TV Technology - 0452 - August 2020 by Future PLC

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A DECADE OF STORAGE TECHNOLOGY, P. 24

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BROADCAST • PRODUCTION • BROADBAND • SATELLITE • MOBILE

➤ NextGen TV How it could unite the digital divide

—page 11

➤ Staying Safe Lighting on set during a pandemic —page 25

Repack Crosses Finish Line Some work remains, but tight FCC deadline was met

➤ Equipment Guide

Cameras & Lenses —pages 27–32

WASHINGTON—The complicated task of switching the operating frequencies of nearly 1,000 full-power television stations in the United States is complete. Almost. Starting on April 13, 2017 (which is when spectrum-hungry wireless companies finished bidding on broad swaths of spectrum being used by broadcasters), the “repack” ended on July 13 with only a handful of holdouts. The FCC estimated the cost at approximately $2.75 billion.

Photo Credit: James Ruedlinger, ERI

BY BOB KOVACS

REPACK, PAGE 12

WJZ’s new candelabra tower was recently installed in Baltimore

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IN THIS ISSUE

www.tvtechnology.com TV TECHNOLOGY August 2020

TUNE IN TO TVTECHNOLOGY.COM For all the information on the latest industry virtual conferences and webcasts, visit www.tvtechology.com/ resources

AUGUST 2020 ➤ TVTECHNOLOGY.COM ➤ VOLUME 38, ISSUE 8

NEWS

INSIGHT

Repack Crosses Finish Line Some work remains, but tight FCC deadline was met

A Decade of Changes in Storage Storage Technology, Karl Paulsen

NEP’s ‘Smart Stage’ Presents a New Arena for Production The ability to film anytime, anywhere just got a new meaning

Lighting Safely as We Move Back on Set Lighting Technology, Julia Swain

How NextGen TV Could Bridge Digital Divides ATSC 3.0 receivers need to be required in more digital devices

Successor to HEVC Moves Forward VVC claims 50% bandwidth savings over H.265

MPEG Founder Declares ‘Death’ of Standard Places much of the blame on how industry handled HEVC

Phoenix Model Market Adds Second 3.0 Signal Scripps-owned KASW-TB will host KSAZ as part of initial launch

Multiviewers Help Keep Live Production on Track Latency and dealing with increasing array of formats among biggest challenges

The Changing Face of Audio Monitoring Software takes on a more important role

EQUIPMENT GUIDE 27

User Reports—Cameras & Lenses ARRI, Sony, Hitachi Kokusai, Blackmagic Design, Panasonic, Cooke Optics, Fujifilm

EQUIPMENT 22–23 Marketplace 31

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4 August 2020 TV TECHNOLOGY www.tvtechnology.com

FROM THE EDITOR-IN-CHIEF

There’s Still Work To Be Done

hen it comes to the repack, there’s a difference between “meeting the deadline” and “being finished,” (p.s.: this also applies to journalism as well). 4TOM BUTTS EDITOR-IN-CHIEF For the FCC’s purtom.butts@futurenet.com pose, however, broadcasters did successfully “complete” the repack deadline last month on schedule. Nearly 100 stations transitioned in the final month alone. But there’s still work to be done. Six stations were granted extensions ending in September, and LPTV and Class A stations have another year before they complete the transition. And then there’s the ongoing paperwork involved in reimbursement. Perhaps the biggest concern among broadcasters is that a certain percentage (~15-20%) are operating at a lower power on an “interim facility,” (a complete list is available at tvanswers.org/transitioning.asp). Viewers in these areas will continue to have issues with over-the-air reception until those stations are back to full power. Interim facilities (also referred to as “STAs” or special temporary authority) were integral to the repack, according to Brett Jenkins, CTO of Nexstar, the nation’s largest commercial broadcaster. Jenkins estimated that nearly 90% of the more than 100 Nexstar stations that repacked relied on interim facilities to stay on the air while permanent antennas, waveguide and transmitters were installed. “Were we happy about operating at lower heights and lower powers? Prob-

ably not,” says Jenkins. “But I think in most cases we were able to find adequate designs that would come reasonably close to replicating coverage. We tried not to disenfranchise the over-theair viewer as much as possible.” A helicopter puts WJZ’s new tower in place in Baltimore last month.

The repack was among the most complicated tasks broadcasters have ever undertaken and required a coordinated effort among the industry, tower crews, manufacturers and local authorities; and doing all of this while dealing with the unpredictabilities of weather and pressures from the wireless companies, who were eager to move in. Anthony Flores, owner of AFF Consulting had a very busy repack and was philosophical about how it was handled. “I think all in all, everyone’s done a remarkable job and the guys still left to cross the finish line will be close, even

with Covid,” he told TV Technology in May. “There may be some delays because of Covid and perhaps, for maybe the next year or so, some projects to get things optimized.” Broadcasters were already facing a very busy 2020, with the Olympics, election, repack and the deployment of ATSC 3.0. Add a pandemic and civil rights protests to the mix, and you have the makings of a year that will not soon be forgotten. There’s something else, though that shouldn’t be forgotten. This was the first repack broadcasters had to undertake in response to a spectrum auction that was fought tooth and nail by our industry until it finally came to pass in 2017. (To be fair, the opposition wasn’t necessarily to the auction, but how it would be conducted to ensure fairness). The demand for broadcast spectrum is not over. Broadcasters are currently in the midst of sorting out the best solution to the proposal to auction off C-band, a vital resource for newsgathering. And FCC officials have hinted that they may be interested in revisiting another auction of 600 MHz in the future. The best way to protect our industry from further encroachment onto the broadcast spectrum is right in front of us: ATSC 3.0. When the FCC approaches broadcasters in the future and asks us to make the best justification for retaining the spectrum, we need to ensure that we have taken the advantage of the best tools we have to remain relevant. The most important tool we have is NextGen TV. Now that the repack is mostly done, we now have more time to focus on the future of TV.

Enter the Best of Show Awards Fall Edition Our Best of Show Awards for the fall season has gone virtual. Set to recognize new products and services launched or showcased around the IBC Showcase event (see p. 6), Future brands TV Technology, TVBEurope, Radio World and Pro Sound News will each present their own awards, with winners also receiving additional editorial coverage across the extended Future portfolio. Deadline to submit nominations is Sept. 2. More information is available at futureevents.uk/ibc20.

TVTechnology TVTechnology Vol. 38 No. 8

August 2020

www.tvtechnology.com FOLLOW US twitter.com/TVTechnology CONTENT VP/Global Editor-In-Chief Bill Gannon, william.gannon@futurenet.com Content Director Tom Butts, tom.butts@futurenet.com Content Manager 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, Bob Kovacs and Mark R. Smith Production Manager Heather Tatrow Managing Design Director Nicole Cobban Senior Design Directors Lisa McIntosh and Will Shum ADVERTISING SALES Director of Sales, Media Entertainment & Tech Laura Lubrano, laura.lubrano@futurenet.com 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 Chief Revenue Officer Mike Peralta Senior Vice President Marcus Adolfsson Head of Production US & UK Mark Constance Head of Design Rodney Dive FUTURE US, INC. 11 West 42nd Street, 15th Floor, New York, NY 10036

All contents © 2020 Future US, Inc. or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents,subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions. Please Recycle. We are committed to only using magazine paper which is derived from responsibly managed, certified forestry and chlorine-free manufacture. The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and socioeconomic standards. The manufacturing paper mill and printer hold full FSC and PEFC certification and accreditation. TV Technology (ISSN: 0887-1701) is published monthly by Future US, Inc., 11 West 42nd Street, 15th Floor, New York, NY 10036-8002. Phone: 703-852-4600. FAX:703-852-4583. Periodicals postage paid at New York, NY and additional mailing offices. POSTMASTER: Send address changes to TV Technology, P.O. Box 848, Lowell, MA 01853.

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IN THE NEWS ➤ FOR MORE INSIGHT AND INNOVATION VISIT TVTECHNOLOGY.COM

BBC Reaches Record Global Audience IBC Goes Virtual AMSTERDAM—With the physical IBC conference cancelled as a result of COVID-19, IBC has announced this year’s virtual supplement, the IBC Showcase. The IBC Showcase (ibc.org/ibcshowcase) will take place Sept. 8–11 and feature three core components: an exhibitor showcase, a sponsored program of presentations and discussions and comprehensive coverage of product launches via the online IBC Daily News site. IBC also plans to continue its Accelerator Media Innovation program. The collaborative projects address media and entertainment industry challenges across business and technology. Those supporting the program include BBC, ITV, ViacomCBS, Telenet/Liberty Global,

Associated Press, Al Jazeera, BT, MovieLabs, Universal Studios, Paramount Studios and Sony Innovation Studios. The theme for the IBC Showcase is going to be “Empowering Content Everywhere.” “We’re excited to unveil IBC Showcase, an online platform that will give the media and technology community a chance to connect,” said Michael Crimp, IBC chief executive. “It will provide a platform for exhibitors to launch and demonstrate their latest products and services, while others in the industry will be able to learn about cutting-edge technology and find out about the latest tools and techniques for creating and delivering great content.” Michael Balderston

China World’s Fastest Growing Digital Media Market LONDON—The growth of the global digital media industry has been significant over the last few years as content consumption on the internet gains in popularity, and nowhere has that been more evident than in China. A new report from Statista Global Consumer Survey indicates that world’s five largest digital media markets—U.S., China, Japan, the U.K. and Germany—are expected to reach $116 billion in value in 2020, an increase of $18.2 billion from the market’s value in 2017 ($97.8 billion). The U.S. is still the largest market for digital media in the world, and is expected to reach a value of $51.3 billion in 2020, which is an increase of $6.9 billion since 2017. However, China, which is the second largest market, has emerged as the fastest growing market in the world. Its value of $25.8 billion in 2017 is expected to reach $34.4 billion by the end of 2020, an increase of $8.6 billion. The rise in digital media is only expected to go up over the next few years. By 2024, Statista projects the value of the top five global digital markets to reach $128 billion. In that time though, the U.S. is actually expected to surpass China in terms of growth with a forecasted increase of $5.5 billion; China is projected to grow by $4.2 billion over the same period. Michael Balderston

LONDON—The BBC’s global reach has increased by 11% year-over-year in 2020, now standing at 468.2 million people a week, its highest ever. The majority of that audience is from BBC News, which is now seen by 438.4 million people each week, either via broadcast or digitally. The BBC said its global content is reaching more viewers than ever thanks to YouTube and social media. YouTube has seen an increase of 129% in audiences to 47 million a week—overtaking Facebook with a 31% increase to 43 million. Twitter reach has doubled to 6 million. BBC’s 2020 Global Audience Measure also found that there was a 50% growth among Americans watching the BBC World News channel; BBC World Service languages was up 13% to 292.1 million; BBC Studios increased reach by 5.8 million; BBC World Service English audiences increased 8%; and the largest global reach for the BBC is in India, with around 60 million people accessing content weekly. Jenny Priestley

Akamai: Broadcast, Video Sites Saw Uptick in Credential Stuffing Attacks CAMBRIDGE, Mass.—Broadcast TV and video are popular targets for criminals to launch credential stuffing attacks, according to a new report from Akamai that looked at the entire industry landscape.

Credential stuffing is the method by which criminals tap automated tools to use stolen login information to attempt to gain access to user accounts on other online sites, assuming that consumers use the same login and password for multiple services.

The video media sector is becoming an increasingly popular target. There was a 63% increase year-over-year in attacks against the video sector, per Akamai. This includes a 630% increase against broadcast TV sites and a 208% increase against video sites. Video services saw a 98% increase in attacks; attacks against video platforms, however, dropped by 5%. Reasons for this increase in attacks against broadcast TV and video sites includes the rise in on-demand media content in 2019, as well as the launch of new video services, which are the kinds of things that credential stuffing attackers target, said Akamai. The U.S. is the number one place for credential stuffing attacks against media companies, with a reported 1.1 billion in 2019. Michael Balderston

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IN THE NEWS

COVID Will Help Digital Ads During Holiday Season

Pay-TV Absent in 32% of U.S. Homes

NEW YORK—As a result of the COVID-19 pandemic, advertisers plan to put more money into digital ads and decrease spending on TV during the upcoming holiday season, according to Advertiser Perceptions.

SAN JOSE, Calif.—The cord-cutting movement continues to make in-roads among U.S. consumers, accelerated in part by the COVID-19 pandemic. A new Roku Study reported that 32% of U.S. TV households do not have a traditional pay-TV subscription (cable, satellite, telco). Roku’s findings come from its annual Cord Cutting study, which this year added insights into how U.S. consumers are influenced by the current pandemic. In addition to households with no pay-TV subscription, 25% of homes can be identified as cord shavers, referring to the fact they have cut back their service. Of those cord shavers, 45% said they anticipate cutting the cord fully in the next six months. Cost savings is cited as a primary reason for homes to shift to full-time streaming. The return of live sports is not expected to cause a great shift back to payTV, per Roku. Just 17% of cord cutters said they would resubscribe to traditional pay-TV for sports. However, 31% said they are likely to subscribe to a live sports streaming service. Michael Balderston

NCTC, ACA Connects to Make 2020 Independent Show Virtual LENEXA, Kan.—The National Cable Television Cooperative and ACA Connects has announced that its 2020 Independent Show will be a virtual online event. NCTC said the “reimagined” virtual Independent Show will take place Sept. 29–Oct. 1 and will feature national, industry and political speakers. The theme of the event is “Trailblazing in a Digital World,” and will bring together nearly 1,000 industry professionals from across the country, said NCTC. “The goal is to help independent

providers better understand the changing landscape of broadband internet, advanced video and other technical and policy issues in a post COVID-19 world, including in the marketplace, on Capitol Hill and at the Federal Communications Commission,” NCTC said. The 2020 Independent Show event was originally scheduled for July 26-29 in San Antonio, Texas, but was changed because of restrictions due to the COVID-19 pandemic. To register, visit theindepentshow.org. Mike Farrell

This is based on biweekly surveys of advertisers and media buyers since the start of the coronavirus crisis. During the crisis, advertisers have put a premium on flexibility in media, from cancelling or pausing to reallocating buys and replacing creative. As a result, Advertiser Perceptions says the outlook

is brightest for paid search, e-commerce, digital video and paid social media— channels that support real-time changes. Streaming will keep growing, according to the survey, which found that 43% of advertisers have beefed up their spending on connected TV and other over-thetop ads during the crisis. Among those responding to the survey, 80% have increased their personal use of streaming services. Another story is the disruption of commercial production, which has made big-budget, high production value spots almost non-existent. Only 22% of those surveyed expect to return to producing opulent commercials, while another 31% aren’t sure. Mike Farrell

Diego Luna Leads Honorees at Hispanic TV Summit NEW YORK—Diego Luna, the Mexican actor, director and producer for film and TV, will be the recipient of the prestigious Award for Outstanding Achievement in Hispanic Television presented by Future PLC’s Broadcasting + Cable and Multichannel News magazines during the Hispanic Television Summit. The summit will be presented as a virtual event for the first time as part of Future PLC’s “Fall TV 2020.” The summit will be presented over four days, beginning with the Awards Ceremony on Monday, Sept. 21, and concluding Thursday, Sept. 24. Keynote interviews, presentations and panel discussions occupy the agenda of the remaining three days. Other luminaries set to be honored at the event are: Karina Dobarro, senior vice president, Multicultural, Horizon Media, who will received the Executive Leadership in Hispanic Television Award (Media Category); Julio Vaquerio, anchor, “Noticias Telemundo Fin de Semana,” will receive the CultureX Leadership Award; the Rafel Eli Pioneer Hispanic TV Awards will be presented in different categories to Gene Bryan, CEO, Hispanic Media Sales, for Pioneer in Hispanic Media, and to the team at d expósito & Partners for Pioneers in Hispanic Creative Advertising. The Pioneer in Hispanic TV Awards are named for the late Rafael Eli, who was the coproducer with Joe Schramm of the Hispanic Television Summit, and a pioneer in Hispanic TV himself. Eli passed of COVID-19 in April. Those in this first class are not only pioneers, but were close business and personal acquaintances of Eli. To register, visit falltvevents.com. TVT Staff

10 August 2020 TV TECHNOLOGY www.tvtechnology.com

IN THE NEWS

NEP’s ‘Smart Stage’ Presents a New Arena for Production The ability to film anytime, anywhere just got a new meaning BY MICHAEL BALDERSTON NASHVILLE, Tenn.—The COVID-19 pandemic was a big blow to television production; Los Angeles, the center of the production world, suffered its lowest filming levels on record between April and June. Between keeping socially distant on set and needing to travel to different locations, when—or if—production can return to what it was before is currently unknown. Some relief to these new production headaches has popped up in the music capital of the U.S. of all places, Nashville. There, NEP Live and Skyway Studios have partnered for the construction and housing of an LED “Smart Stage.” ALL THE WORLD’S A STAGE William Shakespeare believed that the entire world was a stage, but the collaboration between NEP Live and Skyway Studios has turned that idea around to make this new stage a way to bring nearly any place in the world into a single location. Officially opened to clients on June 8, the Smart Stage is housed in Skyway Studio’s Nashville location, a 150,000-square-foot facility that in addition to its sound stages includes amenities like hair and makeup, green rooms and around the clock security. But the centerpiece is the new virtual, high-resolution LED stage.

“We’ve heard from many of our clients that a stage of this size and this design doesn’t exist anywhere else in the U.S.” —Jason Newman NEP The stage measures in at 38x20x13feet with the walls having a resolution of 8272x1408 pixels, while the floor has a resolution of 1932x1008 pixels. There are a total of 13,594,432 pixels active on the set at a single time. Playing back an image to effectively create the virtual 3D environment is done

with a combination of 8K Unreal servers, a Disguise GX2C media server and VX4 media server and Stype Red Spy camera tracking system. Additional components include an NEP Plater Performer server for plate playback and frame accurate capture and logging, while screen mapping and control is done through Barco E2 running native resolution. The studio

Communications was tasked with creating the video content and 3D graphics. “Working alongside NEP and Skyway Studios has been an incredible opportunity to pair cutting-edge technology and a top-of-the-line studio facility with Lightborne’s renowned content creation abilities,” said Scott Durban, president of Lightborne. “Using Unreal Engine to cre-

NEP and Skyway collaborated on the Smart Stage to bring virtual production to broadcasters and other productions beyond just “The Mandalorian.”

also features 10 GB of connectivity and multiple fiber optic links to common broadcast partners, including other NEP studios around the world. “We’ve heard from many of our clients that a stage of this size and this design doesn’t exist anywhere else in the U.S.,” said Jason Newman, business executive, Creative Technologies, at NEP. “Even in L.A., outside the volume for ‘The Mandalorian’ or something along those lines built for a tentpole project, there’s not another stage that has the full surround with the capability that we’ve got here.” Even when compared to the virtual production set that “The Mandalorian” has made famous, Newman said that the only real difference is the layout and the size; the hardware driving the technology and the LED displays are essentially the same, just adapted into a somewhat smaller package. In addition to the technical and physical collaboration between NEP and Skyway, a third-party has helped bring the actual environments to the stage. Lightborne

ate content for this space draws on all of our capabilities and combines them into a new kind of alchemy that has seemingly endless conceptual, narrative and visual potential.” LIVE ON STAGE Since the Smart Stage launched in June, it has been used for a number of different kinds of productions. With it being located in Nashville, one type has been for music performances serving as a potential replacement for delayed or cancelled tours that impact not only artists and their fans, but the production crews that help produce the shows. The stage can also be used to produce content or entire presentations for corporations, as well as high-end TV or film production. “The opportunities are endless,” said Bill Lafontaine, chief marketing officer at Skyway Studios, who emphasized their excitement over what the partnership with NEP has brought to the table. However, you don’t need to be putting on a concert to utilize this virtual

stage technology at Skyway. The studio and NEP also crafted a smaller stage that Skyway expects to be an option for local sports broadcasters (Nashville is home to the NHL’s Predators, the MLS’ Nashville FC and the NFL’s Tennessee Titans). Regional broadcasters covering these teams could do studio shoots for pregame, halftime and post-game coverage, Lafontaine believes. While still in its early days, Skyway is excited about the prospects of what the Smart Stage has to offer. According to the studio’s owner and CEO, Julie Stadler, they might install more Smart Stages if the current installation proves successful. THE EVOLUTION OF PRODUCTION As mentioned earlier, nearly everything surrounding production is impacted by COVID-19 right now. Smart Stage contributes to the potential solution by eliminating the need for traveling to different locations or having an unsafe number of people in a single environment. This was particularly helpful as Tennessee’s COVID-19 restrictions allowed for production to return sooner than in places like New York, or Los Angeles, where NEP has a similar virtual stage setup. Still, timing played a key factor in all of this coming together. “One of the key things that people mostly don’t realize is that, say COVID had hit us five or six years ago, the infrastructure and the bandwidth within the world did not exist at that time to be able to support what the technology can do today,” said Andy Gerber, account and project manager for NEP Live. Even so, the pandemic did not cause a shift in the ways production operates, but rather an acceleration. “We were heading down this road with this technology,” Gerber continued. Part of the challenge in doing this now, he said, is that many of the technologies needed to pull everything off are working together for the first time and figuring out how to properly collaborate. “Once everything stopped, it was like now we have time to focus on things that were always on the back burner. We always knew we would get there, but now we are accelerated to having to figure it out. It’s been challenging but it’s been very fun and I would also say it’s been gratifying to get to where we are.”

www.tvtechnology.com TV TECHNOLOGY August 2020

IN THE NEWS

How NextGen TV Could Bridge Digital Divides ATSC 3.0 receivers need to be required in more digital devices BY ARMSTRONG WILLIAMS

Similar to the All-Channel Receiver Act of 1962, where the FCC required all television set manufacturers to include UHF tuners, not just VHF tuners, so the UHF band (then channels 14 to 83) could be

WASHINGTON—Cable TV operators, satellite service providers, and the behemoth telcos are happy to sell everyone their TV program service—to the tune of $217 per month on average, according to research firm Decision Data. That’s about the same as the average bill for all major utilities combined (electricity, gas, water, sewage and garbage). If you can’t afford that, like many in minority and underserved communities, too bad. Luckily there is an alternative, and it’s free. Over-the-air TV is not only still available and free, but with recently developed and approved new technology, broadcasters will be providing new services to parts of the market written off by pay TV providers. No more “let them eat cable!” NextGen TV is based on a new technological standard—ATSC 3.0—established by the Advanced Television System Committee as the newest version of over-theair TV. It allows viewers to have a truly amazing array of services, starting with ultra-high definition (4K) video and immersive audio delivering beautiful pictures and sound. It is IP (internet received by all, broadprotocol) based, but cast receiver chips no internet access should be mandated is required for it to for all laptops, tabwork. It allows dislets and cellphones. tance-learning chanBroadcast (TV and nels with no buffradio) receiver chips ering or pixelating cost less than $5 and and targeted emerwould open to everygency alerts that are not one the remarkable benblocked because the cell efits afforded with the ATSC phone system is down during Armstrong Williams 3.0 standard. a storm or overloaded in a criReceiver chips in mobile sis. Best of all, it does not need phones and computers would empowto be anchored to a TV set on your wall at er all of us to use this free over-the-air home—it can be available to mobile deNextGen technology directly with the vices as well—in your car, on your laptop electronic device we use. Just imagine, and on your phone. no internet access required, classrooms broadcast to your TV or phone, targeted NEXTGEN TV FOR EVERYONE disaster and emergency alerts and inforThis technology is now being incormation tied to your location, and sent in porated into some new high-end TVs. multiple languages. And, if the FCC and That’s good as far as it goes. But what Congress won’t move on this, the presiif you can’t afford an expensive TV? dent should consider advancing this cruTo make these services available to evcial public service pursuant to the Deeryone—including those most in need fense Production Act, which allows him and who can’t afford pay-TV service in to influence the domestic industry in the minority and underserved communiinterest of national security. ties—the technology needs to be in all When a disaster (natural or terrorreceiving devices: TVs, laptops, tablets ist) hits, such as 9/11, earthquakes, and phones. This is what the FCC and fires, hurricanes, tornadoes and floods, Congress need to move on.

communication networks are too often overloaded. The massive number of instant users during a crisis paralyzes the phone system. That’s the nature of the cellphone system designed to create a

MANY SIDE BENEFITS There are other important side-benefits to the NextGen system. The ability to transmit multiple highly robust broadcast signals provides a basis for building

one-to-one connection. The broadcast system, on the other hand, has a oneto-infinite architecture that can never be overloaded. Many are recognizing that outages are becoming more and more frequent within the telephone infrastructure. Telcos are also subject to hostile takedowns or the migration of malicious code from other systems. Emergency systems lack interoperability or range, as was the case during the 2011 earthquake in Washington, D.C., or the California fires and other catastrophes. Based on its large area coverage and high-power/high-tower infrastructure, NextGen TV would extend the limited coverage area of first responders, allow remote data and information access during emergencies, and provide for backup due to loss of communication networks during a cyber-attack on communication systems. NextGen broadcast also provides a highly dependable signaling allowing device “wakeup” and deep indoor penetration, coverage due to loss of the first responder network (FirstNet) during catastrophes, and is compatible with the cellular network Advanced Emergency Alerting & Informing (AEA&I) system.

an alternate, terrestrial positioning capability or secondary “GPS” system. Along with positioning comes a secondary precision timing system, which would further protect time-critical functions such as Wall Street trading and financial transactions. Finally, NextGen broadcasting is capable of providing location augmentation and a terrestrial-focused Wide Area Augmentation System (WAAS) for use by autonomous vehicles and truck freight. That means enhanced tracking of driverless cars and package delivery services. It’s not your father’s broadcast TV anymore. Those without access to pay-TV services should not be relegated to a permanent second-class life. How many kids during this pandemic who didn’t have reliable internet connections missed out on classes that could be broadcast to a TV in the house or to areas with spotty connectivity? And when there’s a school shooting and the cellphone network melts from overwhelming demand, wouldn’t it be great for everyone to have access to shelter information, evacuation routes and hear it in multiple languages? ATSC 3.0 will be available to 100% of the U.S. population.

12 August 2020 TV TECHNOLOGY www.tvtechnology.com

IN THE NEWS REPACK CONTINUED FROM PAGE 1

Chairman Ajit Pai

“The Bureau subsequently issued two extensions until August 3, and three more until Sept. 8,” Kiddoo said. “Each of the six stations faced unique challenges with its construction project that required a little more time. We anticipate the issues are being resolved within the extended timeframe established by the extensions.” Looking back at the repack project, Kiddoo was struck by the complexity, and the eventual ability for all the moving pieces to slot together. “This was an extremely complex project with lots of challenges, but one major one was that a ‘one-date-fits-all’ plan similar to the 2009 DTV conversion simply couldn’t work here due to interference concerns,” she said. “The commission therefore had to develop a scheduling plan that assigned repack stations to particular phases that took into account not only interference linkages among stations, but also resource constraints such as engineering support, tower crew availability, equipment supply chain limitations and the like.”

Photo Credit: Bob Kovacs

“There are six stations that were granted extensions beyond the July 13 deadline established by the commission as the final date on which all repack stations needed to vacate their pre-auction channels,” said Jean Kiddoo, chair of the FCC’s Incentive Auction Task Force. “The first such extension was to WFOX (Jacksonville, Fla.), where the commission unanimously found that circumstances beyond WFOX’s control justified a waiver of the deadline until Sept. 8, 2020.” In the FCC order that pushed back the deadline for WFOX, the commission delegated the ability to make similar extensions to its Incentive Auction Task Force and Media Bureau.

UNFORESEEN SITUATIONS Other factors considered by the FCC and broadcasters included seasonal climate limitations, issues posed by certain complex tower locations, and a desire to minimize the number of times over-theair viewers in a particular market would be required to rescan their TVs to continue watching a transitioned station. “The plan that was adopted by the commission in 2017 took into account all of these types of constraints and considerations,” Kiddoo said. “It also incorporated sufficient flexibility to accommodate a myriad of other unforeseen situations, not the least of which was a global pandemic, while at the same time keeping the overall transition on schedule.” One big concern shared by the FCC and broadcasters alike is the possibility of interference after stations have been shoehorned into considerably less bandwidth. “Everyone has been so busy trying to get the repack completed that we have not had time to look at how the interference situation has played out,” said Bill Meintel, senior partner with broadcast consulting company Meintel, Sgrignoli & Wallace. “I expect that will get more attention over the next year or so as the industry looks to make other changes and roll out ATSC 3.0.” Getting the work done was a full-out task for station engineers and companies that specialize in large RF systems. One of those companies was QCommunications, an engineering project management and installation vendor in Lee’s Summit, Mo., that has specialized in assisting clients navigate the waters of FCC relocation and repack projects since 1997. According to John Owen, chief technology officer for QCommunications, the repack work was definitely not as simple as “insert Tab A into Slot B.”

New RF systems at WBZ in Boston include a GatesAir ULXTW-120 transmitter.

“Installation of complex RF systems and transmitters required field modifications of pre-designed components, resulting in many after-hour and weekend brainstorming meetings between station and field engineers, project managers, vendors and manufacturers to overcome a melee of unforeseen field issues,” Owen said. “At times, obtaining critical RF components was harrowing and com-

$10.05 Billion

84 MHz

Cleared by the reverse auction process

Revenues to winning broadcast stations

39 Months to complete repack

987

TV stations involved

175

Winning stations

$1.75 Billion Available to stations for repack funding

pelled QComm to utilize the [cumulative] 80 years we’ve spent building industry relationships to meet the aggressive repack schedules.” In particular, Owen cited a difficult installation for WVVA in W.Va. “The treacherous roads of the mountain location in West Virginia required painstaking logistics for crew ingress/ egress to deliver components and tower crew equipment,” he said. Another memorable installation for him was the twin GatesAir ULXTE-150 transmitters for WPSG and KYW at a common site in the Roxbury section of Philadelphia. JUMPED ON THE WORK One big broadcaster that jumped on the repack work was Sinclair Broadcast Group, which had 100 stations to shift. Early on, the company reported major weather delays for the tower crews, some vendor-delayed shipping issues and major delays in a few cities with local zoning permits. However, all Sinclair’s work was completed by the deadline. Broadcasters were reimbursed for the work, of course. However, managing the reimbursement process when gov-

www.tvtechnology.com TV TECHNOLOGY August 2020

IN THE NEWS ernment oversight is involved can be a tricky process. “The ever-changing and highly scrutinized review and reimbursement process added extra layers to an already complicated transition that was not foreseen by many stations,” said Tony zumMallen, president of QCommunications. “We give credit to the FCC team that worked tirelessly to help our team achieve the FCC and station repack goals. Without all the players working to achieve the same results, the process could have been more arduous.” When the repack started, wireless companies had bid on spectrum occupied by broadcasters. This “incentive auction” generated $19.8 billion, and approximately $10 billion of that was earmarked to reimburse broadcasters that gave up their spectrum. Some broadcasters went all-in on the process and ceased broadcasting—a total of 41 stations took the money and went off the air. The remaining 987 stations have either all been repacked or are one of the

cations’ zumMallen said. In addition, tower crews that worked overtime to change out television RF equipment will now more or less immediately be tasked to install the wireless systems (including 5G) for which the spectrum was cleared. With nearly all the work now done on the repack, FCC Chairman Ajit Pai praised broadcasters, manufacturers and industry groups for working together to meet the deadline. In particular, Pai singled out tower workers as genuine heroes. “I think it’s fair to say that no group has done more [than tower workers] on the ground and in the air to make the benefits of the broadcast incentive auction a reality,” he said. Other industry officials also weighed in on the repack project with praise for all the participants. “I am incredibly proud of the broadcast television industry for its herculean efforts to meet the FCC’s aggressive repacking deadlines, despite complex and

many other markets large and small on the list. The ability of stations to update their RF systems for the repack helped to prepare them for ATSC 3.0 broadcasting, although costs related to ATSC 3.0 were not included in the reimbursement. The past 15 years have been raucous in the television industry, with the digi-

tal transition just before 2010 and multiple waves of frequency shifts in what used to be the broadcast-exclusive UHF band. Will it be smooth sailing over the next few years, with no high-impact fastturnaround demands from government regulators? Or will they ask broadcasters to return more spectrum? We will know in a few years.

Wireless Systems

Baltimore’s WJZ Channel 13 directional antenna

six that are expected to be complete by September 2020. The FCC stated that these six holdouts will not delay the deployment of wireless services in the 600 MHz band. NO TIME TO RELAX With the repack work essentially complete, some might think that manufacturers, engineers and field staff could relax in the coming months. However, there is plenty more that needs to be done: The FCC said that as many as 15 percent of repacked broadcasters are currently operating on interim facilities, and will need to move to permanent facilities in the coming months. “Major antenna and tower work and transmitter installations remain to be completed and will continue to stress tower crews well into 2023,” QCommuni-

extenuating circumstances,” said NAB President and CEO Gordon Smith. “NAB thanks the FCC staff for its flexibility in working with stations to facilitate transitions and grant extensions when possible. We are also grateful to Congress for allocating the additional funds needed to fully reimburse broadcasters for costs associated with these mandatory moves.” LOST IN THE SHUFFLE? The repack schedule was so aggressive that a possible transition to ATSC 3.0 broadcasting was almost lost in the shuffle. However, the ATSC reports that there are 10 markets in the U.S. that now have ATSC 3.0 broadcasts available and 50 more markets by the end of 2020. These include major markets such as New York, Houston, San Francisco, Washington, Miami and Chicago, with

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16 August 2020 TV TECHNOLOGY www.tvtechnology.com

IN THE NEWS

Successor to HEVC Moves Forward V VC claims 50% bandwidth savings over H.265 BY MICHAEL BALDERSTON BERLIN—Fraunhofer HHI has announced the approval of the H.266/ Versatile Video Coding (VVC) standard, which it says reduces bandwidth needed for high resolution (4K and up) video by up to 50% compared to its predecessor, HEVC. A result of collaboration among the world’s largest tech companies—Apple, Ericsson, Intel, Huawei, Microsoft, Qualcomm and Sony—VVC boasts improved compression without compromising visual quality, according to Fraunhofer HHI. The new standard can provide efficient transmission and storage of all video resolutions from SD to HD up to 4K and 8K, while also supporting HDR video and omnidirectional 360-degree video. “Because of the quantum leap in coding efficiency offered by H.266/VVC,

the use of video will increase further worldwide,” said Benjamin Bross, head of the Video Coding Systems group at Fraunhofer HHI. “Moreover, the increased versatility of H.266/VVC makes its use more attractive for a broader range of applications related to the transmission and storage of video.”

Fraunhofer also announced plans to establish a uniform and transparent licensing model based on the FRAND (fair, reasonable and non-discriminatory) principle for the use of standard essential patents related to H.266/VVC. This has led to the founding of the Media Coding Industry Forum (MC-IF), which includes more than 30 companies and organizations.

Fraunhofer HHI said it expects to publish the first software (for both encoder and decoder) to support H.266/ VVC, by the fall according to Thomas Schierl, head of Video Coding and Analytics department at Fraunhofer HHI. After the announcement, chipmaker Qualcomm said it expects to begin commercial deployment of VVC next year. “By 2022, 82% of internet traffic will be video,” said Marta Karczewicz, vice president of technology, Qualcomm Technologies. “In our connected world of Netflix, Zoom calls and video sharing, video compression is an extraordinarily important technology area that people around the world rely on every day.” “Qualcomm Technologies is extremely proud of the great work our inventors and engineers have done in creating the core technologies that went into the VVC standard and driving the standard to com-

pletion in the middle of a global pandemic,” added Jim Thompson, executive vice president, engineering and chief technology officer, Qualcomm Technologies. In what it described as the first endto-end UHD satellite broadcast transmission using VVC, Ateme said it is partnering with SES, Videolabs and French university IETR to test transmissions using an SES satellite. Source UHD video is being encoded with VVC and encapsulated in MPEG-TS using Ateme’s Titan Live video processing platform. The streams are modulated using DVB-T2 and broadcast via an Astra 2E transponder that covers all of Europe, the company said. On the receive side, the signal is being demodulated by a DVB-to-IP gateway. It is then forwarded to the VLC player that displays the video in real-time using the OpenVVC decoder from IETR.

MPEG Founder Declares ‘Death’ of Standard Places much of the blame on how industry handled HEVC BY TOM BUTTS TURIN, Italy—The founder of the most widely used digital video standard of the past several decades says the group that developed it has closed up shop, adding that the standard is officially “dead,” killed off by the International Organization for Standardization, which he derided as a “feudal organization.” Leonardo Chiariglione, founder of the Moving Pictures Experts Group, resigned from the organization—which he had led since founding the group in 1988—in June and made his thoughts known in a blog titled “A Future Without MPEG.” Among the reasons, Chiariglione cited was the way the ISO changed its methods in treating the standard, which is responsible for the widespread adoption of digital video over the past several decades. “What used to be the reference standards group driving close to 2% of the Gross World Product, i.e. $1.5 trillion, and affecting the daily lives of billions of people is now reduced to splinters” he said. “The radical innovation of putting in one committee all media components, copied by most standards bodies and companies, is gone. Now, ISO

media standards are treated separately. Godspeed, when someone will need to put the pieces together.” Chiariglione says that while holders of MPEG-2 IP were “responsible” industry participants, holders of patents for succeeding standards—particularly HEVC—were not. “MPEG did not live happily after MPEG-2 because it saw that most MPEG2 IP holders held IP on the following (video) coding standards and had difficulty adjusting to the internet video distribution paradigm,” he said. “Adding to that, the number of IP holders on HEVC has skyrocketed to ~45, 2/3 of which belong to one of the three existing patent pools and 1/3 belong to none. “It should be no surprise that the HEVC standard has some use in broadcasting, but its use on the web is estimated to be at 12%,” he continued. “If one considers that broadcasting is a rich but declining market and video on the web is constantly rising, one understands that ISO standards will be gradually relegated to a more and more marginal market.” Chiariglione added that efforts to evolve the licensing regime to a “royalty free” arrangement based on various flavors of MPEG standards following

Leonardo Chiariglione

MPEG-2 came up short, again blaming the ISO. “A company should not be forced to give away a patent for free, but... ISO rules allow a company to prevent a nolicense/free license standard from happening by simply making a cautionary ‘I may have patents that I am willing to license’ declaration,” he said. Chiariglione also cites the new landscape that has taken hold over the past decade with new proprietary video codecs developed by Silicon Valley, like AV1, which was developed by Amazon,

Cisco, Google, Intel, Microsoft, Mozilla and Netflix as part of the “Alliance for Open Media.” When it announced the AV1 standard in 2015, AOM said that AV1 would have a royalty-free ecosystem; patent review process and legal defense fund; cutting edge technologies and collaborative open source development, Chiariglione said. While he described MPEG-4 AVC as a very successful “generic” standard because it is used for broadcasting and online streaming as well, he had harsh words for HEVC. “After seven years, MPEG-H HEVC patent holders could not get their acts together and propose a decently unified licence,” he said. “HEVC is used in broadcasting, however, use for streaming is limited at best.” He said the death of MPEG was inevitable partly because of the influx of competing standards from computer interests. “MPEG, with all its influence on the industry, was like a free city in the Middle Ages, ready to fall under the attack of powerful armies,” he said. As for the future, he has hope for the recently adopted VVC standard, “if they get their act together and propose a decent licensing scheme,” but he fears that broken industry promises and ISO policies will bog things down.

www.tvtechnology.com TV TECHNOLOGY August 2020

IN THE NEWS

Phoenix Model Market Adds Second 3.0 Signal Scripps-owned KASW-TB will host KSAZ as part of initial launch BY TOM BUTTS PHOENIX—Broadcasters have deployed their second NextGen TV service to the Phoenix Model Market. KASW-TV, the Scripps-owned CW affiliate, announced the deployment this week. The station announced last fall that it was building a transmission facility that included a single frequency network (aka Distributed Transmission System) for the Phoenix Model Market, a testbed operated by a consortium of broadcasters and equipment vendors testing ATSC 3.0. The station becomes the second TV transmission source in the nation’s 11th largest TV market. Phoenix now has two ATSC 3.0 transmission towers whose licenses are approved by the FCC, programming legal agreements are in place and the facilities are on-air. The station will host KSAZ-TV (Fox) as part of the initial launch.

“The addition of a second transmission facility provides a robust test platform with the power of two transmitters for signal testing by consumer receiver and transmission equipment manufacturers. The Phoenix Model Market continues to lead the industry in the development of the essential next-gen TV service as well as the testing of new automotive services,” said Anne Schelle, managing director of Pearl TV, which is coordinating the Phoenix Model Market. “Scripps is pleased to partner with the stations in the Phoenix market to continue to advance next-generation TV

service offerings for our viewers and advertisers,” said Brian Lawlor, president of Local Media for Scripps. “Our focus is on delivering local content that informs and entertains our audiences, and these technological advancements will move the entire industry forward.” “This second station in Phoenix shows the keen interest in the broadcast community to explore the exciting growth and capabilities of NextGen TV. The Phoenix Model Market participants will make use of this second station to expand our business development efforts,” said Richard Friedel, executive

vice president of Engineering for Fox Television Stations. Viewers in Phoenix watching on conventional digital TV sets will easily find their familiar channels after the launch of the KASW-TV NextGen TV broadcasts. After rescanning, all of the current programming carried on KASW-TV remains on the familiar channel locations thanks to sharing arrangements with other broadcasters in the Phoenix market. The Phoenix Model Market is a collaborative effort with a dozen Phoenixarea TV broadcasters who are launching NextGen TV service marketwide, as a model for the TV industry. More than 60 U.S. markets have been targeted as the first areas where NextGen TV service will launch, with the ATSC now tracking market deployments of the new broadcasts. Once service is launched in those markets, NextGen TV powered by ATSC 3.0 will reach more than three-quarters of the nation’s population, ATSC said.

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18 August 2020 TV TECHNOLOGY www.tvtechnology.com

IN THE NEWS

Multiviewers Help Keep Live Production on Track Latency and dealing with increasing array of formats among biggest challenges BY TOM BUTTS

BIGGER primary broadcast applications: live proSCREENS, duction, playout, delivery, and OTT. HIGHER “If you’re going to work across those WASHINGTON—The explosion in RESOLUTIONS four applications, your multiviewer has to content availability spurred by the John Mailhot, CTO, nethave quite a lot of features to be the best OTT revolution over the past decade working and infrastructure in class across all four of those, where has only made the monitoring of such with Imagine Communications the multiviewer for live production has content more challenging. Mix in new said customers have become more to be super-high resolution. And it has to concerns over social distancing and the focused on using higher UHD resolube very low latency,” Joyce added. increased demand for remote productions in their multiviewer products. Joyce describes TAG multiviewers as tions in less than ideal environments “Our latest crop of multiviewers are the “Swiss Army Knife” of multiviewand it’s no wonder that production staff based on our Selenio Network Processors ers because of the product’s ability to are looking for simple, fast responsive [SNP], so they’re really designed around handle a vast array of formats in uncomsolutions. the sort of low-latency, high-touch propressed and compressed mode, plus the Developments in multiviewers have duction—people who historically were ability to analyze the signals. been spurred on by ever-expanding very fussy about latency. Now whether “Customers are demanding more and screen sizes, higher resolutions and, that fussiness is still there—in the post more probing capabilities for us to detect perhaps most importantly, the industry’s COVID world, will they have realized that more and more errors as different types move to the cloud and IP. However, addmaybe a little latency didn’t hurt anyof formats go into the different applicaing or altering the pathways from signal tions,” Joyce said. “A multo monitor can introduce new concerns tiviewer needs to do more that can negatively impact the producthan just be able to visualtion workflow. ize the errors. If you could actually detect the errors, SWISS ARMY KNIFE then you get a ‘bigger Top of the list of concerns is ensuring bang for your buck,’ using production staff can get a reliable, lowprobing and visualization.” latency multiviewer signal, regardless of Expanded support for whether they’re in a master control facilindustry standards, along ity, OB truck or their basement, accordwith “extreme” low latency ing to TAG’s Zer0 Friction Officer Kevin are among the new enJoyce. hancements in the compa“Remote production and the ability to ny’s multiviewers, accordview their facilities and the streams in ing to Joyce. their homes of course has become the “And we’ve increased number one priority,” he said. “In a multhe density of our systiviewer, you have to be able to work in High End TV’s new Symphony OB truck utilizes Cobalt Digital’s tem by 50% in the last six 9971-MV6-4K multiviewers. every single environment. And by envimonths,” he added. ronment, I mean across all four of the body—we’ll see,” he said. In the early days of higher resolution displays, if a customer wanted to use a UHD signal for example in their multiviewer, they had to deal with a trade-off in capacity, according to Mailhot. “So one of the things we really focused on in the SNP MV was just making all the displays rendered in UHD to begin with,” he said. “So every display is done in UHD and then we make an HD version of it if you need that. But we’ve sort of sized and scaled and built the whole product around creating UHD displays.” The ability to monitor HDR is also on the customer’s wishlist as well, Mailhot said. Imagine Communications’s SNP MV multiviewer platform

Lawo’s vm_dmv multiviewer

“We deal with HDR in a very intelligent way—you can choose whether to display it and you can pick whether it’s HLG or PQ or SLog3, of course. But then equally each of the inputs then gets harmonized into that format so that if you have an HDR production, maybe the TD wants to really see his stuff in HDR, but maybe for the replay operator who’s close to the screen, pushing HDR into their eyeballs from that distance isn’t such a good idea. “So you want to have SDR for some people on the truck and HDR for others,” he said. “And so that was a key design driver for the SNP MV.” UNCOMPLICATED SOLUTIONS With live sports now returning to the screen, Cobalt Digital has seen increasing demand for its multiviewer products, according to Chris Shaw, executive vice president of sales and marketing. “We are seeing this market move forward, both in government and in the sports truck environment,” he said. For 2020, Cobalt has added numerous features to its 9971-MV18-4K Multiviewer, including support for timecode burn for each PiP as well as multilanguage capabilities. The industry’s demand for UHD multiviewing solutions is helping drive new developments for Cobalt’s multiviewers. “4K production is here, and broadcasters and OB truck operators need to be able to monitor content at a glance,” said Shaw. “Not only does the 9971 Series support full UHD resolution, it can handle multiple asynchronous signals simultaneously and provide full resolution display on consumer 4K monitors. It’s an uncomplicated multiviewer solution for facilities with a complicated blend of HD and 4K sources.” There are also plans to add ST2110 support in the near future. “With the hardware that we’re sched-

www.tvtechnology.com TV TECHNOLOGY August 2020

IN THE NEWS uled to roll out at some point next year, our existing multiviewer will be expanded to support ST2110 on all inputs and have the output as well,” said Kyle Wilken, vice president of firmware for Cobalt Digital. MORE INTEGRATION, BETTER PERFORMANCE Lawo’s vm_dmv is a virtual module app for the company’s V__matrix IP routing & processing platform, complementing the existing vm_mv16-4, vm_mv18-4 and vm_ mv24-4 multiviewer lineup. It turns the V__ matrix C100 software-defined processing blade into a distributed, flexibly expandable, true IP multiviewer. The vm_dmv is based on a distributed architecture where multiple modules network together. These modules could be hosted together in the same V__matrix frame, in different frames or even at different geographical locations. Basically anywhere as long as they are networked together via IP. As a relatively recent entrant into this sector, Lawo had the advantage of approaching it through the lens of all-IP, according to Stephan Türkay, senior product manager, media infrastructure at the company. Providing that offering as part of the company’s V__matrix platform allowed for

Grass Valley Kaleido IP multiviewer

a more integrated product, he added. “Our customers coming from the baseband world are used to thinking in terms of compartmentalized multiviewer and routing solutions, which may very well be standalone offerings purchased from vendors that focus on a specific application,” Türkay said. “The move towards IP turns the overall infrastructure into a tightly integrated system with one-stop, intuitive control over switching, routing and multiviewing. In addition, virtualizing multiviewers not only expands the control and viewing options—it also allows operators to use idle resources for other processing tasks at short notice.

People can do more with less by scaling up and down without adding or disconnecting physical units.” A NEW UNIVERSE Grass Valley has been concentrating on latency and IP for its Kaleido multiviewer product line, according to Martin Jolicoeur, director of product management for the company. “We’re working on making processing latency on par with purpose-built FPGAbased hardware,” he said. “Obviously processing latency is important for live production staff when they’re making decisions. Another new thing is that we’re

providing the ability to process up to 64 HD sources on a single server running Kaledio IP software, where considering the bandwidths of uncompressed signal formats, it’s pretty amazing.” Kaleido is now part of the company’s new GV Media Universe, a microservice solution for SaaS and cloud-based solutions powered by Grass’s AMP (agile media processing platform). “This multiviewer offers low bit rate, low latency streaming, which accommodates for live remote production,” Jolicoeur said. ”It includes ‘intelligent timing’ which compensates for the different streaming latencies you can have from the venue to the control room or even your home office.” Recent changes in remote production mean customers are streaming multiviewer signals to new and more locations, adding stress to latency, according to Jolicoeur. “They’ll still use multiviewers in the truck, for example, but they’ll take the multiviewer output and they’ll stream that over cloud to the home or the facilities so that the creative staff is not on site and use that for making decisions, so that’s a main driver for making decisions,” he said. “And that latency has to be as low as possible.”

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The Changing Face of Audio Monitoring Software takes on a more important role BY KEVIN HILTON LONDON—In today’s IT-dominated world, with its increasing reliance on virtualization, it would be easy to assume that the physical audio monitoring unit (AMU) is becoming as archaic as the cathode ray tube. But while there is greater reliance on software, hardware is not completely out of the picture. “Although over the longer

term we envisage a gradual change from hardware to software solutions, currently the two go hand-in-hand and remain totally complementary to each other,” comments Kim Templeman-Holmes, vice president of sales and marketing at Wohler Technologies. A general mix of the two, he says, is still preferable, something reflected in Wohler’s current range of IP monitors. These, he explains, are “significantly more software reliant than our older products,” with representational state transfer [REST] infrastructure technology and APIs facilitating remote access and control.

A GRADUAL SHIFT A new AMU that is a major advance from its manufacturer’s previous models is the TSL Products SAM-Q-SDI. Audio product manager Stephen Brownsill describes it as “80 percent software and 20 percent hardware,” adding it is “very different” to TSL monitors of the past. “The whole industry has been under-

result in a full re-measure, which can take an hour. Software-based solutions have time-saving features like real-time loudness measurement and the history function.” Vinehill-Cliffe says work to improve loudness measurement is “constantly ongoing.” This is shown by loudness featuring heavily in the ATSC Recommended Practice document Conversion of ATSC 3.0 Services for Redistribution and the (at the time of writing) forthcoming release of a revised version of the EBU R128 standard. Loudness standards Wohler iVAM1-1 audio video monitor

going a gradual shift from purely hardware solutions towards hardware and software and most recently to software only,” Brownsill says. “Using software presents opportunities for us to measure audio levels and visualize them in a variety of new ways. Sound engineers can now freely select different audio scales and set the appropriate audio reference level with ease.” Nugen Audio produces a range of software-only systems for a variety of applications, including the VisLIM loudness meter. Product specialist Freddy Vinehill-Cliffe says there are “plenty of people who still use hardware loudness

RTW TouchMonitor

Wohler’s main AMU range is the iAM (intelligent Adaptable Monitoring) Series, which includes the iAM-Mix, with its “straightforward” front panel controls, and the iAM-Audio, offering interactive touchscreens. The company’s most recent product is the iVAM1-1 audio-video monitor, which was due to ship in July.

meters” but that, increasingly, sound engineers are recognizing the “convenience” of software-based units. “The main draw is that there isn’t really a practical way to measure loudness faster than real time using hardware,” he explains. “Loudness is measured over time and small changes to a mix

example of this approach is how AMU companies have handled the increasing use of audio over IP (AoIP) in broadcasting for networking and connectivity. RTW already offers both the leading AoIP systems, Dante and RAVENNA, on its TouchMonitor TM7 and TM9 models and earlier this year added compatibility with SMPTE ST 2110. “It is the latest standard within audio and video over IP and we expect it to replace SDI solutions over time,” said RTW’s Senior Director of Product Management Mike Kahsnitz, when the announcement was made in April. Brownsill says that, compared to ST 2022-6 and ST 2110, AoIP technologies are well established, giving the oppor-

“Using software presents opportunities for us to measure audio levels and visualize them in a variety of new ways.” —Stephen Brownsill TSL Products

are being updated so they can be more effective for high definition and streaming services. TSL’s Brownsill says that new software-oriented AMUs can be easily upgraded to accommodate new algorithms. TSL has targeted this critical area by incorporating eight loudness probes into the SAM-Q-SDI, enabling it to measure eight separate programs simultaneously. At Wohler, Templeman-Holmes says the company “tries to be ahead of the game on any technical revision or innovation” by reviewing either new standards being developed or any changes to existing guidelines. “To a large extent our customer base drives our development,” he says. “If there is sufficient demand we will develop a solution.” AUDIO OVER IP It would be fair to say that another

tunity of “being able to create an audio network rather than relying on ‘pointto-point’ system architectures.” He adds that there are still issues with Dante and RAVENNA being proprietary formats, although the AES67 interoperability standard has made interconnection between them possible. “But until AoIP becomes dominant for transporting audio, AES3 and MADI will continue to have a future,” he adds. Templeman-Holmes agrees that AoIP now accounts for a significant proportion of AMU sales but points out that “only a very small percentage” of orders do not feature other signal formats. “Analog is in heavy decline but most of our products continue to be ordered with a mix of AES3, MADI or SDI,” he says. “RAVENNA/AES67 and Dante demand continues to grow because of the ability to effectively and cheaply transport large number of audio channels.”

www.tvtechnology.com TV TECHNOLOGY August 2020

IN THE NEWS

TSL SAM-Q-SDI

Nugen Audio VisLIM loudness meter

NEW REALITY FOR PRODUCTION Another aspect of AoIP that is adding a new dimension to audio monitoring is the ability to network and interconnect over distances. This allows for remote working, which has become a necessity during the coronavirus crisis. “With COVID-19, a great many customers have been forced to adopt different workflows, especially those involved in the live production of sporting events,” says Brownsill. “While

remote production is nothing new for many of our customers, we are seeing that many of them have now accelerated their plans to adopt remote production as their new normal going forward.” To enable this, another of TSL’s main monitoring systems, the PAM-IP range, features three different control protocols: NMOS, Ember+ and an inhouse designed API. Nugen has taken a different approach by making all its post-production soft-

ware compatible with iLok, allowing users to work with the systems on mobile devices or from home studios. As for the future of audio monitoring in a broadcast world of ever more channels and platforms, the main manufacturers are keeping an eye on new or emerging standards and technologies. Wohler is not seeing any demand yet for ATSC 3.0 as a transmission standard but Templeman-Holmes says it already has products to monitor MPEG-2/4 and

Dolby Atmos. At TSL, Brownsill sees ATSC 3.0 “enabling more consumers to experience object-based audio formats such as Dolby Atmos over the air.” As a result SAMQ features both Dolby Atmos and AC-4 monitoring capability. From its humble roots as a moving coil meter, audio monitoring looks certain to carry on evolving and play a major role in ensuring that new broadcast formats work properly.

PortaCast® ROCKS! Voted #1 Case for Audio / Video Production PortaCast® Deluxe Features: Heavy duty ATA construction Includes TWO 27” HD or 4K Monitors Pull-out drawer for control surfaces Removable shelf for keyboard/mice/etc. 18 deep rack spaces 6 shallow rack spaces Side-cover converts to free standing table Gas shocks support easy open flip-lid Heavy duty castoring wheels with brakes Recessed D-ring tiedowns

SALES: 1-888-246-5525 Info@OlyCase.com Shown here with equipment - not included

PortaCast® is a registered trademark of Mobile Studios, Inc.

22 August 2020 TV TECHNOLOGY www.tvtechnology.com

PRODUCTS & SERVICES

MARKETPLACE CORE 5.4

HDR EVIE+

Dejero has released Core 5.4 software for its transmitters, encoders, transceivers and receivers. Among the key features of Core 5.4 is the ability to transmit and receive resolutions up to 4K UHD at 60 fps in both live and recording modes, as well as introducing two-way intercom communications to a range of Dejero products.

Part of the HDR Suite of processing solutions for Lynx Technik’s greenMachine, HDR Evie+ is a compression tool that helps to handle the process of archiving content in SDR and HDR.

There are enhancements to transmission security as well via an optional stream encryption capability. Power management enhancements for EnGo 260 and a closedcaptioning feature for the FlexPoint transceiver and WayPoint 50 receiver are also available. For additional information, contact Dejero at 519-772-4824 or visit www. dejero.com.

HDR Evie+ uses patented, segmented frame-by-frame algorithms that use sectional dynamic tone mapping to adjust each segment of the 3G or 4K HDR content in real time. Along with the entire range of greenMachine’s HDR to SDR processing technology, HDR Evie+ supports HLG, PQ, SDR and SLog3. Rec 709, Rec 2020 and camera standards by Panasonic, Sony, Arri, ACES, DCI-P3, RED and BMD. For additional information, visit Lynx at www.lynx-usa.com.

ARD 3000 Sencore’s ARD 3000 series of ATSC 3.0 receiver-decoders comes as either a single-channel (ARD 3100) or fourchannel (ARD 3400) 1RU platform and can be used for re-encoding and confidence monitoring applications in existing distribution systems. It also includes an ATSC 3.0 RF input for receiving NextGen TV RF signals, and enables users to tune to a single PLP and decode up to four services. For additional information, contact Sencore at 605-978-4600 or visit www.sencore.com.

SHEET PLATE ADAPTER KIT Designed to promote the practice of social distancing on set, the Sheet Plate Adapter Kit is a bracket mount that adds a welded 3/8-inch pin to any sheet material—Plexiglass, plywood, etc.—to create onset barriers that can be sanitized. The material is sandwiched between two 3-inch steel plates with four bolts. In addition to social distancing barriers, the adapter kit can also be used for things like camera protection, custom light modification and set building.

IQ SOLUTIONS The latest generation of IQ Solutions from Telestream provide single-pane-of-glass OTT stream monitoring to support combined adaptive bit rate and linear video workflow analytics and correlated diagnostics.

For additional information, contact Matthews Studio Equipment at 818-843-6715 or visit www.msegrip.com.

SYSTEM T SSL has updated its System T broadcast platform—designed to expand AoIP integration for direct console routing control—to provide new functionality for the entire Solid State Logic console range, including the S500, S500m and TCR. v3.0 of System T has migrated to Windows 10 Embedded for reduced development cycles and advanced feature deployment. There is also new support for TeamViewer to remotely access consoles through a standard internet connection. Additional updates have been made to System T’s onboard Effects Rack via a new reverb with degenerative noise control and a 10-band parametric EQ with FFT overlay. For additional information, visit Solid State Logic at www.solidstatelogic.com.

To do this, Telestream has integrated Sentry linear probes from Tektronix Video with its Surveyor TS probes in the IQ Solutions. There is also the addition of NPAW YOUBORA player analytics for complete end-to-end monitoring of OTT streaming and IPTV distribution networks. All of this has resulted in the release of the iVMS ASM Intelligent Video Management System, which increases visibility across the linear and ABR video workflow. For additional information, contact Telestream at 530-470-1300 or visit www.telestream.net.

www.tvtechnology.com TV TECHNOLOGY August 2020

BLACKJET—VX-1P

URSA MINI PRO 12K

The Blackjet—VX-1P media reader is designed specifically for use with AJA Pak Media. The VX1Putilizes the bandwidth of USB 3.1 Gen 2 (10 Gbps), which enables users to ingest, edit and archive creative content from AJA Pak Media at max speeds. VX-1P also uses USB-C to make it compatible with existing Mac and Windows USB 3.1 and Thunderbolt 3 computers.

The third generation of Blackmagic Designs’ URSA model camera, the URSA Mini Pro 12K features a new sensor that allows for shooting in up to 12K resolution (12,288x6,480). This is done through a new Super 35 sensor with 14 stops of dynamic range and native ISO of 800. In addition to 12K, users can shoot in 4K, 6K and 8K as well.

Other features include ingest speeds up to 525 MBps; a rugged metal enclosure for durability and longevity; and vent holes to increase heat dissipation. For additional information, contact AFT at 510-824-6868 or visit www.blackjetusa.com.

The new camera also supports Blackmagic Generation 5 Color Science and higher Blackmagic RAW performance. The camera’s sensor and Blackmagic RAW were designed together to make 12-bit RAW workflows in 12K. RAW also helps with editing camera footage as HD and UHD files. Additional features include an interchangeable lens mount, with PL, EF and F mounts included; the ability to shoot up to 60 fps in 12K, 110 fps in 8K and 220 fps in 4K; dual card CFast recording at up to 900 MBps; SuperSpeed USB-C for recording to external disks; DaVinci Resolve Studio for post production; and compatibility with Blackmagic URSA Mini Recorder. For additional information, contact Blackmagic Design at 408-954-0500 or by visiting www. blackmagicdesign.com.

STARTRACKER STUDIO StarTracker Studio is a pre-assembled production package that can be utilized for productions up to 4K UHD. Camera tracking is done by utilizing dots on the studio ceiling to plot camera movements and a plug-in to interface directly between camera tracking and the package’s Unreal Engine.

RESIDENTIAL PROMPTER KIT Designed for at-home production, the Residential Prompter Kit is a small desktop teleprompting kit that uses a computer webcam to capture footage. The kit serves as a complement to the RUSHWORKS RUSHPROMPTER software for Windows applications.

StarTracker Studio includes three Blackmagic URSA Mini 4.6K cameras with Canon 18-80 zoom lenses; camera jib; rolling tripod; camera rail set; eight-channel ATEM production switcher; three video recorders; Ultimatte keyer; and the MoSys Beam In Kit. For additional information, contact Mo-Sys at 917-503-1100 or visit www.mo-sys.com.

Included in the kit is a round base, an 18-inch flexible arm, a spring clamp with reflective mirror and a light blocking hood. There is also a version of the kit for a 12-inch 1920x1080 HDMI monitor. A second base, 18-inch extension arm and gimbal mounting head for a small camcorder is also available as an option. For additional information, contact RUSHWORKS at 888-894-7874 or visit www.rushworks.tv.

HDC-P31 A point-of-view system camera, the HDC-P31 offers remote functionality and 1080/60p HDR capability meant to complement Sony’s box and portable system camera options. HDC-P31 offers remote access that will provide menu setting, status monitoring, log filing and firmware updates offsite. The camera features a global shutter three 2/3-inch CMOS sensor system; high sensitivity of F12 and F13; low noise at 62 dB; HDR support with a choice of S-Log3/HLG; and the ability for simultaneous production in HDR and SDR. For additional information, visit Sony at pro.sony.

TRICASTER 2 ELITE TriCaster 2 Elite, the latest iteration of NewTek’s flagship product, features new video production capabilities, including the ability to support nearly all video calling and web conferencing tools. It also supports all IP video sources, which can be used simultaneously with traditional SDI sources. The system is outfitted with eight mix/effects with four layers each, enhanced with integration with Adobe Creative Cloud tools. There are also visual storytelling automation tools with simplified teleprompter-based scripting; VR and AR rendering capabilities; support for non-standard frame rate and aspect ratios; frame sync on every input; audio mixing and routing; and support for Dante and AES-67. For additional information, contact NewTek at 800-368-5441 or visit www.newtek.com.

24 August 2020 TV TECHNOLOGY www.tvtechnology.com

INSIGHT STORAGE TECHNOLOGY ➤ FOR MORE INSIGHT AND INNOVATION VISIT TVTECHNOLOGY.COM

A Decade of Changes in Storage I

T departments continue to look for network). For transactional data, the focus was on ad- (I/O) requests. Through these tools, the systems could ways to improve benchmarks for ministrative procedures, which would automatically be improved by adjusting the way the drives were being end-user devices throughout the en- perform data backup, recovery and analysis. SAN solu- utilized per the workflow groups to which they were asterprise, and in the media-domain, that tion sets often required a higher level of administrative signed. Plug-ins were used to track real-time and trendis no different. For media, especially maintenance, so SRM was furthered by implementing ing patterns over any level of granularity (days, weeks or editorial production, the need to create a combination of vendor APIs and a collection of the months) that the administrator wanted. For example, in a high-level rendering process content that is funneled for visual special effects, the from various resources 4 KARL demands on drive I/O would depends upon the work PAULSEN be continual but in editorial station or server capabilior color grading, the demands ties, but more importantly on the storage may be somewhat reduced. systems’ abilities to deliver the data faster and unencumbered. LESSONS LEARNED A decade ago, the hot topics for maxiMany changes occurred in mizing storage capacity were centered storage media between 2000– on the thoughts and needs of “enterprise 2010. The industry had started data storage.” There seemed to be little shifting SSD applications to distinction between “storage for media” include NVMe (2009) as the purposes and “storage for enterprise front end or cache portions of data,” despite the radical differences beTable 1: Merits and requirements for structured (transactional/database) data compared with unstructured (media) data the drives arrays themselves, tween media’s needs for high accessibililearning new lessons in space, ty, large contiguous file sizes and uninterspeed and product fabrication. Even the migration from rupted delivery to editing workstations. A lot of things have changed over the Tier 1 high-performance Fibre Channel (FC) deployData was distinctively divided between course of the previous decade not only ment to less expensive Tier 2 SAS drives became more “structured” as in transactional data and acceptable because improvements in the storage man“unstructured-data” found in video and in storage device technologies, but agement tool sets allowed a more automated approach audio media (see Table 1). Approaches to also in performance, operations and to implementation and administration. And once SSD managing these divisions varied dependadministrative freedom as represented arrived, the division between Tier 1 and Tier 2 almost ing upon the storage platform (NAS, DAS blurred because I/O performance for SSD nearly equalor SAN) and the volume of data to be by shortened deployment time and ized FC HDD performance, which the applications demanaged on a usage level. user-sensitive interaction with storage velopers jumped on as a new and improved way of inThe stack of requirements for data stormanagement itself. creasing performance of their own products. age management and efficiency included Some of the lessons learned really leveraged rapid tiered storage, data migration tool sets changes in drive performance alongside the acceleraand techniques such as data reduction tion of prolific content generation for streaming servicand thin provisioning. Storage resource es—and for good reasons. management was also emphasized during those times, ahead of the full accepFAST FORWARD tance and availability of solid state drives A lot of things have changed over the course of the (SSDs) or NVMe (non-volatile memory exprevious decade not only in storage device technolopress) devices (Fig. 1). gies, but also in performance, operations and adminInitially, tiered storage was proclaimed istrative freedom as represented by shortened deployas a first step for many organizations. ment time and user-sensitive interaction with storage Tiered storage was regulated by a process management itself. Fig. 2 shows the relative transfer that took the least used data and moved it rate improvements from HDD through today’s NVMe to a lesser accessible format such as linear storage sets. tape. That model gradually evolved from Workflows are individual to the organization. Drive on-prem physical tape libraries to deep system providers are now focusing more on perforarchives in the cloud. Sometimes tape mance by adding simplicity to installation, configurawas retained for disaster recovery and leFig. 1: Volume of drives by type over the past five years, noting that NVMe (nontion and administration. Features such as role-based gal reasons. Over time, and in some cases, volatile memory express) has overtaken most other form factors by nearly 2:1 authentication and single namespace architectures are the cloud would all but eliminate the onusual tools for systems management including SNMP, taking the place of complex administrative activities prem tape medium. storage management initiative specifications (SMIS) and that traditionally were the Achilles’ heel of the end users and which often kept systems administrators from RESTful web services. PROACTIVE SERVICES Utilization pattern data also emerged during this going home at night or enjoying their weekends. Storage resource management (SRM) uses a proacSoftware (not hardware) RAID is now supported tive approach that optimizes the speed and efficiency 2010 period. The tool set helped administrators deterof the “available drive space” on a SAN (storage area mine how their storage systems managed input/output CHANGES, PAGE 26

www.tvtechnology.com TV TECHNOLOGY August 2020

INSIGHT LIGHTING TECHNOLOGY

Lighting Safely as We Move Back on Set D uring the pandemic and as production is slowly ramping back up, many in our industry have been taking a minimalistic approach when it comes to light4 JULIA ing. To produce con SWAIN tent, filmmakers have had to compromise on the amount of crew, tools and what happens in front of the lens. The shoots I have been fortunate enough to do have all followed strict safety guidelines.

EMBRACING NATURAL LIGHT Something else that is evident right now is that it’s the naturalistic concepts that are being chosen and executed. Doc-style concepts where natural light is embraced is very attractive to production companies. These mean less people needed on set, less money to be spent and less equipment to be rented. When you need to light, bigger units far away have been key in keeping the equipment footprint small indoors near subjects.

Recent music videos have been contained, with many members of production on set virtually to minimize the amount of bodies on location. For exterior shoots, it has been a bit easier to accept natural light. Distance between crew members and talent is less of an issue and larger rags like bounces and solids can still be utilized to create shape. Utilizing the sun, usually as backlight for separation, and then creating shape on faces and objects has been a useful approach. This method sort of falls in line with the idea of keeping lighting naturalistic—fewer lights, bigger sources further away, really taking advantage of what already exists in the space. But even in a commercial setting, shooting exteriors lends itself to safety during a time when illness is easily spread from person to person. Recent music videos have been contained, with many members of production on set virtually to minimize the

sons. All of these units were able to accomplish color change as well from a distance. No need to come in with a different unit to swap out something that was already in place. Time will tell how our industry moves forward with the safety and health of its members in mind. Many advances in lighting technology have helped keep us even safer, perhaps without us realizing it. We are faster and more efficient with such versatile tools. We will continue to work toward having full crews with full grip and electric packages in closer proximity to each other again. For now, the focus is on essentials for getting content made while still staying truthful to each piece and its narrative.

Longer lenses were used so the operator could be further away from the subject, and the lighting changes were programmed and executed remotely.

amount of bodies on location. Those physically present include the DP, producer, one assistant camera, sometimes a production assistant and the talent. A very exciting, and slightly more involved, video for singer-songwriter Quinn XCII was able to be contained and yet really visual. Crew came in separately, set up a few different lighting gags with Astera Titans, Litemats, a Skypanel S-60 and more around where the artist would be placed. All of these units were selected because they could be controlled away from the actual setup. OPERATING REMOTELY After grip and electric were set, the artist and camera came in to keep everyone from being on the set at one time. Longer lenses were used so the operator could be further away from the subject, and the lighting changes were programmed and executed remotely. All the gear was wiped down and the crew took frequent breaks to clear the air. It ended up being a simple concept logistically, but with several different looks throughout the video and light that changed frequently in intensity, shape and quality. This Quinn XCII video shoot was an example of a project in this intense time that didn’t lean into the “natural light” approach, but could still be done carefully with distance and a very small crew. The challenges production is giving us to photograph the world within current projects are making us rethink what we really need to light and perhaps slim down on the resources we need to accomplish them. It’s thanks to lighting technology that we can do so much more without having to be at the unit. The Asteras were programmed to do different lighting cues,

the Skypanel dimmed up and down as a key and then the Litemats also dimmed at certain points in the video. Though most of the video is black and white, some color stock was shot and the color temperature of the lights had to change for both color and light sensitivity rea-

Julia Swain is a cinematographer whose work includes films such as “Lucky” and “Speed of Life” alongside dozens of commercials and music videos. She continues to shoot on a variety of formats, seeking to create compelling visuals for every story and brand.

26 August 2020 TV TECHNOLOGY www.tvtechnology.com

INSIGHT STORAGE TECHNOLOGY CHANGES

are easier to understand. Systems and their administration are more intuitive and quite different from what were previously used in older, established storage solutions. Today’s users should expect a storage system to be as straightforward as their iPhone or Android mobile devices. Resiliency should not have to depend upon continual monitoring and tweaking of systems just to keep workflows fluid.

CONTINUED FROM PAGE 24

by separating the controller profiles from the shares or pools of storage itself. Eliminating the dependency among the two systems enables yet another level of performance improvement. Desynchronization and data corruption is further prevented when using software solutions for RAID control itself. Improvements such as hyperscalability, high availability (HA) and containerization support through application-specific interfaces are now easier and achievable, aided in part by taking the mystery out of the deployment factor. Through the addition of increased RAM and multiple CPU cores, more throughput and reduced latency are each achieved. Distributed file systems and clustering for media-centric storage implementation, typically reserved to high-profile compute intensive systems, is now expected. Utilization of current optical fiber SFP connectivity— such as QSFP28 100G connections between the server engine node and the drive chassis itself—are pushing I/O (and IOPS) figures upward while being more readily adaptable to the user software systems for applications such as rendering, color grading and editing. REMOVING RELUCTANCY Nobody wants to or can afford to wait and with storage bottlenecks virtually eliminated using these newer

GUIDE TO

and faster speedways—throughout the system—they are gaining acceptance across the enterprise. Traditional IT departments who were reluctant to put different or new solutions in place, especially for M&E users, are changing their vision. Today, for example, deployments of new systems take only hours, not days. GUIs

Karl Paulsen is currently the chief technology officer for Diversified and a frequent contributor to TV Technology in storage, IP and cloud technologies. You can reach Karl at diversifiedus.com.

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Fig. 2: Relative improvements in storage system data transfers from hard disk drives (HDD) through NVMe flash (SSD) drives

KNOWING THE RIGHT SOLUTION A key to understanding cost-to-performance models is in knowing the architecture of the storage system that you may need for your particular application. Stakeholders in the organization need to homogenize the users, administrators and technical support personnel in order to reach the right solution. A single drive set may no longer meet all the needs of the organization, however, that decision really depends upon the details of scale, diversity and the performance of the drive set and the solution provider’s unique capabilities for the tasks at hand. Note: Portions of the technology discussions are courtesy of OpenDrives LLC of Culver City, Calif. (www. opendrives.com)

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www.tvtechnology.com TV TECHNOLOGY August 2020

EQUIPMENT GUIDE

CAMERAS & LENSES

➤ FOR MORE INSIGHT AND INNOVATION VISIT TVTECHNOLOGY.COM

Philadelphia Eagles Employ ARRI Cameras for Cinematic Storytelling BY NICK ROTONDI Senior Producer Philadelphia Eagles

wired for sound. One of our AMIRAs shoots high framerate game action as an alternative to the typical broadcast style. We use our other two AMIRAs on the ground, splitting them up as multipurpose cameras capturing stylistic game action, fan and atmosphere shots. Outside of game day, our ARRls are our main camera for short stories or features, whether it’s local or on the road, sit-down interviews and shoulder-based handheld work with players. This allows us to use our best cameras in as many situations as possible in order to produce and maintain overall high production value.

PHILADELPHIA—As senior producer for the Philadelphia Eagles, our team is responsible for everything from game footage to features to high-production

USER REPORT value content. The Eagles have a great history of storytelling and in 2014, we began looking for cameras that could streamline what we were doing and bring that storytelling to modern cinematic life. Our work is heavily “run-andgun” and we needed a way to be more efficient. At the time, it was hard to match footage as we were using different cameras from a variety of brands. Luckily, with our facility being located near NFL Films in New Jersey, we were able to easily stay in the loop about new technology. This is how we discovered ARRI.

ARRI cameras in stock for the Philadelphia Eagles provide cinema-quality footage for on-field and promo materials.

OUR ARRI ROSTER At the time, NFL Films was moving a lot of their infrastructure over to ARRI’s AMIRAs. With our content being aligned with theirs, we knew this camera would work for us as well. We purchased three AMIRAs based on customizable switches on the side, the intuitive menu and the overall look of the ARRI footage. Other cameras tend to be too menu-oriented, which makes them difficult to use during a high-paced game. These features allow us to quickly capture more slow-

motion and other stylistic footage. Also, by switching to the same platform as NFL Films, we could use their footage interchangeably with ours, knowing it would match. My favorite feature often flies under the radar—an interchangeable native lens mount on the AMIRA and ALEXA Mini. We have a large inventory of lenses in PL, B4 and EF mounts that we’ve gathered over the years. The ARRI mount system lets us utilize all of these lenses on any given shoot, with only a minute

BUYERS BRIEF Grass Valley LDX 100 Grass Valley has equipped its LDX 100 cameras with a 2/3-inch Titan imager for capturing UHD and HDR images at 3x high speed. On the distribution side, the camera is a self-contained IP endpoint with up to 100 Gbps IP network connections for audio, video and control. In addition, LDX 100 eliminates the requirement for traditional SDI interconnects, allowing for distribution flexibility, including REMI integration. It is also standard compliant with SMPTE ST 2110-10, -20 and -30 and AMWA NMOS IS-04, -05 and -07. For more information, visit www.grassvalley.com or contact Grass Valley at 514-333-1772.

needed to swap out camera mounts. As a department responsible for producing multiple forms of content, we need to utilize the cameras in a variety of ways. For example, our game day content is the most prominent and arguably the most important that we produce. We use all of our ARRI cameras on game day in more of a post-production capacity. Our ALEXA Mini shoots at a high50 (referring to the 50-yard line) angle, which covers whichever player we have

MASTER CONTROL AT OUR FINGERS ARRI Master Grips also help us get the most out of our cameras. These hand grips allow us to assign and control complex camera and lens features with fingertip control. In the field, if we are shoulder-mounted, it gives us so much flexibility in the moment when you’re trying to dial in multiple settings to get the shot. In our world, we do not get a lot of second chances to shoot a moment. Instead of turning the camera on its side and trying to figure out what’s what, you’ve just got it all at your fingertips. As a content team, we strive to create the best content—simple as that. Viewers sometimes may not notice the cinematic quality we aim for, but they do recognize and appreciate when it has the same look and feel as movies or big brand commercials. The ARRls allow us to achieve that goal, while also helping us operate efficiently day in and day out. Nick Rotondi is a senior producer with the Philadelphia Eagles. He can be contacted at NRotondi@Eagles.nfl.com. For additional information, visit www.arri.com or contact 845-353-1400.

28 August 2020 TV TECHNOLOGY www.tvtechnology.com

EQUIPMENT GUIDE

Sony PXW-Z750 Shines For Phoenix Suns BY DAVID GRAPENTINE Senior Videographer Phoenix Suns PHOENIX—The Phoenix Suns have been long-time Sony users, so when we were looking for a new ENG camera that would transition us from optical-based discs, Sony was at the top of our list.

USER REPORT We were already familiar with the Sony form factor and menu structures and we also use HDC-3100 portable fiber cameras as our main systems in fixed stations around Talking Stick Resort Arena—home of the Suns—so the learning curve would be minimal. We needed something versatile that would streamline our efforts to not only capture content, but provide assets to different parts of our organization in real time. That’s when we found Sony’s new PXW-Z750 shouldermount camera. In addition to numerous beneficial features including a lighter file transfer, global shutter and 4K, it provides high-quality imagery even in lowlight scenarios. ON AND OFF THE COURT We are excited by the powerful integration the PXWZ750 offers to connect our team and allow us to easily collaborate and share content. Being able to shoot and distribute content quickly without worrying about digitizing and transferring allows us to elevate our gameday presentation and enhances our ability to communicate to viewers in the arena and at home. The speed at which we can now build out packages is very attractive, as is the ability to push things out to social media

in minutes. Another great feature of the PXW-Z750 is its ergonomics. Shoulder-mount cameras can get uncomfortable after long periods of time. This camera is very well balanced and provides reliable results every time. I can just grab and go and shoot at a moment’s notice without a ton of setup. We also appreciate that the Z750 integrates seamlessly with many of our existing lenses and accessories, which provides significant cost savings and complements our multiple Sony HDC-3100 system cameras and BRC-X400 POV cameras to offer a consistent look that can be color matched effortlessly. We quickly became familiar with the Z750 and realized its feature set and adaptability made the camera a great choice for more than just gameday storytelling. When we began renovating our control room, we used the opportunity to refresh our camera technology. We’d come to value the flexibility the PXW-Z750 offered, which is why the organization decided to purchase two additional cameras for RF. This enables the team to use the powerful PXW-Z750s for all of our additional content creation needs in and out of house, including pre- and post-game efforts, and on dark days we can use them for multicamera shoots, community events, player profiles, online content and social media, as well as music series and entertainment experiences at the arena. WORKING BETTER NOW AND IN THE FUTURE Another key selling point is the camera’s integration into the Sony ecosystem we already use, including NavigatorX for archival and storage, and Ci for secure

Nã Leo TV Tackles Live Sports With Hitachi HD Cameras BY MATT CORDERO Production Manager Nã Leo TV HILO, Hawaii—Nã Leo TV (NLTV) is the public access television station run by Nã Leo o Hawaii (NLOH), the nonprofit leader for media services on the “Big Island” of Hawaii. We provide public, education and govern-

USER REPORT ment programming for the entire island across three cable channels, website and mobile app. In the spring of 2019, we started looking at new cameras in order to produce more live events such as high school sports, but our existing prosumer-level HD camcorders weren’t up to the task. Our president wanted a higher quality standard, and to meet the demands

of live sports, we needed cameras that would respond well in low light and could zoom all the way down a football field. Our previous cameras also required tons of cabling—including separate video, communications and power—that was cumbersome for field use. I wanted the simplicity of a single SMPTE fiber cable for each camera, the higher quality of 2/3-inch sensors and the ability to use longer, B4-mount lenses. A STEP UP IN QUALITY Oahu-based Da Crew Production and Engineering Group arranged a side-by-side comparison between three major camera brands, and I liked what I saw with the SK-HD1800 model from Hitachi Kokusai. Watching on broadcast monitors and multiviewers, some people couldn’t see the difference between it and more ex-

David Grapentine found the PXW-Z750 to be an easily operable shouldermount camera, and flexible enough for the different shooting needs for the Suns.

cloud-based collaboration and sharing. It provides continuity and accessibility, which benefits our workflow in the long run. We’ve worked with Sony for many years and feel they’re more than just a vendor selling us equipment—they’re a partner providing us with comprehensive solutions. We also appreciate that the camera can grow with our organization as our needs evolve. With capabilities for 4K, HDR and high frame rate, we’re ready for the future. It’s helpful that we can expand the camera’s power through simple additions like adding a network dongle or LTE connection. Ultimately our goal is to implement a streamlined workflow that allows us to be ahead of the curve, with our camera technology leading the way. David Grapentine is a freelance videographer in his 29th year as senior broadcast videographer for the Phoenix Suns. He can be contacted at DGrapentine@ suns.com. For additional information, visit pro.sony.

pensive competitors, and the rest of us pointed to the Hitachi camera as having the best quality. We purchased four SK-HD1800s in June 2019 and started using them in our studio and field productions last summer. We transport the cameras around the island in our 24-foot production trailer, which is parked next to our 18-foot high, 50x25-foot main studio. This lets us use the trailer as the control room when shooting in the studio. We usually use three of the cameras on Cartoni or Sachtler tripods, with one operated handheld. We have three Fujinon ZA22x7.6BE lenses, one Fujinon HA14x4.5BERD-S super-wide lens and one Fujinon XA99x8.4BESM box lens that we use for sports. We have been very pleased with the quality produced by the Hitachi cameras, and their low-light handling has been awesome. A lot of our high school stadiums aren’t very well lit, but we’re able to run the cameras at 6dB gain or less and get very good-looking results. THE LITTLE DETAILS I really value the setup simplicity and ease of use of these cameras. As a public access station, we have a lot of volunteers—including high school and college

www.tvtechnology.com TV TECHNOLOGY August 2020

EQUIPMENT GUIDE

‘Woodwalkers’ Docuseries Captured With Blackmagic URSA Mini Pro G2 BY JONNY GINESE Cinematographer & Post Supervisor Super Chief

walkers,” and the inherent challenges that come from a lot of the drama happening in realtime 30 feet in the air, it’s imperative that we have reliable CHATTANOOGA, Tenn.—The docusecameras that can stand up to the ries “Woodwalkers” follows a group of shooting conditions as well as determined students as they take on a the elements. grueling 15-week training program to As part of their training, the students are put through night storm training, four-hour climbbecome professional lineworkers, coning sessions and even a Navy structing and maintaining electric power Seal-inspired crucible event lines. Working to overcome hardships at called “Awakening.” That means home and push through a trying trainwe’re put through those shooting schedule that can include injuries, ing conditions as well, in the dangerous weather and more, the stuGeorgia heat. dents strive to graduate from the preWe typically shoot for 8–10 mier Southeast Lineman Training Center hours a day, and most days are in Trenton, Ga. With a new class of stuin the high 90s to triple digits, dents featured each season, the second with high humidity. With some season of “Woodwalkers” premiered on The “Woodwalkers” production team dealt with many of the same conditions as the trainees, and the Blackmagic intense night shoots happening URSA Mini Pro G2 held up during all of it. Amazon Prime in July 2020. during stormy weather, we were As the second and third seasons’ DP so things would be less complicated in for the show’s conditions. able to mostly shoot at the cameras’ naand post supervisor, I chose to shoot the post. Battery life was also important, esAfter struggling with a 30-pound camtive ISO of 800, sometimes pushing the second season with Blackmagic URSA pecially since swapping them out wasn’t era setup for season one, we knew that URSA Mini Pro G2 to 1600 for slow-moMini Pro and URSA Mini Pro G2 digital always easy if we were suspended in the a more lightweight solution was needtion shots, and everything held up really film cameras, pairing them with Angeair in a bucket truck, capturing the stued, especially since a lot of the series is well. nieux EZ-1 and Angenieux EZ-2 lenses, dents high up on the poles. shot looking up and our backs needed and equipping them with Blackmagic We ultimately selected the URSA Mini a break. As we used several different NEW SEASON, NEW GEAR URSA Viewfinders and Blackmagic Pro and URSA Mini Pro G2 cameras makes and models of cameras while Moving from season one to season URSA Mini Shoulder Kits for ease of use. because of their ease-of-use and image shooting season one, we also wanted to two, we were able to step back and quality. We really liked the ability to use simplify things and start using matchrethink our approach, including what BATTLING THE CONDITIONS off-speed frame rates for slow-motion ing cameras and lenses for season two shooting package made the most sense Due to the docuseries style of “Woodshots, and filming at 120 fps on the URSA Mini Pro G2 while still using the full sensor was incredible. Also, having sentially common sense, avoiding the need to dive into too students—who may not understand all the technology, but built-in ND filters allowed us to keep our I can get someone with little or no experience up to speed many different buttons and submenus to get at the features lens iris very wide, helping to produce a and comfortable with the SK-HD1800 in just minutes. I also I’m looking for. more dramatic and cinematic image for The ability to control everything remotely from the truck like how the structure and language of the menus are esthe docuseries. It’s also great that our over SMPTE fiber is fantastic, as is using the batteries lasted 1.5–2 hours, as opposed Ross Dashboard software on a Surface Pro to burning through them every 30 mintablet to adjust video settings. The cameras utes with the larger camera setup from are also much lighter than others I have used, season one. which is great for field use. The cameras delivered exactly what While social distancing cut short our spring we were looking for, so we continued sports season and temporarily reduced the numusing them and the Angenieux EZ-Kit ber of productions in our studio, we’re enjoying lenses for season three, which is curthe improvements the SK-HD1800 cameras have rently in post—stay tuned! delivered. They have enabled us to take on more types of production projects and have enhanced Jonny Ginese is a DP, producer and the quality of our programs. Everything looks lead editor at Super Chief LLC, a Tennesmuch better with these cameras, and people see-based production company focused on have noticed the difference in our broadcasts. documentary storytelling, feature length films and other unscripted storytelling. He Matt Cordero is production manager at Nã can be contacted at jonny@gosuperchief. Leo TV. He can be reached at mcordero@naleo.tv. com. For additional information, visit www.hiFor additional information, visit www. tachikokusai.us or call Hitachi Kokusai Electric NLTV has been using Hitachi’s SK-HD1800 cameras for production on the “Big Island” of blackmagicdesign.com or call BlackmagAmerica at 855-891-5179 . Hawaii since 2019. ic Design at 408-954-0500.

USER REPORT

30 August 2020 TV TECHNOLOGY www.tvtechnology.com

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Griffin Communications Doubles Content With Panasonic

40 mobile, multimedia journalists and 25 photographers, we wanted to outfit them with the latest camera equipment that would enable them to easily shoot and create content on-the-go throughout the state.

BY TODD SPESSARD Vice President of Content Griffin Communications OKLAHOMA CITY, Okla.—As a private, family-owned, Oklahoma-based multimedia company, Griffin Communications is committed to keeping Okla-

homans safe, informed and entertained, and has been serving our community through our TV and radio stations for more than 55 years. To continue this legacy of service, we started a project in 2019 to restructure and reinvent our newsrooms to evolve with the ever-changing media landscape by updating our content strategy and evaluating equipment needs. With

Photo Credit: Mike Weber

USER REPORT

Storme Jones, a mobile multimedia journalist at KWTV, uses one of the station’s new CX350 cameras in the field.

Cooke Anamorphic Lenses Work For All Kinds of Screen Sizes BY ERIC BRANCO Cinematographer LOS ANGELES—Today there’s no such thing as a project for one distribution medium. While the last century had movies finding their way to television

USER REPORT and VHS, the theatrical screen was the focus (no pun intended). Now, filmmakers know that their projects will be seen on TVs, which used to be referred to as the “small screen” (although they’re not so small anymore). I’ve used Cooke Optics prime lenses a lot in my career, especially for commercials, so I know how to shoot for television. For commercials, I would use Cooke S4/i prime lenses, which are spherical—as opposed to anamorphic— allowing theatrical widescreen images to be optically squeezed to be recorded on a narrower sensor or film stock like 35mm. My choice of Cooke spherical lenses over others comes down to one thing: It’s all about the look. Cooke lenses render faces perfectly and have a great sense of depth that I don’t find in other lenses.

A NEW PERSPECTIVE My exclusive use of Cooke spherical lenses would change in 2017 with the multiple award-winning short “Night Shift,” which chronicles a restroom attendant in a Los Angeles nightclub. “Night Shift” takes place almost entirely in a restroom, and with the square tiles on the restroom wall, it was like having to shoot a lens grid. I tested a bunch of anamorphic lenses, and the Cooke Anamorphic/i lenses were the only ones that would render true in the center of the frame without any color separation and not produce crazy anamorphic flaring—that was my “aha” moment. While I had used the spherical Cooke S4/i lenses a ton, the Cooke Anamorphic/i didn’t disappoint. Then came “Clemency,” a full-length drama that would have many scenes shot in the tight confines of a former Los Angeles prison with dedicated shooting spaces. Shooting in a jail cell in anamorphic would be almost the same shooting conditions as “Night Shift.” To be able to get as far back from the actors in a prison cell as possible, the camera and lens kit for “Clemency” consisted of an ARRI ALEXA Mini and Cooke Optics’ Anamorphic/i 25, 32, 40, 50, 65 MACRO, 75 and 100mm primes. I should mention

that while the 65 MACRO is designed to allow extreme closeups, it also works as a standard 65mm prime lens—that was how I always used it—it’s such a beautiful lens

SUPPORTING OUR JOURNALISTS When you make a decision to upgrade your newsroom, there are many factors to consider—functionality, techs and specs, competitive price point and compatibility with existing hardware and customer service. These factors, coupled with the trust we already had in Panasonic, gave us the confidence to purchase 40 AG-CX350 handheld cameras and 26 shoulder-mounted AGPX380G cameras to support our journalists and photographers and our new content workflow. We are dedicated to providing our journalists with the best technology to produce the best stories. Greg Blackwood and Oscar Pea, our chief photojournalists, were excited to work with PANASONIC, PAGE 31

the film using a combination of the small ALEXA Mini and Cooke Anamorphic/i’s, sometimes having the back of the camera literally against the wall in the prison cell. My choice of Cooke Anamorphic/i lenses helped me get the space I needed to shoot from a practical standpoint, but they helped to create the artistic look of “Clemency” as the film counts down to its final outcome, starting with negative space and ending very close.

Cooke Optics Anamorphic/i lenses helped create space in a tight jail cell for the film “Clemency.”

and was my primary closeup lens. Plus, Cooke’s /i technology not only records all of the lens data to the recorder for post-production, it’s also a great production tool, putting lens data—such as lens setting, focusing distance, aperture and depth-of-field—on the monitor. As writer/director Chinonye Chukwu wanted to create a sense of isolation in the frame, we used negative space a lot. We’d go from wider to closer through

Cooke lenses make people look great; they’re warmer and more about the face. That’s why Cookes are my go-to lens. Eric Branco has lensed several feature films, including “V/H/S” and the upcoming “The 40-Year-Old Version.” He can be contacted at ericbranco@gmail.com. For additional information, visit www.cookeoptics.com or contact Cooke Optics at 973-335-4460.

www.tvtechnology.com TV TECHNOLOGY August 2020

EQUIPMENT GUIDE PANASONIC CONTINUED FROM PAGE 30

the new Panasonic cameras, particularly the CX350s due to the camera’s efficient design. The CX350 allows our mobile, multimedia journalists to gather b-roll and interviews quickly as the camera’s compact size and weight make it easy for our journalists to move around while still capturing quality video. Along with ease of use, the CX350 also provides live streaming, best-in-class picture quality and a superior digital zoom. These high-performance features, coupled with the intuitive nature of the camera

allow our journalists to shoot their own standups and live shots with very little practice, which is key to staying ahead of breaking news and reporting the stories that mean the most to our communities. CHANGING THE PROCESS As media companies are constantly faced with budgetary concerns and advancing technology, we took this opportunity with the new cameras to recreate Griffin Communications’ content workflows. By providing Panasonic’s handheld and shoulder-mount cameras to our mobile, multimedia journalists, we can create more content more efficiently. In fact,

we doubled the content produced everyday by reimagining and restructuring our newsrooms, staffing and workflows. The Panasonic CX350 and PX380G cameras were the perfect tools to achieve this goal. In addition to the quality of Panasonic’s broadcast cameras, we’ve also been very pleased with the level of customer support Panasonic has provided us. We’ve never purchased a warranty before, but with the affordability of Panasonic’s extended warranty, we went ahead with it. The warranty has been a huge help. Things happen with equipment when you’re in the field, and we’ve been so pleased with the repairs and re-

sponsiveness from the Panasonic team. Not only has customer service been great, but the level of the service is by far matched with the quality of products and technology Panasonic produces. Todd Spessard is the vice president of Content at Griffin Communications and leads Oklahoma’s largest team of journalists and has helped build a newsroom culture dedicated to excellence. He can be reached at todd.spessard@griffin. news. For more information visit, www. griffin.news or call 405-843-6641. For additional information, visit na.panasonic.com.

PRODUCTS & SERVICES SHOWCASE

32 August 2020 TV TECHNOLOGY www.tvtechnology.com

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Fujinon UA Lenses Offer Dynamic Shooting for ENG Cams BY DOUG JENSEN Freelance/Owner Vortex Media CAPE CANAVERAL, Fla.—As a freelancer who owns his own gear, I have to evolve with the times. In 2013, I could see the industry’s movement towards

USER REPORT 4K, 10-bit 4:2:2 formats and S-LOG— features not available on my Sony PDWF800, or any other 2/3-inch camera. It was a bittersweet day when I sold my 2/3-inch F800 and replaced it with Sony’s PMW-F55. The switch to the F55 also meant giving up my Fujinon 22x zoom lens because the F55 had a super-35mm sensor. Fortunately, Sony has started building 2/3-inch 4K ENG cameras with native B4 lens mounts and recently released the PXW-Z750, the world’s first 2/3-inch 4K camera with three CMOS sensors, global shutter, S-LOG, 10-bit 4:2:2 codecs and a native B4 lens mount. This is everything I wanted in 2013, but the technology didn’t exist at the time. So, I made the decision to retire my F55 and switch to a Z750. The question was, what lens should I use? A TOUGH CHOICE I’ve been a loyal Fujinon owner/operator since my first 2/3-inch camera in 1984. I’ve had to operate other brands of lenses many times, but I never felt they performed as well as my Fujinon

appoint. The 24x7.8mm focal length is roughly the equivalent to a 20mm to 468mm zoom on a super-35mm camera. Plus, like all ENG lenses, it has a built-in 2x extender that doubles the equivalent focal length to 935mm. The 18x5.5—about the same size and weight as the 24x—is ideally suited for handheld shooting. I have never used a wide-angle lens that I liked better than this one. It made the Z750 feel perfectly balanced on my shoulder, and I’m sure I could shoot for hours with no fatigue. One thing I dislike about other wideangle lenses is the barrel distortion you see in pans and tilts, but I didn’t see anything objectionable on this lens. I think the 18x zoom would be more than adequate for most shooting requirements, especially when you factor in the 2x extender. Fujinon has done an amazing job of improving extender performance. Ultimately, I chose the UA24x7.8BERD because of the longer focal length. It feels great to be working again with a 2/3-inch camera and a stunning Fujinon lens. If you’ve grown weary of big sensor cameras and their limited lens choices, I suggest taking a look at how the 2/3-inch ENG world has evolved. I think you’ll be pleasantly surprised.

Doug Jensen with his Sony PXW-Z750 and Fujinon UA24x7.8BERD

lenses, so there was no question what lens I would use for my Z750. I zeroed in on Fujinon’s UA lenses, the most suitable for 4K productions. I found the image quality of all of the UA lenses was phenomenal, so my decision really came down to the focal length and zoom range. I narrowed my choices to the UA18x5.5BERD and the UA24x7.8BERD. Fortunately, I got to test drive both, but

it was hard to choose—both lenses produce stunning images, are tack sharp, have smooth focusing, excellent servo zooms and fast apertures. I’m primarily a long-lens shooter of sports, wildlife, aerospace and other subjects that benefit from having a long lens, so the 24x was first on my list. According to Fujinon, the UA24x7.8 zoom is their smallest and lightest 4K HDR broadcast lens, and it did not dis-

Doug Jensen is the owner of Vortex Media and has more than 40 years’ experience working in all facets of the television and video production industry. He is on the faculty at Maine Media Workshops and has produced more than two-dozen independent master class training videos and camcorder field guides. He can be contacted at www.DougJensen.com. For additional information, visit www.fujifilmusa.com or by contacting Fujinon at 914-789-8100.

BUYERS BRIEFS Marshall Electronics CV730 Marshall Electronics’ CV730 features a 30x optical zoom block featuring 12GSDI/HDMI/IP simultaneous outputs with UHD imaging up to 3840x2160p. The camera’s remote adjust and match settings include iris, zoom, pan/tilt, white balance, exposure, pedestal and auto settings for tracking environmental fluctuations. The CV730 sports an 8.5 megapixel UHD sensor; 340-degree panning and 120-degree tilt range; the ability to shoot in 59.94, 50, 29.97 and 25 fps; 3.5mm TRS stereo audio over I/O cable; and 12V power cable. For more information, visit www.marshallusa.com or contact Marshall at 800-800-6608.

JVC GY-HC900 The GY-HC900 broadcast camcorder offers three 2/3-inch CMOS image sensors for high sensitivity, low noise and wide dynamic range. It has a built-in streaming encoder with LAN/Wi-Fi connectivity to provide broadcast-quality video-over-IP from a remote location to a studio. v3.0 firmware upgrade adds support for recording ProRes HD422 files to SSD media, as well as SSD recording in backup mode. There is also the ability to live stream when using the HEVC/H.265 plug-in encoder; to produce high-quality 4:2:2 10-bit streaming; and offering lowerthird or full-screen broadcast graphic overlays. For more information, visit pro.jvc.com or contact JVC at 973-317-5000.

www.tvtechnology.com TV TECHNOLOGY August 2020

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; ADC patch bays, ¼” & Bantam, start at $39; Hotronic AU51 audio delays, call; Sound Ideas CD Efx library, call; Rane AVA22 delay, call, 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

856-222-0636 or info@bibbteck.com. Vinten Fulmar & Hawk pedestals, repair, service, buy, sell and rent. Call Laurie or Jennifer for assistance. 800-9955427, Camera Support, Inc. Tripods: Miller 30 sticks—$249; Oconnor 50D w 50M/C, flight case, VVG $1900; Anton Bauer Ultralights, $35; Intellix CATx baluns, cheap, Varizoom Pro L LANC cntrlr, $169; Fuji focus controls, and focus blocks, call; Portabrace casesC-BVV5 $29, CO-PC Cam case 69., MO8044 Monitor case $29, RS-33 rain shield $35. Tom, 856-222-0636 or info@ bibbteck.com or www.bibbteck.com.

WANT TO SELL

INTERCOMS

1950 Frank Back Zoomar Telephoto lens for RCA TK-11, w Fiber case; SOM Berthiot Zoom lens, w case, needs work, Call

Clearcom MS-808A, $389; RTS 2-chnl

WANT TO SELL

stations, some parts, call. Tom, 856-222-0636 or info@bibbteck.com or www.bibbteck.com.

tape as opposed to film. I will pay for DVD copies. Contact Ron at 925-284-5428.

MISCELLANEOUS

2” plastic “spot” reels 6.5 or 8” diameter, as used for quad video. Wayne, Audio Village, 760-320-0728 or audiovlg@gte.net.

WANT TO SELL Selling TV audio soundtracks from the 50’s through the 70’s. Variety shows, talk shows, etc. Call 925-284-5428 for details. AJA IoLA, $89/ea; AJA C10, D5D, $75; Degaussers: Aerovox, Garner, please call; Blonder Tongue processors, modulators, combiners 30+ pcs, BO; Ross DAC-9213PVM SDI to RGB, $199. Tom, 856-222-0636 or info@bibbteck.com or www.bibbteck.com.

Sony BVM/PVM monitors, Philly So. Jersey area. Tom, 856-222-0636 or info@ bibbteck.com or www.bibbteck.com.

RF CONNECTORS WANT TO SELL RF CONNECTORS & GADGETS – Parts, Products & More! www.W5SWL.com

WANT TO BUY

SWITCHERS

I’m looking for complete American Bandstand shows from 1969-1974. If possible, I would like for these shows to have been originally recorded off of video

WANT TO SELL Panasonic AV-HS6000 2ME, 32-input HD switcher; Panasonic AW-HS50 switcher

demo; Panasonic AJ-PCD2500 P2 demo, call; Panasonic AG-HPD24 P2 rcdrs, call. 908-879-9590 or www.mccom.tv.

VIDEO WANT TO SELL Sony Alignment kit; scales, torque and tension sets, call. Tom, 856-222-0636 or info@bibbteck.com or www.bibbteck. com.

VIDEO PRODUCTION WANT TO SELL Sony HDW-2000 HDCAM call; Panasonic AJ-PD500 P2 rcdr, Panasonic AJ-PG50 P2 rcdr; Sony DVW-M2000, call; Sony MSW-M2000 VTRs, call; Sony DVR-28, call; Fast Forward Video 2-chnl Omega HD rcdr, BO; Panasonic AJ-HD3700B, call. 908-8799590 or www.mccom.tv.

ADVERTISERSINDEX PAGE

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ADVERTISER WEBSITE

WEBSITE

25...............Arri ............................................................ www.arri.com/en/

5,7..............LAWO............................................................. www.lawo.com

31...............Computer Modules - DVEO Division......................... www.dveo.com

9.................Lynx.................................................. www.green-machine.com

17...............Comrex Corporation......................................... www.comrex.com

21,31...........Mobile Studios ............ www.mobilestudios.com/portacast-cases.php

13...............Eartec........................................................... www.eartec.com

1.................Ross Video ................................................ www.rossvideo.com

3.................Enco Systems, Inc.........................................www.enco.com/nab

31...............Tactical Fiber............................................www.tacticalfiber.com

36...............Evertz............................................................www.evertz.com

19...............Telos.................................................... www.telosalliance.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: DIRECTOR OF SALES, MEDIA ENTERTAINMENT & TECH LAURA LUBRANO 917-301-3815 laura.lubrano@futurenet.com

AD DIRECTOR PAUL MAURIELLO paul.mauriello@futurenet.com ACCOUNT MANAGER KATRINA FRAZER katrina.frazer@futurenet.com

EUROPE, MIDDLE EAST, AFRICA RAFFAELLA CALABRESE +39-320-891-1938 Fax: +39-02-700-436-999 raffaella.calabrese@futurenet.com

JAPAN EIJI YOSHIKAWA +81-3-3327-2688 Fax: +81-3-3327-3010 callems@world.odn.ne.jp

U.K. NATHALIE ADAMS +44 (0) 203 998 2850 nathalie.adams@futurenet.com

ASIA/PACIFIC WENGONG WANG +86-755-8386-2930/40/50 Fax: +86-755-8386-2920 wwg@imaschina.com

34 August 2020 TV TECHNOLOGY www.tvtechnology.com

PEOPLE ON THE MOVE MICHAEL HARRIS

MATT MCCONNELL

GREG DOGGETT

Senior Director of Sales, Strategic Accounts

CEO

Director, Sports and Entertainment

ChyronHego ChyronHego has appointed Michael Harris as senior director of sales, strategic accounts. He will be responsible for managing and growing strategic accounts in the United States with a focus on major networks. He joins ChyronHego from Vizrt and has held sales and management positions over the last two decades including roles at Harris Corp., Data Direct Networks, Avid Technology, Pinnacle, Dalet Digital Media Systems and BroadStream Solutions.

MediaKind Matt McConnell is the new CEO of MediaKind. With more than 30 years of experience in the media industry, McConnell joins the company from Comcast Technology Solutions, a division of Comcast Cable, where he was senior vice president and general manager. McConnell will report directly to the company’s board and work closely with Ruiz, CTO Allen Broome, chief business officer Raul Aldrey and the rest of the company’s executive leadership team.

TVU Networks Greg Doggett has joined TVU Networks as director of sports and entertainment in the TVU Sports group. Doggett will help spearhead deployment of the company’s IP-based cloud solutions for the sports and entertainment markets. He will work closely with current sports customers to identify their remote live video needs and introduce the company’s cloud-based solutions to the larger industry, including professional and collegiate teams and leagues.

STEVE ROSENBERG

MICHELLE DUKE

CHRIS PULIS

President of Local Sports

Chief Diversity Officer

Chief Technology Officer

Sinclair Broadcast Group

National Association of Broadcasters

Globecast Americas

Sinclair Broadcast Group has tapped former Universal Studios executive Steve Rosenberg to serve as its president of local sports. A new role for Sinclair, Rosenberg will be tasked with overseeing all of the company’s regional sports networks, the Stadium digital and internet sports channel and the high school sports division that operates in local markets throughout the U.S. One of the key goals for Rosenberg will be to integrate all of Sinclair’s new sports assets into the company.

NAB announced that Michelle Duke has taken on the new role of chief diversity officer. This brand new position will have Duke head the NAB’s internal efforts to further equity and inclusion at all levels of the organization and elevate NAB’s external role as a resource to NAB member companies in their own efforts to increase and promote industry diversity. Duke will also continue in her current role as president of the NAB Leadership Foundation.

Globecast has named Chris Pulis the company’s new chief technology officer for the Americas. He comes to Globecast with more than 25 years of industry experience, including most recently as the vice president, product strategy, at digital technology consultancy Diamond. He has also worked at Deluxe Entertainment Services Group, and has held roles with Ascent Media Group and ReelzChannel Television Network. Pulis will be based in Globecast’s Los Angeles office.

TOM DICKINSON

SHANE FINCH

SARAH DEAS

President, U.S. Division

Sales Director

Internal Sales Support

TSL Products

ENCO

Pixel Power

TSL Products has appointed Tom Dickinson as the new president of its U.S.-based operations. Dickinson will now be responsible for managing and developing TSL’s U.S.-based development, sales and support, as well as serving as a senior member of the company’s management team across both the U.S. and U.K. He comes to TSL after 39 years of leadership positions in sales, operations and engineering at Bexel, a TSL partner company.

ENCO has hired Shane Finch to serve as sales director. Finch, who will report directly to ENCO President Ken Frommert, will focus on global sales and business development for all markets and the company’s entire product line, as well as introduce ENCO’s automated workflow services to new business verticals. He has spent more than 40 years in the broadcast industry, having served in both on-air and director-level management roles in radio before transitioning to the technology space as vice president at MusicMaster.

Pixel Power has brought Sarah Deas onto its head office team to provide internal sales support to the sales teams at the Cambridge headquarters, as well as regional offices in North America, Southeast Asia and the Middle East. Pixel Power said that Deas’ expertise in sales support is imperative during the customer consultation process and all the way through deployment.

9000