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OPINION
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OUTLINED
Leading television’s migration to AoIP Martin Dyster, vice president of business development, TV solutions group, Telos Alliance The Telos Alliance was founded on bringing new technologies into the broadcast industry. We work every day to continue improving audio for broadcast radio and television, pioneering cutting-edge technologies to help global networks and local stations produce better programming, improve audience engagement and bolster ratings. In 2003, we invented Audio over IP (AoIP) for broadcast, and a decade later we supported the inception of the AES67 standard, establishing AoIP protocol interoperability and operational flexibility
across a wide range of technical operations. Today, more than 100 companies offer Livewire+ AES67-compatible products and countless other vendors produce interoperable AES67 solutions, enabling customers to build complete AoIP ecosystems. Radio has a long-established pattern of success with AoIP but, until now, television has been slow to embrace it. TV is finally looking at the positive impact AoIP has had on radio and realising that all the same benefits – cabling efficiency, simplified design and installation, flexible signal
routing, lower cost of ownership – translate directly to TV. Today, here at IBC, we are delivering a quantum leap forward with the debut of the next-generation AoIP solution: Telos Infinity. The first product built on this new AoIP platform is the Telos Infinity IP Intercom, an all-new, standards-based solution that challenges the notion of what an intercom should be. Livewire+ AES67 lives at the core of the system, but that alone doesn’t leverage the full power of AoIP. To do that, we realised we had to eliminate not only the physical card-based
matrix itself – the hardware – but the outdated concept of a centralised matrix. Combining traditional broadcast intercom functionality with broadcast-quality audio through distributed AoIP devices distributed across a COTS network infrastructure, Telos Infinity erases the line between traditional communications and contribution audio. This also makes Telos Infinity IP Intercom infinitely scalable and supports plug-and-play integration. It means that these products can co-exist with current systems, creating an
easy transition and expansion path. A customer can start small and integrate Telos Infinity into their current communications workflow over time if a full-scale replacement is neither practical nor feasible. For customers who are ready to overhaul an existing system, Telos Infinity IP Intercom offers a lower total cost of ownership than traditional intercom and represents a future proofed transition to IP. 8.D47
Little and large Yamaha
By Mark Hallinger The flagship Rivage PM10 is on demonstration with both the CSR-10 and the new CSR-10-S control surfaces. The CSR-10-S offers the same operability and functionality as the CS-R10, but is approximately 30 per cent smaller for use in environments
with limited space. The system also features the latest V1.5 firmware, which includes Dan Dugan Sound Design automated mixing, providing automatic gain adjustment of up to 64 speech microphones in real time. Also on show, TF-RACK is a high-quality digital mixing solution for mobile or local broadcast studios where space
TF-RACK is a digital mixing solution for broadcast studios where space is at a premium
is at a premium. Occupying 3U in a standard 19-inch rack, the 16+1 stereo in, 16-out digital mixer features 40 input mixing channels, 20 aux busses, eight DCA groups with Roll-Out, comprehensive I/O connections and ease of setup and operation. It can be set up and operated by wireless apps, allowing it to be used in even in the smallest space, claimed Yamaha.
Live film-making on the move Broadcast RF By Heather McLean Last January Broadcast RF was tasked with shooting a Hollywood movie with one camera in one take using a single wireless camera system. Lost in London, a semi-autobiographic portrayal of a night out in the city involving director Woody Harrelson, was the first Hollywood movie to be broadcast live to cinemas across the world. Speaking about the project here at IBC, Broadcast RF is
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discussing the challenges of this shoot, and how the company overcame them. While a project of this scale should usually take at least a couple of months,
Broadcast RF managed to get the whole project planned in just over a fortnight. Members of the Broadcast RF project management team were to be
A night to remember: Woody Harrelson’s Lost in London is a hot topic at IBC
Uniquely for digital mixers in this price range, all TF series consoles also feature Dan Dugan Sound Design automixing, which can be applied to up to eight channels.
found strolling the streets of London scouting for suitable receive positions, before spending days studying filming venues and mapping routes through the capital, all while the weather did its best to spoil the show. The eventual solution to this crazy idea of Harrelson’s was an HD transmitter built into a backpack along with batteries and sound equipment, which were connected to an Arri Alexa Mini using an umbilical cable and carried by a grip. Live video was transmitted and received at a total of 14 locations throughout central London through the use of 54 receive antennas, marking the largest
An optional NY64-D interface card and Tio1608-D I/O can be used to integrate it into a Dante network. 8.C71
single RF camera job Broadcast RF has ever done. The film was then seamlessly streamed to over 500 live cinemas. Mark Houghton, technical director at Broadcast RF, said: “What was achieved in London on a cold night in January was historic. It took the passions of Woody and his cast and crew, the drive of the production teams and the determination of a technical crew to turn fantasy into history. With more receive sites than the Wimbledon Tennis and the Open Golf Championships combined, and an arsenal of RF trickery, we joined 14 locations together to produce a cinematic first.” 11.D12
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