TV Tech 493 - Jan 2024

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equipment guide Cloud Distribution/OTT

Adventures in HDR Navigating a complex process

contents

January 2024 volume 42, issue 1

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10 Audio Mixing in the Age of Remote Production When your physical presence isn’t required, options open up

By Kevin Hilton

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24 RF Tech: 2023 Recap and Doug shares his thoughts on RF spectrum, ATSC 3.0 and next steps for broadcasters

By Doug Lung

When It Comes to HDR, the Eyes Have It

26 It Sounds Fine Here!

What looks right on set doesn’t always translate to the home TV

By Phil Rhodes

Production, hearing and speaker placement all play a role in what you hear on TV

By Dennis Baxter

AI Driving Most Cloud-Based Archiving Advances

30 2023 Best in Market Awards

Using artificial intelligence to manage and monetize your content is getting more accessible

By James Careless

20 Production Switchers Gain Tactile Flexibility

Touch panels do have their place, depending on the application

By Bob Kovacs

equipment guide

2024 Projections

user reports cloud distribution/OTT

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• Harmonic

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in the news

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eye on tech Photo Credit: “Foundation” Apple TV

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people

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twitter.com/tvtechnology | www.tvtech.com | January 2024

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editor’s note

Remembering Susie The TV Tech family suffered a tragic loss last month with the passing of Susan Ashworth Bader. “Susie,” as she was known to everyone who knew and loved her, was the editor in chief of TV Tech in the late ’90s until 2001 when I succeeded her.

It wasn’t easy following in Susie’s footsteps. She was loved and respected by her peers both in the TV Tech community and in the industry as a whole. After she moved to the West Coast to focus on her family, Susie continued to write for us (as well as our sister brands Radio World and the NAB Show Daily) right up until this past fall.

When Susie’s husband Rob died last spring, it was not only a devastating loss to her and her three children, but to her friends who knew her. With Susie’s passing, her three children have now lost both parents in one year, something that is too cruel to consider.

Although we were on separate coasts, I always looked forward to seeing Susie at the annual NAB Show where we would catch up on what was going on in each other’s lives the previous 12 months. Susie was among the most conscientious, generous and sweetest persons I ever had the privilege of knowing and working with—something that just about anyone who she touched with her kindness already knows.

Susie and I were in continuous contact throughout the fall as we collaborated on her latest article for TV Tech. However, when I came upon her last email to me in early November, it had nothing to do with work. She had heard about the mass shooting in my home state of Maine and had emailed me to see if my family was alright. That was Susie to a T—always putting her family and friends first.

My colleague Paul McLane, editor in chief of TV Tech sister brand Radio World, perhaps put it best when we were notified about her passing by her brother George: “There are few people whose very entrance into a room can make the gathering a sunnier and happier one. That was Susie, walking into our [NAB Show Daily] newsroom in Las Vegas on any given April. There are few people who will ask others how they’re doing and really want to hear the answer and listen. That was Susie every day.

“There are few people whose loss tears at the heart like hers does.

“But you know all this, from the words you used in your own email: Glowing. Camaraderie.

Sincerity. Kindness. Sweet compassion. Maybe sweet compassion, most of all.”

As we honor the passing of a great friend, we’re also very cognizant of the financial burden this places on the family. If you would like to help out, please search for the “Susie Ashworth & Rob Bader Memorial Fund” at gofundme.com.

Susie touched a great many lives during her life and will be greatly missed.

Tom Butts Content Director tom.butts@futurenet.com

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oku Announces New CFO R ATSC 3.0 Deployments: Where and When Will NextGen TV be Available?

Reuters: Avid Sale Could Happen Within Weeks First NextGen TV-Certified Receivers to Hit the Market by This Summer Where in the World is ATSC 3.0?

January 2024 | www.tvtech.com |

FOLLOW US

www.tvtech.com twitter.com/tvtechnology 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, Craig Johnston, Bob Kovacs and Mark R. Smith Production Managers: Heather Tatrow, Nicole Schilling Managing Design Director: Nicole Cobban Art Directors: Andy McGregor, Anthony Wuillaume ADVERTISING SALES Managing Vice President of Sales, B2B Tech Adam Goldstein, adam.goldstein@futurenet.com SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.tvtechnology.com and click on About Us, email futureplc@computerfulfillment.com, call 888-266-5828, or write P.O. Box 8692, Lowell, MA 01853.

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Top 10 stories on tvtech.com in 2023 1.

2.

Vol. 42 No. 1 | January 2024

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hat’s Next for the ATSC 3.0 W Transition?

7. Smart TVs Pass the 200 Million Milestone 8. IPTV Pirate Sentenced to 5.5 Years in Future plc is a public Chief Executive Zillah Byng-Thorne quoted on the Non-Executive Chairman Richard Huntingford Prison, Fined $30M company London Stock Exchange Chief Financial and Strategy Officer Penny Ladkin-Brand (symbol: FUTR) Future plc is a public 9. Fox Sports Opens 2023 World www.futureplc.com Tel +44 (0)1225 company quoted on442 the 244 London Stock Exchange Baseball Classic Coverage (symbol: FUTR) www.futureplc.com 10. ‘Wireless’ TVs Wow CES 2023

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Chief Executive Officer Jon Steinberg Non-Executive Chairman Richard Huntingford Chief Financial and Strategy Officer Penny Ladkin-Brand

Tel +44 (0)1225 442 244

in the news

update Deployments El Paso, Texas: KDBC (CBS/Sinclair); KFOX (Fox/Sinclair); KTDO (Telemundo); KTSM (NBC/Nexstar) and KVIA (ABC/News-Press & Gazette) Miami: WPLG (ABC/Disney) and WSVN (Fox/Sunbeam) New York: WCBS (CBS); WLIW (PBS); WMBQ-CD and WNET (WNET Group); WNBC (NBC); WNJU (Telemundo) and WPIX (Mission & Nexstar)

FCC Proposes New Rules Banning Pay-TV Junk Fees

ATSC 3.0 One Of Two Finalists For Brazil’s Future TV 3.0 Standard Fórum Sistema Brasileiro TV Digital Terrestre (SBTVD Forum) has chosen the ATSC 3.0 physical layer as one of two finalists in its evaluation of technologies for the over-the-air component of Brazil’s TV 3.0 broadcast standard, according to the Advanced Television Systems Committee.

Phase 3 lab testing has concluded and will now move into field testing. The SBTVD Forum is expected to make a recommendation on the OTA component in early 2024. Other ATSC 3.0 components already selected for the TV 3.0 standard include ROUTE/DASH transport, MPEG-H Audio, IMSC1 captioning and Advanced Emergency Messaging.

ATSC began working with the SBTVD Forum in 2020 at the inception of the evaluation process. Recently, the committee learned that ATSC 3.0 performed well in relevant basic tests and in advanced configurations like Multiple Input Multiple Output (MIMO) transmission with channel bonding and Layered Division Multiplexing (LDM), ATSC said.

Phase 3 lab testing demonstrated the ATSC 3.0 standard with MIMO and LDM achieved best-in-class spectral efficiency, making possible optimal coverage and capacity for both indoor and high-speed mobile outdoor applications.

Phil Kurz

Credit: Getty

ATSC Elects New Board Members The Advanced Television Systems Committee has announced the election of three media and technology executives to serve on the ATSC Board of Directors for three-year (L to R): Guy Bouchard, Mark Aitken, Kerry Oslund, terms that begin in January 2024.

Dr. Paul Hearty Mark Aitken, senior vice president of advanced media at Sinclair Broadcast Group, has been re-elected for a second threeyear term. Also elected to the ATSC Board are Dr. Paul Hearty, chief standards strategist at Samsung Research America, and Kerry Oslund, vice president, strategy and business development at the E.W. Scripps Company.

In addition, the Institute of Electrical and Electronics Engineers appointed Guy Bouchard as an ATSC board member representing IEEE. Bouchard, who is chair of the Montreal Chapter of the IEEE Broadcast Technology Society, succeeds Dr. Yian Wu of Canada’s Communications Research Centre, on ATSC’s Board.

ATSC also thanked board members Mark Corl of Triveni Digital and Jon Fairhurst of Samsung who completed their terms at the end of 2023: .

George Winslow

The FCC last month proposed new rules eliminating early termination and other video service fees by cable operators and satellite providers. It said it also plans to study the impact of these practices on consumer choices.

The adoption of the Notice of Proposed Rulemaking signals support for what Chairwoman Jessica Rosenworcel has called “junk fees'' by enacting rules that prohibit early termination fees. It would also require prorated credits or rebates after cancellation of service.

The vote to approve the NPR begins a process of public comments and review on the final rules, which won’t go into place until a final order is adopted by the FCC. NPRM FCC 23-106 was approved strictly along party lines, with Rosenworcel, Commissioners Starks and Gomez voting yes and Commissioners Carr and Simington voting no.

In adopting the NPR, the FCC noted that TV video service subscribers may terminate service for any number of reasons, including moving, financial hardship, or poor service.

Early termination fees require subscribers to pay a fee for terminating a video service contract prior to its expiration date, making it costly for consumers to switch services. This in turn limits consumer choice and reduces competition for video services, the FCC argued.

The proposal is also the latest in a series of consumer-focused proposals by the FCC including Broadband Consumer Labels and proposed “all-in-pricing” for cable and satellite services, the FCC said.

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January 2024 | www.tvtech.com |

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George Winslow

in the news OPINION

My Top 10 Predictions For 2024 Where will TV take us in the new year?

O

nce again it's time for my top predictions for TV-related developments in 2024. Fair warning: My crystal ball is as clear as yours. So the following is really based on the conversations I’ve had, stories I have written, the stories from others and a bit of noodling on my part:

Credit: Getty

Comcast Launches Xumo Stream Comcast has launched the Xumo Stream box for its Xfinity Internet service, offering the box to its customers at no extra cost.

The launch of the Xumo streaming box on Comcast’s systems is a notable example of how pay-TV operators are making streaming a central part of their video strategies. Xumo is a joint venture between the country’s two largest cable operators, Comcast and Charter.

Built on Comcast’s EntertainmentOS, Xumo’s new 4K streaming box brings together live TV and streaming in one simple, intuitive experience.

“Finding something to watch across streaming apps can be frustrating and time consuming for customers,” said John Dixon, senior vice president, Entertainment. “Xumo Stream Box helps simplify streaming so customers can spend less time searching and more time watching with key features like live TV at start-up, leading voice search, an integrated guide, and all the most popular apps preloaded and ready to watch.”

Comcast said that the Xumo Stream Box from Xfinity allows customers to search for a show or movie by voice activation, which will prompt Xumo to search across available apps and services to find it. Xumo Stream Box also uses both AI-driven personalization and an in-house editorial team to surface content recommendations within the experience, helping customers find something to watch without having to jump in and out of apps.

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George Winslow January 2024 | www.tvtech.com |

1 It will be go-time and “oh-no” time for 3.0 data delivery. Broadcasters like Sinclair and Nexus Connect (ARK Multicasting and Gaian Solutions) will earn revenue via 3.0-based data delivery. At the same time, Starlink Direct, in combination with T-Mobile, will launch with a 2025 target on the IOT market, a business segment 3.0 datacasting advocates have long coveted.

2 Data security will take center stage as AI and quantum computing threaten the security of existing encryption standards, leading broadcasters, especially those previously burned by data breaches, ransomware attacks and other digital dirty doings, to redouble IP security efforts and seek new technology and mechanisms to protect their valuable content assets.

3 Free OTA and FAST channel audience size will grow. SVOD streaming and traditional pay-TV budgets will increasingly come into the crosshairs as consumers cut household spending. Many will stream ad-supported TV; others will rediscover antennas; some will do both.

4 Most of the public in the United States will remain clueless about NextGen TV. 5 Hybrid workflows will continue to grow among broadcasters as many look to squeeze maximum value from existing baseband infrastructure and investment while enhancing their workflows with AI, MI and the cloud.

6 TV broadcasters will face a tougher, two-front battle for political ad dollars as campaigns increasingly use highly

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targeted ads—even at the household level—with more spending on digital and Connected TV ads.

Phil Kurz

7 Additional 3.0 sticks will light up in markets currently with only one lighthouse as TV industry, government or a combination of the two address the voluntary transition logjam, enabling broadcasters to begin exploring the fuller potential of the standard.

8 The number of large OB production trucks at individual events will continue to decline as technology and workflow developments reduce concerns about IP network latency.

9 A few broadcasters in markets with various large ethnic communities will combine the power of AI and the availability of NextGen TV audio channels to hyperlocalize newscasts and other programming by translating shows in near-real time to better serve their diverse audiences as well as offer language-specific broadcast emergency warnings.

10 Sustainability—i.e. energy conservation and lower carbon emissions—commitments in the U.S. among broadcasters and society at large will waiver, as clean, boundless fusiongenerated electricity looks closer than ever.

Commonwealth Fusion Systems expects to feed electricity from a commercial fusion power plant into the grid in the early 2030s.

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audio consoles

Audio Mixing in the Age of Remote Production When your physical presence isn’t required, options open up

Ross Production Services (RPS), a division of Ross Video, recently upgraded its Connecticut facility by integrating three new 60-fader Argo S consoles. The Argos are housed within the facility’s three REMI control rooms that produce events for clients like CBS, ESPN, Athlete’s Unlimited and EA Sports.

By Kevin Hilton

Audio mixing is and will always be a key component of live broadcast production. How, where and on what kind of equipment it is carried out in the future is not entirely certain but trends are emerging and technology is being established that already give some indication of how the audio console is evolving to meet the changing requirements of broadcasters.

For the time being at least there is still a definite need for big, physical multiple fader sound desks, most especially on large-scale, prestige broadcasts such as premium sports events and entertainment shows. The difference, according to Henry Goodman, director of product management at Calrec Audio, is where the mixing surface is located and where the processing takes place.

‘DISTRIBUTED PRODUCTION’ “What we’re seeing is a break in the

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geographical connection of the control room having to be where the studio is and the operator having to be at the venue,” he says. “If you don’t have to physically tie your operator to the venue or a truck, you can put them in a nicely built studio where they have the space to monitor properly with all the necessary equipment. That changes how you can manage the operator and the equipment, as well as providing greater consistency in the mixing.”

Software and the cloud play major roles in this new arrangement, which Goodman prefers to call distributed production rather than remote production.

“It’s not just remote, it is distributing the different elements of the production in different places,” he explains. “The cloud part is another step along that way. Instead of having your physical DSP processing next to the console or in a central control room, you have it either in a public cloud or on COTS hardware that’s under your control, replacing the

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traditional DSP engine with a software-based engine.

“Quite a few of the broadcasters we’re talking to are not necessarily totally sold on public clouds, so building their own private cloud and running software on that in an agile way is quite appealing,” he added.

Calrec’s parent group, Audiotonix, has produced a technology Proof of Concept (PoC) for audio cloud processing that is now providing what is described as the “backbone” of live broadcast consoles being developed by both Calrec and fellow subsidiary Solid State Logic (SSL).

For Calrec, it involves a RP1 remote production unit at the venue linked to an Argo mixing surface in a control room over Dante Connect, with an Audiotonix New Heights audio DSP mix engine in AWS Cloud.

“When we started thinking about what we needed for cloud processing we looked across the group for technology we could use, which is why it’s seen as an Audiotonix development,” Goodman says. “Calrec and SSL are working on it at the moment because we’re both operating in the broadcast sector and it’s mainly broadcasters that are driving the need to get audio processing in the cloud.”

Wheatstone’s Layers Software Suite brings mixing, processing and streaming capabilities to any server, either on premises or in an AWS or other cloud data center.

audio consoles users so wish, they are as effective on standard servers in a data center as on-prem. We like to call data centers that can be accessed from just about anywhere in the world a ‘private cloud,’ which is easier to protect and more affordable with respect to ingress and egress costs.”

JUST GETTING STARTED

Christian Struck, senior product manager for audio production at Lawo

BEST OF BOTH WORLDS Other leading broadcast audio console manufacturers are also adding their own takes on how to provide more flexibility by splitting up the various aspects of the mix process and putting a substantial part of it in the cloud. Wheatstone’s Layers Software Suite brings mixing, processing and streaming capabilities to any server, either on premises or in an AWS or other cloud data center.

Senior Sales Engineer Phil Owens comments that in a “typical console system” today, which will be based on audio over IP (AoIP), some of it can be easily virtualized and other parts of it will remain physical.

“But you want the part that’s physical to work in your dream system in the cloud at some point,” he says. “For this we have virtualized the guts of some of our consoles. By that I mean when you sit at a physical console and push a switch or raise a fader, there’s CPU hardware in that console that’s telling the rest of the system what you did.

“When you virtualize that, you’re still going to push a switch or raise a fader but it’s going to be on a touchscreen and those commands still have to have a CPU that tells the rest of the system you took those action,” Owens continued. “So we have the console virtualized to the extent it will run on a Linux server and you interface to it via a touchscreen, which can communicate with a server in the next room or the next town or in the cloud.”

Lawo has developed the HOME IP management platform as the basis of its audio mixing systems, with various apps for different requirements.

“We have not decided to nudge our customers in any particular direction,” says Christian Struck, senior product manager for audio production. “While these containerized microservices can run in the public cloud if

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Even with this activity, it can be said that— as Martin Dyster, vice president of business development for TV at Telos Alliance observes—these are still early days for software and cloud-based mixing.

Dyster highlights the Audiotonix New Heights project and AWS’s involvement with audio companies, adding Telos is also working with the cloud platform but more for its virtual intercom system.

“Audio has been left behind when it comes to cloud production and we’re all playing catch up right now,” he says. “I’ve been involved with the cloud for about three years through the comms platform and have become very aware that the landscape around us for cloud-based mixing has been pretty sparse.

“A lot of broadcasters we talked to early on were using things like REAPER [digital audio

“Audio has been left behind when it comes to cloud production and we’re all playing catch up right now.”

—MARTIN DYSTER, TELOS ALLIANCE

Martin Dyster, vice president of business development for TV at Telos Alliance

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workstation] but we weren’t seeing the major console brands you might expect. That’s starting to change now but it’s still not a well populated landscape and it will be interesting to see what develops over the next five years.”

Dyster notes that the concept of a virtualized console is picking up more in radio, with Telos’s Axia Altus virtual cloud mixer now being used for some applications on that side of broadcasting. While TV and radio sound desks are different animals, there is now more crossover between the two areas due to the growth of visualization in radio, with cameras now becoming more common in on-air studios.

“Features like automix are an absolute standard now,” he says. “Automation control from third party orchestration layers is more requested, particularly with visual radio and algorithms that can automate based on the schedule of the show, so the console cuts itself to some extent, with more audio-follow-video features.”

WHAT ABOUT AI? As with all broadcast production technologies, many are now considering what influence or impact artificial intelligence (AI) might have on audio consoles. Dyster points to specialized mixing systems from Salsa Sound and LAMA Mix, which provide features such as ball tracking for sports coverage, automixing and monitoring for language recognition.

Lawo’s Christian Struck adds that “there is no doubt AI will find its way into future audio mixing consoles or their DSP engines,” while Wheatstone’s Phil Owens says that although AI is working its way into the broadcast workflow, it hasn’t hit audio yet.

But it does have potential.

“What AI can do for sound is provide the basis for plug-ins that perform noise cancellation. When you apply an AI to that job it gets better at doing it, recognizing noise as opposed to signal,” Owens said.

Henry Goodman at Calrec agrees it is an interesting area and one people are looking at to see what benefits it can bring.

“On the console side, the area that interests us is having facilities providing assistive mechanisms for the operators, whether that’s balancing external feeds coming in or standardized EQ for specific microphones,” he said. “It’s something we’re keeping a close eye on but it’s not at the forefront of our development right now.”

All of which makes the audio console the gear to keep watching, if only to see where it ends up in the broadcast center. l

imaging advances

The landscape in Lanzarote, where portions of the Apple TV series “Foundation” were shot, made shooting in HDR more of a challenge.

When It Comes to HDR, the Eyes Have It What looks right on set doesn’t always translate to the home TV

By Phil Rhodes

For most of the history of television, pictures have been created to satisfy a standard. The technology has not always been reliably capable of actually achieving those standards, as was obvious in retailers’ showrooms where sports fields glowed a dozen slightly different shades of green. Now, especially with the second generation of RGB OLED technology, accurate pictures have never been more accessible.

What’s new is a situation where pictures are increasingly shot to more than one standard. The demand for HDR often requires shooting for both that and SDR, while more exacting pictures demand more

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exacting monitoring. As HDR in itself becomes unremarkable then, new challenges have emerged to face people responsible for showing both the director and the viewing public an appropriate image.

“What you’re seeing on an SDR monitor on location is nowhere near what you’re going to get when you sit down with an HDR image.”

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—OWEN MCPOLIN

WHAT YOU SEE ISN’T WHAT YOU GET Owen McPolin, ISC, is a cinematographer whose experience includes features and serial drama such as “Outlander,” “Foundation,” “Shadow and Bone” and “Vikings,” among many others. Thinking back to early experiences of HDR, McPolin describes a process of discovery, beginning with tantalizing promises of better consumer displays.

“I was told that anything I would create on set would be exactly what people would get when they watched their HDR-enabled TV and I thought that was fantastic,” McPolin recalls, but accepts “that lies somewhere between fiction and truth. You know that some people have HDR TVs which have Dolby Vision, or they might have SDR TVs. You end up making decisions that might be described as compromises, sometimes.”

One of McPolin’s earliest experiences with HDR, on the second season of “Foundation,” made clear that interpretation of an SDR monitor on set needs to be tempered with consideration of the likely results in HDR, especially in a more controlled (read: darker) viewing environment.

“For example, we were in Lanzarote,” he

imaging advances said. “The landscape is very contrasty, with a very high volume of light. It’s volcanic so everything’s basalt and the landscape is dark, and you have characters walking around that landscape, then from the horizon up it’s really high levels of light.”

At first, the situation seemed tailor-made for HDR. “You think, as long as I pitch it in the middle my exposure will hold the top and the bottom. Then, in the grading suite I worked with a guy called Tony Dustin at Company 3 Toronto.

“He’s simply one of the best colorists out there, and he said ‘I have a little problem... you shot this sequence of this character walking through this landscape,” McPolin added. “The sky is holding, there’s details in the blacks, but in HDR people are going to be blown out of their seats by how bright the sky is.’ What you’re seeing on an SDR monitor on location is nowhere near what you’re going to get when you sit down with an HDR image.”

Some careful work by Dustin avoided trouble in that instance, but McPolin cites the situation as a cautionary tale.

“I’m being overly critical and oversensitive

OUT OF THE DARK

Owen McPolin

about it, but I was really surprised,” he said.

“I was sitting in a darkened interior in Screen Scene in Dublin and I needed sunglasses.

“When you get down to the basics, people like me have to turn to the director who’s asking ‘is what I’m seeing here going to come out on the screen?’ You have to say ‘not really, it’s going to be different. Now Tony has developed a cunning way of working in HDR, to render the desired result, but it takes both experience and time to achieve it.”

Long-term solutions will arise from both technology and the understanding of that technology. Bill Feightner is CTO at Colorfront, a company specialising in exactly the kind of picture processing which is crucial to both SDR and HDR workflows in drama and broadcast.

Feightner is the recipient of several awards, including a technical achievement award from AMPAS and the SMPTE Technicolor/ Herbert T. Kalmus Medal; he co-founded Deluxe’s EFILM lab and served as CTO for more than two decades.

Feightner refers to the audience complaint that certain productions have looked “too dark,” something he puts down not so much to camerawork or grading, but the environment of the grade.

“Often it was graded in a very, very dark room,” he points out, “and the artistic intent was to have some things barely perceivable. If you’re going out to anything but a controlled environment, say in a cinema or something, then you’re going to have problems. Your eyes will adjust to the ambient conditions they’re

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15

imaging advances

Stephen Murphy, BSC

in. What was perceivable in a very dark room is not going to survive.”

The comparison of HDR and SDR displays can be counter-intuitive in other ways, as Feightner notes.

“Another gotcha is that a lot of home TVs, when you’re watching normal SDR content, show it a lot brighter than the 100-nit brightness that is the best practice standard. Most home TVs will automatically have a peak brightness, in SDR, of 200 to 300 nits. That’s three times the light—but when the same TVs switch to HDR they’re quite well calibrated. It is often the case that mid greys will actually look darker in HDR, if you haven’t compensated [for] the boosted light levels of SDR.” Colorfront’s proprietary solution, Feightner says, is straightforward in concept.

“The HDR default is adjusted up so it will look good in a dim surround–not a pitch black viewing environment which people often don’t have,” he said. “It’s one of those things that the whole industry needs to address; adjusting for the ambient surround. Ideally that would be something that would happen in the TV, but there’s no real standard way of doing

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that. Some TVs have made attempts at it [but] our standards really need to be revised.

There’s a lot that has to be thought about.”

Broadcasters and drama producers have closely-related concerns, and Feightner’s approach exists not only in software for post production, but also hardware, in the AJA FSHDR device for trucks and studios.

“We did a test for the Rose Parade in L.A. a

couple years ago, handling the whole thing as HDR, and derived the SDR from that,” Feightner said. “The video shader had a Sony X300 [precision HDR reference display]. With a foot switch he could either see HDR or SDR and he was very happy. He used to switch back and forth, and then he saw they matched, and he said ‘I don’t need to flip back and forth because I knew everything would match.’ It proves everything can work.”

‘LIKE A FIRST GENERATION PRINT’

“I think the issues are sometimes not what the cinematographer has done or what the colorist has done, but about how the networks are broadcasting those episodes.”

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—STEPHEN MURPHY, BSC

Variability in domestic viewing seems inevitable. Perhaps as a result, various other initiatives have been tried—not least of which involves viewer education. Cinematographer Stephen Murphy, BSC, ISC, has credits on “Mr and Mrs Smith” for Amazon, “Atlanta” for FX/Disney and “No One Gets Out Alive” for Netflix. He describes his taste in pictures as leveraging the ability of HDR to render not only bright highlights, but also dark blacks.

“The way I shoot, and the way I want stuff to look, tends to mean that I’m using only a small fraction of what HDR is capable of displaying,” Murphy states. “I don’t want the

imaging advances

Paris Summer Games Could be ‘Watershed Moment’ for HDR The 2024 Summer Olympics in Paris will be produced in UHD HDR, according to Olympic Broadcasting Services.

Although this isn’t a first for the Games, the 2024 broadcasts could provide a significant boost for high dynamic range, according to John Mailhot from Imagine Communications, who wrote about the plans recently on tvtech.com:

HDR version to be significantly different from the SDR version.

“I would say the HDR version is like a first generation print straight out of the lab,” Murphy added. “The blacks are nice and shiny and have more lustre, the highlights have more clarity, and there’s an improvement in the range of colours available. I don’t think you should be making HDR versions that suddenly have a substantially different look. There’s been plenty of times when I’ve had my highlights at 200 nits at the most. I have the full range of a thousand nits, but I don’t use it because I don’t want it to look like that.”

Better on-set monitoring is, Murphy says, increasingly available. “Everything I’ve shot in the last three years has been HDR primary… and on the project I wrapped recently, we had HDR on set.”

Regardless, no filmmaker can guarantee the viewer has a viewing setup which will lead to a comparable experience, even with the best equipment, Murphy added.

“All you can do is finish your show to the highest possible level in a suite you know

is consistent. I don’t think you can account for the variation of people placing their TV in front of a bright sunny window dialled up to 11.”

Advising the audience on TV placement, and the creator mode increasingly found on consumer equipment, might help—although the link between the creative and the audience seems persistently weak, as Murphy says, with bandwidth limits affecting pictures particularly in HDR. “I think the issues are sometimes not what the cinematographer has done or what the colorist has done, but about how the networks are broadcasting those episodes.

There’s a huge variability from network to network in how they broadcast. That’s what we need to try and improve.”

Murphy concludes with an idea which has probably dogged film and TV creatives for the entire history of cinematography. “It has to try to catch up with us, the creatives, rather than the other way around… to me it’s a display issue, not a creative issue. It’s about how I get this show to look its best on this display.” l

“With the advances that have taken place since the pandemic, the 2024 Paris Summer Games have the potential to be a watershed moment for live HDR productions. As broadcasters strive to deliver more modern and interesting content, the upcoming games represent a crucial opportunity to demonstrate the capabilities of this technology.

UHD and HDR signals for certain events will be available from the host, and each rights-holder is considering how to integrate HDR and UHD into its operations. UHD and HDR features are readily available in current-generation video processing equipment. In addition, most cameras sold in the last two or three years come equipped with an HDR feature, which can be easily activated by purchasing a license.

Everything is in place for the Paris games to mark a pivotal point in HDR’s journey, potentially sparking the consumer’s demand for more HDR content delivery in the future.”

twitter.com/tvtechnology | www.tvtech.com | January 2024

17

cloud archiving

AI Driving Most Cloud-Based Archiving Advances Using artificial intelligence to manage and monetize your content is getting more accessible turning to in order to easily transcribe information pulled out of their media archive.”

PROS AND CONS

In September, Newsbridge announced a new feature for MXT-1 that offers automated multilingual transcription and automatic content descriptions in several languages, speeding up media and sports workflows.

By James Careless

With their ability to provide video storage cheaper and more flexibly than on-premises systems, cloud-based video archiving services have established themselves in the broadcast TV and streaming video markets. Their competitive edge is now being sharpened by the integration of artificial intelligence/machine learning (AI/ML) to cloud-based archiving systems—making these systems more accessible to users than ever before.

PHOTO CREDIT: Newsbridge

THE AI/ML ADVANTAGE The simplest way to understand AI/ML’s positive impact on cloud-based video archiving is this: AI/ML helps these platforms do everything they do better.

“Machine learning in the cloud has been a huge step forward in expanding its range of capabilities,” said Sam Peterson, COO of Bitcentral. “Speech-to-text and language translation have been two of the big advances lately, but these are only the tip of the iceberg.”

“Metadata AI and Generative AI are all the rage since ChatGPT opened eyes to what can be achieved,” agreed Jonathan Morgan; senior vice president of product and technology

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at Perifery, a division of DataCore Software.

“Like a glove fits a hand, AI is built on data, and when it comes to media archives there is both a wealth of information and monetizable assets.”

Newsbridge’s cloud-based platform manages both archived and live video content in highly sophisticated ways, according to James Fraser, vice president of U.S. Sales for the company. Newsbridge’s MXT-1 is “our own in-house AI that we’ve built over a number of years,” he said. “The idea behind MXT-1 is to produce a human-like description of what AI is seeing in your content, to make it highly searchable. So rather than search for a recorded conference using a file name, you can ask MXT-1 to find a specific moment.”

Meanwhile, customers moving to AWS are exploring the company’s full portfolio of AI/ ML products, said Josh Mello, AWS’ Senior Worldwide Storage Specialist. “One helpful offering is the Amazon Media2Cloud solution, which provides a framework for enhancing metadata collection media archives via AI/ML services, as these assets are placed in Amazon S3 Glacier,” he explained. “Additionally, many customers are pulling out insights on their consumers, as well as data on their content, using Amazon Rekognition. Amazon Transcribe is another AI service our customers are

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There is no doubt that cloud-based archiving has caught on with TV broadcasters and streamers alike in recent years, even without the advantages being offered by AI/ ML. Cost is a major reason why: It is far cheaper to store content on third-party web-connected servers on a fee-for-service basis — which is what the cloud actually is — rather than invest in on-premise server farms and the IT staff to maintain them.

Then there’s data security: “In addition to offering 99.999999999% (11 nines) of data durability in every AWS Region, Amazon S3 Glacier storage classes simplify archive management,” said Mello. “Once a customer migrates to AWS, that’s it. They no longer need to worry about end-of-life support on existing infrastructure or get bogged down in the endless cycle of generational updates.”

Better yet, cloud storage providers like Newsbridge offer tiered levels of service for their customers, with instant retrieval cloud storage offering faster and more expensive access to customer content than “cold” or “deep archive.” This choice of options is made available for “cost optimization,” according to Fraser, and is proving popular with Newsbridge’s broadcast and streaming clients.

Sam Peterson, COO of Bitcentral

cloud archiving “Another significant feature is the capability to store content off-site, providing a safeguard against on-site hardware failures or unexpected incidents,” Bitcentral’s Peterson said. “In the cloud, users can leverage multiple layers of storage and implement replication across different physical regions for added resilience.”

Best yet for M&E customers, AWS’ cloudbased archiving opens up the art of the possible for more interactive viewer engagement, new revenue streams through opportunities like FAST channels, plus “additional monetization efforts that leverage the vast amount of content available in customer archives,” said Mello.

HYBRID APPROACH Still, the cloud isn’t a “one-size-fits-all” solution, Peterson readily admitted. “This is why some of our customers are fully cloud-native. But for other customers, it makes more business sense to employ a hybrid approach that simply adds to the capabilities of their existing physical storage.”

As well, some of the apparent advantages of cloud-based archiving can turn out to be

“Metadata AI and Generative AI are all the rage since ChatGPT opened eyes to what can be achieved.”

—JONATHAN MORGAN, PERIFERY

disadvantages in certain circumstances. For example, when a broadcaster/streamer decides to use a large number of AI/ML apps to manage their cloud-stored media, there can be “large associated compute and access costs related to running those apps.” said Morgan.

“Alternatively, the AI/ML apps required might be available on-premises and are likely to be significantly less expensive and quicker to run there.”

In the same vein, on-premises storage can prove to be a more economical option than cloud-based storage in some cases. “For instance, if a media archive can be stored in a ‘cold’ public tier and is rarely accessed, then

Jonathan Morgan; senior vice president of product and technology at Periphery

public cloud might be a cost-effective way to go,” Morgan said. “But if the media archive is actively accessed, then public cloud costs can quickly mount.”

This being said, the many advantages offered by cloud-based archiving is ensuring its viability in the marketplace. This is why “the broadcasting and streaming industries are now far beyond the point where the cloud is treated merely as a byword for storage,” concluded Peterson. l

A recent analysis of recent price increases among the largest cloud providers shows the impact of AI on cloud services, and in particular, how the price of accelerators is having on rates.

This is according to Liftr Insights which over three recent months, tracked the average price of accelerators, which are used to enhance and expand cloud capabilities. Prices have increased for the top cloud providers, including AWS, Azure, Alibaba (Aliyun) Cloud, and Google Cloud. For example, when looking at

certain NVIDIA GPUs, Azure is leading the pack with prices increasing by 55.2% in the past three months. Specifically, these percentages are based on average price for NVIDIA Tensor Core (Ampere) models.

Google Cloud was the next largest at 20.0% followed by Alibaba Cloud and AWS at 3.5% and 1.2%, respectively.

A portion of these increases are due to higher core counts, but the prices for these in-demand accelerators also show growth when evaluating the average price per core.

“While we see many valuable data points in the prices across providers and across the globe, Liftr data show that cloud prices don’t typically fluctuate to this extent,” says Tab Schadt, CEO of Liftr Insights. “It’s a sign of the hot AI market. Accelerators—like NVIDIA GPUs—are the technology needed for artificial intelligence training and inference. Demand for AI is driving these price changes.”

Among many attributes, Liftr Insights tracks on-demand prices for the top six cloud providers, representing over 75% of the total public cloud space.

These prices are measured for all the unique configurations in Liftr Insights data, including numerous dimensions for processors and accelerators, such as global region, architecture, core count, and accelerator count as a few examples.

“This level of information is important for organizations needing to pay attention to their bottom line,” says Schadt. “Particularly as they expand into new territories and new technologies, such as artificial intelligence. Our customers will be paying close attention to changes in the data as they occur.

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PHOTO CREDIT: istockphoto

Liftr: AI Is Making Cloud Services More Expensive

production trends

Production Switchers Gain Tactile Flexibility Touch panels do have their place, depending on the application

Blackmagic Design ATEM Software Control

By Bob Kovacs

If you’ve bought a new car in the past eight years, you probably have noticed a trend: Many controls are now on a large touch panel. If you bought a larger video production switcher in the past 10 years, you may have noticed the same thing.

Now that touch panels are part of the control interface for production switchers, users and manufacturers alike are gaining strong experience in ergonomics and convenience.

Talking to users, there is no question that touch panels bring important and worthwhile new features to switchers—but they also say that there is no substitute for a button-and-lever control panel.

“For quick actions like switching cameras, tactile hardware panels are best—your hands instinctively know where to go,” said André Dantzler, president of SociallyU, which

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operates a well-equipped studio in Chattanooga, Tenn. “But for complex setups like customizing multiviewers, [a computer or touch-panel interface] gives you much more intricate control.”

In SociallyU’s studio, a Blackmagic Design ATEM Constellation 8K switcher and several Ultimatte 4K keyers (also by Blackmagic Design) are used to create virtual backgrounds.

Dantzler relies on Blackmagic’s ATEM Software Control to provide a touch-panel interface for the switcher.

“The ATEM Software Control lets you get detailed in ways hardware switchers can’t,” Dantzler said. “You can easily rename inputs, adjust advanced camera settings, and build up media assets. [It gives us] the best of both worlds: the ATEM Software Control for detailed setup since it’s free and doesn’t require additional hardware, and the Constellation 8K switcher’s physical panel for quick live actions.”

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FROM MY COLD DEAD HANDS… Michael Lange, a freelance technical director in Madison, Wisc., agrees that touch panels definitely have a place in the world of production switchers.

“A touch panel allows you to create a custom interface or menu for a specific show,” he said. “For example, if you needed to create a custom screen for recalling a set of macros or effects, you could do that. On some systems, you can completely customize the look and feel of that menu, so there’s a lot of power there to augment traditional control surfaces.”

However, don’t think even about taking away his traditional pushbutton-and-lever control panel.

“On any live broadcast, I prefer physical buttons and levers—you need an interface you can feel, without looking down,” Lange said. “You need an interface where you can build muscle memory. Touchscreens typical-

production trends

ly don’t allow for that, and they’re too error prone. Touchscreens do have their place in switcher interfaces, but they excel at configuring settings and displaying menus.”

“For fast-paced shows, you need an interface you can feel,” he said. “The learning curve is definitely greater for a traditional interface, but that’s by design. With greater flexibility and power, comes a greater learning curve, much like learning to play the piano.”

Lange typically does his live switching work using Vizrt production switchers, and Jon Raidel, global CoE lead for cloud and live production at Vizrt, concurs with Lange’s observation.

“On any live broadcast, I prefer physical buttons and levers,” Raidel said. “This is critical for speed. You need an interface you can feel, without looking down. You need an interface where you can build muscle memory. Touch screens do have their place in switcher interfaces, but they excel at configuring settings and displaying menus.

For fast-paced shows, you need an interface you can feel.”

Manufacturers listen carefully to the requests they get from working technical directors, and what manufacturers hear is that TDs overwhelmingly prefer a pushbutton-and-lever control panel for a fast-paced program.

USER REQUIREMENTS “Overall the design of the control surface has remained consistent associated with user’s comfort and use requirements,” said Greg Huttie, vice president for switchers at Grass

Valley. “There has been some incorporation of touchscreens with certain areas of the surface, along with heavy usage in the display screen tied to the menu. All changes we’ve incorporated have been vetted by the TD community in keeping with their fervent belief in maintaining tactile feel when it comes to punching a live show or sporting event.”

Huttie does notice that there are some situations where touch-panel interfaces get used.

“Productions are now tasked with creating revenue related to more than a single production output,” He said. These secondary or ‘plus programs’ are utilizing touchscreen control surfaces more frequently than the standard primary production.”

Technical directors—the people who sit at production switchers and make split-second decisions about which button or control to use—all have one voice when it comes to switcher control panels: “Don’t take away our buttons!” Still, touch panels and related computer control capability clearly have a place in modern production switchers. And their role will probably get bigger.

“While the design of the production switcher control panel has remained fundamentally unchanged, the development of control technology, such as touch displays, has allowed users to access configuration parameters quickly and easily,” said Nigel Spratling, vice president for production switchers & servers at Ross Video. “There is still a place for switches and levers, however, the latest control technology is now very much part of the modern production switcher.”

“The future of video production switcher controls is likely to be a hybrid, accommodating various user preferences.”

NIGEL SPRATLING, ROSS VIDEO

However, with the accessibility of new technology and with the shifting landscape of the live production industry, video production switchers are now being used in a wider array of live production spaces and are being operated by users of all age groups and experiences, Spratling adds.

“In response to this changing landscape, contemporary video production switchers must offer users the flexibility to choose their preferred mode of operation,” Spratling said. “Experienced users are likely to prefer the positivity and precision of physical controls, while beginners might find a touchscreen interface less intimidating with unnecessary controls stripped away. The future of video production switcher controls is likely to be a hybrid, accommodating various user preferences.”

THE CRUX OF IT And that might be the crux of it. I’m old enough to remember when film editors described the “tactile” feel of working with film, and how it was part of the art form.

There is very little of that particular tactile feel going on today, as virtually all editing is done electronically on computers.

“With more financially accessible hardware and software introduced to the market over the last several years, and more people entering the industry because of that accessibility, there certainly has been a shift, though I would say a traditional panel and lever style switcher is probably still the most common among industry veterans,” said Bob Caniglia, director of sales operations for the Americas at Blackmagic Design. “As the next generation of creatives comes up, it has been interesting to see how industry demands have been shifting.”

“For example, our ATEM Software Control, which comes free with our ATEM live production switchers, provides even more controls,” Caniglia said. “It can be run on Mac or Windows, and can even be duplicated so more than one person can work on the same workflow simultaneously. Having software like this running on an iPad [for example]

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21

production trends

allows for great flexibility and level of detail.

However, a more traditional interface may make more sense for a straightforward workflow. Having a combination allows users to find the ideal balance for any given setup.”

HOT TOPIC DU JOUR Also, the hot topic du jour is artificial in-

telligence. Will there be a day in the coming years when Alexa or Siri is the technical director for the Super Bowl or the Olympics?

Or even for the six o’clock news?

I know, you’re thinking, “That’s impossible.” Perhaps you are right. However, the big benefit of touch panels used to control production switchers is flexibility.

“A key benefit of touchscreen interfaces is configurability,” Spratling said. “If a manufacturer adds new functionality to its video production switcher, it is a relatively quick design of the software interface to support it. However, to support the same functionality with physical buttons, a redesign of the switcher panel may be required and the user to purchase the newly designed panel. Some manufacturers even allow users to customize their own touchscreen interface!”

In the coming years, might we see a switcher that can understand spoken commands like, “Take camera 2,” or “Key in Marsha’s lower-third?” Once the AI learns the rhythms of a news broadcast, could it do as good a job as an alert, well-trained human?

That is the logical extension of the flexibility provided by touch panels and computer interfaces now appearing on production switchers.

Production switchers are the heart of any live production system. It used to be that they were all about mix/effect busses and chromakeyers, but today’s switchers really are where the action happens in the live production process. l

eBooks Tools for Strategic Technology Decision-Making TV Tech’s growing library of eBooks explore trends and what’s next in various segments of television station operations and new media management.

The eBooks are a huge hit with readers and cover topics such as ATSC 3.0, lighting, streaming, sports production, to name a few.

Visit the Resources tab on www.tvtech.com.

Contact Adam Goldstein on adam.goldstein@futurenet.com today for upcoming topics and advertising opportunities

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rf technology

RF Tech: 2023 Recap and 2024 Projections Doug shares his thoughts on RF spectrum, ATSC 3.0 and next steps for broadcasters

A

s we start a new year, I thought it would be interesting to look back at 2023 and offer some comments on what I expect lies ahead for 2024 and beyond.

As of Nov. 24, 2023, 481 stations were still transmitting on VHF channels, 51 of them on low-VHF Channels 2–6.

After rushing to get red and blue C-band interference filters installed on satellite dishes, wireless operators started using A QUIET 2023 the 3.7 GHz to 3.98 GHz band After the activity surrounding that used to be devoted to C-band the FCC incentive auction satellite down-links. From what channel repack and the postEXPERTISE I’ve seen, there have only been a repack antenna and transmitter Doug Lung few problems with interference­— upgrades, the past year was quiet which may be due to program when it came to spectrum issues. distribution moving from satellite to terrestrial The RF spectrum scene, however, is changing. distribution via fiber and even the internet.

When the FCC lifted its freeze on channel As the year ended, broadcasters faced a Nov. changes, many TV stations, (31 at last count), 29 deadline to certify that their microwave filed channel change petitions to move from links in the 12.7 GHz band were operating VHF channels to UHF TV channels. While VHF as licensed; file an application to modify the channels can work well to cover large areas if license to correct any errors or omissions; viewers are using outdoor antennas, reception or cancel the license. The FCC is looking to of VHF with indoor antennas has been allocate this spectrum for wireless broadband problematic for reasons I’ve discussed before.

LG, a major supplier of ATSC 3.0 TV sets, has stopped selling sets with ATSC 3.0 tuners after losing a patent battle with Constellation Designs over non-uniform constellations.

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use, but it isn’t clear exactly how this will be used. One possibility is fixed wireless internet.

TRANSITION TO ATSC 3.0 The slow roll-out of ATSC 3.0 continued in 2023. Available spectrum to allow simultaneous transmission of primary programming in both 3.0 and 1.0 is still a problem, although stations continue to learn how to trade capacity to make it work. One potential solution is to move from MPEG-2 to AVC (MPEG-4) encoding, but incompatibility with older TV sets has frustrated that effort (viewers hear the audio but get a black screen from MPEG-4 on older TVs).

More stations switched on content protection in 2023. While this caused few problems for large-screen ATSC 3.0 TV sets, viewers with early set-top boxes like SiliconDust’s HDHomerun lost reception of protected channels.

Fortunately, as the year ended, set-top boxes that support content protection became available—the ZapperBox and the ADTH box, for example. Except for ATSC 1.0, almost all video delivery today is content protected, whether streamed or over fiber or cable TV. The challenge for the ATSC 3.0 roll out will be making that content protection as easy for viewers and device manufacturers as it is for cable and streaming services.

Unfortunately, LG, a major supplier of ATSC 3.0 TV sets, has stopped selling sets with ATSC 3.0 tuners after losing a patent battle with Constellation Designs over non-uniform constellations.

Fig. 1 shows a non-uniform 64-QAM constellation generated by my softwaredefined ATSC 3.0 transmitter. Non-uniform constellations are more efficient than the uniform (rectangular) constellations used in other digital TV COFDM systems.

Constellation’s patent would appear to apply to equipment that generates ATSC 3.0 RF signals as well as receivers. Readers may remember that similar patent battles erupted during the rollout of the original ATSC (1.0) DTV and affected both receiver and transmitter manufacturers. In the end it had very little impact on the rollout of DTV in the United

rf technology States. I don’t expect it to be a major issue for ATSC 3.0.

For more information on non-uniform constellations, Google the words “LG Electronics” and “Constellation Designs.”

Non-TV uses of ATSC 3.0 received more attention. The Broadcast Position Standard (BPS) that would provide a backup for GPS, which many services depend on for accurate timing was tested, as well as radio over ATSC 3.0. I covered both topics in detail in my 2023 NAB Show coverage in TV Tech.

IEEE BTS RETURNS Finally, I was happy to see that IEEE Broadcast Technology Symposium was back in 2023. The last Symposium was in 2019 and I wondered if it would return after the 2022 Symposium was canceled.

Thanks to the efforts of Jim Stenberg, Paul Shulins and the presenters and volunteers supporting it, the symposium was a success, with approximately 90 people attending the two-day session at NAB headquarters in Washington, D.C. Visit https://bts.ieee.org/ for more information on the IEEE Broadcast Technology Society. I’ll be covering the 2023 Symposium’s papers in a future column. l As always, your questions and comments are welcome.

Email me at dlung@transmitter.com.

Fig. 1: 64QAM non-uniform constellation

Broadcasting in 2024 and Beyond I’m often asked, “When will broadcasters complete the transition to ATSC 3.0?” My usual answer is I don’t see it happening for at least 5-7 years. The key factor will be the widespread availability of ATSC 3.0 tuners in TV sets, set-top boxes or other devices.

It's usually followed up by “What can broadcasters do to speed the adoption of ATSC 3.0?” Almost all 3.0 programming is a duplicate of what stations are airing in ATSC 1.0. Better encoding and the addition of HDR provide a better picture, but is that enough?

Broadcast applications and “virtual channels” delivered over the internet are attractive, but support varies among devices.

While the focus has been on the benefits that ATSC 3.0 provides consumers, don’t ignore the benefit it provides broadcasters. More bandwidth (about 20% more for similar coverage) and encoding that’s 4x more efficient is equivalent to getting additional ATSC 1.0 channels! It gets better—a broadcaster can use LDM to add a very robust signal for mobile TV, data or other applications like radio with little impact on the main channel coverage.

Perhaps rather than relying on consumer pull, we need a stronger broadcaster push. This push could be funding an ATSC 3.0 set-top box program, either by building and distributing converters or providing discount coupons.

Financial incentives for device manufacturers (not only TV sets but streaming devices and set-top boxes) to include ATSC 3.0 capability, just as streaming services do now, could drive adoption.

Since smart TVs know what the consumer is watching, offering manufacturers a bonus when the set tunes to an ATSC 3.0 service would help ensure over-the-TV wasn’t buried deep in the menus.

We’ve seen stations move away from using two-way radio systems and microwave ENG systems in favor of cell phones and bonded cellular. Will the same transition happen to broadcasting?

We can’t ignore the possibility that TV “broadcasting” will eventually move to the internet and 5G wireless. I don’t see this happening in the next five years, but if the ATSC 3.0 transition fails and as transmitters bought during the repack need replacement, the idea of relying on internet delivery, perhaps supplemented with 5G broadcast, might look attractive, especially if it allows broadcasters to avoid the regulatory burdens associated with an FCC license.

More likely, we’ll see multiple broadcast platforms, with over-theair continuing to exist in some form.

Viewers are discovering free over-the-air TV to avoid the cost of cable TV and streaming subscriptions. Antenna sales are strong. For broadcasters to take full advantage of this trend, we need to push the transition to ATSC 3.0 technology to be able to both complement and compete with other platforms like internet streaming (wired and wireless) and 5G broadcast for both viewers and content.

Doug Lung

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25

inside audio

It Sounds Fine Here!

Production, hearing and speaker placement all play a role in what you hear on TV

S

ound production is the a British producer at the BBC artistic and technical who said that the mix sounded aspect of broadcasting “wooly.” What is my subjective that is completely understanding of wooly sound? subjective. The balance of the sound elements, for example WHO GETS THE BLAME? the voices (commentary), as However, this subjectivity may compared to the volume levels of be related to the reproduction the sound effects and music, is technology or method or perhaps subjective to the point until you a medical condition such as cannot hear and understand what tinnitus.

EXPERTISE is being said.

Broadcast sound is subjective Dennis Baxter As a sound practitioner, I because, as the sound mixer, I express the tone of a production control the outcomes. But what if using equalization to adjust the bass and I have tinnitus or frequency-specific hearing treble of an audio passage, however my difficulties? For example if the mixer has lost experience guides where I ultimately make a sensitivity in the higher frequencies then subjective evaluation of the proper level and there is a tendency to compensate by adding tone of any adjustments. high frequencies to the mix resulting in a Even certain sound phrases and terminology shrill, more brittle sound to the consumer. indicates a level of subjectivity. I worked with What if the listener has frequency-

Broadcast sound is subjective because, as the sound mixer, I control the outcomes.

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Broadcast sound is subjective because, as the sound mixer, I control the outcomes. specific hearing loss? Then possibly the listener may have difficulty with speech intelligibility. Consider if the listener has cheap or improperly installed speakers or just rear-mounted speakers in the TV set? This is clearly beyond the control of the sound mixer, but who gets the blame?

As a newly minted sound mixer, I will never forget a phone call I received from an ESPN executive telling me the mix did not sound right. Perplexed by the call I asked, “What’s wrong?” After some hemming and hawing from the executive, I asked, “Is it the balance or tone or what?” After some silence, I hung up. I am sitting in a 5x8-foot audio control room, trying to mix a live show with the incessant roar of equipment cooling fans behind me and a communications network that is never silent.

There may be a chance that something doesn’t “sound right.” Well, the executive called back, and I quipped that, “It sounds fine here,” and hung up again. Needless to say, I did not work for ESPN for awhile.

My subjective impression was that it did sound fine where I was, and I am sure that it did not sound right to the executive listening over TV speakers. I never got the opportunity to ask the person what they were listening on, but improper speaker placement and setup was the demise of some fellow audio folks who got burned for bad sound because someone improperly set up the speaker system for Dolby Surround in the network QC room. Who got the blame?

Balance is the most difficult aspect of an audio mix to master. Overly zealous announcers and an unscripted event such as football or baseball can result in the voice being either too loud or too soft. Audio compressors help to smooth out the audio, but to me overly compressed audio is just as hideous as “bouncy” audio or burying the voice in the mix.

inside audio

Audio is subjective and specific to the listener’s environment, reproduction device and physiological condition. Now factor that by two—the producer of the sound and the consumer of the sound. Sound was pretty easy when it was mono and the television cabinet (housing) was the size of a refrigerator with front-facing speakers.

Stereo was a little more complex with two speakers and the task of creating a “phantom center” for the voice. Surround sound created more problems with a dedicated center speaker for voice and five other speakers for effects and music. The other problem for

Balance is the most difficult aspect of an audio mix to master.

surround was proper placement of the center speaker in a world where there really is no place for a center speaker. Technology helped here with the divergence of the voice into the side speakers and the introduction of soundbars.

Immersive sound ushered in a whole new set of issues with still only one center speaker plus an additional four upper speakers to generate more noise and further mask the announcers. What’s an audio person to do?

First, understand your own hearing abilities and do not always trust your ears. I have tinnitus and high-frequency hearing loss, but I do not artificially compensate for the tone of a mix to my liking. Generally, a “flat” mix will cover a lot of reproduction possibilities from poor room acoustics, improperly placed speakers and even cheap speakers.

Second, new mixing techniques can deliver better results. Consider this. The center speaker may not be just for voice.

Try spreading out the sound (diverging the

Immersive sound ushered in a whole new set of issues with still only one center speaker plus an additional four upper speakers to generate more noise and further mask the announcers.

What’s an audio person to do?

sound) into the left, right, left height and right height speaker; not to the point of distracting the listener, but to reinforce the sound like a phantom image.

This technique works well with immersive sound and soundbars. (See my November column on sound mixing or my book “Immersive Sound Production: A Practical Guide.”)

Finally, at home, after the show, listen to your mix. Also ask for input from your peers and non-audio types. Fred Aldous from Fox Sports used to tell me he always listened to his mother when it came to his mixing. Mama is usually right. l Dennis Baxter has contributed to hundreds of live events including sound design for nine Olympic Games.

He can be reached at dbaxter@dennisbaxtersound.com or at www.dennisbaxtersound.com.

twitter.com/tvtechnology | www.tvtech.com | January 2024

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Credit: Getty Images, Alex Walker

SURROUND AND IMMERSIVE SOUND

eye on tech | products and services DJI Ronin 4D-8K Ronin 4D-8K, a new iteration of DJI’s Ronin 4D professional cinema camera platform, integrates DJI’s 4-axis stabilization and other technologies into a comprehensive cinematography solution. The Ronin 4D-8K cinema camera offers flexibility to solo cinematographers and a wide range of possibilities for coordinated shooting.

The DJI Ronin 4D-8K offers a suite of features that cater to the diverse needs of cinematographers. With full-frame 8K/60fps and 4K/120fps capabilities, the camera ensures exceptional image quality, providing filmmakers with versatility in capturing the demands of the scene. The 800/4000 Dual-Native ISO enhances performance across various lighting conditions, complemented by a maximum of 14.7 stops of dynamic range, offering cinematic depth and rich color grades in any scenario. z www.dji.com

Sencore AG 2700 ATSC RF Receiver The AG 2700 ATSC RF receiver transforms signals into ASI and IP outputs to enable retransmission for MVPDs and other broadcast entities. The AG 2700 supports legacy ATSC 1.0 and ATSC 3.0 with a software/license update that will soon be released. Support for both allows users to future-proof their retransmission reception infrastructure, ensuring compatibility with evolving industry standards.

The unit seamlessly integrates into a 2RU openGear frame or Sencore’s CRD 4900 frame. Both frames support up to 10 receivers per chassis, offering the density needed to receive all broadcast channels in most markets. The AG 2700 is equipped with full SNMP, a syslog interface, and an HTTP-based API, ensuring quick and easy integration into multichannel systems. For individual operators, the product offers an intuitive web user interface ensuring a user-friendly experience and immediate familiarity for existing Sencore product users. z www.sencore.com

Amagi & Nevion CLOUDPORT & VideoIPath Amagi has partnered with Nevion for a combined solution that allows production teams to spin up and tear-down pop-up channels in the cloud and use them seamlessly in combination with their ground production, thereby overcoming latency issues often associated with these types of hybrid workflows. The solution combines the cloud-based master control room (MCR) functionality of Amagi CLOUDPORT and the orchestration capabilities of Nevion VideoIPath to make it easier for production teams to integrate cloud-based MCR capabilities into groundbased production workflows without relying on technical specialists.

Amagi CLOUDPORT’s support for VSF TR-07 (JPEG XS over TS) enables high-quality, ultra-low latency video transport between the ground and the cloud as if they were in the same truck or facility; the integration with VideoIPath simplifies workflows, including connectivity, for production and MC operators. who can now seamlessly synchronize on-screen graphics, digital video effects and commercial breaks with minimal retraining. z www.amagi.com https://nevion.com

Waymark & DanAds White-Labeled Ad Infrastructure Solution Waymark and DanAds have partnered on a solution to provide publishers and media owners with a fully automated, white-labeled self-serve advertising infrastructure that offers AI-generated creative production, transparent targeting and immediate distribution for their customers.

DanAds is incorporating Waymark’s AI system into its self-serve advertising platform as a plugin, allowing media firms the option to offer instantly generated, engaging commercials to advertisers as part of their campaign booking process.

The combined automated solution can help smaller businesses who might not be able to create their own ads a way to develop and air video or TV ads. Waymark uses various generative AI models to let users easily create professional, ready-to-air commercials in minutes with nothing more than a website URL. DanAds provides automation technology and a self-serve advertising infrastructure that includes automated media planning, billing, reconciliation, and proposal automation, eliminating the need for manual processes. z https://waymark.com https://danads.com

Ikegami UHK-X600 Multiformat Camera

Disguise Integration With Cuebric AI Content Generator

The UHK-X600 multiformat camera can be upgraded from HD to 2160p UHD via a license-key when required. The camera, the latest in Ikegami’s extension to its Unicam XE product portfolio, can also be upgraded to support 2x, 3x and 4x high-frame-rate capture in HD as well as 3840x2160/50p 4K, delivering 2,000 TVK resolution with other license keys. Offering plug-in hardware-based options, such as SMPTE ST 2100-compatible media-over-IP interface board and 12G outputs, the UHK-X600 gives users a way to protect their camera investment against premature obsolescence.

The UHK-X600 is designed for studio and OB, but can also be used for battery-powered, over-the-shoulder location production. With three 2/3-inch CMOS global shutter imagers, it delivers 1000 TVL resolution, minimal aliasing and sensitivity of F11 @ 2000 lux (in 50p mode). z www.ikegami.com

Disguise is partnering with AI platform Cuebric to make virtual environments faster, easier and more cost-effective to build. As part of the partnership, Cuebric has been integrated with the Disguise platform,which will allow creatives to use AI to create the shape and depth of 2.5D environments, then import them into Disguise. The result is a plug-andplay scene that can be executed on an LED stage in only two minutes, saving weeks of pre-production work.

To create 2.5D scenes, users can either add purely generative content or import images from elsewhere into the Cuebric platform.

Cuebric then leverages AI rotoscoping and inpainting to segment the images into layers, transforming them from 2D to 2.5D based on the depth of objects. Once the Cuebric 2.5D scenes are imported into Disguise’s Designer software, each individual layer is depth-mapped with an auto generated mesh. z www.disguise.one

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XXXXXXXX January 2024 2021 | www.tvtech.com | www.tvtechnology.com | twitter.com/tvtechnology | twitter.com/tvtechnology

eye on tech | products and services Vizrt TriCaster Flex Dual Control Panel TriCaster Flex Dual control panel, the second in Vizrt’s TriCaster Flex control panel lineup, is a dual stripe control panel that offers users an unparalleled number of ways to work and customize their workflows and can evolve to meet the needs of any production. The control panel offers 24 direct crosspoints, two 10-key dynamic menu systems and other new features, including a full-size joystick—a first for a Flex control panel.

The TriCaster Flex Dual is NDI-native, which means operators no longer are tethered to the physical location of their TriCaster switchers. Capable of working with TriCaster hardware models, such as the TriCaster TC1, 1 Pro and 2 Elite, as well as the TriCaster Vectar in the cloud, Flex Dual connects to the network and controls switchers anywhere in the world. z www.vizrt.com

Storyblocks DaVinci Resolve Templates Stock media platform Storyblocks has launched DaVinci Resolve templates in the Storyblocks library. The new templates allow users to easily add motion graphics, visual effects and animated sequences to their videos in DaVinci Resolve, while taking advantage of Storyblocks’ robust stock media content.

The launch of DaVinci Resolve templates within the Storyblocks library reflects a rapid rise in the popularity of DaVinci Resolve among creators, Storyblocks said, and the pressure faced by creators and businesses to speed up the creation of high-quality videos. Storyblocks says the templates significantly speed up the creation of motion graphics and special effects from scratch. Direct access to these readyto-use, customizable templates also allows users to quickly create titles, transitions, logos and other motion graphics for their videos and easily swap content that fits their brand and style. This latest addition also complements Storyblocks’ collection of more than 27,000 Adobe Premiere Pro, After Effects and Apple Motion templates. z www.storyblocks.com

Matrox Video Matrox Maevex 7100 Encoders The new Matrox Maevex 7100 Series of single-channel 4K60 AVC/HEVC encoders are two new lower-cost members of the company’s family of premium video products and are ideal for low-latency, high-quality, low-bitrate encoding of single high-resolution HDMI sources for audio and video streaming, contribution, and collaboration.

For low-bandwidth applications requiring high levels of compression, Maevex 7100 Series encoders provide high-quality streaming and recording for both motion video and desktop content with a wide range of compression rates. Built with advanced security features, the 7100 series is ideal for control rooms, command centers, and other mission-critical environments, and provides flexibility with support for multiple streaming protocols suited to all network topologies. The fanless, small-form-factor Maevex 7100 Series encoders are energy-efficient appliances ready for high-density rack mounting or throw-down installation. z https://video.matrox.com/en

AIMS AIMS Education Library The Alliance for IP Media Solutions (AIMS) has announced that the AIMS Education Library—a comprehensive online resource designed to facilitate learning about IP technology for the broadcast and Pro AV industries—is now available online. It offers an extensive database of all sessions presented or recorded by AIMS’ members and partners at the organization’s events, dating back to 2018. It is continuously updated to include the latest sessions from recent events—such as the Mediaover-IP Pavilion at AES New York 2023—to ensure that users stay up to date with the ever-evolving landscape of IP technology. A search interface allows content to be easily filtered by education category, technical depth, and source, ensuring quick and precise access to relevant information, the group said.

The creation and development of the AIMS Education Library was one of the key projects undertaken by the AIMS Education Working Group, which was launched in early 2022. z https://aimsalliance.org/document-library/

MainConcept Live Encoder 3.4 Live Encoder 3.4, the latest version of MainConcept’s real-time encoding application for OTT and TV broadcasting workflows, now supports VVC/H.266 and MPEG-5 LCEVC,. Live Encoder is an all-in-one, real-time encoding engine designed to simplify broadcast and OTT workflows. Version 3.4 comes with MainConcept’s HEVC and AVC codecs natively built in and adds VVC (Versatile Video Coding) and LCEVC (Low Complexity Enhancement Video Coding). v3.4 also supports live encoding into MP4 and MPEG-2 TS for MPEGDASH, SRT, Zixi, UDP and archiving files and leverages MainConcept’s state-of-the-art AutoLive encoding technology to reliably deliver real-time, multi-layer live video content in 8K, 4K, 1080p and 720p.

MPEG-5 LCEVC was integrated into Live Encoder 3.4 in partnership with V-Nova. LCEVC adds an enhancement layer that simultaneously increases resolution, while reducing bitrates for the same quality by up to 40%. z www.mainconcept.com

Blockboard BlockCONNECT Connected TV (CTV) ad platform Blockboard has released BlockCONNECT, its new, proprietary attribution technology that provides clean, fast attribution for all advertisers in the CTV and over-the-top OTT arenas. The cookie-less platform ties media exposure to consumer behavior, which enables marketers to assess the consumer journey more precisely and thereby adjust media buys and creative changes more quickly to maximize the return on spending.

The BlockCONNECT platform creates Blockboard pixels and places them on clients’ site pages. Each client provides as many pixels as needed to understand the connection between the media exposure and the pixel on the page delivering them. The BlockCONNECT platform provides a unique 24-hour look-back window as well as a second window to enable users to look back up to 30 days. BlockCONNECT gives advertisers a rapid view of performance and the chance to adjust and maximize their ad buys. z https://myblockboard.com twitter.com/tvtechnology | www.tvtech.com | January 2024

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tv tech awards

TV Tech Honors Excellence With Best in Market Awards

T

V Tech wound up its 40th anniversary year by honoring outstanding technical achievements with the 2023 Best in Market Awards. Entries were judged on innovation, feature set, value and ease of use and the winners represent the best in media and entertainment technology.

Congratulations to the winners!

Brompton Technology

Ross Video

BZB Gear

Shure

Tessera G1 Receiver Card

Carbonite Ultra 60

Adobe

Premiere Pro

BG-Air4Kast | 4K@60Hz HDMI 2.0 Wireless Extender

Wireless Workbench7

Akta Tech MCP

Canon

Super 35mm 8K Flex Zoom Lenses

Sony

MLS-X1

Blackmagic Design

Blackmagic Studio Camera line

Interra Systems

ORION Suite With ORION Content Manager (OCM)

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January 2024 | www.tvtech.com |

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Telestream

Lightspeed Live Capture

cloud distribution/ott | equipment guide

WRC Taps Harmonic to Launch Rally.TV Motorsports Channel for technology innovation and experience powering streaming for many of the world’s top sports events. We can now take Virtual Channel origination output and deliver it to our app, while also syndicating it to providers around the world.

We deployed Harmonic’s VOS360 Media SaaS for playout and streaming of live sports events. Quality is a key marker for success in the video streaming world, and Harmonic’s VOS360 SaaS simplifies our complex workflows, offering unparalleled agility, resiliency, security and scalability for an outstanding viewing experience.

Philipp Maenner

SCALABLE LIVE SPORTS STREAMING

By Philipp Maenner Director Senior Director of Media Rights WRC

MUNICH, Germany—The FIA World Rally Championship (WRC) is one of the most complex and rigorous motorsports events in the world. Held in a variety of challenging weather conditions, including ice, snow, blistering heat and dust, WRC puts viewers into the driver’s seat, giving them an up-close and personal view of what it’s like to rally at speeds of more than 100 miles per hour.

The team at WRC Promoter is responsible for all commercial aspects of the FIA WRC, FIA European Rally Championship and FIA World Rallycross Championship—including TV production and the marketing of global media and sponsorship rights. One of our primary objectives is to engage with our global fan base. Between delivering live coverage of more than 30 events per year to offering new programming and access to our incredible archive spanning decades, we are committed to delivering a world-class, always-on viewing experience.

THE RACE FOR RALLY.TV Recently, we decided to expand our video

streaming option by launching Rally.TV, a new streaming service/linear channel that provides non-stop access to WRC programming and content, including specially produced documentaries and interviews, as well as additional classic rallying footage.

We wanted the flexibility to offer Rally.TV through our own app, or through syndication to other partners.

In addition, we wanted to consolidate multiple apps (including WRC, ERC, World RX) into a single platform, offering fans a brandnew Rally.TV experience, providing immediate access not just to our live events, but also to a rich repository of on-demand archive footage and captivating features spanning the illustrious 50-year history of WRC. We partnered with Comcast Technology Solutions (CTS) and Harmonic to make our vision come to life based on their passion

VOS360 Media SaaS streamlines the playout and delivery of live events and linear channels by unifying the entire media processing chain, supporting essential functions including ingest, channel origination, encoding, live streaming, content publishing, and more. With Harmonic’s VOS360 SaaS, we can deliver video to new affiliates on the fly, broadening our global footprint.

VOS360 SaaS is deployed in a geo-redundant configuration. Relying on a SaaS with geo-redundancy—with data centers installed across multiple geographic locations—assures the highest service availability. Real-time scaling and geo-redundancy features on VOS360 SaaS enable us to stream sports events reliably and at scale, with pristine video quality.

Today, our enhanced streaming experience is reaching and captivating a massive audience of motorsport fans globally. Embracing a cloud-based foundation will enable us to grow and make continuous improvements to our video streaming service. With CTS’ CVP (Cloud Video Platform) and Harmonic’s VOS360 SaaS, we can tap into the efficiencies of the cloud and utilize the same playout feed for delivery to consumers and affiliates, bringing exceptional-quality live sports streaming to the masses.

Philipp Maenner is senior director of media rights at WRC. He can be reached at Philipp.Maenner@wrc.com.

More information is available at www.harmonicinc.com.

twitter.com/tvtechnology | www.tvtech.com | January 2024

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equipment guide | cloud distribution/ott buyers briefs Actus Digital OTT StreamWatch

Dalet Instream

Actus OTT StreamWatch provides monitoring and analysis of linear OTT/IPTV/FAST channels for QoE and QoS Quality Assurance alerting, 24x7 recording, and content/ad-verification. Customizable multiviewers monitor multiple-renditions at multiple probe-points and alert engineers when quality thresholds are violated, including: QoE issues like missing/frozen video and missing/low/high audio, QoS issues like buffering, streaming media download times, bandwidth issues, and missing SCTE (to ensure proper DAI).

It records native-HLS/OTT streams and marries it to extracted/imported metadata (like As-Run Logs) so content is intuitively searchable and easily located based on channel/date/time/rendition/probe-point, QoE or QoS issues, captions, and/or name of advertiser, commercial, or program, and clips can be quickly exported for proof-of-airing. https://actusdigital.com

Dalet InStream is an elastic IP ingest SaaS solution that enables customers to dynamically scale ingest operations in a matter of seconds. Complementing the high-density Dalet Brio on-premises ingest and playout platform, the cloud-native Dalet InStream leverages the agility and performance of the cloud in a pay-per-use model, bringing greater efficiency, flexibility, and cost savings to capturing news, sports, and other key live events. Dalet InStream seamlessly integrates across the Dalet ecosystem—Dalet Flex, Dalet Pyramid, and Dalet Galaxy five—enabling customers to schedule, record, access, edit, and deliver content from anywhere, faster than ever. With Dalet InStream, any ingest scenario required

by Dalet customers is now fully supported: from IP streams in the cloud to on-premises SDI & IP feeds, standard file upload and camera card ingest. www.dalet.com

Synamedia Quortex Play

Ateme Ateme+

Quortex Play is a multitenant SaaS solution offering just-in-time cloud streaming at scale.

Using its patented, industry-first, pay-as-youstream model, it provides exactly the resources required at any given time—if no one is watching a channel, it frees up those resources. Quortex Play builds video streams on-the-fly, based on the end users’ requirements, and matched to viewers’ locations, devices and time zones. It adapts to unpredictable network, infrastructure and audiences, and automatically scales cloud resources, reducing waste by using spot instances that take advantage of spare cloud capacity at lower costs, while maintaining QoE. www.quortex.io

Ateme+ SaaS now offers Just-in-Time push and pull packager capabilities for a complete OTT streaming solution, delivering pristine video and low latency for a premium quality of experience. Launched with a focus on broadcast, Ateme+ supports multiple ARQ protocols, as well as transcoding and motion-compensated frame-rate conversion to other resolutions, bitrates, and codecs, plus audio channel management. It enables an MCR in the cloud with a full scheduler, including control for extending or ending schedules. New OTT features are designed for B2B and B2C OTT streaming, with simple integration to any CDN or multi-CDN strategy. Ateme+ offers a low-latency streaming option, in HD or UHD 4K, for one to 1,000 channels, which can be up and running in minutes. www.ateme.com

Zixi Software-Defined Video Platform (SDVP) The modular architecture of Zixi’s Software-Defined Video Platform (SDVP) manages allows users to manage all facets of a live video platform such as distribution over IP networks, with traffic and congestion aware routing, diverse signal path bonding, patented hitless failover technology and available in-transit processing delivering unparalleled performance and network efficiency.

Versions include: Zixi Broadcaster with SDVP Media Gateway, multiplexing and OTT packaging, monitoring and other features; Zixi Edge Compute with SDVP Connections to connect channels to Zixi Broadcasters and other features; ZEN Master with SDVP Control Plane and other features; SDVP Transcode Option; Intelligent Data Platform with SDVP AI/ ML Analytics and other features. https://zixi.com/zixi-sdvp

Cablecast VIO Smart Asset Manager

Bitcentral ViewNexa ViewNexa is a complete solution to deliver video management, distribution, and monetization efficiently and cost-effectively. The single unified workflow streamlines video management and has all the tools needed to manage, distribute, and monetize video. ViewNexa provides a content management system (CMS) for importing and organizing video, from VOD to live and FAST channels. ViewNexa provides a single source of measurement, which empowers content owners to experiment with different monetization models and find the best performing combination for their specific audience to maximize profitability. https://bitcentral.com

Introduced in Cablecast 7.5 software for Cablecast VIO video servers, SAM (Smart Asset Manager) serves as a virtual assistant for video automation workflows. Designed to minimize user effort (and user error), SAM copies content between the video server and other storage locations, such as a SAN, NAS or the cloud. It also integrates seamlessly with Cablecast Cloud Storage, a scalable off-prem solution. With rules-based automation, SAM can automatically move content to archive storage or backup media files to a designated file store for safekeeping, as well as automatically retrieve assets when needed based on the program schedule. www.cablecast.tv

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January 2024 | www.tvtech.com |

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equipment guide | cloud distribution/ott buyers briefs Evertz evertz.io – Stream

nxtedition Nxt|cloud

evertz.io – Stream SaaS offers traditional broadcast, OTT, DTC, and FAST applications as a playout and automation service, allowing customers to seamlessly create, launch, manage, and scale channels in a “self-service” way with complete confidence. The agile nature of evertz.io – Stream allows customers to scale operating costs with revenue without the need for extensive guidance. It eliminates the complexity associated with automation and playout channel setups, streamlining a process that previously demanded significant engineering resources. evertz.io - Stream offers comprehensive support for dynamic live events in addition to standard file-based playback. Customers can take control of their channels with unprecedented ease, reduce time to market and avoid the costs and learning curves associated with leveraging cloud native playout, streaming and digital distribution technologies. https://evertz.com

nxt|cloud is the fully public cloud version of nxtedition’s microservices solution for broadcasters and content creators, offering a fully containerized, Linux version of CasparCG and exactly the same playout and graphics engine as a scalable, elastic and secure microservice in the public cloud.

Each CasparCG instance contains two channels capable of playing out video (including alpha support), audio and graphics composited upon unlimited layers. In addition, nxtedition has converted CasparCG to fully utilize JavaScript HTML/CSS graphic templates and, by utilizing the power of the virtual CasparCG engine nxtedition can combine unlimited layers of video, audio, images and HTML5 graphics onto a single output. Each instance spun up has two separate IP stream outputs. Other key features include transcodeless playout; remote management; the ability to drop in a live feed as the next item and go live; and localization and personalization. https://nxtedition.com/nxt-cloud

Imagine Communications Magellan Connect Magellan Connect extends the capabilities of Imagine’s broadly deployed Magellan Control System to the cloud, incorporating intelligent path-sharing and switching functions so that operationally, the cloud and ground act the same and have access to the same sources and destinations.

Magellan Connect provides unique capabilities to the critical infrastructure of cloud-based channel origination systems, giving MC operators access to the same scope of source signals, whether the channel is running onprem or from the cloud. Modeling the traditional routing system paradigm, Magellan Connect gives users a simple source-destination “take” operating method to get the right signal to the right place―ground or cloud or hybrid. https://imaginecommunications.com

Ross Video Media I/O Media I/O is a capture and playout solution supporting baseband and network signals such as SDI and NDI while transcoding them live for fast integration into post production, media management, and delivery workflows. Media I/O offers support for more input sources, workflows, and formats and provides users instant access to live ingest content and allows for edit-while-ingest to accelerate the production process for both logging and editing workflows.

Other key features include: a highly flexible and scalable software solution that can grow with your business goals and workflow needs; the flexibility to host your solution with a software-based framework that allows for both on-prem and cloud-based architectures; live capture of baseband and network sources such as SDI, NDI, SRT, HLS, MPEG Dash, and RTSP streams into broadcast quality file formats and more www.rossvideo.com

Sipradius S.iPTV IP connectivity makes it theoretically simple to connect sources and destinations anywhere on the planet. The challenge is in navigating the mass of formats, codecs and protocols to achieve the right balance of quality, latency, security and cost. The SipRadius solution draws upon open standards and is built on a bespoke operating system that runs on bare metal in house or in the cloud. It brings together military-grade security and seamless end-to-end live media transport, including encoding and transcoding which uses the power available to deliver quality and speed. The result is a flexible platform for content delivery and visualization that is configured to achieve the right solution for the job at hand. https://sipradius.com

TAG Video Systems Realtime Media Performance Platform TAG has partnered with Techex to deliver advanced cloud video control, monitoring, and visualization. The combined solution can transport video and monitoring streams at every point in the delivery chain and features a superior level of data analysis for a scalable, reliable solution offered with flexible licensing options.

Techex’s tx edge is a feature-rich software gateway built to fit into Infrastructure as Code (IaC) cloud workflows and is designed to move video into, out and around the cloud. Integration into TAG’s Realtime Media Performance platform enhances tx edge’s ETR 290 and IP-level stream monitoring capabilities with improved content and probing visualization tools. https://tagvs.com twitter.com/tvtechnology | www.tvtech.com | January 2024

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

LISA HARP, ANDREA LEONARD ARRI ARRI Rental North America has appointed Lisa Harp VP of Business development and Andrea Leonard Director of Business Development.

Harp has 30 years experience in the industry and held leadership roles at cinema rental companies, including Panavision. Leonard has led business development initiatives in positions at Monster Remotes and Panavision. She held a dual leadership role at Monster Remotes/ Flying Monster drone division.

LUIS FERNÁNDEZ

MARK BIRD

RAY QUIÑONES

FREDRIK BORG

Motion Impossible

National Association of Broadcasters

Varnish Software

Mark Bird is the new Head of Sales at Motion Impossible, responsible for developing a sales strategy focused on bringing tech solutions to the film and broadcast communities. Previously, Bird was managing director at RT Motion where he managed the company through an acquisition into the Vitec Group PLC (now Videndum) and as head of EMEA sales & business development for the Creative Solutions division for Teradek, SmallHD and Wooden Camera brands.

BRIAN GREGORY

Ray Quiñones has joined NAB as Director of Government Relations from the congressional office of Rep. Darren Soto (D-FL9). He served as policy advisor counseling the congressman on policy issues and managing whip operations for the Congressional Hispanic Caucus. Previously Quiñones served as campaign manager and data director for Rep. Soto’s 2020 congressional campaign.

Fredrik Borg has been appointed CEO of Varnish Software. He was previously at Global Connect, where he led a key scaling of the business during which he led more than 550 professionals over four years. During that time, he helped the company triple its revenue and quadruple its earnings.

Prior to that, he led operations for mobile networks, broadband and TV at multinational telecom firm Telenor. Borg succeeds Lars Larsson.

Tegna

MICHAEL PRINN

MIKE SPRUILL

NBCUniversal Telemundo

Grass Valley

Nexstar Media Group

Luis Fernández has been appointed Chairman of NBCUniversal Telemundo Enterprises. He was President of Noticias Telemundo— its news division and returns to Telemundo after a career in Spanish-language media as a broadcast executive and award-winning journalist. He has overseen programming across broadcast, digital and other platforms. Fernández has held CEO/President positions at Radio Television Española; Univision Entertainment and Univision Studios; and Real Madrid.

Tegna has named Brian Gregory President/GM at WVEC, Tegna’s ABC affiliate for Hampton Roads, Va., and northeastern North Carolina. He will oversee operations across all platforms and community outreach efforts. Previously he served as News Director at KDVR/ KWGN in Denver and at KWCH in Wichita, Kan.; Executive Producer at KOVR in Sacramento, Calif.; and Assistant News Director at WVLT in Knoxville, Tenn. He began his career at WJET in Erie, Penn. while attending college.

Michael Prinn has joined Grass Valley as Chief Financial Officer. Prior to joining Grass Valley, he held CFO leadership roles at Popular Homes, a tech-enabled property management company for single-family rental investors, SeaChange International and Bridgeline Digital.

While with these companies he was instrumental in transitioning their business models to a SaaS-based orientation. Prinn also worked to build teams focused on automation and take steps to derive greater process efficiencies.

Nexstar Media has promoted Mike Spruill to VP and GM of its broadcast and digital operations in Nashville, Tenn., overseeing WKRN-TV (ABC), wkrn.com and its social media channels. He brings more than 30 years of experience in broadcast television marketing and sales to his new role, serving most recently as VP/GM for Nexstar-owned KRBK-TV (Fox), KOZL-TV (MyNet), and Ozarksfirst.com in Springfield, Mo. Previously, Spruill held sales and marketing positions in Houston, Orlando and Kansas City, Mo.

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