TV Tech - 0473 - May 2022

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contents

May 2022 volumn 40, issue 5

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Pandemic Disruption Bred Production, Content Innovation Wide-ranging panel examines how COVID-19 upended traditional video workflows By Phil Kurz

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Rosenworcel: ‘We’ve Turned the Volume Down and Ramped Up the Activity Touts agency’s bipartisan approach in first appearance before broadcasters as FCC chair By Daniel Frankel

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Saving Time, Money Makes Virtual Production Inevitable Industry primed to take advantage of rapid technical advances By Tom Butts

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Press Conference Coverage How Audio Has Adapted to the New REMI Normal Enough work has been done prior to the pandemic to make the transition easier By Dennis Baxter

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Protecting Data for the Long Run The solution? Multiple backups and good luck By Frank Beacham

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Storage Strategy by Application Selecting appropriate storage components requires understanding the entire media ecosystem By Karl Paulsen

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editor’s note

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in the news

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eye on tech

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people

Equipment Guide

User reports: video monitors ATOMOS Blackmagic Design Sony Cinegy

For more news analysis, trend reports and the latest product and tech information, visit www.tvtech.com.

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editor’s note Vol. 40 No. 05 | May 2022

Together Again

FOLLOW US

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In the weeks leading up to the 2022 NAB Show, speculation was rampant about how exhibitors and attendees would respond to gathering in person after three years apart. But the kind of skepticism that had resulted from the dashed hopes of cancelled events started to melt away as our industry began its trek to Las Vegas. That’s not a surprise—everytime we attempted to gather again over the past several years, a new Covid variant would emerge, leading to exhibitor withdrawals and the eventual cancellations. But this year’s NAB Show was proof positive that trade shows continue to be a vital lifeline for our business. There’s just no substitute for the kind of human interaction that comes with meeting face-to-face with your colleagues, friends and customers. After two years of what seems like endless Zoom meetings and related remote and virtual events, the people who create the technology behind media creation—along with the media creators—were eager to get back to business in person. Top of mind among attendees were the technologies that had helped our industry stay connected and thriving during the pandemic—the move to cloud and the adoption of remote production systems that allow production crews to manage and create content anywhere from the studio to a school room to someone’s living room. Whereas several years ago, the cloud was thought of as an emerging technology that broadcasters and media companies would eventually move to, this year’s event proved that the demands of the past two years have forced our hand and accelerated the transition. Software as a service, 5G and AI—with its promise of enhancing automation and virtual production—were also prevalent on the show floor. Several prominent media developments that occurred just prior to the show also dominated the conversations in the meeting rooms, sessions and show floor. Netflix, whose fortunes had soared during the lockdowns when homebound consumers were spending more time in front of the TV, tablets or other media devices, reported its first decline in subscribers, sending its stock plummeting and media pundits questioning whether the era of “peak content” was starting to wane. That same week came the announcement that Warner Bros. Discovery was shutting down its CNN Plus streaming service less than 45 days after its launch in late March. RecriminaThe cloud was omnipresent at tions abound about why it failed in Quibi-like fashion but a the NAB Show few commenters noted the problems with launching what was viewed as a niche service in a saturated streaming market; not to mention the fact that CNN Plus was a product of the network’s AT&T management and executives with the merged Warner Discovery company were not fans of the service. Broadcasters also got an update on the progress of NextGen TV. With some 40 exhibitors at the NAB Show featuring some ingredient of ATSC 3.0 and nearly 30 educational sessions covering NextGen TV, ATSC president Madeleine Noland was upbeat about the progress of the standard, despite the challenges of the past several years. “Broadcasters have spent the last two years laying the groundwork for the rapid expansion of ATSC 3.0 signals, which now reach nearly half of all U.S. viewers in almost 60 markets,” she said prior to the show. As customers, journalists and exhibitors headed back home, the consensus was that the show greatly exceeded expectations and that the NAB’s efforts to keep attendees safe during what seems like a never-ending Covid crisis made a world of difference.

NAB Show by the numbers

Total registered attendees 52,468

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International attendees 11,542

May 2022 | www.tvtech.com |

Countries represented 155

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Well done NAB! Tom Butts Content Director tom.butts@futurenet.com

CONTENT Content Director Tom Butts, tom.butts@futurenet.com Content Manager Terry Scutt, terry.scutt@futurenet.com Senior Content Producer George Winslow, george.winslow@futurenet.com Contributors Gary Arlen, Susan Ashworth, James Careless, Steve Harvey, Kevin Hilton, Craig Johnston, Bob Kovacs and Mark R. Smith Production Manager Heather Tatrow Managing Design Director Nicole Cobban Senior Design Director Cliff Newman ADVERTISING SALES Vice President, Sales, B2B Tech Group Adam Goldstein, adam.goldstein@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 Senior Vice President, B2B Rick Stamberger VP, B2B Tech Group, Camel King Head of Production US & UK Mark Constance Head of Design Rodney Dive FUTURE US, INC. 130 West 42nd Street, 7th Floor, New York, NY 10036

All contents © 2022 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., 130 West 42nd Street, 7th Floor, New York, NY 10036-8002. Phone: 978-667-0352. 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.



in the news Thomson Broadcast to Acquire GatesAir

update

Deployments Omaha, Neb: KETV (Hearst), KMTV (Scripps), WOWT (Gray), KPTM (Sinclair), and KXVO (Mills Telecasting) Richmond, Va: WRIC (Nexstar), WTVR (Scripps), WWBT and WUPV (Gray), WRLH (Sinclair), and WCVE and WCVW (VPM Media Corp.) New York’s One World Trade Center Ready for NextGen TV In advance of the expected launch of NextGen TV in the U.S.’s largest market, Radio Frequency Systems (RFS), announced today that it has expanded the existing RFS antenna and combiner infrastructure atop One World Trade Center to deliver ATSC 3.0 to 7.45 million households across the New York City area. The installation is expected to be completed by the end of 2022 and will be the first high-power source of ATSC 3.0 for New York. The upgrade will allow NYC-area PBS stations to launch NextGen TV, announced earlier this year. The WNET Group's WLIW21 will serve as the host station for ATSC 3.0 broadcasts for the three major PBS member stations in the New York metropolitan area: THIRTEEN, WLIW21 and NJ PBS.

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Thomson Broadcast has announced that it will acquire GatesAir, a leading provider of radio and TV transmission systems. Thomson is buying GatesAir from an affiliate of The Gores Group ("Gores"), which acquired the Harris transmission business in 2012 and rebranded it as GatesAir. The transaction is subject to certain regulatory filings and is expected to close in the second half of 2022. Details of the transaction were not disclosed. The acquisition comes after Thomson Broadcast's announcement in 2019 that it was expanding its focus in the U.S., anticipating a strong market for the spectrum repack (which was completed in 2020) as well as for ATSC 3.0 transmission systems. It opened a New York office and distribution center to meet demand for its low-power to high-power transmitters. GatesAir has a storied history in the broadcast industry over the past 100 years and has recently seen strong growth from the spectrum repack program. GatesAir worked with Bowen Inc. to find a buyer, eventually settling on Thomson Broadcast. The combination of GatesAir with Thomson Broadcast will create a scaled, comprehensive platform with greater capabilities in innovation, design and product efficiency and an expanded portfolio of holistic, turnkey broadcast solutions, the companies said. z Tom Butts

Pearl TV Launches Web Platform for Hybrid TV Pearl TV has launched RUN3TV, a web platform for broadcasters to offer a new hybrid TV service to over-theair viewers. Built on ATSC 3.0, the NextGen TV platform brings twoway web interactivity to television. The platform’s architecture enables TV stations to develop, innovate and differentiate at the application services layer, making possible consistent viewer experiences across all NextGen TV devices, Pearl said. With RUN3TV, broadcasters control product vision, audience engagement and customer experience. They can choose their own technical partners as well as leverage contributions from the RUN3TV developer community, it said. The fruits of RUN3TV development will make it possible for viewers to engage more deeply with content, spend additional time viewing and create several new revenue opportunities for broadcasters while viewers watch live broadcasts. Among the opportunities are advanced advertising for live and streaming content, gleaning greater insight about the audience and premium content distribution, Pearl said. z George Winslow



in the news OPINION

Lessons From The Antenna Man

M Comcast, Charter to Partner on New ‘Flex’ Streaming Platform Charter Communications and Comcast Corporation have announced the formation of a 50/50 joint venture to develop and offer a next-generation streaming platform on a variety of branded 4K streaming devices and smart TVs. Comcast will license Flex, its aggregated streaming platform and hardware to the joint venture, contribute the retail business for XClass TVs and also will contribute Xumo, a streaming service it acquired in 2020. Charter will make an initial contribution of $900 million, funded over multiple years. The decision by the country’s two largest cable operators to work together on a streaming platform marks the most graphic illustration to date of the importance of streaming on the broadband platforms offered by cable operators. “We’re thrilled to partner with Charter to bring this platform and its award-winning experience to millions of new customers. These products are all designed to make search and discovery across live, on-demand and streaming video seamless and incredibly simple for consumers,” said Dave Watson, CEO of Comcast Cable. “This partnership uniquely brings together more than a decade of technical innovation, national scale and new opportunities to monetize our combined investment.”. z George Winslow

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tions, customer service when it comes to reception eet Tyler Kleinle, the Antenna Man. boils down to making a menu selection on a station Since an early childhood, he’s been engineer’s voicemail. fascinated with TV antennas. At Is that really the level of support the television age seven, that fascination began to industry needs to deliver to its customers—not bear fruit when he helped his father pull in good advertising customers but the customers who watch old-fashioned over-the-air television from “a locatheir broadcasts—as viewers cut the tion that was very bad for reception,” cord and may be exposed to off-air he says. reception for the first time? Today, the 28-year-old helps people But before answering that question, around the country as a TV antenna consider this. Kleinle consistently consultant. Every week, OTA viewers hears from 10-20 people per week and wannabe viewers reach out to him seeking help, and he’s been at it for via his website (antennamanpa.com), three years. That means Kleinle’s aswith emails and on the phone looking sisted between 1,500 and 3,000 people for help. in households—a small number when Many learn about Kleinle from his measured against the 122.4 million TV YouTube videos. Ranging from anPhil Kurz households in the U.S. or even the 16.2 tenna reviews and recommendations million OTA-only households. However, how many to dispelling misconceptions and the discussion of viewers who gave up on OTA because their “junk finer points, Kleinle delivers his videos in a rather antenna” failed to work do each of those people deadpan manner with an occasional flair for the reaching out to Kleinle represent? dramatic—like smashing an antenna he particularly More broadly, the popularity of the Antenna Man despises on the driveway—making them both infordemonstrates people continue to want to receive or mative and entertaining. wish to improve their reception of free over-the-air People looking to cut the cord and economize are television. What are we as an industry doing about an important following. At the time of this writing, it? Is it simply enough to point people to rabbitears. for instance, his “Five TV Antennas To Avoid info, antennaweb.org or the FCC’s DTV Reception Buying When Cutting the Cord” video has received Maps page? nearly 700,000 views. Maybe with the rollout of ATSC 3.0—a far “The market is just flooded with so many hormore robust and reliable OFDM-based transmisrible, junk models on Amazon that a lot of people sion standard—all of this will become a moot who try to cut the cord the first time get a junk point. But full deployment of NextGen TV is years antenna and think they can’t get reception because away. In the meantime, the Antenna Man will they ‘tried an antenna, and they don’t work,’” he continue plugging away helping a handful of TV says. “That’s not true.” viewers each week. What can we do? l While all quite interesting, what does this have to do with television from the point of view of a Tyler Kleinle local broadcaster, station group or network? Actually, quite a lot. The responsibility of TV broadcasters for transmitting a TV signal doesn’t end at their antenna. If it did, they wouldn’t care about nor invest in validating signal reception and quality throughout their markets. But it would seem that at many sta-

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workflows crisis management

Pandemic Disruption Bred Production, Content Innovation Wide-ranging panel examines how COVID-19 upended traditional video workflows

By Phil Kurz TV Tech

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n the view of Marvel Studios Director of Technology Katie Hinsen, disruption — a characteristic in great supply during the COVID-19 pandemic — brings innovation, the topic of the session “The Future of Production and the Content It Creates.” Hinsen was joined by Amaze VR Senior Creative Producer Daniel Kent and Vimeo Experts Vice President Derick Rhodes on the panel moderated by Dina Graham, creative and operations lead for The Telly Awards. “Everything had to change,” Hinsen said. “You know, our industry really hasn’t changed in 100 years, and suddenly people were having to get really creative and tape stuff together and just make it work.” While the pandemic tended to isolate people, the production industry sought out ways to enable remote creative collaboration using some of the same immersive technologies it is leveraging to enhance viewer entertainment, she said. “That’s [immersive technology] really coming to the forefront and is now starting to mature. That’s been an unexpected outcome [of the pandemic].” Use of those technologies is helping Marvel to “get production scale at a very high level” while taking steps to maintain an equally high level of security, he noted. Many in the production community also acquired new skills during the pandemic, Rhodes said. “It opened the door for a lot of creative professionals to have more time to pursue their interests in adjacent areas of production,” he said. “So, we have folks that were just shooting — practically 90% [of what they do, who] … suddenly were … super-interested in Unreal and what that engine can do and how they can get their hands on it and learn about the technology.” For some, like Kent, the disruption brought about by the pandemic marked a significant ­career turning point when bread-and-butter production work dried up. Kent worked his music industry contacts hard, pitching

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ideas about how virtual reality could offer an entertaining alternative to music fans during the pandemic. The effort paid off with the Amaze VR production of a virtual reality up-close-andpersonal experience to bring fans of Megan Thee Stallion into a group-interactive, immersive concert available to 100 Oculus headset-wearing viewers at a time at AMC theaters in 10 cities around the country. “We don’t want to replace a concert, and nothing’s going to replace seeing live music,” he said. “We want to create an additional revenue stream for artists and something else they can do.” The pandemic came as technology is democratizing television production, making it easier to achieve professional results with increasingly affordable-yet-powerful tools to produce compelling content, Hinsen said. This has fueled the discovery of new production talent by studios while removing much of their gatekeeper function, she added.

The panel discussion turned to the metaverse and what demands it might place on content production. While unclear at this point, development of the metaverse is likely to follow the “hype curve” that’s been a familiar part of other new technology introductions, Hinsen said. That curve tracks the enthusiasm of early adopters that peaks as the reality of what’s available runs headlong into the promise, a trough of disillusionment that emerges and then gradual fulfillment of those early promises as successive generations of technologies are released, she said. Rhodes agreed, noting that many early metaverse experiences feel like playing Wii tennis, but that with time the technology will mature. The panel agreed that while having an informed conversation about the production for the metaverse may be five years off in the future, it is not too soon to be exploring the possibilities. l ©NAB

(From left): Moderator Dina Graham, creative and operations lead, The Telly Awards; Derick Rhodes, vice president, Vimeo Experts; Katie Hinsen, director of technology at Marvel Studios; and Daniel Kent, senior creative producer at Amaze VR.

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fcc conversation

Rosenworcel: ‘We’ve Turned the Volume Down and Ramped Up the Activity’ Touts agency’s bipartisan approach in first appearance before broadcasters as FCC chair

FCC Chair Jessica Rosenworcel (left) chats with NAB President and CEO Curtis LeGeyt during a keynote discussion.

By Daniel Frankel Next TV

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n her first NAB Show appearance since her designation as Federal Communications Commission chair, Jessica Rosenworcel conceded that the introduction of a fifth commissioner would solve the agency’s current 2-to-2 political gridlock, but she’s not losing any sleep over it. “We’ve got to figure out how to work together, or we don’t get anything done,” she told NAB President and CEO Curtis LeGeyt during a keynote discussion.

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Whereas previous FCC administrations added to the cacophony of divisive political noise emanating from the Beltway, Rosenworcel said that five months into her administration as the FCC’s first permanent female chair in its 87-year history, the group has simply been given too much to do by Congress to fight amongst itself. “We’ve turned down the

volume and ramped up the activity,” Rosenworcel said, citing initiatives ranging from the CARES Act to the Infrastructure Investment and Jobs Act. “But yes,” she conceded, “I’m looking forward to the day when we have five commissioners.” It was a cordial discussion between a new FCC chair and an also-new NAB chief, who assumed his role in January. The pair grew

“I’m looking forward to the day when we have five commissioners.” JESSICA ROSENWORCEL FCC CHAIR twitter.com/tvtechnology

up just 20 minutes down the road from one another in Connecticut. LeGeyt, a former prep basketball player, noted that his high school was 4–0 against Rosenworcel’s alma mater. Sharing her connection to and affinity for local media, Rosenworcel recalled her teenage fondness for the local radio station WTIC-FM and its “Prize Patrol” promotion, which called for aspiring winners to place a bumper sticker on their cars — an act her parents wouldn’t concede to. “I was so resentful, which is probably why I’m up here telling you about it today,” said Rosenworcel “We all have so many choices for content,” she said. “But when I get in my car, I want to hear someone from the town I live in.” Steering the discussion to policy specifics, LeGeyt mentioned the deployment of ATSC 3.0. Rosenworcel works to position the FCC as a facilitator and partner to station operators, she said. The agency wants to enable stations to use ATSC 1.0 and ATSC 3.0 simultaneously, so they can experiment with the latter. “The framework the FCC has for ATSC 3.0 is the right framework,” she said. “It gives broadcasters a chance to experience, develop use cases and find out what works at scale. “We want stations to come to us and tell us what they’re seeing,” Rosenworcel added. “If there’s a hurdle in our rules, maybe we can fix that.” Asked by LeGeyt in the broad-reaching discussion about the topic of diversity, Rosenworcel conceded that her own pioneering position makes the issue a priority with her. She said the FCC is aggressively gathering data on the broadcast industry and noted it will be helpful for the NAB in achieving its diversity goals. “What we see on our airwaves says so much about who we are,” Rosenworcel said. l ©NAB



advanced cinematography

Saving Time, Money Makes Virtual Production Inevitable Industry primed to take advantage of rapid technical advances

By Tom Butts TV Tech

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lot has changed in the 20 years since the first movies to use virtual production were shot on Thomson Grass Valley Viper cameras. Virtual was uncharted territory and digital cinematography was still in its infancy. Today, virtual production has come of age and, according to Gary Adcock, director/producer/visual artist, the industry is now able to take advantage of the savings, flexibility and visual advances the technology presents. Adcock discussed the opportunities and challenges of virtual production during the NAB Show session titied, “Virtual Production, Mixed Reality and Extended Reality (XR) the Future Is Now.” All of the elements that go into virtual production are advancing rapidly, from displays to lenses, cameras and graphics. Even with multimillion-dollar budgets, though, a lot of advance work is still required. And just because you’re producing content virtually doesn’t mean you can do without traditional production-set roles. “You need a virtual gaffer as much as you need a traditional gaffer,” Adcock said. The main driver for making virtual production effective is metadata, something production crews don’t necessarily want to think about. “Metadata is one of those catchphrases that everybody hates,” Adcock said. “I’m not interested in metadata, it just should be there.” But no matter how much metadata you have, it’s still not enough, Adcock added. For instance, Adcock pointed out how much metadata an iPhone can gather on a continuous basis — but virtual production hasn’t caught up to the level Apple has attained. “Until we get to the level where we’re getting as much data as we can get on set as we get on our phones, we’ve not done enough,” he said. The impact on budgets should also be taken into account, Adcock said, especially with the amount of advanced planning involved.

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Gary Adcock discusses the opportunities and challenges of virtual production.

“Remember that because you’re doing all that work up front, your budget has shifted from later in the project to earlier, so you have to learn how to build your ability to timeline sooner to be able to handle what’s going on in production,” he said. And don’t forget how much can be saved on insurance when doing away with on-loca-

“Until we get to the level where we’re getting as much data as we can get on set as we get on our phones, we’ve not done enough”

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GARY ADCOCK DIRECTOR/PRODUCER/VISUAL ARTIST

tion production. Adcock cited an example of a recent shoot on an airport runway. “Do you have any idea what the insurance costs are to take your crew onto an airport tarmac? Hundreds of thousands of dollars per day,” he said. “But now you don’t have to worry about getting all your talent, food, gear and security or worrying about the talent wandering off on the tarmac. So virtual production gives you capabilities in places where you didn’t think it would.” The time it takes to shoot complex scenes can also be cut dramatically. Adcock cited another example of a recent documentary where, with the use of a single panel of LEDs, the production crew was able to reduce vmulti-page turnarounds that would take days to produce to just a six-hour period. “That kind of turnaround is almost unheard of,” he said. “But you can do those kinds of things in a virtual production, if you’re prepared.” l ©NAB



press conference coverage Sony Rolls With Pandemic-Era Changes MUCH HAS CHANGED in the three years since the industry last gathered for NAB Show, Sony Electronics President, Imaging Products & Solutions–Americas President Theresa Alesso noted in opening the company’s NAB Show press event. “In many ways, the global pandemic has acted as an accelerant for great progress,” Alesso said. “We’ve seen an increased demand for high-quality content, a rapid expansion of streaming platforms and a shift to remote production workflows. “I’d like to start with virtual production, which uses the combined power of cinematic cameras like our VENICE 2, in-camera visual effects and video walls like our Crystal Theresa Alesso, president, Imaging Products & LED,” she added. “This brings together the worlds of virtual reality and practical produc- Solutions-Americas, Sony Electronics tion in real time.” Sony showed its VENICE 2, featuring a new 8.6K full-frame CMOS image sensor, internal X-OCN and 4K Apple ProRes 4444 and 442 HQ recording with a smaller body. Another key feature of VENICE 2 is its ability to enable a cinematic look. Paired with the original VENICE and the HDC-F5500, Sony is building out its portfolio of cameras for cinematic storytelling. With its new HDC-3200 camera, Sony is building out its portfolio and filling in the gaps with a more affordable 4K system, ensuring users have an option that provides all they need without paying for capabilities that aren’t required. Because the cloud is increasingly important in providing secure accessibility, Sony has enhanced its Ci Media Cloud Services through additions like the Workflow app for automating VFX pulls to create a more valuable solution for multiple applications. ©NAB ❚ Craig Johnston, TV Tech

from the show floor

NewsNation’s Ashleigh Banfield spoke with NBC’s Lester Holt for her show “Rising Tide: The Value in Mentoring Others.”

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Evertz Seeks to Widen Media ­Production Accessibility THE EVOLUTION OF media production over the past several years brought on by restrictions imposed by the COVID-19 pandemic and the accelerated moves to the cloud and software-as-aservice (SaaS) applications were among the themes of Evertz’s NAB Mo Goyal, Show Evertz senior director of press International Business event. Development “We’re seeing a lot of conversations about reliable transport streams and the ability to bring content from the home over the public internet into your production,” Evertz Senior Director of International Business Development Mo Goyal said. “Also, how do I leverage 5G and in terms of creating content that may not have been previously accessible without a lot of OB [outside broadcasting] trucks and things like that.” To that end, several SaaS offerings are being demoed at the Evertz booth, including Reflektor, the company’s SaaS cloud-based transport, translation and transcoding solution. Also featured will be Ease Live, a SaaSbased interactive graphics platform, as part of the company’s line of direct-to-consumer solutions. The company will also focus on its evertz. io SaaS, a cost-effective solution that simplifies a customer’s transition to the cloud. Goya also announced that its DreamCatcher BRAVO Studio virtual live production studio is now available on Microsoft Azure Marketplace. On the RF side, Evertz showed their new XRU4 Router as well as an update to its 2400DU outdoor transmission platform. ©NAB ❚ Tom Butts, TV Tech


press conference coverage Telestream Wheels, Deals Through Pandemic THE PANDEMIC was a busy time for Telestream, company executives said during its press conference. “Through COVID-19 we’ve done five acquisitions,” President and Chief Operating Officer John Wilson said. “We’ve expanded the product portfolio to across what we’ve really done well from a media workflow-automation perspective, and then test and measurement.” First, Telestream merged with Tek Video. Then it acquired diva, Masstech, ContentAgent and Sherpa Digital Media. The company announced a new multiyear, enterprise-wide agreement with Sinclair Broadcast Group that covers all existing products and services across the station group’s properties, together with unlimited usage of Telestream Cloud Services. Sinclair Senior Director of Media Management Mike Palmer outlined some of the benefits his company has found in working with Telestream.

teams were a little worried. They “During COVID-19, one of the said: ‘OK, everybody is going large projects we had was to be ingesting this stuff centralizing our ingest in the cloud. How long is and prep of syndicated it going to take to move content, commercials and through? How long are promos for all of our 600we going to have to wait?’ plus channels,” he said. So we actually measure “So that means that when our latency for a commera commercial comes in, cial coming in before we it’s going to be centrally begin to process it. It’s less available to all the channels than 10 seconds during the without need to duplicate.” entire week.” A piece of material could Dan Castles, CEO of Telestream Another major announcepotentially be received by and Mike Palmer, senior ment from Telestream is 60 sites, and people would director of Media Management its release of the latest then check the timing of at Sinclair Broadcast Group. version of Inspect 2110, the that content, check the company’s award-winning internet-protoquality, and then a copy of the file was col video monitoring solution for ST 2110 made and moved into play. media networks. The workload of processing each file is The upgrade ensures reliability within not evenly spread across a week, with the hybrid SDI-over-IP and ST 2110 deploybulk of the files received on Wednesday, ments by using a “monitoring by excepThursday and Friday. Sinclair needed a tion” approach to proactively notify engiway to dynamically scale. neers of any quality issues within facilities “We wanted to centralize that process, and across networks. ©NAB which would mean a huge amount of cost savings to us,” Palmer said. “Our traffic ❚ Craig Johnston, TV Tech


press conference coverage FOR-A Adds DNA to Enhance Its Software-Defined Ecosystem FOR-A BEGAN its press event on a respectful note as Satoshi Kane­mura, president and chief operating officer of FOR-A Corp. of America, led a moment of silence honoring the recent passing of company founder Keizo Kiyohara. “Keizo Kiyohara has passed away but his DNA is still with us,” Kanemura said. He was speaking directly, as Mr. Kiyohara’s son, Katsuaki Kiyohara, is currently FOR-A‘s president. Kanemura also noted that the elder Kiyohara’s passion for innovation and solid engineering have remained a part of the company. FOR-A announced a step forward in its remote production and internet protocol (IP) capabilities. It launched its new REMI product range, integrated with software-based IP tech-

nology from AMMUX, a spinoff of SipRadius. With low-latency encoding and decoding and secure RIST (Reliable Internet Stream Transport), the AMMUX operating system is optimized specifically for broadcast applications, AMMUX Chief Scientist Sergio Ammirata said. The RIST tunnel contains multiple simultaneous streams of video, audio, data and equipment control, while the company’s built-in WebRTC (Web Real-Time Communication) provides access to files from a web browser. “With AMMUX inside our software-defined IP platform, it ensures flexible and reliable IP transport that’s tightly integrated with FOR-A’s new FA-1616 multipurpose signal processor,” said Kanemura, who

Revitalized Chyron Soars to the Cloud CHYRON ARRIVED AT THE NAB Show with a revitalized financial position and increased focus on providing its customers with advanced cloud-based production solutions. “We got a significant equity investment from Apollo and with that, we have doubled our R&D, hired cloud engineers and built out our artificial intelligence capabilities; and we’ve invested in improving the customer experience,” Chyron Chief Financial Officer Mike Truex said. In order to ensure its strong legacy in broadcast graphics, the company is launching several cloud-based products at the show in tune with its emphasis on live solutions. “Everything we’re doing right now is tied to a cloud-first approach,” Senior Vice President, Strategy and Product Mathieu Yerle said. New at the show was Chyron LIVE, an end-to-end, cloud-native live video-production platform with high-end switching, graphics, clips player, replay,

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(From left) Sergio Ammirata, Ammux; Satoshi Kanemura, FOR-A Corp. of America; and Al Nunez, Media Links

described the new product as a really big Swiss Army knife, capable of performing many jobs. Furthering its focus on software-defined IP systems, FOR-A also announced a partnership with IP transport provider Media Links and network time synchronization

provider Seiko Solutions. The collaboration aims to provide low-­latency IP contribution, including the option of JPEG XS compression and Precision Time Protocol (PTP) for the precise synchronization of video and audio signals in hybrid IP-baseband systems. ❚ Mark Hallinger, TV Tech

Chyron LIVE, a cloud-native live videoproduction platform, was unveiled at the show.

telestration and asset-management capabilities. Chyron LIVE brings in live camera feeds through a variety of Mathieu Yerle, senior VP, strategy and transport protocols, product for Chyron making it easy for a team or a single operator to deliver a stunning live production on the fly. Also new was v4.3 of PRIME, which includes a new PRIME Edge module for creation, deployment and management of viewer-controlled interactive graphics, allowing consumers to determine

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what they see, whether watching sports, elections, financial news, lifestyle shows or other programs. Chyron also previewed v4.0 of PRIME Click Effects, now with HTML5 control panels. ©NAB

❚ Tom Butts, TV Tech


press conference coverage Sinclair, USSI Charge Up 3.0 Datacasting Trial Sinclair Broadcast Group President and CEO Chris Ripley

PHOTO CREDIT: Phil Kurz

SINCLAIR BROADCAST GROUP is partnering with USSI Global on a datacasting trial to deliver video and data to electronic vehicle (EV) charging stations, the company announced during a press conference at the NAB Show. “Our industry has reinvented itself to have a seat at the data distribution table,” Sinclair President and CEO Chris Ripley said, referring to the transition to the IP-based NextGen TV standard. The trial will begin in West Palm Beach, Fla., with two charging stations equipped to receive and display “curated, targeted and unique programming” delivered over the air via NextGen TV, said Ripley. The federal government has set the goal of completing national deployment of EV charging stations by 2035. USSI Global hopes to leverage the local presence of

Sinclair stations, local content reformatted for the kiosks and broadcasters’ relationships with local advertisers to one day generate new revenue derived from over-the-air telecasts, said Ted Korte, vice president of technology and

engineering at USSI Global. “Imagine you have a display on the street that tells you what’s going on,” Korte said, adding that the trial is intended to learn what is the best way to go forward with how the kiosks could be used nationally.

Central to a national deployment is a core network that broadcasters could use to distribute data from market to market, Ripley said. Local stations would use the network to enable a national footprint for data delivery while maintaining their free OTA telecasts. Sinclair has been working on such a network internally for a decade, said Mark Aitken, vice president of Advanced Technology at Sinclair and president of ONE Media 3.0, adding that ongoing work by the Advanced Television Standards Committee (ATSC) to lay the groundwork for a core network has attracted interest from “a number of larger players.” “I think you are going to see, over the next two to three months coming out of the ATSC, a blossoming of that activity to develop a core network for not just television broadcast but a data flow.” ©NAB ❚ Phil Kurz, TV Tech

Grass Moves Media ­Production Forward With AMPP, AWS GRASS VALLEY SHARED its vision of the future of media production and announced both a multiyear strategic collaboration with Amazon Web Services (AWS) and the leveraging of Epic Games’ Unreal Engine for real-time rendering with the GV AMPP (Agile Media Processing Platform). The company also made the move to no longer charge for Playout on AMPP. CEO Andrew Cross said Grass Valley had set out on a journey three years ago to become the company creating the future of media production. He called AMPP — a cloud-based software-as-a-service (SaaS) platform for producing live workflows launched in 2020 — the infrastructure of the future, compatible with every standard. Cross said the company was quite happy with AMPP adoption, and noted that Brazilian media giant Grupo Globo had already produced and streamed more than 50 live sports and entertainment events, with more than 200 planned for the year ahead Although details were light, the enhanced collaboration with AWS will help Grass Valley leverage AWS’s secure, reliable and globally available infrastructure to allow customers to create, produce and monitor their media supply chains where they want and at scale. Grass Valley also said it was working with Epic Games to bring Unreal Engine, a real-time 3D creation tool for photorealistic visuals and immersive experiences, to GV AMPP. Unreal Engine on

Grass Valley CEO Andrew Cross

AMPP will allow customers to use the rendering system natively with all Grass Valley video technology. The company said it will no longer charge for playout on GV AMPP, making the cloud-native system accessible to more media and entertainment companies. The core AMPP Playout functionality will be available free to customers from June 1. ©NAB ❚ Mark Hallinger, TV Tech

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inside audio

How Audio Has Adapted to the New REMI Normal Enough work had been done prior to the pandemic to make the transition easier

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provide remote commentary from certain venues at the he Covid pandemic of the past two year has accelAthens Olympics. “Initially the audio was transported erated the process, technology and acceptance of over ISDN, but later switched to AOIP in 2006 for the Tocredible remote productions now known as REMI rino Winter Games,” Craig said. “Torino was the full test (remote integration model). where the morning sessions from the Curling competition I’m surprised that the paradigm shift from on-site prowere captured and produced at the IBC [International duction to a centralized model has taken so long. I started Broadcast Center] in Torino and then switched all signals traveling for sports weekly in the early 80s and watched the and control over to NBC facilities at Englewood Cliffs for cost of travel only go up, particularly for international trips the evening sessions.” and was shocked that broadcasters continued to send so After the 2010 Vancouver Olympics, I began to see the many people to live events for so many years. demand for space at the IBC start to decline and clearly by I’ve often wondered why commentators had to be onEXPERTISE Beijing 2022 rights holders’ demand for venue space was site or in the venue. Take basketball, for example. Why do Dennis Baxter even further reduced, particularly by NBC. the commentators have to be next to the court or on the “NBC developed what is known as the ‘Off Tube Factory’ edge of the 18th green? Courtside or green side can only which were temporary soundproof booths at the SPOC in Stamford contribute to excessive crowd noise in the headset boom microphone where over time more and more of the sports were called off tube,” which only distorts the mix. Craig said. “At the Beijing Winter Games there were no commentators at any venue, everything was announced ‘off tube’ except for Opening NBC OLYMPICS Ceremonies. NBC is currently using Lawo Commentary Units which Dave Mazza, senior vice president and CTO for NBC Sports and NBC allow for more signals to and from the IBC.” Olympics, was at the forefront of remote production as early as the 1996 Olympics in Atlanta when NBC sent three dozen video feeds to New York where editing, replays, graphics and other production tasks PAC-12 CENTRALIZED PRODUCTION were based. At the time, remote Ethernet controls and a file-based The Pac-12 first started doing centralized production in 2013 with 35 workflow did not exist. shows in their first season and in 2021 met their yearly production goal In 2013 Mazza’s team opened the Stamford Production Operations of 850 live events using the centralized model. I asked Glenn Stilwell, Center (SPOC) in Stamford Conn. which first provided facilities for the who has been on the mixing desk since the beginning, about latency 2016 Rio Games with more than 1,100 people supporting the producissues and lip sync. tion. This effort was twice as large as any previous at-home operation. “In order for it to work, engineering designed a custom piece of As early as 2004 NBC’s Bob Dixon and Al Craig worked together to software to run local DSP and then the audio stems are directly embedded into the camera path,” he said. [It’s] very reliable and always within 2ms because it’s embedded on-site before it’s shipped to us. They now use four camera paths with up to eight stems each; so 32 stems possible, although the older vans can only do four channels on the fourth path.” I also asked him about the number and positions of on-site crew and studio crew. “On-site there usually is one or two audio assists, a video operator, although sometimes the OB EIC shades the cameras when the shows are indoors and there is not much variation in light,” he said. “There would be the camera operators, a unit manager or technical manager and a couple of utilities. Ninety-five percent of the time the presenters are on-site. “For something like baseball or softball we will also have interview headsets in each dugout,” Stilwell added. “In-studio there is the director, producer, technical director, audio mixer, graphics operator, font coordinator, bug op, and 1-4 replay [tape] ops.”

TESTED AND PROVEN Dave Mazza, SVP and CTO for NBC Sports and NBC Olympics, has been at the forefront of remote production advances since the 1996 Olympics.

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I think when live sports shut down in 2020, virtually all aspects of remote control production had been tested and proven. Manufacturers


inside audio

I understand the arguments that the announcers should be on-site to soak up the energy and be close to the athletes and coaches at a live event. and engineering departments accelerated the effort and budgets to get and keep live sports and entertainment on the air, clearly solidifying the new workflow. I understand the arguments that the announcers should be on-site to soak up the energy and be close to the athletes and coaches at a live event—OK, perhaps a couple of sideline reporters, but not the entire play-by-play and color team. And why have the halftime jibber jabber overlooking an empty field? Remember during the 2022 NFL playoffs when the commentators’ set ended up in front of a PA cluster used for the halftime entertainment? How did that work out? Clearly the benefit of having the announcers on the sideline vanished with the first guitar strum. The magic of being on location is the roots of live sports production—the vibe, energy and the ability to capture it all and craft a story. Television—and particularly sports—can be a low-attention activity and the producers are always trying to keep viewers eyeballs. But just because engineering can do a remote from somewhere on earth why

Glenn Stilwell has been on the mixing desk for Pac-12 since it began centralized production of its games in 2013.

should they? My new pet peeve is CNN hosting a rotation of commentators on a hotel balcony in Lviv, Ukraine. The background for host Brianna Keilar looks like a tinted surreal photograph—spooky and miserable. I have to ask: What is the entertainment value? l Dennis Baxter has contributed to hundreds of live events including sound design for nine Olympic Games. He has earned multiple Emmy awards and is the author of “A Practical Guide to Television Sound Engineering.” His current book about immersive sound practices and production will be available this month. He can be reached at dbaxter@ dennisbaxtersound.com or at www.dennisbaxtersound.com.


media tech

Protecting Data for the Long Run The solution? Multiple backups and good luck

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f your livelihood depends MINIMAL FAILURE RATE on a computer, you have the Fortunately, there are people worrisome issue of whether it measuring the failure rate of both is securely backed up. The conhard and SSD drives. One of the tent can be video, audio, graphics, best is Backblaze, a cloud storage photographs, scripts, or whatand data backup company, which ever. If you’re like me—and your I use in addition to Apple’s iCloud professional and personal life are on my Mac. Backblaze measures mostly in files—you redundantly the failure rate of its 203,928 hard back up data multiple ways. drives by annualized failure rate, I do backups to several hard or AFR. AFR = (drive failures / EXPERTISE drives, SSDs and two cloud ser(drive days / 365)) * 100. Frank Beacham vices. Every year, I put one of my Backblaze publishes a report main SSD drives in a safe deposit every year about drive failure and box, in case everything else fails. Yet, I’m still has just released its results from 2021. For afraid of losing data through some oddball the complete report, Google “Backblaze Drive thing I haven’t thought about. Stats for 2021.” The fact is, sooner or later, all storage Out of over 200,000 hard drives, a total of media fails. Nothing invented yet is forever. 1,820 of these hard drives failed last year. The Smart users (or should I say paranoid?) turn drives over every few years. But then you have to ask, how reliable is that new drive you just bought? Which brands are most reliable? Can I depend on a drive not failing? Sadly, the answer is a resounding NO. Every drive will fail sooner or later. The only way to protect your detail is through redundant backups to different drives.

The fact is, sooner or later, all storage media fails. Nothing invented yet is forever.

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most reliable drive in the Backblaze arsenal was a 6TB Seagate (model ST6000DX000) with an annualized failure rate (AFR) of only 0.11%. This model also happened to be the oldest in its fleet, with an average age of 80.4 months use. Also performing well is a pair of drive models, including the 16TB WDC drive (model WUH721816ALE6LO), with an average age of 5.06 months. It has an AFR of 0.14%. The second is a 16TB Toshiba drive (model MG08ACA16TE), which has an AFR of 0.91%. The total AFR for 2021 for all Backblaze’s hard drive models was 1.01%, which is slightly higher than in 2020 when the AFR was 0.93%. Overall, HGST and WDC are the best performers over the last three years, with an AFR under 0.5% in all but a couple of quarters. When you dig into the data, you find that there are drives from each manufacturer that perform well. As for SSDs, Backblaze measured them for the first time this year. The company uses HDDs for its data storage and the SSDs are exclusively used as boot drives. These boot drives also store log files and temporary files produced by the storage server. Every day, a boot drive reads, writes and deletes files. As of the end of 2021, Backblaze was using 2,200 SSDs. The annual failure rate for SSDs overall is similar to HDDs. In 2020, it was 0.78%; last year, it increased a bit to 1.22%. However, there are two glaring outliers in 2021: The Crucial (CT250MX500SSD1) and Seagate (ZA2000CM10002) SSDs failed at rates of 43.22% and 28.81%, respectively. The overall number of these SSD drives, however, is much lower than hard drives.


media tech your data on a professional magneto-optical or other archival media for long term backup or use a combination of hard drives, SSD and cloud backup. For most normal PC and Mac personal computer users, the cost dictates the second option. Another factor is there is no such thing today as permanent storage technology for the masses. The creation of a very long-term, highly reliable archival storage medium is the subject of a vast amount of research these days; it’s an ever changing technology. What’s state-of-the-art in storage today may not be a year from now. At the same time, everyone’s need to archive a vast amount of data is exploding. Though specific estimates vary, there’s a consensus that the rate of growth is about 50% each year. There’s no recession in the digital data storage business. Today, multiple backups and good luck are what’s needed for the most reliable data storage. l Frank Beacham is a New York City-based writer and media producer.

Backblaze, a cloud storage and data backup company, measures the annual failure rate of both hard drives and SSDs.

Backblaze uses only 20 Crucial drives, and they were all installed in December. While there’s a high AFR, there’s a low sample size and a wide confidence interval. The situation is more extreme with the Seagate drive in question. There are only four of them in use and one of them failed. Backblaze uses 1,090 of the Seagate ZA250CM10003 drives and it had a 1.04% AFR in 2021. The company also has 562 Seagate ZA250CM10002 drives. Its AFR was even more impressive at 0.36%. Backblaze has 250 Dell DellBoss VD SSD drives. Not a single one failed.

NO GUARANTEES Though the Backblaze data can help us small-scale users determine which models to buy, there is still no guarantee the drive won’t fail. The rule of thumb is all magnetic media, like that used in hard drives, has a half-life of about five years. No magnetic drive company claims its products can store data reliably for more than 10 years. So somewhere between 6-10 years, your data is going to disappear because the magnetic field is no longer strong enough to retain the data. So what’s a computer user to do? Essentially there are two choices today for serious archiving: either spend big money to record


storage technology

Storage Strategy by Application Selecting appropriate storage components requires understanding the entire media ecosystem

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onfiguring an end-tocontinually pushed data amongst end system storage storage tiers based upon the solution for a new associated activities known at facility can be challengthe time of the design. As storage ing. Systems once built upon the capacity requirements increased, theory that “storage tiers” were more drives were “thrown” at the key dividing elements—today, the system. Dissimilar drive capacichallenges include managing data ties created differentials with permovement between such tiers formance measurement becoming and tailoring the storage types for unpredictive. best uses and applications. As “cloud” and other sophistiEXPERTISE Storage tier assignment was cated storage architectures came Karl Paulsen a model that separated “coninto play, a different science tinuously-active” storage from emerged. Previously dedicated “not-so-active” storage, i.e., fast vs. slow “hierarchical architectures” changed funcor bulk storage. Legacy storage tier designs tionality to leverage software solutions which

manage needs, capacities, performance, and timing. By carefully modeling with best-ofbreed data storage products, new solutions could be solved using complex data activity predictions and automation. No longer is it practical to use a single storage element or just the cloud, alone, to support modern media production activities.

MANAGING BY TYPE TO FIT THE NEED Highly sophisticated structures in today’s media asset management solutions allow storage administrators to apply variants in storage sets across groups of individual topologies and workflows (Fig. 1). Software-driven approaches coupled with fast flash memory, and other backbones (NVMe, PCIe) now allow the administrator to select workflow segments and marry them into independent systems appropriately configured for specific workflows across the enterprise. Add in a growing proportion of media technology which is moving to the cloud, and hybridized choices open up wider possibilities amongst on-premises and cloud workflows. Cloud supports ingest operations to funnel content from many geographic locations. Depending upon the need, placing accumulating

Fig. 1: This conceptual diagram depicts the relative scale of the storage systems, performance expectations and general workloads for a modern news production-related architecture with end-to-end systemization from ingest (L) through distribution (R). Similar representations could be utilized when planning or expanding for a new storage system for media-centric operations.

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storage technology data into a cloud platform offers a lot of extras, including long-term storage of content in its raw form plus the ability to consolidate content into a single virtualized allocation. Knowing and defining the variety of steps to produce airable content is essential to determining if data is stored on-prem, in the cloud, or both. When and why to place which data in one or more locations vs. the efficiency or performance perspectives for specific or immediate workflows is what defines “managing by type and fitting the need.”

DIFFERING STORAGE STRUCTURES AND ELEMENTS Organizations with varying requirements may need immediate, fast access to content at speeds incompatible with the capabilities of a “cloud-only” architecture; some workflows may not need the additional features, functionality or capabilities offered in a cloud solution. For media organizations, a workflow might simply push “raw” content straight into editorial production. When facing a breaking or live news requirement, they may need to push the new content straight to playout while other activities (including editorial) occur in parallel. Often workflows must support multiple parallel processes, repetitive alteration, and documentary-like preparation for later specials or features. In “live” production, raw content often needs at the very least a “technical preview” before being aired “live.” Producer approval or other reviews may also be required prior to pushing straight to air. Proxy generation, while simultaneously moving the data from an ingest cache to playout services, could gain efficiency from differing storage platforms. While some may only need a “tops-and-tails” segmentation, others may only require a mid-sequence removal or audio overtone. These “fast vs. slow” example workflows demand the ability to quickly take in content, transform it to an “airable” format, and assemble it for purpose necessitates fast delivery process versus lengthier or more conventional tagging, shifting into editorial cache, or moving into near term storage for other production purposes.

ATTENTION TO METADATA Tagging or metadata association for any number of workflows or production/legal mandates are not uncommon. Metadata collection covers activities from automated tagging to scene-change detection to detailed content analysis or evaluation with respect to people, location or purpose. These variations

gain additional benefits by their placement onto different types of storage depending upon the degree of effort required for each workflow. Such differentiation by activity helps reduce load balancing and may mitigate “bottlenecking,” which drags down other processes involving multiple read/writes or transfers between processing platforms. Other methodologies, such as Kubernetes and microservices structures, are leveraging AI principles to improve performance and speed up operations. Depending upon the workflow, data may

No longer is it practical to use a single storage element or just the cloud, alone, to support modern media production activities. be repositioned to fast disk arrays based on the best system approach using the available targets. Storage that can materialize the information into a particular format, managed by a MAM, and sent to the cloud or straight to air ahead of editorial may also be sought. Thus, we recognize that “not all storage is created equal.”

MONITOR PROACTIVELY High-availability storage systems need to be “watched” to ensure bottlenecks, over-provisioning, or other random events do not occur. Administrators who manage storage sets, manipulate the best data paths, and leverage file-based workflow activities proactively keep an eye on storage volumes, overall system bandwidth, and the management of those processes. Some less intense or non-immediate activities take more time to complete their operations and would best be allocated to hours when other commands needing higher performance are more immediately addressed. For example, if the storage volumes associated with editing command more reads and writes than simple reads for transfers—move those less important activities to overnight periods when less editing occurs. Administrators routinely must watch the logs to ensure that up-time, system loading, and security are handled proactively.

Suggestions include scheduling upgrades at times when high-availability periods are unnecessary. Establish a hierarchy of notifications and reporting to ascertain when peak performance periods need full accessibility. High-availability work-periods, if monitored and reported proactively, can support most maintenance without downtime, and can occur during a flexible and convenient time based upon a routine schedule.

EXTREME HYPER-SCALABILITY Selecting the appropriate storage components requires understanding the entire media ecosystem. Workflows vary, so storage system administrators must engage components which are sufficient in scale to handle the average workflows yet still provide for those “hyper-activities” whereby the next level of availability can be enabled as necessary. Flexibility and capacity overhead for burst-up periods need consideration throughout the various workflows. Speed and throughput are usually expected during “peak periods” but not necessarily at all times. When a workflow pushes the envelope or approaches the edge of your storage infrastructure’s routine capabilities, your storage architecture should be expected to “spin up” to a higher level to address shortterm needs. Changing when those activities occur (i.e., to “off hours”) may alleviate the potential for bottlenecks during peak periods. Some vendors can autonomously elevate their system performance by employing “capacity module” extensions. Additional support is usually configured using flash storage in an NVMe over PCIe architecture. These modules need not be deployed throughout all storage sub-systems; and are likely relegated only to your “highest-performance-level” activities. Plan for potential needs in massive scalability, also known as “scale out and scale up”—this extra horsepower may be necessary for one-offs or major events (e.g., Super Bowl, Final Four or breaking news). We’ve only touched the surface of modern intelligent storage management and its details. When considering an upgrade or new storage platform for a current or greenfield facility, be sure to take notice of the competitive and continual changes occurring in the storage-for-media sectors. You may be surprised how the many new on-prem storage additions are changing those capabilities which are essential to media productions. l Karl Paulsen is chief technology officer at Diversified and a frequent contributor to TV Tech in storage, IP, and cloud technologies. Contact him at kpaulsen@diversifiedus.

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eye on tech | product and services Blackmagic Design, Blackmagic Cloud Store Blackmagic Cloud Store is a new high-performance network storage solution with four 10G Ethernet connections and a parallel memory core that can sustain maximum possible transfer speeds on each 10G Ethernet port, all simultaneously. Blackmagic Cloud Store is specifically designed for the requirements of the TV and high-end film industry where large media files need to be shared between multiple users for editing, color correction, audio post and VFX work. It even handles massive 12K Blackmagic RAW digital cinema files. Each user gets zero latency and they don't need to store files on their local computer. It's the perfect solution for DaVinci Resolve. Also new is Blackmagic Cloud Store Mini, a new network storage solution with the high performance of 4 M.2 flash memory in a RAID 0 configuration and Blackmagic Cloud Pod, which lets customers use any USB-C disk as network storage.

Lawo, .edge IP Video Infrastructure Platform

blackmagicdesign.com

Lawo’s new 2RU .edge IP video infrastructure platform accommodates up to four 25/100 GbE .edge processing blades and rear I/O plates with best-in-class signal conversion density. Each rear I/O blade provides 48 HD-BNC connectors for SD/HD/3G/UHD SDI interfacing, resulting in 192 SDI/IP conversions per 2RU. .edge provides full support for SMPTE ST2110 with ST2022-7 redundancy built in, providing advanced essence-based handling and also ensuring seamless protection switching of audio, video and ancillary data streams in local and wide-area network operations. .edge’s board does not have an audio TDM bus or a video matrix in the middle of its architecture, but instead, video is switched on the IP packet level, in one of two ways: “make before break” and “break before make” (BBM). Audio signals are switched in MBB mode using a V-fade curve for clean and quiet transitions. z For more information, visit https://lawo.com

EVS, Cerebrum v2.3

Matrox, 12G/6G/3G SDI I/O Cards

Cerebrum v2.3 introduces a new SDN license called “IP Core,” and a new web client, which together bring higher visibility and control to today’s increasingly complex production infrastructures. As broadcasters worldwide continue their shift to IP, this new IP Core SDN license addresses the need for tighter network management. Integrated within Cerebrum, “it allows for the control of increasingly complex network topologies without adding additional complexity for the operators,” explained Matt Salvidge, solutions manager at EVS. Users who previously had to install their Cerebrum client application on a Windows-based PC or laptop, can now view their customized control interfaces in a HTML5 web browser. This enables them to monitor and control their customized router panels and other graphical user interfaces in a more flexible way, whether from within control rooms, equipment rooms, or remotely from any device. z For more information, visit https://evs.com

Matrox has announced four new multichannel SDI video input and output (I/O) cards for broadcast OEM developers. Featuring full-height and low-profile cards supporting up to four and eight I/O channels, the 12G/6G/3G SDI cards enable broadcast equipment manufacturers with more I/O variations to build a wider range of broadcast graphics systems, channel-in-a-box platforms, and capture/playout video servers. Matrox X.mio5 12G and Matrox DSX LE5 12G cards provide broadcast OEMs with multichannel, reconfigurable 12G/6G/3G SDI I/O to support various HD and 4K workflows. The Matrox DSX SDK features a unified architecture that is common across all Matrox SDI I/O, ST 2110 NIC, and H.264 codec cards and supports key functions—including file reading/writing, memory management, and a range of file formats, codecs, and effects—to facilitate an agile development effort. z For more information, visit www.matrox.com/en/video

Imagine, Aviator

NPAW, NaLa

Imagine Aviator is the first truly cloud-native platform that enables broadcasters, MVPDs and digital-first providers to plan, make and monetize premium-quality linear and OTT content from a single, unified platform. Aviator raises the bar for monetization of content across all screens, enabling media companies to optimize ad delivery, significantly improve the revenue of otherwise under-monetized OTT content and generate greater profitability from their media assets. Architected for an ever-evolving future, Aviator offers flexible subscription and SaaS purchase options that suit new business models and an agile, cloud-based design that allows media companies to continue to deliver and monetize content no matter how consumer viewing habits change. Running in the public cloud, Aviator requires only a web browser and internet connection to securely access and operate all aspects of the platform, placing control at the operators’ fingertips wherever they are based—at the office, a remote location or when working from home. z For more information, visit imaginecommunications.com

NPAW, a provider of video business intelligence and predictive analytics for streaming services, has introduced NaLa, a natural language-based video insights search tool bringing advanced data analysis capabilities to the data-savvy and inexperienced alike. Fully integrated into the NPAW Suite of video analytics solutions, NaLa leverages machine learning and natural language processing to handle complex data search requests based on simple, common-speech questions. Users without any data analytics skills can ask NaLa any questions about their video streaming service’s performance and audience via voice or text and get an immediate answer. From identifying those users at risk of churn to visualizing the number of daily video plays for each region and device, NaLa finds and evaluates data and summarizes them into actionable, easy-to-understand insights. To do that, the tool uses a combination of graphics, voice and text to guide the user through the results, learning continuously to adapt to users’ needs. NaLa is currently available in 31 languages, including English, Spanish and Japanese. NPAW expects to add support for additional languages as the tool evolves. z For more information, visit npaw.com.

z For more information, visit

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equipment guide | video monitors

Shooting `Jump Seat’ With ATOMOS NINJA V USER REPORT By Dru Williams President & Director of Photography 43 Productions LLC

SALT LAKE CITY— I first came across the ATOMOS NINJA V several years ago while DP’ing a music video. I was shooting on RED at the time and liked what I saw, so when it came time to shoot a new project—a short film titled “Jump Seat” written and directed by a buddy of mine, Aaron Colborn—I knew it was going to be key to making the project work. We shot “Jump Seat” just over a year ago on the Sony FX6 not long after it came out. It’s a great camera, but it was short on firmware upgrades and one real drawback for us was that it didn’t record RAW internally. “Jump Seat” is set in the crime world—the “elevator pitch” is that it’s essentially a movie about running a ride share service for criminals—and it was always going to be a really moody, vibrant film that needed a camera that was going to do well in low light.

THE FULL SPECTRUM That’s precisely where the FX6 excels, but we also really wanted to use the whole color spectrum of the camera. To ensure that, we ran SDI directly out of the FX6 into the NINJA, with the AtomX SDI accessory so that we could record in Apple ProRes RAW HQ (Sony has since added an HDMI RAW option via a firmware update). I had three different AtomX 1 TB solid states to record ProRes RAW HQ, and that meant that the editor had all of that detail to fluctuate within the RAW file

For the film “Jump Seat,” Dru Williams used the Sony FX6 camera with the ATOMOS NINJA V so they could record in Apple ProRes RAW HQ.

in post. We used the S-log3 color profile while in CineEI mode. I also used a handful of different LUTs to visualize what the finished project was going to look like, but that can always change. Using RAW meant that the editor was able to fully pull out the true detail and color while having zero limitations with the image, none of which we would have been able to achieve without using the NINJA V monitor.

I like the fact that while I’m shooting, I’m also backing up the footage internally as XAVC-I codec files. There’s a big difference between those and the ProRes RAW HQ files, of course—in fact, side by side the difference is dramatic—but it’s good to have and the backup does give you peace of mind even if it isn’t RAW.

SEEING THE FINAL IMAGE “Jump Seat” was shot using anamorphic lenses which resulted in getting some crazy vignetting and a squeezed image in camera as expected. But the ATOMOS NINJA V monitor allowed us to get the image “de-squeezed” while on set, so I could instantly see what the final image would look like. It also helped streamline our wireless set up. We ran a wireless transmitter out of the NINJA via SDI so that the same image that was being captured on the ATOMOS was being fed wirelessly to my AC and the director on separate ATOMOS monitors, which was extremely beneficial.

What do I like about it? Size and brightness. And it’s fast too—especially when using the AtomX branded solid states, there’s no lag. Plus, what you’re seeing in your monitor is what you get. A lot of times when you’re looking at the camera’s viewfinder or another third-party monitor, you have to adjust for certain things; one brand always tends to look green, the color might be a little blue, etc. With ATOMOS that just doesn’t happen. The colors are true and the nits are bright. This gives you the needed confidence that what you see on set is exactly what you are going to see later. All of which explains why I was excited to get my hands on a NINJA V+ at the recent NAB Show! l Dru Williams is the president and director of photography of 43 Productions LLC and can be reached at dru@43productions.com For more information on the ATOMOS NINJA V visit www.atomos.com.

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equipment guide |video monitors

Monitoring the 2022 Billboard Women in Music Awards With Blackmagic Design supports our workflow that much more.

USER REPORT

MULTIPLE EQUIPMENT, ONE CONTROL By Todd Fisher CEO Hollywood Motion Picture Experience

LAS VEGAS—When it comes to helping produce a multicamera broadcast and live stream to millions of viewers, monitoring is key. At the “2022 Billboard Women in Music Awards,” Hollywood Motion Picture Experience (HMPE) was tapped by executive producers Tim Owens, owner of Liquid Arts Media, and Jenifer Hersch, vice president of productions at Redrock Entertainment, to provide a 4K and 12G workflow for the event. HMPE’s production truck is built around Ultra HD and cinema glass, as well as a 12G workflow supported by Blackmagic Design gear. With the event broadcast in Ultra HD 59.94 full 12G, we knew our truck could support the unique requirements, which might have been one of the first of its kind for this type of event.

In addition to the rear engineering area, we use a SmartScope Duo 4K throughout the truck. When we have a smaller crew, we can move engineering up front—this is a simple process given the connectivity via a single Cat 6 cable from our network. All the Blackmagic Design equipment, from the ATEM switcher to the HyperDeck recorders to the SmartScope Duo 4K monitors, are networked together and can be controlled via one dedicated Mac Mini or with a laptop. The truck also features two SmartView 4K monitors, which we used to monitor the switcher’s multivew, again essential to any multicamera broadcast workflow. Its 4K and 12G-SDI capabilities fit right in with the required workflow. We shoot a variety of applications, including cinema, remote truck and studio, and no matter what is thrown our way, we know we can handle it as we’ve purposefully invested in flexible and future-proof tools. l

Todd Fisher is an American director, cinematographer and producer of television films and documentaries. Fisher is the son of singer Eddie Fisher and actress Debbie Reynolds and brother of Carrie Fisher. He has a professional background in architectural design and sound engineering, with experience designing and building sound stages, recording studios and television facilities. Fisher is also a business executive. He is the former CEO, president, CFO and treasurer of the Debbie Reynolds Hotel & Casino (DRHC), Debbie Reynolds Management Company, Inc. and Debbie Reynolds Resorts, Inc. and the former CEO and curator of the Hollywood Motion Picture Museum, which was housed at Debbie Reynolds Studios (DR Studios) in North Hollywood and at his ranch in Creston, Calif. He is currently CEO of the high-end production company Hollywood Motion Picture Experience. For more information, call 805238-9056 or email info@HMPE.com For additional information, contact Blackmagic Design at 408-954-0500 or visit www.blackmagicdesign.com.

TRUCK FRIENDLY We supplied six URSA Broadcast G2 cameras and two URSA Mini Pro 4.6K G2 cameras, all with Blackmagic Camera Fiber Converters, to shoot the awards. Everything was sent via fiber back to our truck for camera switching and CCU control supported by an ATEM Constellation 8K switcher, ATEM Camera Control Panels and more. We even had a DaVinci Resolve Mini Panel for color grading. To monitor those camera feeds, the truck houses numerous SmartScope Duo 4K monitors. The compact and rackmountable design is essential for the truck where space is at a premium, and the two 8-inch LCD screens also provide independent waveform monitoring, so we can choose between waveform, vectorscope, RGB parade, YUV parade, histogram and audio phase level displays. Being able to toggle between two independent camera feeds, two independent scopes, or a mix of both gives us the best of both worlds. Obviously for broadcast, scopes are essential for monitoring the quality of the camera feeds, and the added flexibility to switch between scopes and camera feeds

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Todd Fisher used Hollywood Motion Picture Experience’s production truck—which is built around Ultra HD and cinema glass, as well as a 12G workflow supported by Blackmagic Design gear— for the “2022 Billboard Women in Music Award”

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equipment guide | video monitors

Sony’s PVM-X2400 4K HDR Monitor Hits All the High Notes AT A GLANCE

USER REPORT

Ultimately, I need my monitor balanced because we have an A and B camera next to each other. I also have a switcher where I can put multiple cameras onto one monitor so we can make judgments right away, compare images and see everything in the blink of an eye. I tend to work on projects that have a darker look so it’s helpful to have a monitor that can handle the blacks and shadows as well as it handles the lights and brights. I find that Sony’s monitors don’t give you a bleached out image—they give you deep blacks. Every camera and monitor can do bright, but it’s how they behave in the dark and how they can control shadows and balance highlights that’s most important. In my position, having an accurate representation of what the camera is capturing gives the production crew peace of mind and that’s something I feel confident I’m able to do with Sony’s impressive monitors. l

By Jeroen Hendriks Digital Imaging Technician

NEW ORLEANS—After having positive experiences using Sony’s OLED monitors for years, I chose their PVM-X2400 24-inch 4K HDR monitor to use on my latest project, the upcoming film, “Where the Crawdads Sing,” based on the best-selling novel. I had worked with other HDR monitors in the past, which were too big, too heavy and too expensive. When I knew we needed HDR for this movie, the latest Sony model appeared to be a viable option. Due to my previous experience with HDR monitors, I prefer to use my own technology and after learning more about Sony’s PVM-X2400, it met most of my requirements. The 24-inch option is a good size for looking at content, without being too small to see details or too large to be practical. Sony’s LED technology was the primary reason I chose the PVM-X2400. I’ve always valued the black levels of Sony’s OLED monitors and while LED didn’t offer the exact same experience, it still gave me a really good on-set view of HDR. It’s also beneficial that I can calibrate all of my Sony monitors to match consistently.

WORKING IN HDR As HDR becomes a standard request—or a requirement—from studios, having my own HDR monitor has helped me maintain my standard of work and ensure that everything I produce is of high quality; and having a good monitor makes it all that much easier! Working in HDR in an onset environment is a relatively

Jeroen Hendriks chose Sony’s PVM X2400 24-inch 4K HDR monitor for use on his latest project, the upcoming film, “Where the Crawdads Sing,” based on the best-selling novel.

easy workflow to adapt to, as the highlights are fairly precise. Working in HDR provides more longevity and possibilities for the content. I appreciate that the monitors have a lot of powerful built-in tools—on-set, my Sony monitors are on a cart, where they’ve proven to be durable and reliable.

In terms of workflow, I take a log feed out from the camera and get a log feed on my monitor and then use a live grade to add a LUT to the feeds. Then I use my scopes in watch mode, primarily to review my false color for exposure. The false color setting is a valuable feature as is the ability to upload and compare user LUTs.

Jeroen Hendriks is a Digital Imaging Technician with a seasoned background in the filmmaking industry, helping support the medium’s transition to digital. His career has spanned 22 years, during which he’s worked for RED Digital Cinema’s field support team and as a camera accessory designer, data supervisor and technician. His most notable projects include the upcoming film, “Where the Crawdads Sing,” as well as recent titles including “Red Notice,” “The Witcher” and “Independence Day: Resurgence.” He can be reached at jeroen@lexmond.com. For more information visit https://pro.sony/ue_US/.

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equipment guide | video monitors

Cinegy Enhances Remote Production Workflows for Sweden’s Polylegio USER REPORT By Anders Höög Co-Founder Polylegio AB

KARLSTAD & GÄVLE, Sweden—Polylegio AB develops custom digital-TV solutions involving DVB, IPTV, WebTV and live streaming. One of our specialties is integrating existing functions into TV systems based on customers’ unique requirements. We started life in a previous incarnation as a reseller and have been using Cinegy infrastructure solutions for at least a decade, with customers such as Sweden’s national broadcaster Sveriges Television. Over the years we have changed our approach as the product has evolved into what is now Cinegy Multiviewer. Designed to enable broadcasters and production houses to monitor streams from satellites, camera feeds, playout devices and other sources locally and remotely, one of the big benefits of Cinegy Multiviewer is that it is 100% software-based and can be spun up in minutes and runs on commodity IT servers or workstations.

REMOTE ACCESSIBILITY At Polylegio, we focus on making all tools accessible remotely—this includes Cinegy Multiviewer where we allow connections using both SRT and HLS, enabling any user to get the original quality depending on latency needs. This makes it easier for people located away from the MCR or other location that would normally pop up on the Cinegy interface, to access and use. In other words, we enhance and extend the functionality of Cinegy Multiviewer by allowing customers to use the solution in smarter ways. Cinegy Multiviewer is normally used on local networks. Polylegio AB uses a combination of its own tools, and the SRT support in Multiviewer, to create a global network where different sites can be combined into one. This allows for true global routing where users don’t need to know where a source is sent from or where it needs to go, meaning you can treat the globe as a single entity. Traditionally, you would have contribution

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Anders Höög’s company Polylegio AB focuses on making all tools accessible remotely, including the Cinegy Multiviewer where we allow connections using both SRT and HLS.

networks between a number of different sites with each being monitored locally at each site. However, by using Cinegy Multiviewer and Cinegy Route, combined with in-house tools, we have complete visible- and technical control over each part of the network. With SRT feeds, visual checks in low latency and high quality can be done from anywhere.

LIFESAVING FEATURES In practical terms, this functionality was a lifesaver during the pandemic, allowing us and our clients to continue working as normal, accessing any feed on the network with full control and visibility. One of the impacts from Covid is that it has accelerated the move towards remote working and distributed, collaborative workflows; and our enhancements for Cinegy Multiviewer mean customers can transition to these new and smarter ways of working without disruption to their mission-critical day-to-day operations. In essence, we have removed the obstacles to having staff working in any location. We choose to work with Cinegy Multiviewer and infrastructure tools because for us, these are the most powerful tools on the market— and this is something customers sometimes

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underestimate. We believe that for the price point, nothing else offers the functionality and performance of Cinegy Multiviewer; we run services on behalf of our clients using this solution and can offer them full transparency and visibility at all times. The additional Secure Reliable Transport (SRT) support is also a game changer, making streams shareable and transportable over public networks. Creating OTT versions of streams is also much easier, and we are as excited as Cinegy about this move. What we do with Cinegy Multiviewer is made easier by the close working relationship we have built with the Cinegy team over the years; we closely follow their latest developments so that we can think about what enhancements we can wrap around them. l Anders Höög is the co-founder, Polylegio AB. He has deep knowledge and experience of IP broadcast gain from his long history of working in the television industry. He is skilled in MPEG4, broadcast engineering, encoding, satellite, and television. He can be reached at anders@polylegio.se. For more information on the Cinegy Multiviewer, visit https://home.cinegy.com/



equipment guide | video monitors buyers briefs Ikegami ULE-217-HDR Monitor The ULE-217-HDR is a professional multi-purpose Full HD monitor with 3G/HD-SDI and HDMI interface. ULE-217-HDR is ideal for PC applications, or HD video monitoring. With a VESA interface it can be easily racked, wall-mounted or used as a desktop. Key features include: 21.5” 1080p HD resolution; HDMI, VGA, SD/HD/3G-SDI (Level A/B); HDMI 2.0 Input supports up to 4K/60 Hz; HDR Support (HLG, HDR10); image flip, H/V, H&V selection; scan – full, over & under; front function assignable button; and two built-in speakers. z For more information, visit www.ikegami.com

Konvision KUM-3110S and KUM-3120S

Densitron Tactila Evaluation Kit

The KUM-3110S and KUM-3120S 32” 4K OLED reference monitors are designed for 4K/8K HDR or SDR production and QC and are currently shipping, with the KUM-3120S accepting up to 8K video signals and the KUM-3110S accepting up to 4K. Their color gamut can reach more than 99% of DCI-P3 and 80% of BT2020. With 1,000,000:1 ultra-high contrast ratio and 0.0005 nit truer, deeper black, it can reproduce incredible black details and can be used for up to 30,000 hours, making them an excellent choice for professional and high-quality 4K/8K color grading, post-production etc.

In order to provide operational and engineering users the optimum sensory feedback for HMI solutions, Densitron developed the Tactila family of tactile objects. The Tactila Evaluation Kit combines the advantages of graphical displays with touch-screen based controls and tactile objects for precise adjustment. The HMI Tactile Evaluation Kit includes Densitron 8“ development platform with embedded ARM computer, power adaptor, 3 rotary knobs, Starter Guide manual, and 3 out-of-the-box example demonstrations.

z For more information visit www.konvision.com.

TV Logic LUM-181H

z For more information visit

https://densitron.com.

Plura SFP-20925G-H Monitor FP-209-25G-H, 9″ monitor from Plura is the industry’s first TRUE-IP 25GbE portable broadcast and media monitor solution, supporting uncompressed UHD based on SMPTE ST 2110, ST 2022-6Ŧ & ST 2022-7 and supports up to 4096 x 2160 resolutions. It provides the flexibility for wide range of broadcast and professional media SDI to IP transition projects and is a powerful hybrid solution supporting SFP+ / SFP28 10G / 25G (ST 2110, ST 2022-6 Ŧ,ST 2022-7), 12G, 3G & 1.5G & HDMI 2.0 connectivity. It is interoperable with a wide range of prominent third-party IP-UHDFHD ready media solution and features 2x 10/25 GbE SFP+/SFP28 complying with SMPTE ST 2022-7. The SFP-25G series offers HDR Display capabilities supporting PQ (ST-2084) & HLG standards and is available in multiple sizes starting from 9″ all the way to 47″.

The LUM-181H is an 18.4-inch 4K UHD resolution (3840 x 2160) monitor with a maximum luminance of 1,000nits, contrast ratio of 1,000:1, wide color gamut, and wide viewing angle. Equipped with 4 BNCs (2×12G-SDI + 2×3G-SDI) and HDMI 2.0 interface, it supports various video formats up to 4K/60p through single-link 12G-SDI, Quad 3G-SDI, and HDMI 2.0. In addition to various professional features such as Waveform monitor and Vectorscope, the LUM181H provides HDR emulation function with HDR EOTFs of PQ, HLG, and SLog3. z For more information visit http://tvlogic.tv.

z For more information visit https://plurainc.com

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Leader Electronics LV5600 The LV5600 is a ‘True-Hybrid’ waveform monitor compatible with 4K/HD/SD-SDI signals and UHDTV/HD/SD IP signals. The LV5600 features a 7-inch touch screen display in a compact 3 RU enclosure with built-in AC power supply and supports a variety of SDI signals up to 12G-SDI as well as video over IP. The waveform, vector, picture, audio, and eye pattern displays enable simple yet comprehensive measurements and quality control of the widest range of audio and video formats. The status display allows users to easily assess errors and system stability with both event logs and long-term charts and it offers a combination of touch screen, dedicated buttons and knobs, and user-defined screen layouts for operational efficiency.. z For more information visit www.leader.co.jp/en


equipment guide | video monitors buyers briefs Wohler RMTF-170-3G The RMTF-170-3G-TT and RMTF-170-3G-RM monitors provide a 17”, 10bit, 1920 x 1080 resolution, 16:9 format, anti-glare IPS LCD screen. All video formats are scaled to fit on the screen in the highest quality using 12bit digital processing, precision scaling, and gamma correction to produce the best images possible. When used outdoors, an optional Sun Shade (part number 829201) is available for the RMTF-170-3G-TT tabletop monitor. When used as a ‘field monitor’ a standard XLR-4F connector can plug into the XLR-4M connector to supply 11 to 17VDC at 3A to the product as an alternative to AC power. This light and nimble monitor comes with a plethora of in-monitor display features including IMD, Tally, timecode, inscreen audio level metering, format display, and area/title safe markers. z For more information visit https://wohler.com

SmallHD OLED 22 4K Production Monitor SmallHD’s reference-grade 4K OLED provides unparalleled input/ output options with eight 12G-SDI and two HDMI 2.0 ports, enabling 4K signal processing. Its rugged, unibody, milled-aluminum chassis includes 36 ¼-20” mounting points. Weighing just 9.3-lbs, a removable handle and feet aid convenient portability. The OLED 22 display has virtually no image degradation at any viewing angle, providing a real-time image as vivid and pristine as a final output whether on set or in post. Specs include >1,000,000:1 contrast ratio with absolute black point, 10-bit color depth, 3840×2160 resolution, 350nit brightness level, and 100% P3/135% Rec 709 color gamuts for authentic color reproduction. z For more information visit www.smallhd.com

products & services marketplace

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people on the move For possible inclusion, send information to tvtech@futurenet.com with People News in the subject line.

DAVID GRINDLE SMPTE SMPTE has tapped David Grindle to serve as the executive director, succeeding Barbara Lange. He will join SMPTE in July after concluding a 12-year tenure as executive director of the United States Institute for Theatre Technology, an association dedicated to performing arts and entertainment professionals. Grindle—a Certified Association Executive and proven leader in the nonprofit field, —is a Fulbright specialist with the U.S. State Dept. and an honorary member of the African Theatre Association.

JESSIA MATHIES Hearst Media Production Group Jessica Mathies has been named vice president, development, at Hearst Media Production Group where she will focus on unscripted program development for TV stations, broadcast and cable networks and streaming services. Mathies previously served as an executive producer at HMPG parent company Hearst Television. Mathies joined Hearst Television in 2018 from Park Slope Productions, a New York-based production Discovery and UP TV. company, where she was EVP of development.

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TARIF SAYED - pictured DAVID RADOCZY NDI NDI, a division of Vizrt Group, has hired Tarif Sayed as its president/ GM, and David Radoczy as its VP of business development. Sayed has served in leadership roles with Dolby Laboratories and Nokia Technologies and will report to Michael Hallén, CEO of Vizrt Group and join the Vizrt Group Global Management Team. Radoczy, joins NDI from Deluxe and was previously with major broadcasters and service providers such as Sky UK, Star HK and Nine Network Australia.

MIKE WRIGHT - pictured JODYNE WOOD GREGORY CASH EditShare Editshare has hired Mike Wright as VP for sales across the Americas, Jodynne Wood as VP of business development in the region, and Gregory Cash to lead the regional pre-sales team. Wright previously held senior sales roles at Telestream, Tektronix and Grass Valley. Wood previously worked at GrayMeta and Ci-Sony Media Cloud Services. Cash, held position at NBC Universal and Rohde & Schwarz. twitter.com/tvtechnology

KEITH PELLETIER

SEAN SEAMER

Dielectric

Gravity Media

Keith Pelletier has been promoted to president of Dielectric, a subsidiary of Sinclair Broadcast Group. Pelletier, who was most recently vice president and general manager of RF antenna and system manufacturing, is taking over for Andy Whiteside who is retiring. “Keith has in-depth engineering and manufacturing experience coupled with strong leadership skills and excellent rapport with Dielectric’s customer base,” said Whiteside.

Sean Seamer has joined Gravity Media as president for its U.S. business. He will be supported by current Managing Director Ted Griggs, who has been promoted to EVP. Seamer was previously CEO of Supercars, which runs the Australian touring-car championship, the Supercars Championship. He was also CEO of MediaCom ANZ, prior to that, CEO of GroupM New Zealand, where he oversaw the introduction of the holding company in that market.

ROB WATERS - pictured MICHAEL STANTON

Vizrt

Dejero Dejero has hired Rob Waters as its global director of sales and Michael Stanton as director of sales for the Americas. Waters will spearhead the worldwide sales strategy. He was director of sales for EMEA and has also held senior sales positions at Blackmagic Design. Stanton is responsible for business development, sales team management and growth strategy across the United States, Canada and Latin America. He joined Dejero in 2016.

JON RAIDEL Vizrt has appointed Jon Raidel as the new Global Lead for its Live Production in the Cloud offering. Raidel was previously manager of technical operations with the National Football League for NFL Network and NFL Digital control rooms and prior to that, technical director with the National Basketball Association as a technical director. In both roles, Raidel advocated for Vizrt and NewTek technologies using the solutions across hundreds of productions in varying sizes both on-prem and in the cloud.



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