rates up to 155 Mbps • 1.5 – GHz frequency Data Rates up to 155 Mbps • 1.5 – 13 frequency Bands •• 4xGigE 2xE1/T1 • Optional 8x GHz DVB-ASI + SMPTE 310 • DVB-ASI, Data Rates up to• 155 155 Mbps • 1.5 – 13 GHz frequency Bands ATSC 3.0 and ATSC 1.0 simultaneously. • 1+0, 1+1, 2+0, 2+2 redundancy complex configurations • Data Rates up to Mbps • 1.5 –and 13 GHz frequency Bands and different storylines. We made wom• Data Rates up to 155 Mbps • 1.5 – 13 GHz frequency Bands • 1+0, 1+1, 2+0, 2+2 and complex •redundancy Data1+1, Rates up to 155 Mbpsconfigurations • 1.5and – 13complex GHz frequency Bands • 1+0, 2+0, 2+2 redundancy configurations • 1+0, 1+1, 2+0, 2+2 redundancy and complex configurations • 1+0, 1+1, 2+0,in2+2 redundancy and complex configurations • Built Web Server Interface & SNMP • 1+0, 1+1, 2+0, 2+2 redundancy and complex configurations • Built in Web Server Interface & SNMP • 1+0, 1+1, 2+0, 2+2 redundancy and complex configurations • Built in Web Server Interface & SNMP • Built in Interface SNMP • DVB-ASI, 4xGigE • 2xE1/T1 • Optional 8x& + SMPTE • Built in Web Web Server Server Interface &DVB-ASI SNMP • •Built in Web Server Interface & SNMP Built in Web Server Interface & SNMP

Contact Sales at (805) 968-9621 x785 en the stars of our series. They were no longer in the background—they were 310 sales@moseleysb.com the heroines of their own stories.”

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Moseley_J2I_4.75x7.5.indd 1

2/22/19 12:26 PM

This programming evolution propelled Telemundo into the lead among Spanish-language programmers in the United States, after years of lagging rival Univision in ratings. Gil noted that young Latino viewers in the U.S. are as thoroughly committed

everything from voter registration to forums to a roadshow with all of our talent to encourage people to vote,” Gil said. “We don’t care how they vote, but 50,000 Latinos turn 18 every month, and for the first time, they are voting.” Gil said that the same focus on educating Latinos about the election will be used to prepare for the upcoming 2020 U.S. census. “Part of our job is to help our viewers navigate systems that are foreign to them,” she said. Despite much discussion about entertainment and sports programming, Gil said that news is the heartbeat of Telemundo, but the demand for even more news exceeds the ability of the network to deliver it. “I think the real challenge for local news is: ‘How do you get more time?’” she said. “But they come to us first—they trust our anchors; they trust the information we give them. News will continue to be a big investment for us.” ©NAB 2019

32 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Story

nab show in pictures

Visitors to the Blackmagic Design booth gather around a demonstration of DaVinci Resolve 16 color correction.

An employee tries out the VR Experience demo from Z by HP workstation solutions.

Convention-goers competed with professional gamers in the North Hall Esports Experience.

Hunan Yestech Optoelectronic showed the YES TECH Magic Stage LED, which can be used as a flat screen, sky screen, arch and dance floor, the company says.

Broadcast Bionics, with Axia Audio providing the mixer, team up to demonstrate the Bionic Studio.

A performer from Cirque du Soleil helped open NAB Show Monday morning.

Michael Balderston with TV Technology and Emily Reigart with Radio World are having a little fun, but it makes one wonder what their story is.

Borg invaders? No, it’s the Antigravitycam at the Cinema Devices booth.

www.tvtechnology.com TV TECHNOLOGY May 2019

2019

Exhibitor News

Story

nab show in pictures

The Leyard and Planar booth featured a 24 ft. x 14 ft. 8K video wall composed of Leyard TWA Series 0.9 mm pixel pitch LED video wall displays.

Attendees listen to “The Power of Machine Learning Within the Rock & Roll Hall of Fame” featuring AWS Head of M&E Partnerships Ian McPherson, Rock & Roll Hall of Fame Senior Director of Digital Systems & Strategy Heidi Quicksilver and GrayMeta Chief Commercial Officer Josh Wiggins.

The Future Group showed Pixotope, a new type of creative platform leveraging Unreal-powered visual effects to create “cross reality content” and use related end-user metadata. Pixotope enables users to create both single-camera AR projects and complex multicamera virtual productions from one user interface.

Tracking shot — Seervision tracked those entering the Central Hall.

PRODUCTS & SERVICES SHOWCASE

34 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Exhibitor News

Blackmagic Design Accelerates Editing With DaVinci Resolve 16

Grant Petty with the DaVinci Resolve Editor Keyboard

Blackmagic Design CEO Grant Petty is on a mission to eliminate wasteful steps that make the modern editing workflow too slow. With the debut of Resolve 16, the company has made great strides in achieving that goal, he said. The software redesign process gave Blackmagic a chance to re-evaluate how editing has evolved since nonlinear editing tools launched several decades ago. Petty wants to take the best of linear editing and combine it with nonlinear. The result is a new DaVinci Resolve Editor Keyboard that empowers users to edit much faster than with a mouse because they can use both hands simultaneously. “It’s all about speed,” Petty said. Another theme for Blackmagic at the NAB

Show this year was 8K. Product introductions on that theme included the ATEM Constellation 8K switcher featuring 24 independently routable, customizable 12G-SDI outputs, as well as HyperDeck Extreme 8K HDR, a broadcast deck with H.265 8K recording combined with a touchscreen user interface and traditional broadcast deck controls. Also introduced was the Teranex Mini SDI to HDMI 8K HDR, an 8K HDMI monitoring solution with dual on-screen scope overlays, HDR, 33-point 3D LUTs and monitor calibration for color-accurate SDI monitoring on HDMI 8K screens. A new Pocket Battery Grip for Blackmagic’s Pocket Cinema Camera 4K features a battery adapter with a slideout tray that holds two L-series batteries. ©NAB 2019 —Tom Butts

Riedel Reveals Artist System Expansion Riedel introduced an expansion of its Artist inThomas Riedel (L) and tercom system during its press conference. ArtFrançois Vaillant, executive director, engineering solutions, at CBC/ ist-1024 expands capability and is backwardRadio-Canada, announced compatible with the company’s previous models the selection of the Riedel Artist-1024 (32, 64 and 128). for the CBC’s MRC center project in “Intercom is the DNA of Riedel,” said Thomas Montreal. Riedel, Riedel Communications president and CEO. Artist-1024 is AES67-compliant, with up to 1024 non-blocking ports COTS servers and the cloud; and now contained in a 2RU package. The sysevEDGE’s agile hardware support intem uses software-definable Universal cludes the Scorpion smart media proInterface Cards that combine networkcessing platform. Scorpion is a highing, mixing and management, and can density signal conversion, routing, act as an AES67 or MADI subscriber or aggregation and transport platform a voice over IP (VoIP) card. from Evertz that uses miniature interThe Artist-1024 system has redunface modules to enable a customized dant features that support N+1, NIC and SMPTE 2022-7 protocols. Control logic and data links in the frame are Evertz Microsystems has merged two also redundant. of its key product lines to make IP Riedel said, “System compatibility and media services an even more viable althe sustainability of client investments ternative to fixed-function processing, are of the utmost importance to us.” according to Bob Fung, product marRiedel also announced that the Caketing manager for Evertz. The comnadian Broadcasting Corp. has selected pany’s evEDGE Virtual IP Media SerevEDGE now supports the Scorpion smart media processing platform. the Artist-1024 system for its Maison de vices platform, which enables flexible Scorpion solution for every application. Radio-Canada (MRC) broadcast center effective in dynamic environments. operational workflows with its library Fung also emphasized some interopproject in Montreal. evEDGE Virtual IP Media Services, of media services and support for agile erability news with Tektronix that he The company marked the tenth anhowever, support a selection of prohardware platforms, now supports the said shows the progression of Evertz niversary of the introduction of the Mecessing functions that can be modified Evertz Scorpion Smart Media Processand its deployment of IP systems that diorNet system, noting that more than easily. ing platform. support standards including ST 2110 5,000 nodes have been deployed in the evEDGE supports virtual IP media Fung said traditional fixed-function and AMWA IS-04 and IS-05. ©NAB 2019 field since that time. ©NAB 2019 services over agile hardware platforms processing hardware limits operational including FPGA computer blades, x86 workflow flexibility and is not cost—Paul Kaminski, —Mark Hallinger NAB Daily News

Evertz: Flexibility, Reduced Cost for Dynamic Environments

36 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Exhibitor News

Harmonic Leverages Microsoft Azure, JVC Extends Akamai CDN for VOS360 OTT Offering CONNECTED companies to deliver high-quality streaming video to viewers, according to Thierry Fautier, vice president, video strategy, at Harmonic. The combination also gives media companies a new immediacy when it comes to evaluating their operation and offerings. Harmonic touted two important wins. IndyCar recently deployed the company’s VOS360 SaaS live streaming solution in under five weeks, and Hong Kong’s PCCW Limited has begun using Harmonic’s VOS Cluster SaaS solution as a unified IPTV and OTT content prep and delivery platform. The company also introduced a primary distribution solution to streamline management and delivery of shows from programmers to pay-TV operators and local broadcasters by replacing dedicated satellite links with CDN distribution. Harmonic also announced a joint NAB Show demo with Sony of advanced, hybrid ATSC 3.0 functionality relying on Harmonic’s VOS360 SaaS solution for delivery of content Harmonic announced the VOS360 SaaS solution combination with Microsoft Azure and Akamai’s via OTA and OTT. ©NAB 2019 content delivery network. Pictured from left, Akamai’s Jon Alexander, Microsoft’s Bob DeHaven and Harmonic’s Patrick Harshman and Thierry Fautier. —Phil Kurz Harmonic announced the immediate availability of its VOS360 OTT media processing SaaS solution on the Microsoft Azure cloud with video content delivery by Akamai Media Delivery. The companies are offering the market a “best-in-class combination of services” that will reduce the time it takes media

Vizrt Touts Complementary Merger With NewTek downstream keyers, switch der pipeline for added effects of realism, Following its announcement of the acfunctionality and DVEs. and includes support for third-party enquisition of NewTek, which happened Technology for sports broadcasters gines such as Epic Games’ Unreal Ento fall on April Fool’s Day, Vizrt began was a focus for Vizrt at the show, with gine 4. its press conference with a joke: “A Videmonstrations of products including Additional features include a new Fuking and a cowboy walk into a bar.” Live Virtual Presenter, Viz Libero AR sion Keyer, intuitive control applications The two companies see the acquisiand Viz Arena. ©NAB 2019 and a built-in asset management tool that tion as a complementary merger, with delivers graphics rendering, clip players, each possessing different strengths in —Michael Balderston different areas of the industry. In the immediate future, plans seem to be to let the individual operations continue, with a longterm goal of collaboration to create new technology and products. On the product front, Vizrt is rolling out Viz Engine 4, the latest version of its render engine for live media. New features include beefed-up options for render pipelines; in addition to Vizrt’s existing render pipeline, Viz Engine adds the Reality Fusion ren- Vizrt President and CEO Michael Hallén discusses the newly expanded company’s goals.

CAM Live Production Capabilities

“This year, JVC is unveiling its entire CONNECTED CAM ecosystem,” said David Walton, assistant vice president, media service sector, for JVC Professional Video, as the company continues to evolve its CONNECTED CAM technologies. “It’s not just cameras anymore.” A compact, live production and streaming studio, JVC’s new CONNECTED CAM Studio 6000S serves as a selfcontained control room, offering a production switcher with six IP inputs that support NDI as well as the SRT (Secure

JVC CONNECTED CAM GY-HC550

Reliable Transport) streaming protocols. The Studio 6000S joins the company’s CONNECTED CAM product line, which now includes the 500 series of streaming handheld camcorders that are said to optimize both image processing and IP performance. These three compact 4K cameras — the GY-HC500 base model, GY-HC550 with advanced streaming and graphics and GY-HC500SPC sports production camera — can record to SSD media in 10-bit ProRes 422 at 4K resolution and 50/60p frame rates. The company also announced the version 3.0 firmware upgrade for its GYHC900 CONNECTED CAM broadcast camcorder, which adds ProRes recording and integrated graphics to the 2/3-inch camcorder. According to Joe D’Amico, vice president of JVC Professional Video, “Connectivity is the foundation of JVC’s IP-based production solutions.” ©NAB 2019 —Cristina Clapp

38 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Exhibitor News

Sony Tech Streamlines Content Creation Workflow The focus at Sony’s booth was on two core areas: content value and workflow efficiency. Content value was demonstrated through 4K, 8K, high dynamic range (HDR) and high frame rate (HFR) technology, supporting the creation of valuable, engaging assets. Workflow efficiency was illustrated through IP and media services that provide workflow efficiencies supporting interoperability and drive flexibility, enhance collaboration and empower global distribution. One significant announcement in line with these priorities was Sony’s HDC-5500, a multiformat live camera equipped with a 2/3-inch 4K global shutter 3-CMOS sensor. The imager is said to ensure superb image quality in 4K, HD and HDR live production applications. OB operator Game Creek Video an-

nounced the purchase of 48 of these new cameras. Sony’s Intelligent Media Services were shown in a variety of workflows for broadcast operations, as well as sports and production workflows. Integrated AI capabilities supporting object recognition, speech-to-text and facial detection in Sony’s Ci Media Cloud improve discoverability and searchability. Sony also announced a pair of executive promotions. Neal Manowitz has been elevated to the position of deputy president, Imaging Products and Solutions–Americas (IPSA) business unit, and Theresa Alesso has been promoted to president of the Professional Solutions Division within Sony Electronics IPSA. ©NAB 2019 —Craig Johnston

John Studdert, vice president, U.S. sales and marketing, Sony Electronics, and Hiroshi Kiriyama, vice president, media business, Professional Solutions and Services Group, Sony Corp., with the new HDC-5500 multiformat live camera.

Ross Highlights ‘High EVS Celebrates 25th Impact, High Efficiency’ Anniversary With New Products Production Launches Highlighted at the Ross booth was the Against the backdrop of a massive 62Furio SkyDolly, a ceiling-mounted Fufoot LED screen with resolution “far berio camera motion system that enables yond 4K,” Ross Video President David smooth, dynamic camera moves. VoyagRoss opened up the NAB Show press er, a graphics render engine for virtual studio/ AR reality applications, was also new. Complementing the launch of Voyager was UX v5, the latest version of Ross’ UX control system for virtual applications. Ross’ Carbonite switcher has been updated with 4K/UHD support, and Ultrix 160x is an upgrade for the Ultrix-FR5 that makes it a 160x160 12G conRoss Video President David Ross announced Furio SkyDolly, a ceiling-mounted Furio camera motion system. nectivity solution. Also new was Ultricore BCS, a broadcast control system controller for conference by noting the company’s reRoss’ Ultrix Connectivity suite, and Ultricord growth. core IP, an optional license for Ultricore “Last year was fantastic. We grew by BCS that enhances efficiency when usalmost 20 percent,” Ross said. “And 2019 ing IP signals within a facility. is shaping up to be our best year ever.” Two corporate acquisitions were also “High impact, high efficiency” was announced: Portalis, a provider of workthe company’s theme for this year at the station integration systems, and Piero show, and the product introductions ilSports Graphics, a U.K.-based provider lustrated Ross’ continuing commitment of sports graphics software. ©NAB 2019 to advancing the essential tools of live IP-based production. —Tom Butts

XS-VIA servers. XNet-VIA also permits convenient transcoding between HD and 4K content. “It’s a new kind of media sharing network that enables you to connect different XT-VIA and XS-VIA servers together, with three times more bandwidth than the legacy network that we had between our servers before,” said Nicolas Bourdon, marketing and communications director for EVS. The XNet-VIA system can support up to 64 servers, providing the capacity to handle even the largest sporting events. One recent EVS customer was on hand to discuss its sports program and its partnership with EVS. The University of Miami outfitted its athletic facilities with EVS servers, networking systems and software-defined Dyvi switchers. Thanks to the configurability of the network and Dyvi switcher, the school is able to deliver back-to-back broadcast-quality sports productions with just hours between Nicolas Bourdon, marketing and communications director events. ©NAB 2019 for EVS —Bob Kovacs

EVS kicked off its press conference with a celebration of the 25th anniversary of its founding. The event included a recap of its beginnings and mentions of milestones through the years. Company executives also announced new products, starting with XNet-VIA, an Ethernet-based network that enables fast sharing of high-resolution content between the company’s XT-VIA and

40 May 2019 TV TECHNOLOGY www.tvtechnology.com

2019

Exhibitor News

Nine Moves Toward Platform-Agnostic Ad Buying With Imagine At the company’s press event, Imagine Communications announced its evolving role in Nine Entertainment Co.’s 9Galaxy automated TV trading platform.

Imagine CEO Tom Cotney

As one of the largest free-to-air broadcasters in Australia, Nine is changing the way audience segment buying takes place across its programming, helping media agencies remove 80 percent of the workload associated with TV ad market trading by moving away from spot-based sales to audience impressions, according to Tom Cotney, CEO of Imagine. Nine is using Imag-

ine’s xG GamePlan cloud-native booking optimizer to facilitate an audience-based approach to ad inventory management, said Cotney. xG GamePlan played an integral role in 9Galaxy’s custom “best-ofbreed” ad buying automation platform, which is itself an important part of the broadcaster’s goal to make all inventory available to advertisers and brands in an automated way by 2020. Nine is using xG GamePlan to optimize advertising inventory across four channels, each with five regional variations. Imagine has changed a great deal in the 16 months since he joined as CEO, said Cotney. The ad tech software busi-

Avid Redevelops, Relaunches Media Composer In keeping with Avid’s new product development strategy — explained by CEO Jeff Rosica as “rethink, reinvent, repeat” — the company debuted a reimagined Media Composer editing system. Because the industry demands that Avid continue to “develop disruptive innovations,” Rosica said, the company’s product launches, including Media Composer 2019, emphasize “collaboration without complexity.” Announced products include Avid NEXIS | Cloudspaces, a SaaS storage offering that uses Microsoft Azure to “bring the power of the cloud to Avid NEXIS,” according to Dana Ruzicka, Avid’s chief product officer and senior

vice president. Other product announcements included upgrades to Avid’s news production and graphics systems, as well as live and studio sound hardware and software. Avid CEO Jeff Rosica discusses the importance of reinvention in a fast-paced media landscape.

Featuring a new user interface, the new Media Composer offers distributed processing, finishing and delivering capabilities, all managed by the Avid Media Engine. Enhanced workflows allow users to create and deliver content with editing, effects, color, audio and finishing tools within Media Composer, while Media Composer | Enterprise provides a customizable toolset for a range of roles within the post process, enhancing collaboration across larger organizations. ©NAB 2019 —Cristina Clapp

PRODUCTS & SERVICES SHOWCASE

ness behind xG GamePlan was broken out and managed at a business unit level, for example. Another focus is teaching customers how to extend the life of current equipment as they evolve their businesses at a pace right for them. ©NAB 2019 —Mark Hallinger

AJA Advances Workflows With Ki Pro GO, Converters Focused on improving the delivery workflows for multiformat content, AJA Video Systems introduced new and updated technologies at its NAB Show press conference. These included the Ki Pro GO multichannel recorder/player, 14 openGear converter cards, two IP video

AJA Ki Pro GO

transmitters and the Corvid 44 12G I/O card. Updates to the company’s FS-HDR, Desktop Software, HDR Image Analyzer and HELO were also announced. Ki Pro GO is “a low-cost H.264 recording solution that supports several multichannel HD and SD video recording/playback configurations,” said AJA President Nick Rashby. The portable Ki Pro GO allows users to record up to four channels of HD and SD content from SDI and HDMI sources to USB media. Its genlock-free inputs eliminate the need to externally synchronize sources, while redundant recording provides multiple backups to protect recorded video. Combining the capabilities of AJA’s Mini-Converters with openGear’s highdensity architecture and support for DashBoard, AJA’s openGear converter cards allow monitoring and control in broadcast and live event environments over a PC or local network on Windows, macOS or Linux. AJA’s IPT-10G2-HDMI and IPT-10G2SDI Mini-Converters — which are singlechannel IP video transmitters — bridge traditional HDMI and 3G-SDI signals to SMPTE ST 2110 for IP-based workflows. ©NAB 2019

—Cristina Clapp

www.tvtechnology.com TV TECHNOLOGY May 2019

EQUIPMENT EXCHANGE A u d i o • C a m e r a s • C a m e r a A c c e s s o r i e s • E d i t i n g / G r a p h i c s • E m p l o y m e n t • M e d i a • R e c e i v e r s • Tr a n s m i t t e r s • V i d e o P r o d u c t i o n TV Technology’s Equipment Exchange provides a FREE listing service for all broadcast and pro-video end users. Brokers, dealers, manufacturers and other organizations who sell used equipment on an occasional basis can participate in the Equipment Exchange on a PAID basis. All free listings run at the discretion of the publisher. Call 1-703-852-4610 for details. Submit your free listings on your letterhead and state the make, model number, a brief description, sale price and complete contact information and mail it to: TV Technology, 5285 Shawnee Rd, Suite 100, Alexandria VA 22312

AUDIO WANT TO SELL Gentner Digital Hybrid I, call; JK Audio Digital Hybrids, call; Lawson L47MP tube microphone, xlnt cond, $1149/BO; ADC patch bays, ¼” & Bantam, start at $39; Hotronic AU51 audio delays, call; Sound Ideas CD Efx library, call; Rane AVA22 delay, $195. Tom, 856-222-0636 or info@ bibbteck.com or www.bibbteck.com. Yamaha PM5000 52-chnl audio mixer, $4900. 908-879-9590 or www.mccom.tv.

WANT TO BUY Wanted: real plate reverb. abgrun@gmail. com.

CAMERA ACCESSORIES WANT TO SELL Vinten Fulmar & Hawk pedestals, repair, service, buy, sell and rent. Call Laurie or Jennifer for assistance. 800-9955427, Camera Support, Inc. Tripods by Miller, O’Connor, Manfrotto, please call; Varizoom Pro L LANC cntrlr, $169; Fuji focus controls, and focus blocks, call; Portabrace cases C-BVV5, $29; CO-PC cam case, $99, MO8044

monitor case, $29, RS-33 rain shield, $69. Tom, 856-222-0636 or info@ bibbteck.com or www.bibbteck.com. (5) Panasonic AK-UC4000 4K fiber studio cameras, call; Multidyne Silverback II demo, call; (2) Panasonic AK-HC3800 HD fiber studio cameras w/lens, call; Panasonic Varicam LT 4K cinema camera pkgs, call; (6) Hitachi Z-HD5000 HD studio cameras w/lenses, call; (2) Panasonic AJ-PX380GF demo, call; (2) Panasonic AJ-PX800GF Demo, call; (10) Panasonic AW-HE40SK & SW HD PTZ cameras, call; (10) Panasonic AWHE130K PTZ camera special $; Panasonic AW-HE40HW PTZ camera demo; (3) Panasonic HD12-CD outdoor Housings for HE130; (3) Panasonic Outdoor housings for HE40; Fujinon XA55x9.5 HD box lens, Canon XJx75x9.3 HD Lens II, Semi Servo, just serviced, call; CamGear V20 CF MLS100 tripods, demo, call; (3) Sachtler Video 75 Plus w/Vario pedestals. 908879-9590 or www.mccom.tv

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Selling TV audio soundtracks from the 50’s through the 70’s. Variety shows, talk shows, etc. Call 925-284-5428 for details.

Panasonic BT-4LH310 31” 4K monitor, demo, call; (10) Panasonic BT-LH910 Olympic demo, Boland 24” 4K monitor NAB demo; (2) Boland BVB24 24” 3G/HD monitor NAB demo; Boland VBV55 OLED 55” HD OLED demo, $4999. 908-8799590 or www.mccom.tv.

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ADVERTISERSINDEX PAGE

ADVERTISER

WEBSITE

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ADVERTISER WEBSITE

WEBSITE

2 ................AJA Video (Newbay US) ........................................ www.aja.com

9,11 ............LAWO ............................................................ www.lawo.com

40...............Avateq .........................................................www.avateq.com

15...............LYNX Technik AG ...................................... www.lynx-technik.com

43...............B&H ............................................................ www.bandh.com 5 ................Blackmagic Design ............................www.blackmagicdesign.com 29...............Cobalt Digital Inc. ....................................www.cobaltdigital.com

27...............Mobile Studios ......................................www.mobilestudios.com 30...............Moseley Associates ....................................www.moseleysb.com 33...............Olympic Case Company ....................................www.olycase.com

13,21...........Comrex Corporation ........................................ www.comrex.com 31...............Primestream ......................................... www.primestream.com 10...............Continental Electronics Corp .............................www.contelec.com 33...............DVEO ............................................................. www.dveo.com 3,37 ............Enco Systems, Inc. .......................................www.enco.com/nab 19...............Grass Valley ............................................ www.grassvalley.com

44...............Ross Video LTD. .................................. www.rossvideo.com/news 7 ................Sennheiser ...............................................www.sennheiser.com 20, 33 ..........Tactical Fiber Systems ................................www.tacticalfiber.com

35...............Hitachi Kokusai Electric America, Ltd .............www.hitachikokusai.us

28...............Tedial ........................................................... www.tedial.com

13,21...........Hitachi Kokusai Electric Comark LLC .................. www.comarktv.com

17...............Telemetrics Inc. .................................... www.telemetricsinc.com

While every care is taken to ensure that these listings are accurate and complete TV Technology does not accept responsibility for omissions or errors.

ADVERTISING SALES REPRESENTATIVES U.S. & CANADA: VYTAS URBONAS 212-378-0400 x 533 Fax: 630-786-3385 vytas.urbonas@futurenet.com

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42 May 2019 TV TECHNOLOGY www.tvtechnology.com

Panasonic ‘Smart Studio’ Shows Production Possibilities Visitors to the Panasonic booth experienced what John Baisley, senior vice president, Professional Imaging & Visual Systems, termed “the future of live production.” In its Smart Studio exhibit, Panasonic showcased production technologies and workflows that combine its cameras — including the AW-UE150 4K/HD pan/tilt/zoom camera and the 8K

Panasonic’s 8K ROI system enables one 8K camera to deliver four independent virtual PTZ-controlled HD feeds.

ROI (region of interest) multicamera system — with virtual systems. Within the Smart Studio, the 8K ROI system operated as four HD cameras by allowing four separate crops from a single 8K image canvas. When used in conjunction with the BlackTrax tracking system, which automatically tracks moving subjects on the set, one 8K ROI camera operator can follow the action from multiple virtual camera angles. The AW-UE150 4K/HD PTZ camera was demonstrated in the Smart Studio with Tecnopoint Tuning software, Totem telescopic column systems and motorized floor and ceiling dolly systems, bringing movement into the production. According to Baisley, the system is Panasonic’s response to customer requests for “better production values, more camera angles and more interesting camera moves.” Additionally, the company previewed a prototype of its Live Production Suite (LPS) modular scalable switching platform, capable of working in a hybrid SDI/SMPTE ST 2110 environment in HD, 3G or 4K and fed by MoIP (media over IP) video from Panasonic’s AK-UC4000 camera system. ©NAB 2019 —Cristina Clapp

2019

Exhibitor News

Grass Valley Showcases Commitment to IP, Live Production Grass Valley was at this year’s NAB Show not only to celebrate a milestone birthday (its 60th) but to reiterate its commitment to the live video production market. To do so, the company has made a reinvigorated pledge to IP deployment, jumped into the competitive gaming market, finalized the integration of Snell Advanced Media (SAM) and completed a number of farflung remote production deployments for customers around the world. The company announced that nearly 100 LDX 86 and LDX 86N cameras will be heading to the U.K. as part of a deal between Grass Valley and NEP U.K. GV will supply 96 LDX cameras — 24 LDX 86s and 72 LDX 86Ns — which will be integrated into NEP’s U.K. fleet of trucks. NEP U.K. From left, GV Strategic Account Manager Leo Smeding, Rob Newton, GV President Timothy and Ireland’s Director of Engineering and Shoulders, NEP Senior Vice President of Technology & Asset Management Scott Rothenberg, and Technology Rob Newton said the LDX 86’s GV Vice President and General Manager of Camera Systems Marcel Koutstaal DirectIP feature, which allows the uct highlights was the introduction of the GV Stratus One cameras to be connected directly to a netproduction platform and the Grass Valley Creative Grading work, was the driving force behind the creative camera shading solution. The company also demonacquisition. strated new highlighting and live replay features as part of its Grass Valley’s goal at NAB Show 2019 LiveTouch production system. was to launch solutions that enable cusOne notable hot spot at the booth was the debut of a tomers to engage viewers on all devices live esports gaming competition. The goal was to show how and across multiple platforms without Grass Valley production gear can be used to meet the needs having to dramatically change their media of esports and specialist ventures in live productions. ©NAB 2019 workflows, Shoulders, said. At its booth, the company was showing its end-to-end eco—Susan Ashworth and system of open standards-based solutions. Among the prodMichael Balderston

ChyronHego New Virtual Set Technology Combines AR With Unreal Building on its long history in broadcast graphics technology, ChyronHego continues to add new products and enhance existing ones. Marco Lopez, the company’s chief operating of-

Jesper Gawell

ficer, described some of these at the company’s press event. Lopez first introduced Fresh, an all-new graphics rendering system integrating ChyronHego AR and virtual set software with Epic Games’ Unreal Engine 4 to improve realism in television virtual studio applications. Lopez believes Fresh is well positioned to increase their adoption in the broadcast industry. “In the last six to 12 months, there have been some huge improvements in real-time rendering engines coming from the gaming market that have created the photo-realism broadcasters have been looking for,” he said, noting that this technology has been incorporated into Fresh to achieve a type of realism not previously possible. Lopez also highlighted the potential for ChyronHego’s live data technology in the emerging area of televised sports event betting and described a new release (v3.5) of the company’s Prime graphics platform that adds HDR capability, multiple screen synchronization, expanded I/O and more. Jesper Gawell, the company’s chief marketing officer, then described another new offering, Vidigo, which he said greatly facilitates OTT live news streaming. ©NAB 2019 —James E. O’Neal