TV Tech 0488 - August 2023

Welcome to the August 2023 issue of

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In a media world where more and more consumers are cutting the cord and getting their local channels either via antenna or more likely, through a service like Hulu Live+ or YouTube TV, (so-called virtual multichannel video program distributors or vMVPDs), local TV stations are a crucial part of the lineup; in fact, it could be easily surmised that without local stations, vMVPDs would not enjoy the success (or increasing influence) they have obtained.

When it comes to carriage on vMVPDs, there is very little in the way of the types of rules that mandate “must-carry” on cable or satellite, but it looks like 2023 could finally be the year when the industry begins to take the initial steps to establish some guidelines that allow for local stations to gain more of a say over carriage terms, which are currently controlled by the networks.

In June, Sen. Maria Cantwell, D-Wash. and chair of the Senate Committee on Commerce, Science and Transportation, asked the FCC to reopen its records on vMVPDs and consider reclassifying them so that they would have to adhere to the same rules as traditional multichannel video providers.

FCC candidate Anna Gomez also advocated another look at the vMVPD rules for local broadcast. “Local broadcasting is so important,” she told Congress. “It is where citizens can learn about the news about emergencies and the economic model is getting more and more challenging given the changes in the marketplace.”

Last month, a group of broadcast groups representing more than 600 commercial TV stations announced the “Coalition for Local News,” and at the top of its to-do list is advocating updating the rules.

“Streaming has skyrocketed, but the FCC has not acted in the last eight and a half years to assess or address this change in the market. The current ecosystem cuts local broadcasters out of the negotiating process,” the group said.

Sinclair President Chris Ripley recently said, “There is a growing consensus within the broadcast community and also within D.C., that this situation with the virtuals needs to change,” Ripley said. “It really is not consistent with the way the industry is set up and the way market power should be used.”

We agree. When it comes to dealing with the increasing influence these services (as well as the increasing popularity of “FAST” channels) have on our nation’s media ecosystem, it’s imperative that the FCC catch up with the reality of 2023 and take steps to ensure that local broadcasters are justly compensated.

Tom Butts Content Director

tom.butts@futurenet.com

Awards Season

TV Tech is giving our industry several opportunities to recoghize excellence:

IBC Best of Show: Nominations for the Best of Show Awards at the 2023 IBC Show, Sept. 15–18 at the RAI in Amsterdam, are now being accepted. The awards program celebrates innovation and excellence by recognizing some of the standout products and solutions on the show floor. The awards are open to IBC 2023 show exhibitors. Participating brands include TVBEurope, TV Tech and Radio World.

Deadline is August 31. Nominations can be filed at www.futureevents.uk/ibcbos23.

Product Innovation Awards: Now in its 10th year, the Product Innovation Awards shine a spotlight on the latest industry products. Honoring outstanding technology and innovation, PIA winners are chosen by a panel of working professional engineers and managers in Media & Entertainment. Winners will be announced in the October issue of TV Tech and all nominations will be featured in an online guide.

Deadline is Sept. 8. Send your nominations to www.future.swoogo.com/pia23.

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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, Kevin Hilton, John Maxwell Hobbs, Craig Johnston, Bob Kovacs and Mark R. Smith

Production Managers: Heather Tatrow, Nicole Schilling

Managing Design Director: Nicole Cobban

Senior Design Director: Cliff Newman

ADVERTISING SALES

Managing Vice President of Sales, B2B Tech Adam Goldstein, adam.goldstein@futurenet.com

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SBE Honors Outstanding Broadcast Engineers

The Society of Broadcast Engineers has selected Joseph Conlon to be the recipient of its Robert W. Flanders SBE Engineer of the Year honor and Andrew Gladding as its next James C. Wulliman SBE Educator of the Year. The engineering award is presented to a member who has excelled in his or her career while furthering the SBE mission. The educator award honors outstanding service and excellence in sharing knowledge through teaching other broadcast engineers.

Conlon of Inver Grove Heights, Minn., is a member of SBE Chapter 17 Central Minnesota and an SBE member for 17 years. He has held several roles in his chapter, including secretary, treasurer, assistant chair and chair.

Gladding of Brooklyn, N.Y., has been a member for eight years and is the secretary of Chapter 15 in New York City. As an adjunct professor for audio production at Hofstra University, he has recruited and engaged new SBE members by teaching them about broadcasting and broadcast engineering. He personally is responsible for recruiting 40 student members to Chapter 15.

FCC Will Allow 14 LPTVs to Broadcast ‘Franken FMs’

The FCC has voted to permit a limited number of low-power television (LPTV) stations operating on TV Channel 6 (TV6) to maintain their existing analog FM radio services (FM6). The operations are only permitted on an ancillary or supplementary basis subject to specific operational rules and requirements.

The FM6 or so-called “Franken FM” stations have emerged as an interesting issue in the transition to NextGen TV/ ATSC 3.0 broadcasts, with the NAB and others backing the idea that some of these FM6 stations should be allowed to continue operations. In 2022, the NAB filed comments with the FCC, rejecting a proposal by NPR to repurpose some unused Channel 6 spectrum for use as FM radio stations because that spectrum is playing a helpful role in the rollout of NextGen TV/ATSC 3.0 services and because it allowed those stations to deliver addition services to communities.

emergency and public information, in addition to programming to support underserved populations including native Spanish speakers and immigrants, the FCC said. .

The FCC also explained that following the July 2021 LPTV digital transition, newly digital LPTV stations operating on TV6 and providing this audio service were no longer able to reach their analog radio audience through their digital TV transmission.

After examining the issue, the commission found that it is in the public interest to permit a limited group of 14 TV6 LPTV stations to continue to provide analog audio service if they can be operated on a non-interference basis. Preserving the long-time audio programming offered by these remaining stations aligns with the commission’s core principles guiding the digital transition— minimizing service disruptions, the FCC said.

The Order also adopts technical rules and requirements governing how FM6 LPTV stations will be permitted to continue to operate in order to prevent interference to their own DTV operations and adjacent channel FM radio stations, preserve their free over-the-air TV service, and ensure their FM6 operations serve the public interest.

August

Phil Kurz

Winners will be recognized Sept. 28 during the SBE Awards Dinner during the annual SBE National Meeting. The event will be held in conjunction with the Midwest Broadcast & Multimedia Technology conference in Columbus, Ohio.

In the Order, the FCC noted that since the 1980s, some TV6 LPTV stations have provided listeners local radio programming that could be picked up at the bottom of the FM dial, specifically on 87.7 MHz and 87.75 MHz. Because the TV6 band is directly adjacent to the FM band, it is accessible using standard FM receivers. Listeners have tuned to existing FM6 LPTV stations for foreign language, religious and sports programming, and

The FCC's Order declined to repurpose TV6 spectrum (82-88 MHz) for FM services in locations where it is not currently being used for television service. It also declined to amend current TV6 interference rules at this time.

George Winslow

In celebration of our 40th anniversary, TV Tech is offering a month-by-month look at some of the headline-making industry news of the past four decades.

1983: The Electronic Industries Association (now the CTA) has established a committee to set a standard for multichannel TV audio, following the FCC’s greenlighting of the proposal. The commission said it would not set standards for the service, but rather would “let the marketplace decide” as it did with stereo for AM radio.

1993: Bell Atlantic (now Verizon) has started

testing a new system for delivery of video to subscribers over existing copper phone lines. About 400 company employees are involved in the test for the new service, expected to launch in 2002. MPEG is used to deliver movies at 1.5 Mbps. Bell Atlantic is also challenging FCC rules prohibiting telcos from providing full cable TV service.

2003: NEC claims to have built the world’s first mobile phone capable of receiving terrestrial (OTA) DTV broadcasts. The 3G phone includes a built-in antenna, UHF tuner and OFDM decoder chip. It’s unclear if similar technology will be developed for use with the U.S. 8-VSB DTV system being rolled out.

2013: Google’s new Chromecast streaming stick is definitely a hot ticket item, with initial supplies selling out within two days of its announcement a few weeks ago. The dongle plugs into a TV’s HDMI port and provides an interface that allows streaming from cloud video. It retails for $35 and supports YouTube, Netflix, and Pandora. Google officials stressed that the product would not affect future development of Google TV.

Joseph Conlon

James O’Neal Google’s new $35 Chromecast streaming device

Three Good Reasons For Local Stations To Go FAST

Free Ad-Supported Television, or simply FAST, channels are garnering a lot of attention these days, and there seems to be at least three good reasons local TV broadcasters should seriously consider launching their own.

First, the lift might not be as heavy as it looks at first. From a technology and workflow perspective, broadcasters know the infrastructure necessary, may already have excess capacity to support a FAST channel launch and are well-versed in the sales, traffic and master control processes to support a new channel effort.

Programming might prove to be somewhat of a challenge. However, most all broadcasters programming a local FAST channel likely have an abundance of locally produced content in the can. There may also be no shortage of local talent, educators, experts and others with something to offer. Look no further than YouTube for examples of these sorts of people. Think local versions of James Stephen Donaldson, otherwise known as “Mr. Beast,” or Elizabeth Zharoff and her channel “The

Charismatic Voice.”

Given the massive geographic footprint of many station groups, how unreasonable is it to think local talent in markets around the country could coalesce in a program schedule for one or more FAST channels?

Second, interest in and booking of ads delivered via video streaming/OTT channels is climbing on a local basis. During a Borrell Associates webinar in July laying out the findings of recent research on local ad buying, Borrell CEO Gordon Borrell and executive vice president Corey Elliot revealed 21% of nearly 2,000 local ad buyer respondents annually purchase streaming video/OTT, spending an average of $39,000.

That’s about 40% of what they spend each year on broadcast TV. Based on the growing popularity of streaming video/OTT among these buyers over the past few years, Borrell said he can see a day when there will be high adoption and high spending on this delivery path.

(One caveat:

FCC Grants STA for 5G Broadcast Tests

A group of LPTV owners has received approval from the FCC to test broadcasting over 5G over the UHF band for the next six months. Malachi Media, licensee of WWOO-LD in Westmoreland, NH, received experimental special temporary authority (STA) and is partnering with XGEN Networks LLC, Qualcomm, and others to provide traditional television programming using 5G Broadcast, while also using 5G Broadcast to work with first responders to provide enterprise video and data services, as well as emergency alerts.

WWOO-LD currently provides two digital programming streams: AntennaTV and NewsNet; during the six-month test period, the station’s programming streams will be aired in ATSC 1.0 over

commonly owned station, WVCC-LD in Westmoreland.

“Upon review of the application, we conclude that the request complies with the Commission’s requirements for

Borrell used the Internet Advertising Bureau (IAB) definition of “streaming video/OTT” in the research, a broader term that includes FAST, but also many other subsets, like social media platforms, such as YouTube, streaming sVOD and aVOD channels and others.)

The pair also referenced Borrell research into local ad agencies, which found that among the 380 agency respondents, streaming video/OTT was No. 1 when it came to where agencies are seeing the most interest from clients across the wide array of media available.

Third, there may be a snug fit for FAST channels into the game plans of some broadcasters for ATSC 3.0. Both FAST and NextGen TV can be targeted to meet the interests of smaller audiences than a broadcast audience—even if the latter is delivered over the air by leveraging strategies and technologies like single frequency networks (SFNs) and Layered Division Multiplexing (LDM).

Both can also be offered to local advertisers on rate cards with pricing far lower than the price of broadcast TV simply because of this targeting. Think of a restaurant serving a clientele from a given neighborhood that could never afford the market reach of a TV broadcaster but would be willing to pay lower rates to reach viewers living nearby.

James Stephen Donaldson, AKA “Mr. Beast”

While there may be other good reasons for local broadcasters to consider FAST channel launches, these three are a good place to start for stations looking at this emerging opportunity l

an experimental authorization and the public interest would be served by grant of Milachi’s request,” the FCC said. “We find that Milachi has proposed a definite program of research and experimentation; stands ready to proceed with such research; is not expected to cause any objectionable interference; and the experiment is likely to provide valuable information to allow broadcasters to better understand how 5G Broadcast can be used not only for traditional television services, but also new and innovative video and data services.”

The approval comes after the group, led by industry veteran Preston Padden, announced in June their intentions to launch the service.

George Winslow

Phil Kurz

Dealing With the Deluge of FAST

By Gary Arlen

When it comes to evaluating the latest developments in what is now perhaps the fastest growing segment of TV, the rapidly evolving world of FAST (free-ad-supported TV) is proving to be a moving target.

Even the acronym—from FASST (where the extra “S” stood for streaming) to FAST—captures the dynamic and volatile progression of the medium. And there’s the avalanche of new packages from media stalwarts, such as Comcast Corp. (via its Xumo co-venture with Charter Communications), and Paramount Global (Pluto TV), which are cascading into the market alongside aggressive young content aggregators including Tubi, Freevee (Amazon), Roku and MuxIP.

Add to this mix the walled-gardens of FAST channels offered by TV-makers: Samsung, LG Electronics, Vizio among other purveyors of connected TV (CTV) sets. Not to mention the early-stage quandary about whether FAST is best suited for live events (news and sports, which is why one of the hopefuls is going

after regional sports networks) or vast content libraries.

And don’t forget the constant introduction of “alternative” distribution options. For example, in mid-July The Roku Channel FAST service became available on Google TV and other Android TV OS devices, downloadable through the Google Play Store. Until then, the Channel was only accessible on Roku devices, Fire TV, Samsung TVs, the Roku mobile app and online.

Amid this flurry of activity, there’s the predictable enthusiasm of entrepreneurs, such as Tom Link, founder/CEO of five-year old MuxIP, who recognizes the new competitive challenge.

“At the end of Q4 last year, the industry became actively engaged in exploiting the FAST ad models,” Link told TV Tech. “Tier 1 media companies are trying to get into this space. There’s a lot of noise about how to make money and where are the audiences.”

But this ebullience is countered by the inevitable skepticism, reflected in July’s Hub Research study that augured the end of “peak TV.” The Hub study claims that “consumers are reaching their limit for video sources.”

Moreover, the data deluge about FAST has triggered confusion about whether ad-filled linear streaming videos—especially when delivered via wireless—is anything new. This led one exasperated legacy broadcaster to bluntly admonish that Free Ad-Supported Streaming TV is just “television.”

MORE QUESTIONS THAN ANSWERS

FAST’s IP platforms are compatible with wired and wireless delivery—including NextGen TV—and also offer opportunities to integrate programs into existing structures, such as cable channels.

Moreover, FAST has emerged alongside AVOD (ad-supported video-on-demand), posing another conundrum from some viewers. Srinivasan KA, co-founder and chief revenue officer at Amagi Corp., explains that, “FAST is a linear format of AVOD,” and his company is developing ways to integrate the ad-based variations (see sidebar).

Amidst this chaotic evolution, there are continuing data benchmarks, such as June’s Circana “TV Switching” study, which attests that 14% of U.S. households tune into a FAST service daily. Circana, the technology analytics firm created in last year’s merger of  Information Resources, Inc. and The NPD Group, also reports that in the past six months, 55% of U.S. internet households have used at least one FAST service, up from 52% late last year.

NBCUniversal’s launch last month of nearly 50 FAST channels, with programs pulled from its film and TV vaults, has focused even more attention on the diversity of the FAST platforms. The shows— ranging from “Saturday Night Live” and “The Real Housewives” episodes to nostalgic “Lone Ranger” and “Little House on the Prairie” series to Telemundo programs— are organized into genre-based streams of “comedy, criminality, monsters” and more. The complex distribution plans include relationships such as using Xumo to make the shows available to third-party distributors, such as Freevee, the Amazon FAST purveyor. Organizing such arrangements will be increasingly complex, especially since NBCU also offers similar subscription-only content on its Peacock streaming platform.

John Buffone, vice president, industry advisor-Media Entertainment & Connected Intelligence, told TV Tech that, “some FAST services are beginning to limit the amount of new content brought onto the platform as the existing content array is already so vast.

“Look for the providers to leverage their core assets to grow their share of viewership in

John Buffone

this saturated and highly competitive market,” Buffone added. He cited the approach that some FAST providers are taking—notably Xumo and Pluto TV, which “have their parent company [NBCU and Paramount] assets to offer.”

Buffone explains that FAST resembles cable TV in numerous ways, such as the electronic program guide, but “it is also new and different.”

“Among the notable differences is the varied content array each service offers,” Buffone says. “One, such as Tubi TV, may stand out for news while another, such as Pluto TV, will offer curated programs on owned-and-operated channels that reflect the depth of the Paramount content library. As long as the content differentiation exists, viewers will continue to find value in using multiple services.”

Indeed, FAST users tune into an average of 3.6 FAST services across a six-month time hori-

Building the Backend

zon, showing they value the varied programming mix, according to Circana’s analyses.

FROM THE CONNECTED TV VIEWPOINT

Smart TVs are playing a major role in the FAST adoption, especially as major OEMs (original equipment manufacturers) plunge into the programming field.

Rick Ducey, managing director at BIA Advisory Services and a long-time analyst of media economics, points out that the CTV opportunity is so substantial for TV set makers because the data it generates can potentially “produce more revenue than TV set sales,” at least in the near term. He points out that broadcast and cable networks “enter this market from a content-first strategy versus the OEMs’ entry point of tech first.”

Like many enthusiasts for FAST and AVOD

Amagi Corp., an India-based SaaService firm, has spent 15 years developing broadcast and streaming TV technology to create, manage, distribute and monetize live linear channels. It now has deployments in 40 countries, with U.S. clients such Sinclair Broadcasting Group and the National Hockey League, the Tennis Channel and World Kickboxing.

Srinivasan KA, a co-founder and chief revenue officer of Amagi, sees sports as a major driver of FAST experiences. The company’s “Cloudport” can create and distribute the FAST channel with a content lineup that includes pre-game and post-game highlights, such as practice sessions and live press conferences.

“Cloudport is for playing out on live linear channels,” KA said, comparing it to “what a broadcaster would do with a live stream,” inserting commentary, graphics, captioning and other screens from master control.

Moreover, KA emphasizes that, “Because we are being

opportunities, Ducey says that, “both linear and on-demand channel platforms, and services will continue to grow in viewing and ad spending at the expense of linear TV like traditional broadcast and MVPDs.”

“CTV has the chance to do it right by creating unified identities that are purpose-built for identity graphing across multiple platforms,” he adds. Nonetheless, Ducey points out that, “Platform loyalty will erode a bit as content owners seek incremental revenue by distributing programming across more platforms.

“TV OEMs have a play for now with their… data and they’ve developed clever ways to add value … and monetize it,” Ducey added. “As the industry starts to standardize on both measurement and currency solutions and come to consensus on unified ID solutions, OEMs’ advantages in this area will erode.”

Circana’s Buffone points out set-makers’ advantage: “TV OEMs control the glass which allows for user data acquisition through technology such as audio-content-recognition (ACR). This provides first-party engagement data that will allow for these providers to optimize the viewer experience and ultimately increase engagement.”

Citing Samsung’s marketing campaign for Samsung TV+’s FAST content, Buffone acknowledges that “quality and exclusive programming … will continue to be the primary driver of viewer engagement. In that regard FAST is no different than the distribution platforms that came before.”

“The industry sees an opportunity to enhance the viewer experience and in return they are aiming to generate content and advertising

delivered over-the-top, we can measure viewership,” which is attractive to advertisers. This ties into Amagi’s geo-targeted software for ad insertion.

KA says that Amagi is working with NBC, Fox, Tegna, Cox, AccuWeather and others—offering “close to 50 channels” and serving as “the connective tissue” to help them deliver FAST service. The company’s relationship with Sinclair Broadcast Group includes those stations’ ATSC 3.0 technology for local news and sports, but KA did not provide details.

As for connected TV, Amagi is working with Samsung, LG and Vizio, which he considers “a huge growth area.”

“FAST is the new linear,” KA proclaims enthusiastically. He believes that CTVs are especially appealing to GenZ viewers. “It is the same thing we had in broadcasting: fantastic programming and free.” He expects “more and more premium content” will be moving into FAST delivery.

Gary Arlen

Srinivasan KA

A recent report from TVREV shows how rapid the rise of FAST Channels is expected through 2027.

revenues to increase the margins of their TV business, Buffone says. “There are numerous business models that will likely evolve from this and it remains to be seen which will win and which will lose.”

One aggressive example comes from LG Electronics, which has launched “LG Channels,” a FAST offering that includes direct relationships with more than 100 program suppliers and is “developing dozens more for launch this year,” says Matt Durgin, vice president, Content and Services, which manages LG content, ad and technology partnerships. LG has also licensed hundreds of movies “from all the major studios,” he adds, explaining that the company has integrated the FAST LG Channels into the same guide as the over-the-air broadcast channels so that viewers “who utilize an antenna to receive OTA can see FAST and broadcast channels within the same experience.”

LG is also making exclusive channels for consumers, such as an NCAA channel that offers thousands of college Division 1, 2 and 3 championship games plus an exclusive college sports channel called Rivalries which

highlights some of the oldest and strongest college rivalries in the country.

LG has also packaged its own “Majordomo” Cooking Channel, which features exclusive content from renowned chef David Chang.

SMACKDOWN FROM SMALL STREAMERS

One indicator of the perceived importance of FAST was the creation in June of the “Independent Streaming Alliance,” a new association of smaller streaming companies which are “joining forces to promote the value of independent streamers, and to work hand-in-hand with platforms, advertisers, and regulatory bodies to ensure that we have a healthy ecosystem that benefits everyone, not just the few,” as Philippe Guelton, Chief Revenue Officer at Chicken Soup for the Soul Entertainment, explained.

Founding members of the ISA include Allen Media Group, Chicken Soup for the Soul Entertainment, Cineverse, Future Today, kweliTV, Revry, E.W. Scripps, Tastemade, TMB and Vevo. Guelton said that the Alliance’s goal is to work with distributors to assure ac-

cess to audiences and to “ensure members’ ad inventory can be accessed by buyers directly or via programmatic technology.”

As FAST vendors and operators maneuver through the shifting media landscape, the big question remains: how will viewers discover and migrate onto these new platforms? Overall, a slew of forecasters is predicting upbeat growth—reinforcing the expectations of TVREV and Circana, but also disclosing the fickle nature of some viewers.

For example, a recent Antenna “State of Subscriptions” analysis revealed sharp dichotomies in viewer preferences for paid or FAST services. It found that 69% of Comcast’s Peacock streaming customers chose a lower-priced plan with commercials and 58% of Hulu’s subscribers picked an “ad-lite” plan. On the other hand, the Antenna study discovered that only 21% of MAX viewer took the ad option—perhaps a lingering habit from the years of paying for a monthly subscription to HBO (MAX’s predecessor linear service.)

Such results are reminders that consumers are still figuring out how to handle the glut of streaming options. And that possibly FAST won’t mature as fast/quickly as some vendors hope. l

Rick Ducey

Audio Challenges Rise as Number of Channels, Formats Increase

Vendors respond with sound monitoring choices

By Kevin Hilton

Audio monitoring has, as would be expected, changed dramatically since the days of mono sound and peak program and volume unit meters (PPM/VU), but development is now continuing at a rapid rate. Manufacturers have responded to how the broadcast market has broadened, with streaming and distribution to multiple platforms and devices bringing a whole new set of parameters to be monitored. These include the various forms of multichannel audio—surround or, increasingly, immersive sound being the most obvious forms but with alternative languages and commentaries plus audio description now ever more important—along with audio over IP (AoIP) formats.

MONITORING INTERACTIONS

The evolution of monitoring equipment from the days when basic faults were the main target to today’s much broader and involved requirements are summed up by Don Kianian, solutions marketing manager at Telestream.

7.1, immersive audio like 5.1.4 or 7.1.4 and multilanguage tracks—means that it is no longer enough just to monitor the stereo signal; monitoring the interactions between all channels is just as, if not more, important.”

As a consequence, Kianian explains, modern techniques are necessary to replace the venerable Lissajous curve displays on oscilloscopes.

“New tools are needed to help simplify and visualize the interaction of multichannel

audio, like using surround sound displays that can assist in mastering the mix,” he says. “As more multiformat systems and workflows are used across the broadcasting industry, there is a growing need for audio monitors to accommodate new systems and formats. For example, our PRISM waveform display can support both SDI embedded and IP audio monitoring, while the Inspect2110 provides audio level and loudness monitoring across multiple streams in an IP network.”

“Historically, the traditional requirements for audio monitors have involved monitoring the audio level, comparing the phase between channels, and looking for errors such as clipping, overdubbing, mutes and the like,” he says. “However, additional demands are emerging. The increase in the prevalence of multichannel audio—such as 5.1 and Telestream

PRISM MPS waveform audio monitoring system

CONTROLLING LOUDNESS

Loudness continues to be a critical area that needs to be checked and controlled, particularly with the risk of fines if broadcasters do not conform to standards such as ITU BS 1770, ATSC A/85 or EBU R128. Makarand Karanjkar, CEO/CTO of Wohler, describes audio monitoring of all signals and streams as “a critical function” in broadcasting today.

“From a signal perspective, customers are looking to monitor IP-based audio formats like Dante and RAVENNA, plus signals in the AES67 interoperability standard, as well as SMPTE ST 2110 and ST 2022-6/7 for video, over and above existing baseband signals like SDI, AES, MADI and analog,” Karanjkar said.

While AoIP would appear to be in the ascendancy, Wohler acknowledged the continuing need for baseband monitoring in July with the launch of three new hardware units (the eight-channel eAMP1-S8-MDA, 16-channel eAMP1-S16-MDA and eightchannel analog/AES-only eAMP1-S8-DA).

Even so, Karanjkar agrees that the software monitoring of more elaborate formats is now a priority for many users.

“In terms of software functions, customers are looking for features like loudness, easy configurability for IP monitoring and overall ease of use,” he says. “Given the perpetual evolution in requirements, customers value the ability to upgrade functionality over time via software updates. More sophisticated immersive sound formats like Dolby Atmos and MPEG-H are continuing to enter the mainstream and impose their own monitoring requirements.”

HARDWARE STILL MATTERS

The introduction of immersive audio formats, such as Dolby Atmos and MPEG-H 3D Audio, for broadcast and streaming has, as Freddy Vinehill-Cliffe, audio product specialist at NUGEN Audio, observes, increased the need to monitor multiple feeds.

“Our users need to be able to monitor a wide variety of channel counts, not just

stereo,” he says. “That could mean checking phase relationships, ensuring a mix translates on various formats or something else. Another major concern at the moment is dialog intelligibility; audio mixers need tools that not only measure program loudness but also specifically dialog loudness and dialog LRA [loudness range].”

Like other audio monitoring system developers, NUGEN is offering more capability in software-only systems but, again like others in the market, is not moving away from dedicated physical units just yet.

“There is no denying the convenience of software,” comments Vinehill-Cliffe. “Developments like the ReMEM history function in our VisLM software speed up the day-to-day workflows. However, there is certainly something to be said for the robustness and reliability of hardware, too. For example, a hardware meter won’t suddenly become incompatible with the rest of your set-up due to an operating system update.”

At TSL Products, audio product manager Steve Cole concurs that there is “still a significant place” for standalone hardware

in broadcast right now. “It handles a wide variety of input sources, provides dedicated monitoring capabilities, tactile controls, and reliable performance without relying on the resources of a general-purpose computer or network infrastructure,” he said.

But there is also a growing trend towards software-based solutions and the integration of audio monitoring functionalities within other applications, according to Cole.

“Many broadcasters are also looking to develop hybrid environments where their hardware can link seamlessly with all the other hardware and software they use or might need to use in the future,” he said.

THE IMPACT OF REMOTE PRODUCTION

The last decade has seen an increase in not only networked systems—both within a broadcast center or between different facilities, either in the same area or at more distant locations. As Cole observes, remote production and, as a consequence of the pandemic, remote working, now mean audio monitoring systems need to offer new features to cope with sources from many different places.

“We have responded to these demands by incorporating ST 2110 and ST 2022 IP media support, remote access for unit configuration and control, support for remote monitoring via LiveView web page and integration with control solutions for remote production workflows into our MPA1 range,” he says. “These features enable broadcasters to monitor audio signals from anywhere, collaborate remotely and streamline their operations in the evolving broadcast landscape.”

As broadcasting continues to evolve, audio looks set to become an even more important and complex part of the overall set-up. Which means that audio monitoring systems, whether hardware or software, will play an ever more crucial role in ensuring not only good sound quality but also that all the different elements are in place for multichannel services. l

Freddy Vinehill-Cliffe, audio product specialist at NUGEN Audio

Wohler iAM-12G-SDI monitor in Dolby Atmos mode

Multiviewers Tackle Today’s Needs… and Tomorrow’s

From

small

to big,

a multiviewer is the eyes of a control room

By Bob Kovacs

A modern studio facility cannot function without a multiviewer, a device and product function that has come into its own in the past 20 years. Attempting to display today’s plethora of control room signals on individual monitors the old-fashioned way is unthinkable—only a properly configured multiviewer system can handle the task.

Multiviewers and large-screen displays are so economical and flexible that multiviewer technology is now often built into switchers. This makes assembling a simple control room faster than it was in the individual displays.

The twist today is that more signal types than ever are flowing through control rooms, and these disparate signals need to be displayed via the multiviewer system. Live

video from cellphones? TikTok feeds? Drone shots? UHD? HDR? Every type of signal using every type of encoding and compression needs to be displayed.

“The requirements to handle these mixed signals are systemic—facilities need to be able to ingest, produce, transform, playout, and monitor signals that might originate in any of these formats,” said John Mailhot, CTO and director of infrastructure product management for Imagine Communications. “We approach this mix of signal types from a system design perspective, using intelligence in the broadcast control system to dynamically allocate transformation paths that conform the selected source to the requirements of the destination. This approach provides the most flexible workflow, as well as the best economics.”

EVERY IMAGINABLE SIGNAL

In other words, making every multiviewer input capable of handling every imaginable type of signal gets unwieldy and expensive. There is a better way.

In anticipation of this growing trend towards mixed-format environments, Lawo’s HOME Multiviewer natively supports SMPTE ST2110, NDI, SRT, JPEG XS, H.265 and H.264, according to John Carter, senior product manager for media infrastructure at Lawo.

“Currently, each instance handles one of these formats,” he said. “For mixed sources and destinations involving ST2110, NDI and SRT streams, users have the option of inserting a HOME Stream Transcoder app before the Multiviewer to convert, say, SRT streams to ST2110 if this is the desirable format for a multiviewer head.

Multiviewer display at TAG Video System’s booth at NAB Show 2023

This transcoding flexibility works in all directions and for all formats supported by the HOME Multiviewer app.”

Some multiviewer solutions leverage cloud computing to lower in-house energy and space demands.

“Evertz ev670-X30 hardware provides high-density signal monitoring for up to 64 3G ST2110 inputs with full audio, ancillary data and video monitoring. This uses less RU space, less power and less cooling,” said Ketan Patel, product manager for multiview systems at Evertz. “Evertz also provides a COTS-based sVIP product that allows compressed and uncompressed signal monitoring at high density, which can be deployed on an x86 platform with an accelerated PCI card. Evertz also offers cVIP, which is a cloud-based monitoring and visualization product that can be deployed in any public or private cloud, to allow signal monitoring of NDI, MPEG-2, H.264, H.265 and JPEG2000.”

WHAT IF THERE’S AN ERROR?

A multiviewer system is, by necessity, filled with a variety of images, most of which are in some state of motion. With all that on-screen activity, it can be easy to miss if one of the signals disappears or gets scrambled in some fashion.

Cobalt Digital has multiviewer options that help you keep track of dropouts, errors and loss-of-signal, said Ciro Noronha, CTO of Cobalt Digital. Noronha added that the company’s multiviewers can be configured with a range of options that include text overlays for arbitrary text, timecode, signal resolution, and even closed captioning. The systems can also add audio bars, a built-in router to simplify configuration, flexible inputs that can mix-and-match resolutions and frame rates, and tally insertion to indicate on-air signals or other status information.

“Cobalt’s baseband multiviewers are offered in the openGear form factor, so that they can be easily integrated with other devices in the same chassis, and benefit from the inherent openGear features such as hot-swappable cards, dual redundant hot-swappable power supplies, and the DashBoard control system,” Noronha said. “This flexibility is very important, since it allows the multiviewer to adapt to virtually any requirement.”

At the IBC Show next month, Cobalt will introduce its Ultra Blue multiviewer, with support for the more common compressed formats, with plans to add SMPTE ST 2110

inputs as well as other formats such as NDI in the future.

TAG Video Systems IP-based multiviewer line can be deployed with either a private or public cloud provider, such as AWS or Google Cloud. Through its RESTful API, the TAG Realtime Media Performance platform can be automated and integrated with third-party solutions and software-defined networking (SDN) controllers.

ONLY PAY FOR WHAT YOU NEED

With a cloud architecture, you can have nearly unlimited inputs. So how do you get only what you need?

“You only pay for input licenses and have full access to all the product’s monitoring, probing, and display features,” said Robert Erickson, vice president for live production & sports at TAG Video Systems. “This means you can use any supported signal

feed, resolution, compression, or transport format without worrying about paying for additional feature sets.”

Which raises the point: Should you consider a hardware-based multiviewer or software-based system? A lot depends on the complexity of your control room and the signals you deal with. A big-city broadcaster or a large sports arena will have different needs than a cable distribution center.

Manufacturers have their own ideas.

“Modern multiviewers should firstly be software-based to provide running in any environment,” said Eric Otto, CEO of Mediaproxy. “They should also provide support for all common broadcast source formats, including access to remote sources (IP, TSoIP, NDI, HLS) as well as local sources (SDI, ST 2110).”

SCALING IN SIZE

If you run a smaller system, you don’t have the needs of a big arena, and there are solutions that make sense for your needs.

“Our Smart Display Module multiviewers use a small board that slots directly into an SDM-capable display,” said Thomas Tang, president of Apantac. “These SDM boards turn a standard display into a monitor with an embedded multiviewer.”

SDM is an Intel standard, and it can support SDI, 12G SDI, NDI and other video formats.

Apantac makes a range of multiviewers from small to large. At the top of the line is the T# system. “The T# is our flagship multiviewer line, which supports up to 128 inputs and 16 outputs, as well as supporting many different input formats that can be mixed and matched in the same frame,” Tang said. “These formats include 12G, 3G, HD, SD-SDI, CVBS, HDMI 1.4, HDMI 2.0, H.264, and most recently NDI. Customers can freely mix and match with the formats they need, and any inputs can go to any outputs.”

Multiviewers are clearly the better way of monitoring video in control rooms. The benefits of multiviewers were so obvious and powerful that some big old-line manufacturers of video monitors rapidly disappeared from the industry. Anyone remember Conrac?

There are multiviewer solutions out there for any size and need, so plan what you need carefully. Of course, the display you choose is an important part of the multiviewer system, so plan to get one that works properly with your system. l

Ketan Patel, product manager for multiview systems at Evertz

John Carter, senior product manager for media infrastructure at Lawo

lighting technology

Chin Lights and News Sets

Presenting on-camera talent in the best possible light is fundamental to television lighting

Fill light is more than an instrument within some “three-point lighting” triumvirate. Fill light includes the ambient light bouncing off all the surfaces in a normal room. Just as an echo in a room tells you if the surfaces are reflective or absorbent, the ambient light tells a story about the space. And much as an anechoic sound chamber doesn’t sound anything like an actual room, a dark studio doesn’t look like a “plausible” space—unless it’s supposed to be a cave.

News studio lighting is grid-mounted to keep the floor clear for roving cameras. That limitation presents challenges to providing natural-looking fill. “Normal” rooms have light coming from many directions at once. Table lamps, windows and bounced light from the reflective surfaces each contribute to the general lighting in a room. But studios are not natural spaces. This is where integrated desk lights or camera-mounted lights (such as Obie Lights), can help fill the gaps in creating a visually plausible space that is more flattering to the face.

One of the tools that we can use to emulate ambient light is the chin light.

Television lighting techniques have evolved over the years, pushed by advances in camera technology and viewers’ discerning eyes. Much as our studio sets have had to become more realistic, the broad strokes of lighting have been refined to encompass the more subtle nuances that are visible now. As image resolution has increased, the adage “close enough for television” no longer holds true. Television is still a “closeup” medium, but those tight shots are now larger than life and extremely detailed.

EXPERTISE

BRUCE ALEKSANDER

Anchors attending public appearances are sometimes told that they look better in person. There are many reasons for this, but it’s sometimes retold as a subtle complaint about their lighting. I was once tempted to tell a grumbling anchor that (with apologies to Star Trek’s Dr. Leonard McCoy), “I’m a lighting designer—not a plastic surgeon!” (not that I would actually say that). They were just seeking help to “accentuate the positive.”

LIGHTING TECHNIQUES

The skin-pore-revealing detail of the medium is something that every news anchor over 30 is keenly aware of, particularly as their own smile lines begin to appear. As a result, most on-camera talent understand the value of good lighting (along with the importance of makeup and even camera shading).

Presenting on-camera talent in the best possible light is fundamental to television lighting. While there’s no single recipe to magically make everyone look great, there are techniques that help. One important tool is using fill light to moderate the prominence of wrinkles by controlling the degree of contrast. The less dark the wrinkle’s trough, the less prominent it is.

Chin lights provide a specialized type of fill. They deliver light from below the zero-degree sightline, where grid-mounted lights can’t directly reach. They’re intended to emulate the softly scattered light that bounces off horizontal surfaces and under-light the face. This can be an actual light fixture that’s embedded in the desk or elsewhere below the height of the camera lens. For example, Walter Cronkite had two scoops on floor stands for the purpose—but there are many techniques to accomplish the same effect.

My favorite version of chin lighting is done without additional instruments. Assuming the anchor desk has a large enough acrylic top, it’s possible to use the anchor desk fill lights as bounced fill off the reflective acrylic desktop. This bounced light helps fill in the anchor’s face from underneath without using additional instruments. It does, however, require planning in conjunction with the rest of the lighting design.

ANGLES OF REFLECTION AND INCIDENCE

Remembering that the angle of reflection is equal to the angle of incidence; you need to establish that the desktop is large enough, and that the bounce light angle is correct to land the light on the anchors’ faces. A bonus with this technique is that the instrumentation remains invisible to the audience.

Another advantage of this bounce

(L to R): Michael Strahan, Robin Roberts and George Stephanopoulos on ABC’s “Good Morning America,” which uses chin lighting on the news desk.

technique is that the light intensity is more consistent across the area since the Inverse Square law works in your favor over the longer throw.

Light originating in the grid provides a much farther throw distance than a desktopmounted source. The longer the throw distance, the less impact on intensity changes from the anchor leaning into (or out of) the light. In short, they won’t “bloom” when they

lean forward. While this reflected chin light technique requires finesse to achieve, it’s the most natural-looking of all the options.

to increase the effective aperture size (larger is always softer), and egg crates will help control spill and shield them from the camera view.

Another option is building your own lighting fixture into the desk using LED tape, matching power supplies and dimmers, diffusers and more. This is a much more labor-intensive option since it requires extensive custom work. Done right, it can become integral to the anchor desk’s overall design.

Remote-phosphor LED lights from BB&S Lighting come in a variety of lengths for building into a news desk as chin lights.

Another method to create a chin light is to build them into the anchor desk. This will require some coordination with scenic design and a bit of grip/electric/carpentry work. Compact LED fixtures, such as the remote phosphor BB&S Pipeline lights, can be tucked into a desk to gently up-light individual anchor positions. With the short throw distance you’ll only use a fraction of the total output of these fixtures, but the demand for high-color quality and dependability remains the same. Accessories can be added

Whatever approach you take, the effect of chin lights should always be subtle; the goal is to softly supplement the main lighting. All added fixtures should have a color temperature that matches your main lights, and the CRI/TLCI/TM-30 numbers should be as close to perfect as possible to ensure skin tones are spot-on.

Even though chin lighting may seem like a small detail, this technique contributes to presenting your people in the best light. l

Bruce Aleksander invites comments and topic suggestions from those interested in lighting at TVLightingguy@hotmail.com.

Whatever approach you take, the effect of chin lights should always be subtle; the goal is to softly supplement the main lighting.

Musings on the Cloud

After artificial intelligence, probably the most important evolving broadcast technology today is the cloud. It was certainly the mantra of most broadcast equipment vendors at the 2023 NAB Show.

The term was used as if the cloud is some magical place where miracles happen. It was very rare to hear a simple explanation of exactly what the cloud is or any solid answers about its risks to users. It was more of a marketing exercise on the show floor.

WHAT IT IS

I wanted to get past the marketing hype and take a clear layman’s look at cloud technology. Exactly what does it do, how is it paid for and what are the risks for those using it?

In essence, the cloud is computer processing power off the premises of the

broadcaster, production facility or other end user. It can be either processing or data storage. As the end user, you do not control it and you normally pay a fee as you use it as a service.

The most basic example of a cloud service is Apple’s iCloud or an off-line computer backup service like Backblaze. You set up the service, pay the bill and turn it on. It just works.

Small cloud operations can be located at a single remote location. Large “clouds” can be huge data farms distributed over multiple locations. All of this is tied together by… you guessed it… the internet.

Fast internet-based networks made cloud computing possible. The whole idea is to lower the amount of computer processing power each user must operate at their own site. Rather than having to purchase new computers, the user rents the computing

services it actually needs at any given moment.

The touted benefits of the cloud are to allow users to minimize their up-front capital expenses; lower operating costs; use only the technology they need on demand; have fewer staff engineers; and get new ventures up to speed much faster.

Cloud computing has taken over not just broadcast operations, but almost every business. Virtually every computer-related product is now operating to some degree in the cloud. It has been game-changing technology that allows teams of people to work from any location in the world.

With cloud technology, television can be produced from anywhere. Effects and image processing technologies are in the cloud. A director can call the shots from his or her living room couch located in another city. With the cloud, workers no longer have to assemble at a single place to do a production.

The International Data Corp. (IDC) reports that global spending on cloud computing services is now at $706 billion and expected to reach a whopping $1.3 trillion by 2025. The rapid growth of the concept is undisputed.

Frank Beacham EXPERTISE

International Data Corp. expects global spending on cloud computing services to reach $1.3 trillion by 2025

IN THE BEGINNING

The term “cloud” was first used in 1993 to refer to distributed computing platforms. General Magic, an Apple spin-off, and AT&T used the word, “cloud,” in describing their paired Telescript and Personal Link technologies.

Andy Hertzfield, a member of Apple’s original Macintosh development team, made a comment to Wired magazine in 1994 using the term: “The beauty of Telescript is that now, instead of just having a device to program, we now have the entire Cloud out there, where a single program can go and travel to many different sources of information and create a sort of virtual service.”

The original concept of cloud computing dates back to the 1960s when timesharing became popular with companies such as IBM and DEC. It would take the development of dedicated point-to-point networks in the 1990s for the concept to begin to catch on.

Over the years, cloud computing has rapidly developed. Algorithms were developed to optimize the infrastructure, platform, applications and to increase

efficiency for customers. Years of refinement have made cloud computing so easy and convenient it is quickly becoming the de facto workflow for a growing number of workers in virtually every field.

The cloud has also enabled the concept of virtualization—the act of creating virtual (rather than actual) hardware, storage and network resources. Most of the time that control panel on your desk is acting like a big computer mouse.

Though cloud computing is now a service for hire, there are tradeoffs that come with it. Cloud vendors often limit what a customer can do. The user must adjust to those limitations. There is little flexibility. Using a cloud provider means your business is entrusted to someone you don’t know.

Are they ethical? Do they engage in honest business practices? Can and will they deliver what they promise? Do they meet your legal needs? Do they impose data caps in allocating bandwidth among all their customers?

In cloud computing, control of the backend infrastructure is their responsibility—not yours. What about technical outages? Don’t believe they aren’t inevitable.

What happens with technical failure, and you can no longer operate? Since cloud systems rely on the internet, users cannot access their applications, server or data from the cloud during an outage. Never forget that.

As with all human endeavors, new technology always cuts two ways. No question, cloud computing opens new doors to technological economies and ease, but it also has limitations that must be seriously addressed. The “gotchas” are many.

Whenever someone sings the praises of “the cloud,” take a harder look at the way it really works. The devil is in the details. l

Frank Beacham is a New York City-based writer and media producer.

Though cloud computing is now a service for hire, there are tradeoffs that come with it.

It Really Is a Small World

The basics of audio for TV shows, live stage or sports have much in common

Audio is a unique discipline (practice) in the M&E world because sound operators and technicians are required across all aspects of production and distribution. Sound practitioners and technicians manage and mix PA systems, TV shows, work on sound stages and labor with the soundtracks of the recording studios, plus more.

EXPERTISE

Even though all sound applications have their unique workplace requirements, the basics of capture and reproduce have more in common than not. I was reminded of this when I recently attended Mix Nashville: Immersive Music Production, hosted by my friends at Mix magazine and Future.

LEARNING THE ROPES

I came into television in 1983 when ESPN was still in diapers and the three commercial networks—ABC, CBS and NBC—were entirely unionized. Nonetheless there seemed to be opportunities in television for a fledgling musician and studio owner in Atlanta. I found out quickly that the “fly by the seat of your pants,” no turning back, no “fix it in post” attitude that was pervasive in live broadcasting suited me better than a recording studio. As a bonus I found that the live broadcast world was full of people like me who had worked in music production or were drawn to sound from a love of music.

My introduction to sound for outside broadcast came with ESPN and their first sound supervisor Dennis Finney. Finney was gruff and seemed unapproachable until you got him talking about being on the road with the R&B bands on the “Chitlin' Circuit.” He drove the truck, set up the PA and mixed the show. He did the same for ESPN—drove the truck, set up the broadcast audio, mixed the show and closed the bar. Finney also designed the audio system at ESPN and put into service the magnificent Neve 5000 Series mixing consoles in every ESPN outside broadcast truck. He knew about Neve mixing consoles from his music days.

Early on, ESPN's Donna Shackett, who was responsible for crew management, gave me

a big break, not because I knew much about TV, not because I was particularly skilled, but because ESPN needed warm bodies and was reasonably willing to train you. Thank you. No doubt I was in over my head but was a quick study and got along with the crew. After some humbling experiences with ESPN I was introduced to television entrepreneur Frederic (Fred) Reinstein who ventured into motor sports with his Atlanta-based company World Sports Enterprises. He realized quickly that I was green, but wanted some consistency with his crew and was willing to train me. Reinstein introduced me to Klaus Landsberg who was mixing sitcoms and sports but cut his sound chops doing music recordings with Wally Heider and his remote music recording truck.

Landsberg taught me a lot about listening and how to strike an air of confidence with directors and producers, preparing me for Reinstein and a long series of difficult directors and producers. I quickly became

Reinstein’s sound mixer and personal intercom technician and when he called I would put everything down, including a live mix and tend to his needs.

Reinstein also gave me a direct connection to CBS and their sound supervisor Bobby Seiderman. Once again to my delight Seiderman and a few of his close technicians were also doing music recordings around New York and welcomed me into the fold.

PARALLEL COMPARISONS

There certainly are many parallel comparisons between live TV, live PA systems and recording studios. Live is live and there is no turning back or retakes and your mistakes can be as obvious as a dead skunk in the middle of the road. You must learn to think, react and recover quickly. Sports and live music are similar in that there are no two venues and no two bands that are the same.

Consider this: The PA is feeding back and you have 50 open microphones. Which microphone is howling and how do you tame the beast? Or what if the mixing console goes down during the middle of a show? What is your backup plan?

Dennis Baxter

Matt Benedict, technical producer at TM Broadcasting with a kaput large main mixing console. A small back-up mixing console sits on top to get the program on air.

The recording studio is less about immediacy and more about listening skills, but the studio experience exposes a sound practitioner to a different toolbox. I brought keyboard samplers into broadcasting shortly after a studio musician introduced me to samplers and keyboards in 1986. Klaus Landsberg showed me how to use gates and compressors and about getting a good tone with beat-up microphones.

Now is the best time to get into broadcast audio because there are more opportunities and it is easier to master the technology and work across multiple media platforms. Plus, I believe that the entire entertainment industry benefits from the cross pollination of different personalities, skills and ideas.

The broadcast engineers and technicians do not expect you to know everything at an entry level but do expect the crew to get along and work as a team.

Success Secret: Find someone who is willing to train you. The skill set and technology is vastly different and easier now than when I started. I don’t want to say that outside broadcast technology is “plug and play,” but clearly “digital everything” made installa-

tion, maintenance and troubleshooting far less complicated.

The technology to create high-quality versatile sound for any media is immediately available, but the basics of setup, programing and delivery is still a requirement that will necessitate audio practitioners and technicians.

Listening is what a sound person does— from listening to the sound sources to ensure clarity and listening, to the sound mix for balance and interest, to listening to the

The author

director and producer who control the flow and operation of the team. Listen up! 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” and “Immersive Sound Production – A Practical Guide” on Focal Press. He can be reached at dbaxter@dennisbaxtersound.com or at www.dennisbaxtersound.com.

Now is the best time to get into broadcast audio because there are more opportunities and it is easier to master the technology and work across multiple media platforms.

(R) with Fred Reinstein

Zixi Zixi Edge Compute

Zixi Edge Compute (ZEC) is a highperformance managed live video edge installed on-premise as a Zixi endpoint, replacing legacy Zixi Feeder and Zixi Receiver software. It’s designed to meet the evolving needs of live video distribution with support for diverse delivery workflows. ZEC facilitates a high-performance connection to Zixi Broadcaster, managing connections in and out. With ZEC, all sources and target destinations are connected with the Zixi Protocol, continuously and dynamically optimizing video delivery to achieve ultra-low latency, reliability and security. ZEC connects any industry edge device with dedicated monitoring and mission-critical reliability.

ZEC software can be configured to function as a Zixi Feeder for contribution, as a Zixi Receiver for distribution or as both a Feeder and Receiver. Additional local protocol support is available for workflows where HLS, RTMP, RTSP and other protocols are used to contribute from the local network over the public internet to the cloud. z https://zixi.com

Vizrt Viz Channel Branding

Viz Channel Branding provides automated and scalable channel branding, promo, and marketing control for broadcasters across linear playout, FAST channels, VOD, and OTT. Replacing Viz Multichannel, it introduces far greater automation, control, stability, and visibility for branding and channel cross-promotion needs across all linear and on-demand outputs. On-screen branding events are dynamically built using metadata, rules, and conditions, while tight integrations with traffic and automation systems ensure frame-accurate and correct playout regardless of changes to programming. The solution also provides complete visibility from a single screen.

Viz Channel Branding’s new Channel Deck gives operators complete confidence that branding is being played out correctly and on time through a dedicated window. Providing complete visibility across any number of channels, users can see the planned branding and the result, providing a single source of truth for what’s coming and any potential issues.

z www.vizrt.com

WideOrbit WO Traffic v23.0

WideOrbit’s WO Traffic v23.0, the company’s flagship broadcast media ad traffic operations platform, introduces additional tools and features designed to help stations and station groups generate new revenue, reduce costs and improve efficiency with enhanced spot-level order validation, streamlined material approvals, the convenience of multiselect for mass import of Material Instructions, and more.

Among its new features: Orders+ has been enhanced with a new look, additional functions, and the ability to multi-select single Orders to quickly create an Orders+ Group. New options are now available to add a Property more easily to Advertisers, Agencies, Credit Profiles and Contacts. Users can also now create reports that bring together Format Instance Details across Days, Properties and Channels, with an efficiency tool for working with many formats across Properties at once. A new Zoom option provides a user-controlled option to increase the entire application size, including fonts and grids.

z www.wideorbit.com

Chyron AI-Based Instant Replay

Version 1.4 of the Chyron LIVE cloud-native live production platform features a number of new updates, including a new AIbased instant replay tool, which automatically detects and clips major plays so they can be quickly and easily inserted into a live program. When the algorithm watches the camera inputs and recognizes an interesting play, such as a player taking a shot on net or a goal being scored, a small brain icon will light up in the bottom-left corner of the interface. When the operator clicks the icon, the platform generates a replay clip around that point of interest.

For greater control and flexibility, users can manually adjust the start point of the AI-generated clip. This tool is especially useful for productions with a single operator or few staff, who can effortlessly generate broadcast-grade replays while handling other tasks.

z https://chyron.com

Deepdub Deepdub GO

Deepdub GO is a new AI-powered audiovideo localization and creation platform for businesses, advertising agencies, online learning platforms, and content creators. Deepdub GO lets creators use their own voice for dubbing in 65 languages. The company says it is a “first-of-a-kind” system that offers emotion-prompting AI to provide control over vocal emotional expression.

Deepdub Go is designed to make it easier to localize content with a system that delivers both excellent voice quality and emotional resonance. It’s equipped with human-like sound, first-of-its-kind emotion-prompting and voice-guiding technology, and a robust composer for high-quality voice cloning. The professional platform’s capabilities extend to editing voice characteristics, languages, and translations, in addition to other powerful editing features such as controlling duration and word count for lip-sync adjustment. In addition to cloning the original voice, users can choose from thousands of platform voices across 65 languages to match any style. z https://deepdub.ai

Ateliere Ateliere Connect

Ateliere Creative Technologies has added a new clipping function to its Ateliere Connect cloud-native media supply chain platform, making it easier to modify titles and their attributes on the fly. Available now for the Ateliere Connect cloud-native media supply chain platform, the new function uses time-based metadata for fast clipping turnaround, creating operational efficiencies. Segmenting titles efficiently empowers sales teams to get content to their customers faster, accelerating bulk packaging and delivery options. Future releases will include clip stitching and metadata-based editing.

Ateliere’s proprietary FrameDNA AI/ML and Deep Analysis tools make it possible to identify specific video elements such as opening and credits and slates, studio logos, black frames and color bars, automating bulk removal and saving hours of manual work. The clipping function can be used to set time ranges and save them as timecoded metadata markers, to make marking and extracting content as a new file fast and easy. z https://ateliere.com

Sony  Mocopi Mobile Motion Capture System

In a move that could make virtual reality and virtual production techniques available to a much wider group of creators, Sony Electronics Inc. has launched a mobile motion capture system “mocopi” in the U.S. market.

Featuring six small and lightweight sensors and a dedicated smartphone app available for iOS and Android, mocopi is designed to offer full-body motion tracking without the dedicated studios often used for motion capture. It allows creators to capture their motion data or video of their avatars in motion with the mobile app or send motion data to compatible third-party software in real time. Utilizing Sony’s unique algorithms, the system provides accurate motion measurement with only a small number of sensors and a compatible smartphone, which enables users to create content or dive into VR from locations previously deemed impossible.

z https://electronics.sony.com

Comprimato Frame Rate Conversion SaaS

Encoding and transcoding software specialist Comprimato has unveiled an on-demand live frame-rate conversion solution as a cloud service for live broadcast. The new offering is intended as an alternative to high-quality, motioncompensated real-time conversion requiring expensive hardware.

The company worked with motion-compensated-processing specialist InSync Technology to develop an uncompromising software alternative that runs on standard hardware and thus can be readily spun up in the cloud as needed. Comprimato Software-as-a-Service (SaaS) solution for frame-rate conversion offers different business models to match user needs, including paying by the hour. Integration with Comprimato’s encoding and transcoding services means that signals from a venue can be encoded in any format, including JPEG-XS, JPEG2000, H.264 or NDI, then as a cloud SaaS processed and delivered to any destination worldwide, ready for broadcast. z https://comprimato.com

NewTek 3Play 3P2 Replay System

NewTek has introduced a significantly revamped version of its 3Play 3P2 replay system. The updates are centered around delivering an easier and better experience for the operators and users of the replay system for sports broadcasters.

“A key part of developing products over time is ensuring that you listen to the people that use it day in and day out,” explained Chris McLendon, senior product manager, NewTek. “We have done that, working closely with operators to understand what really matters to them [and] have introduced a raft of features [focused] on speed, efficiency and usability—all the while ensuring the viewer experience is better than ever.” The all-new features in 3Play 3P2 are available for existing users to download from newtek.com/downloads and will be available with every new 3Play 3P2, which has a MSRP of $26,995. z https://www.newtek.com

Apantac KVM-Over-IP Extenders

Apantac has expanded its KVM-over-IP extension/matrix offering with two new sets that now support 4K UHD 60 over a managed GigE network and announced plans to show them during IBC2023.

KVM-over-IP solutions are designed to streamline control and create a smart, seamless, integrated workspace. They enable users to control multiple computers from multiple locations as well as from a single control console. The new models support 4K UHD at 60 Hz with 4:4:4 12-bit color depth processing. Supporting high color gamut and high color bit depth, the units are well-suited for applications in high-end postproduction, production, command and control, OB vans and pro AV workflows. They also support high dynamic range (HDR) and Dolby Vision and offer audio support, including Dolby Digital Plus, Dolby TrueHD, DTS HD Master Audio and Dolby ATMOS. HDCP 2.2 and 2.3 support is also provided. z www.apantac.com

Bitcentral Google DAI integration With ViewNexa

Bitcentral has integrated Google DAI into its ViewNexa linear streaming service, providing users more ways to monetize linear and live streaming content. The integration brings ViewNexa users greater access to Google’s ad features, which are specific to the search engine’s IMA DAI software development kit (SDK).

The integration is designed to open new ways to generate revenue for ViewNexa users exploring hybrid subscription/ad or free adbased viewing business models. Google DAI is a server-side dynamic ad insertion technology that enables seamless personalized ad experiences at scale. Producing a TV-like experience without latency or buffering between content and ads, Google DAI is built directly into Google Ad Manager, which helps ViewNexa users take advantage of advanced monetization software and machine learning to maximize revenue across devices for live and linear.

z https://bitcentral.com/streaming-media

Wohler e AMP S8 & S16 Monitors

Wohler Technologies has announced the re-design and release of its DA and MDA line of audio monitors in both 8- and 16channel configurations. The 1U e AMP product line was designed to be much easier to operate than the retired S8’s and include a wide 7-inch LCD touchscreen display providing fast access to input sources, meters and menus, all augmented by hardware controls.

Currently, three units are available: e AMP1-S8-MDA (8 channels), e AMP1-S16-MDA (16 channels) and e AMP1-S8-DA (Analog and AES only, 8 channels). SDI includes a looped output. The base models allow source selection with sum, mute and solo operations (no presets or loudness) with the usual headphone, speakers and Analog XLR outputs that come with all Wohler products. A software upgrade package is available that includes loudness monitoring, presets, web meters/ monitoring/ configuration and customized output routing. z www.wohler.com

Streamlining Live Production With Grass Valley’s LDX 150 Camera

the biggest thing: A night and day difference between how we used to do a show and how we do it now.

to make from anywhere in the venue and they can compare settings between cameras, troubleshoot problems, create profiles and creatively make live adjustments at a rapid pace.

LIVE GRADING

I can sit with a creative designer and bring up “snapshots”—a whole bunch of quick, different looks and bounce back and forth between them. This allows the designer to rapidly see the changes in desired picture attributes, meeting expectations efficiently and quickly. The way the app is designed, it takes a minute to figure it out and once driving it, you feel like you’re sitting in a Ferrari.

By Bryan Venhorst Director of Engineering Nighthawk Video

SYCAMORE, Ill.–Nighthawk Video was founded at an interesting time for the live event industry at the end of 2020 during the height of the Covid pandemic. Along with others I have worked with for almost 15 years, we had a vision to combine and offer the very best in personalized and customized services with the latest in video technologies and solutions. Global touring acts such as the Eagles, Rolling Stones, KISS, Paul McCartney and Lady Gaga trusted our team enough to continue working with us at Nighthawk Video.

Throughout the years, we’ve worked with Grass Valley cameras and switchers, but their newest camera, the LDX 150 is a game-changer. I don’t write this lightly.

THE PERFECT FIT

Let me explain why we’re so excited about the LDX 150 for our live event clients: From a technical standpoint, the global shutter and high sensitivity of the LDX 150 4K camera makes it perfect for live events, achieving consistent picture quality in a dynamic lighting environment. When artists use lighting color and brightness to tell a story, we show the picture of that story from low light moments to the sun’s full brightness plus the diverse palate of colors to follow.

The Grass Valley LDX 150’s optimal sensitivity and low noise—with wider dynamic range for HDR—is instrumental in creating pictures in the most challenging environments better than ever before. But for our clients and shaders, the biggest impact has been the LDX 150 combined with Grass Valley’s Creative Grading—something no one has ever seen in a show. Creatively, it’s

Lighting, a camera’s best friend, can give the camera shader/colorist a run for their money. In the past, the vision of the video picture or “look” would be managed from a remote video control location or truck without sight of the actual display or proper monitoring of such. This would often create deviations of interpreted looks from out in the venue to the video production camp and lead to many discussions in which precious time is consumed.

Not anymore. Now we shade “on-the-fly,” grabbing a tablet running Creative Grading, walking out to the front of the house and actually seeing what we need to see. Shaders can quickly get to the adjustments they need

The final thing I want to touch on is the NFC app, which is extremely useful. It makes identifying cameras and installing licenses super simple. Daily Licenses are a big thing for us as we can adapt the cameras to each customer’s requirements when needed, for the time it is needed, at a fraction of the cost. l

Bryan Venhorst has been involved with live concert/events production for about 15 years, working with the same people at three different companies over that time span. He has a degree in mechanical engineering from Northern Illinois University. In his spare time, he restores cars as a hobby. He can be reached at bryan@nighthawk-video.com or visit www.nighthawk-video.com

More information is available at www.grassvalley.com

Iain Donham using the Creative Grading App to create high-quality 4K HDR from a live event.

Blackmagic’s URSA Broadcast G2 Enhances ENG Workflow

By William von Tagen Creative Producer & Director Amberwood Creative

BOISE, Idaho–Before the DSLR revolution, working in news was a rite of passage for many videographers, myself included. While I began my video career at the local news station and spent four years learning the ropes, I eventually transitioned to indie filmmaking and more recently, commercials.

Given my career trajectory, I didn’t expect to return to news 11 years later, but when I saw a job listing for a freelance videographer with the main requisites including a background in news and ENG style cameras, but specifically “no DSLR-style cameras,” I was intrigued. The gig consisted of live shots and field interviews covering a trial, and even though it had been more than a decade since I did a live shot, I had done hundreds in the past and felt comfortable doing them again.

TRIAL COVERAGE

I ended up covering a six-week trial with the Blackmagic URSA Broadcast G2 camera by my side. At a base level, an ENG camera was needed for this workflow as internal audio recording via full-sized XLR inputs was a must for the stick mic, and an SDI output for the LiveU transmitter was also not up for negotiation.

In addition, I knew the URSA Broadcast G2 would give me easy and affordable media options for recording (SD, CFast, SSD), plenty of external connection ports, and on top of the camera’s color being unbeatable, Blackmagic cameras have the best menu systems of anything I’ve used. Being able to jump through menus is very important when working fast in live news.

My lens was a Fujinon XA16x8A-XB4, and this is where the URSA Broadcast G2 really set things apart. One of the best things about using the camera is that its B4 mount creates an affordable opportunity to use some high-quality glass. The Fujinon is an 8-128mm parfocal servo zoom lens with a T/1.9 fixed aperture. It’s inexpensive (I

bought it used), sharp, fast, clean and covers the sensor of the URSA Broadcast G2 in UHD mode.

ALL-WEATHER GEAR

I was outside the entire six weeks, with the weather ranging from 19 degrees F with snow and wind, up to 85 degrees F with the sun beating down on us. The URSA Broadcast G2 never had a temperature issue, and I never had any problems with viewing the screen and EVF or getting proper exposure.

In general, news happens fast and is unpredictable. Interviews are long and, on the fly, so you can’t afford to let your arms get tired. People get pushy, so you need to have a presence. A DSLR-style camera, while more than capable from an image/audio capture standpoint, is not advantageous in a news setting.

Being able to shoulder a camera that has some weight to it, having a sharp viewfinder right at the appropriate eye level, and having all the controls accessible for changing set-

tings without diving into a menu is imperative for a camera in an ENG environment. You only get one take, and I can’t pause the world and waste time diving into menus to change brightness or increase my audio levels. You need those controls accessible on the fly, and that’s right where they are with the URSA Broadcast G2. l

William von Tagen is a creative producer and director from Boise, Idaho. He got his start as a news photographer and reporter for the NBC affiliates in Idaho and Nevada. To date, he has produced two feature films and works as a commercial director in the realm of tech and esports, servicing clients such as Samsung, ASUS, Lenovo and Riot Games.

He can be reached at amberwoodcreative@gmail.com. For more information visit www.willvontagen.com.

For additional information, contact Blackmagic Design at 408-954-0500 or visit www.blackmagicdesign.com.

William von Tagen relied on Blackmagic Design’s URSA Broadcast G2 camera to capture footage and interviews for a six-week trial.

Sony’s Cameras Go to the Mat for Full Nelson Video’s Creative Storytelling

By Geoff Nelson Founder Full Nelson Video

SEATTLE—As a freelance lighting cameraman who works on live broadcasts and pre-recorded pieces for network news, events, corporate and sports clients, I need powerful and reliable equipment to help me do my job. For me, those tools include a variety of Sony’s cameras.

I started my network shooting career in 1998 when I got my first Sony, a BVW-D600 Betacam. From there, I progressed to other cameras but came back to Sony with the HD PDW-700 XDCAM and then the Super35mm F5 and F55.

Since then, I’ve incorporated additional Sony models as the marketplace demanded including a mirrorless a7S III, the FX6 and FX9 with a full complement of Sony’s G Master lenses, as well as the PXW-Z450 and Z750 for ENG. I’ve favored Sony’s cameras due to their consistency and reliance on quality, and superior image.

S-CINETONE GAMMA

Working with a Sony ecosystem makes everything easy and gives me peace of mind.  The Alpha and FX cameras all have the S-Cinetone Gamma option which looks fantastic straight out of the camera and makes for easy color matching among cameras— without needing an engineer to set up my cameras to match. Sony’s taken care of that at the factory within the cameras and the lenses. The content looks great together and the process is streamlined. When there’s one less thing to worry about on-set, I’m able to focus my full attention on the setup and the story.

Regardless of what a production needs, I typically have a Sony camera that can get the

job done—from putting the a7S III on a gimbal to capture b-roll and then a Z750 for an interview, I know that they’re going to have a very similar look to the sit-down material. Having the flexibility to use different Sony cameras allows me to get creative with my options and angles. I can even achieve highframe rate easily with the slow and quick motion functions.

G MASTER LENSES

There are so many features related to Sony’s imaging portfolio that I value. The G Master lenses are so clean and optically consistent, eliminating the need for color correction between lenses. When I use SxS media, I don’t have to worry about handing off discs to clients; I can dump the material to a drive from the SxS card and keep the media with me. The FX9 has great eye tracking

and face recognition, which is a life saver especially with prime lenses and subjects that move around during interviews.

With the Z750, I find the menu system to be extremely intuitive and settings are easy to find.  Additionally, its three-chip 4K global shutter provides real quality depth of field. If you know how to use gain and ND you can achieve that crisp focal plane look that really makes your shots stand out. The camera is such a gorgeous piece of equipment, and it produces a consistently beautiful picture whenever I need it to, whether early in the morning with low light or even in bright daylight.

For someone who makes a living creating images, you want to use the best technology because the greatest honor in this business is repeat clients—Sony has been consistent in making that happen for me. Just as I was raised on Sony, my son Jack, who has access to my cameras, has a familiarity with the brand and a preference for it—so I’m helping to usher in the next-generation Sony user. l

Geoff Nelson of Full Nelson Video is a freelance lighting cameraman based in Seattle. With more than 30 years of Emmy-winning national/international photography and producing experience, Geoff is a two-time NPPA Regional Photographer of the Year for New England and the Northwest. He can be reached at seattletvcrew@comcast.net

For more information visit www.pro.sony/ue_US/

Geoff Nelson uses a variety of Sony cameras, from the mirrorless a7S III camera for B-roll to the Z750 for ENG.

Capturing ‘The Monster of Wall Street’ With Canon Cameras

of the frame.

By Jeff Hutchens Cinematographer

“Madoff: The Monster of Wall Street”

NEW YORK—Directed by Academy Award

Nominee Joe Berlinger, our four-part Netflix series “Madoff: The Monster of Wall Street” delves into the now infamous crimes of Bernie Madoff, a Wall Street titan whose fraudulent tactics cost investors billions of dollars before his eventual downfall and arrest amid the 2008 financial collapse. Through interviews with victims, whistleblowers, investigators, and Madoff’s former employees, the series examines his psychology and the innumerable systemic failures that created fertile ground for Madoff’s decades-long grift.  Madoff was a fraud. He created the trappings of a legitimate operation, but when investigators peeled back the curtain, it was all fake. We wanted to play with that concept in our series, so we created a staged replica of Madoff’s downtown Manhattan offices in the iconic Lipstick Building skyscraper.

TWO CAMERAS, TWO STYLES

Using in-camera transitions, we seamlessly married present day interviews with recreated sequences, all filmed in exactly the same space with actors and interviewees sharing the same set. We wanted the series to fluidly flow back and forth between the two styles of filming, employing visual slights of hand to echo the way Madoff’s financial stage-craft allowed his long con to flourish and deceive so many.

We filmed the series with two Canon C500 Mark II cameras. The A-camera lived on a Ronin 2 with Cooke 2x Anamorphic prime lenses, most often a 50mm or 75mm, sometimes a 100mm. The B-camera I’d use for graphic plates and lock-offs, as well as the tighter second angle for interviews.

One surprising trait of the C500 Mark II is that you are able to use Super35 anamorphic lenses with the camera, despite it being a full frame sensor. If we stayed tighter than 40mm we could shoot S35 lenses without vignetting, and with the full frame sensor also pull in a little extra anamorphic texture on the edges

The series required an intense level of planning in pre-production to make our stage build work and sell the illusion. It also required a lot of creative problem solving on our actual shoot days as well to map out those in-camera transitions as we went. Not only was every interview lit and composed to be a standalone interview, every interview was also composed and lit to be the A side of an A to B shot which would transition into an entirely different time/place/scene/frame rate in recreation. Without revealing how we created those transitions, I’ll just say we used a combination of reflections, variable frame rates, real time lighting changes cued off a dimmer board, and camera movement.

IN-CAMERA TRANSITIONS

VFX assisted us with some of the transitions that were impossible to achieve in-camera. But even with those I was hyper intentional to structure shot sequences so they always had clean ins and outs for easy stitching. That meant foreground wipes with extras, pans across office columns, or pulling back from blown-out windows, etc. I’d start and finish all our recreated shots so they could be seamlessly blended in the edit. That

kept our VFX additions to a minimum since many of those cuts worked as normal edits without additional assistance.

Keeping the series visually fresh while shooting it all in that relatively confined set space was our biggest challenge. Even though it was a sizable stage build with tremendous attention to detail, we had to max out every square inch of the set given the many recreation scenes and many interviews. That was also what made this series such an engaging creative challenge. One of the best parts of production is working within a defined set of limitations—then it’s reliant on your creativity and every other department’s creativity to bring ideas that will elevate the work beyond those limitations. l

Jeff Hutchens is a director and Emmy-nominated cinematographer whose cinematography credits include feature documentaries (“American Pain,” “The Armor of Light”) and numerous top-ranked series for Netflix, Showtime, HBO and CNN. He recently directed “Remember This,” a narrative feature starring Academy Award Nominee David Strathairn. He can be reached at jeff@jeffhutchens.com

For more information visit www.usa.canon.com.

Jeff Hutchens used two Canon C Mark II cameras for the Netflix series that took viewers inside Bernie Madoff’s massive scam to steal billions of dollars from investors.

JVC Professional Video

JVC GY-HC500 NDI|HX-Compatible Broadcast Cameras

JVC’s NDI|HX-compatible GY-HC500 Series broadcast cameras feature optimized image processing and IP performance and can be seamlessly incorporated within a facility’s existing IP infrastructure for live video with tally and IP remote control capability. With built-in streaming and connectivity options, they provide advanced low-latency video for livestreaming to popular platforms like YouTube and Facebook. The cameras can also record to SSD, 4K UHD and HD file formats, and feature a 1-inch 4K CMOS imager; LCOS viewfinder; dual XLR inputs; high-resolution LCD menu screen; integrated 20x zoom lens with built-in ND filters and manual zoom, focus and iris control rings. www.pro.jvc.com

Panasonic AW-UE160 4K PTZ Camera

The AW-UE160 4K PTZ camera features a newly developed 4K 1-inch MOS sensor that offers the highest sensitivity of Panasonic’s entire PTZ lineup giving production teams the ability to shoot in-studio or off-site, easily capturing clear images even in challenging lighting conditions.

The UE160’s new optical low pass filter improves picture quality when shooting against an LED wall. Its high-speed frame rate helps sports broadcasters capture slow-motion shots in FHD 120 fps for replays, while seamless integration with the robotic camera system brings live broadcast-style movements to the PTZ, resulting in dynamic and highly engaging video production. www.na.panasonic.com/us

Service Electric Network Upgrades With Hitachi Kokusai Cameras

Ryan Kelly General Manager Service Electric Network

BETHLEHEM, Pa.—The Service Electric Network (SEN) is the television production arm of Service Electric Cable TV and Communications, a third-generation family-owned company. The company was founded in 1948 by John Walson with the goal of bringing TV service to the Lehigh Valley through what was then described as a “community antenna television system”—and today called “cable television.”

The company has since expanded into telephone and broadband internet service and operates a live production arm with three mobile units for regional news, sports and event coverage, including local concerts.

TRIPLE A PRODUCTION

Situated about one hour north of Philadelphia, the Lehigh Valley is home to several minor league sports teams associated with professional Philadelphia teams. Service Electric Network broadcasts all home games for the Lehigh Valley Iron Pigs, the Triple A baseball affiliate of the

Philadelphia Phillies, and the Lehigh Valley Phantoms, the Philadelphia Flyers’ AHL team. Our three mobile units are deployed to the local venues, where we use Hitachi Kokusai cameras for our live production workflow.

Our friends at Hitachi Kokusai would agree that SEN is an anomaly in today’s media environment because we remain a regional entity that continues to grow and prosper despite not being part of a large media conglomerate.

And because of that independence, we also have the freedom to consider the best technology for our organization when it comes to price and performance. Eight Hitachi SK-UHD7000 4K/HD cameras were among our more recent purchases, which we have since added to our mobile units to replace long-serving Hitachi Kokusai SKHD1200 cameras.

The SK-HD1200 is an outstanding camera with excellent HD performance and image quality, and we continue to use three of these cameras for studio productions. As sports production tends to be on the leading edge for broadcast quality and resolution, upgrading to the SK-UHD7000 made perfect sense. Hitachi Kokusai has engineered a dual-

4K/HD system that somehow provides even greater image quality and lifelike visuals with exceptional color reproduction, thanks in part to its greater atmospheric sensitivity.

On the technical side, the cameras incorporate three 2/3 CMOS image sensors with global shutter technology, which minimizes unwanted artifacts such as flickering in banding, which occurs from asynchronous lighting sources inside event venues.

The SK-UHD7000 cameras also improve production quality for our high school sports programming, important to local high school sports fans.

PATH TO 4K

The futureproof design of the camera is perhaps of most value. While we achieve outstanding HD quality productions today, the SK-UHD7000 offers a dual 4K/HD workflow, along with separate controls for HDR and SDR, making us well-prepared for a 4K/HDR future as we gradually upgrade our broadcast and production infrastructure and workflow.

I have worked at SEN since 2001 and we have used Hitachi Kokusai cameras throughout my tenure. As general manager since 2019, I stick with the brand not only because of the quality it brings to our productions and viewers, but also because of the very fair price point and exceptional customer service.

Product reliability is strong, and we rarely require technical support—though they are responsive when needed. The quality of our programming is what keeps people subscribing to SEN, which is of utmost importance as an independent media entity. Hitachi Kokusai cameras help us translate our level of commitment and broadcast quality to our subscribers. l

Service Electric Network production crews overseen by Ryan Kelly use eight Hitachi SK-UHD7000 4K/HD cameras to produce sports coverage and other programming.

Ryan Kelly has worked at the Service Electric Network since 2001 and has been its general manager since 2019. He can be reached at rk@senetwork.tv

To learn more about Hitachi Kokusai, contact Ken Cyr at kenneth. cyr@hitachikokusai.us or visit www. hitachikokusai.com .

Marshall CV574 Miniature POV Camera

The CV574 Miniature POV Camera features up to 4K video clarity with ultra-low latency NDI|HX3 encoding over the network, as well as simultaneous HDMI outputs. The NDI|HX3 codec enables these cameras to be easily discoverable over network while maintaining the high-quality of the source with lowest latency possible.

The CV574 contains a new Sony 4K sensor with up to UHD resolution at 60fps with a miniature interchangeable M12 lens mount type. It’s built into an ultra-durable and lightweight aluminum alloy body measuring 2 x 2 x 3.5 inches. The CV574 is programmed with multiple framerates, and remote adjust and match features. www.marshall-usa.com

Ikegami UHK-X600 HFR HDR studio/portable camera

The latest addition to Ikegami’s Unicam XE series, the UHK-X600 is a broadcast quality high-frame-rate high-dynamic-range studio/ portable camera. It incorporates three 2/3-inch oversampling UHD CMOS sensors delivering 1000 TVL resolution, plus 2000 lux sensitivity at F11 (50p). Standard features include full support for HLG HDR with the ability to select between BT.2020 and BT.709 chroma spaces. Licensekey based options include support for 2x, 3x and 4x high frame-rate capture plus optional 4K processing delivering 2000 TVL resolution when operating in 2160p. Plug-in hardware-based options include a SMPTE ST 2110 compatible media-over-IP interface board and optional 12G output board.

www.ikegami.com

Cooke Varotal/i Lenses

Cinematographers strive for the same lens characteristics and “look” whether using prime lenses, zoom lenses or any combination. To meet this need, Cooke developed the Varotal/i FF range of full frame zoom lenses, available in focal length ranges of 19-40mm, 30-95mm and 85-215mm.

The Varotal lens is referred to as a “zoomable prime” as it delivers an almost total absence of breathing, chromatic aberration and distortion. Matched to the Cooke S7/i FF and Cooke S8/i FF prime lenses at T2.8, Varotal zoom lenses produce the beautiful, classical skin tones that characterize “The Cooke Look.”

www.cookeoptics.com

Fujinon Duvo HZK25-1000mm F2.8-5.0 CineBox PL Lens

The Fujinon Duvo HZK25-1000mm F2.8-5.0 CineBox PL Lens (Duvo 25-1000) is a new category of lens. Duvo 25-1000 is a native PL-mount box lens that combines broadcast functionality with beautiful bokeh, delivering a cinematic look to live, as well as scripted, productions.

Duvo 25-1000 utilizes innovative optical design technology to achieve a maximum aperture of F2.8 and 40x zoom ratio. This ultra-high zoom ratio lens is compatible with the large sensors of digital cinema cameras yet provides a brightness of f2.8 at the wide angle. Not only does it enable filming in low-light environments such as indoor concerts or night-time events, but the shallow depth of field creates the bokeh that delivers the highly sought-after cinematic look.

www.fujinon.com

Nikon 4.0 Firmware for Z9 Camera

Nikon’s flagship professional Z9 camera, which is built on the EXPEED 7, Nikon’s most powerful processing engine, provides 120 fps still shooting, 4K and 8K video recording, a blackout-free viewing experience and the ability to record two types of raw codecs (ProRes RAW and N-RAW) internally to media cards, a first for mirrorless cameras.

The June 2023 4.0 firmware update improves video functions by expanding the minimum ISO sensitivity available with N-Log recording, increasing the number of options available for Hi-Res Zoom speed, adding slow-motion video recording and most notably providing auto-capture video features. The auto capture makes the Z9 an appealing option for crews looking to automatically capture video from part of a race track, skiing event or some other venue for sports or news coverage.

www.nikon.com

Dream Chip IP Control for AtomOne SSM500

Dream Chip has added IP control functionality to its AtomOne SSM500 super slow-motion miniature camera. Measuring 190 x 60 x 60mm and capable of recording 500fps in full HD resolution, the addition of IP control gives this camera even greater flexibility in relation to the creative contexts in which it can be deployed— especially on a remote basis.

The new IP control functionality sits alongside an existing RS 485 connection; the camera employs an open protocol so that it remains compatible with a range of remote control options from vendors such as CyanView, Skaarhoj and Antelope, with direct camera control facilitated from a number of these third-party units.  www.dreamchip.de

Zeiss Compact Prime CP.3 and CP.3 XD Lenses

The Zeiss CP.3 family is the latest contribution from Zeiss to support creative and progressive filmmaking with an affordable, future-proof and premium quality lens set. The Zeiss CP.3 lenses offer the perfect combination of high image quality and reliable usability. They exhibit the clean, crisp characteristics Zeiss is known for, together with an interchangeable mount system and fullframe coverage. The Zeiss CP.3 XD version features innovative and ground-breaking lens data technology to speed-up and simplify the workflow on set and in post-production.

The Zeiss eXtended Data is based on the /i Technology protocol, providing information about the lens’ distortion and shading characteristics in real time. With the Zeiss CP.3 XD lenses, even small productions on a limited budget gain access to the advanced techniques common in state-of-the-art, big budget films, commercials and TV shows.

www.zeiss.de

Ross Video Spidercam

Spidercam broadcast-quality robotic camera solutions are suspended from a cable-driven “web,” delivering extraordinary and immersive perspectives for your audiences. Ross’s spidercam portfolio covers a diverse range of production applications, with modular systems consisting of a winch and a dolly that are tailored to meet the needs of the environment.

The larger system’s 5-axis gyro-stabilized Y dolly and remote head provides clear, shakefree images. A smaller Spidercam X dolly provides excellent stability with a 3-axis gyro stabilized remote head with active roll axis and endless pan. The system’s UI provides operators with full creativity using joysticks as well as the ability to record and play back moves from the dolly and/or camera to ensure consistent movements. Offering 4K camera packages and integrated, accurate tracking data, Spidercam enables integration with Ross graphics and render engines, as well as thirdparty render sets, to enhance production value. www.rossvideo.com

products & services marketplace

people on the move

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

MICHAEL LEWIS Sinclair Broadcast Group

Sinclair Broadcast Group has named Michael Lewis vice president and general manager of KTUL in Tulsa, Okla. Prior to Sinclair, he was SVP and GM of WJZY and WMYT in Charlotte, N.C. Lewis served as VP and general sales manager at WTTG and WDCA, FOX’s duopoly in Washington, D.C. He held earlier positions at WBRC FOX Birmingham; WBBM CBS Chicago, WUPA UPN in Atlanta, WHP CBS and WLYH UPN in Harrisburg, Pa.; and WRGB CBS in Albany, N.Y.

MERRI HANSON

E.W. Scripps Co.

The E.W. Scripps Co. has appointed Merri Hanson VP and GM for KSTU, Scripps’ Fox affiliate in Salt Lake City. She has served as VP and GM of KIVI, Scripps’ local ABC station in Boise, Idaho, since January 2021 and has over 25 years of sales and broadcast experience. Before stepping into the role of vice president and general manager, Hanson served as station manager at KIVI. Prior to joining Scripps, Hanson held roles with Stevenson Advertising, Tegna, KTRV and KSVT.

KEVIN DUNAWAY

Sinclair Broadcast Group

Sinclair Broadcast Group named Kevin Dunaway vice president and general manager of WSMH (Fox) in Flint, Mich. He is also responsible for oversight for providing services to WEYI (NBC) and WBSF (CW). Dunaway joins Sinclair from Syncbak/VUit where he was the vice president of affiliate relations and content. Previously, Dunaway was the vice president and general manager at Heritage Broadcasting in Cadillac, Mich.

BETH LOWNEY Gravity Media

Gravity Media named Beth Lowney GM of its new Production Center in London (White City). She oversees operations at the 50,000-squarefoot facility, acting as the main point of contact for partners and setting the tone for the client experience at WestWorks. Lowney will continue to be a key member of Gravity Media’s Business Development team. She joined Gravity Media in 2022 with more than eight years of experience working across major global sporting events.

VALERIE GUYTON

Tegna

Tegna has appointed Valerie Guyton president and GM at KWES, the NBC affiliate in Midland-Odessa, and KIDY and KXVA, the Fox affiliates serving Abilene and San Angelo. She will oversee the stations’ operations across platforms, as well as lead community service efforts. Guyton has nearly 30 years of experience in television news, most recently as assistant news director at KXAS/NBC 5 in Dallas. Previously, she was executive producer at Tegna stations WXIA/11Alive and assistant news director at KENS 5.

ROBERT P. RICHARDSON

Sinclair Broadcast Group

Sinclair Broadcast Group named Robert P. Richardson VP and GM of WICS/WICD in Champaign, Springfield and Decatur, Ill. He also oversees services to WRSP/WCCU and WBUI in the market. Richardson joins Sinclair from KERO (Bakersfield, Calif.), where he was senior director of sales, local and digital. He has held leadership positions, including GM/director of sales at KABZ, KKPT and KHLR (Little Rock), VP of sales at WFLA/WTTA (Tampa), and director of sales at KARK, KARZ, KRLT and KASN (Little Rock).

KIM VOET

CBS News And Stations

Veteran local media executive and award-winning journalist Kim Voet has been named president and GM of CBS News and Stations’ local businesses in Miami, including WFOR-TV (CBS Miami), WBFS-TV (Independent), the CBS News Miami streaming channel and CBSMiami. com. She joins CBS Miami after 26 years with WDIV-TV, the NBC affiliate in Detroit. She has served as the news director at WDIV since March 2011. Voet began her career at WDIV in 1997 as producer of the station’s 11:00 p.m. newscasts.

NICKOLAS JAMES

Sinclair Inc.

Sinclair Inc. has named Nickolas James to the new position of vice president, Social Media, and will report to Kevin Cotlove, chief digital officer, executing Sinclair’s growth and engagement strategy for social media and digital content initiatives. An Emmy, Webby, Clio and Muse award-winning digital creator, he joins Sinclair from HBO Max, where he served as director of social, leading creative campaigns for more than 65 Max Original series. James began his career at E! and later joined Condé Nast Entertainment.