Live Linear StreamingThe TV Everywhere Accelerator 56

New Video Streaming Concepts at

Radio Days 54

52DirectOut equips thelargest OB trailer ever builtfor CTV Outside Broadcasts

The best of 2014A TM Broadcast International Editor’schoice

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Editorial04

Staff

EditorJavier de Martíneditor@tmbroadcast.com

Editor in chiefJesús Carrillodirector@tmbroadcast.com

Key account managerCristina Feduchiinternational@tmbroadcast.comEva Barreraseva.barreras@tmbroadcast.com

Creative DirectionMercedes Gonzálezdesign@tmbroadcast.com

Editorial staffpress@tmbroadcast.com

AdministrationMargarita Quevedoadministration@tmbroadcast.com

TM Broadcast International #17January 2015

TM Broadcast International is amagazine published by DaróMedia Group SLCentro Empresarial TartessosCalle Pollensa 2, oficina 128290 Las Rozas (Madrid), SpainPhone +34 91 640 46 43

Published in Spain

Summary

26

Editorial

Another year ends in this seething industry and

looking forward to 2015 that promises to be

very interesting. Last year has been marked as

2013, by the positioning of large companies

against changes in our market. Once they are

settled, 2015 it will be the year we’ll see

interesting developments from manufacturers.

The changes comes from three different points.

First, equipment’s are asked to do more with

less cost, and they must be open solutions.

Furthermore, the UHD market becomes

established apparently unlike what happened

with 3D Stereoscopic. Finally, the incorporation

of IP technology in all layers of the broadcast

market. Clearly it will be an exciting 2015. Stay

tune with TM Broadcast International.

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Riedel gear supports live productions from Red Bull eSportsStudio for streaming to millions

Riedel Communicationsannounced that its MediorNet real-time network, RockNet audiosystem, and Artist digital matrixintercom system are being used inthe Red Bull eSports studio at RedBull Media House's North AmericanHeadquarters in Santa Monica,California. The Riedel gear isenabling the production of events,as well as the live streams watchedby millions of fans.

"Riedel products have continuallyprovided Red Bull Media Housewith the flexibility, performance, andaudio and video quality we requirefor the production of premiumsports events and live broadcasts,and they have proved to be aperfect fit for Red Bull eSportsstudio," said Scott Gillies, directorof production & technology, at RedBull Media House North America."The robust functionality of both theMediorNet and Artist systemsactually simplifies production whileenabling us to put on asophisticated and exciting show forthe millions of fans tuning in fromall around the world."

For example, one eSports

broadcast format that's producedout of the Red Bull eSports studiopits two video gaming teams of fiveplayers against one another. Asthey play, MediorNet Modularframes take in a total of 20 HDMIPOV video signals from the gamingconsoles, convert them into HD-SDI, and carry them to the controlroom. The POV cameras focus onthe faces and hands of all 10players, with additional HD-SDIcameras positioned on the gamecommentators. These inputs arecombined with the primarygameplay feeds to produce acomplete eSports broadcast. Anadditional MediorNet CompactFrame is used for complementaryshots from other parts of thecompetition.

Additionally, each player in thisexample wears a headset thatprovides game audio and a link toother team members. The Artistsystem supports thesecommunications, as well as theintercom and on-air audio signals ofthe commentators. Because theArtist system works with 48-kHzdigital audio, it is also being used tocreate a downmix of game audio

for each team, as well as for theaudio mixing console. Combiningindividual game audio with the teamcommunications, the Artist creates10 individual mixes for each of the10 players. A single four-core fibercable, equipped with OpticalCONQUAD connectors, handles allsignals.

"Once again, Red Bull turned toRiedel to help further theirinnovation in the field of eSports,and we're proud to continue to playa role in this space," said SaschaKneider, head of technical services,North America, for Riedel. "Thisinstallation is a textbook example ofa system that integrates the threemain product lines from Riedel. Byusing MediorNet as the backbonefor video, RockNet for audio, andArtist intercom for communications,we can create a lot of synergies.The benefits of this approach areobvious: the customer does nothave to buy three different systemsthat may or may not work welltogether, every signal is available atevery node in the system, andchanges are just a matter of amouse click."

At BVE 2015, ChyronHego willhighlight family of graphicscreation, workflow, and playoutsolutions. On display will be thelatest innovations in streamliningweather graphics creation; creatingand placing virtual graphics;creating stunning and feature-richinteractive touch-screenpresentations; and tools for sportsproduction analysis and playertracking.

Lyric PRO 8.8 GraphicsCreation Software

The latest innovations includenew scene and applicationparameters useful for datavisualization; Advance Data Object,offering a multitude of external datasources that enable access to anydata, anywhere; a new DataProcessor tool for efficientlyevaluating and modifying data,such as a live weather feed, beforeit is rendered graphically; a newConnection Manager allowingcontrol over any external devicethrough network or serialcommunications; and a newIntelligent Interface Manager thatallows unlimited serial or networkconnections in a multitude ofencodings.

BlueNet™ — AcceleratingGraphics Workflows

BlueNet™, ChyronHego's end-to-end graphics workflow solution, isbased on lessons learned from thecombined company's experienceworking side-by-side withbroadcasters in the production andplayout of live graphics. BlueNet'scomprehensive broadcast graphicsworkflow tightly integrates theworld's most advanced graphicscreation, collaboration,management, and playout systems.

Metacast® — ProfessionalWeather Graphics

As a stand-alone system within abroadcasting operation or as aproduction tool in an integrated

24/7 newsroom environment,Metacast provides users with acomplete graphics toolset forweather-driven news stories. TheMetacast platform extends clients'weather production needs andoffers an outstanding multiplatformsolution for the creation of digitalweather and news map content. Inaddition, Metacast users getaround-the-clock productionsupport and maintenanceupgrades.

Virtual Placement —Powerful Virtual Graphics

Without requiring specializedcamera encoders or a lengthycalibration process, virtual graphicscan be placed into a scene withinminutes of setup and ready for usein a multitude of applications.Virtual Placement can be used inmany different live broadcastscenarios, from augmentingphysical studio sets with virtualobjects or live broadcast graphicsand video feeds, to enhancingmuch larger scenes such as sportsarenas, race tracks, or landscapes.The aim is simply to place virtualelements into a live scene to makethem look real and in harmony withthe environment into which they areprojected.

GS2 Multi-Touch — VisuallyStunning Touch Screens

Based on a real-time broadcastgraphics engine optimized tohandle the specific challengesposed by on-air interactivity, GS2Multi-Touch offers a multilayereddevelopment and delivery platformwith unrivalled potential. GS2 Multi-Touch empowers broadcasters totell the story in a highly intuitive andnatural manner while enabling themto interact with the content directlyand confidently.

TRACAB™ Player TrackingDemo Reel

The TRACAB™ System fromChyronHego it uses advancedpatented image-processingtechnology to identify the positionand speed of all moving objectswithin arena-based sports, anddoes so uniquely in true real-time.The resultant live data on highlyaccurate X, Y, and Z coordinates issupplied 25 times every second foreach and every viewable object,whether the object is a player,referee, or even the ball.

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ChyronHego products at BVE 2015

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NETIA strengthens global presence withsales manager appointments in WesternEurope and Middle East/Africa

NETIA announced that MathieuPoussin has been appointed to thenew role of sales manager for theMiddle East and Africa, and thatSéverine Olivier will shift into hisformer position to serve as NETIA'ssales manager for Western Europe.With these new appointments,NETIA reinforces both its globalsales force and its ability to deliverits software solutions worldwide.

"In his time here at NETIA so far,Mathieu has made the most of hisbackground in both IT and mediastorage, leveraging this experienceto bring our customers theinfrastructure and media

management solutions theiroperations demand. We expectMathieu will continue to excel in hisnew territory," said ThierryGandilhon, general manager ofNETIA. "Given her success workingwith our European clients and herimpressive technical expertise, weare equally confident that Séverinewill transition smoothly into her newposition as sales manager forWestern Europe."

Poussin joined NETIA in May2014, having most recently servedas a sales engineer for DCI, wherehe specialized in prospecting andgrowing major accounts, as well asdevelopment and sales ofinformation infrastructure solutions.He previously held sales andengineering roles for technologyindustry leaders such as HPFrance, Dell France, andStorageTek.

Olivier joined NETIA in 2012 andmost recently was head of projectmanagement in NETIA's OperationsDivision, where she handleddeployment of the company'ssolutions throughout Europe. Sheearlier founded and served as headof R&D at Zenvia, a companydedicated to using artificialintelligence technology to simulatehuman behavior, and she is theauthor of a patent related to thistechnology.

Poussin will continue to be basedin Paris at the Globecast/NETIAoffices. Olivier is based in Claret atNETIA's head office in the South ofFrance.

Ross videomakes changes to itsboard ofDirectors

Ross Video announcesthe retirement of BrianBaldry from its board ofdirectors and the appoint-ment of LorraineMastersmith. “We wouldlike to thank Brian Baldry forhis many years of service toRoss, helping to guide usthrough 18 consecutiveyears of continuous growth,”said David Ross, CEO ofRoss Video. “Brian hasmade many valuable contri-butions to our organizationand we have enjoyed hisdepth of industry experien-ce, level headed approachand insightful observations.”Brian Baldry, prior to joiningRoss’ board in 1996 had along career in the broadcastindustry serving with theCanadian BroadcastingCorporation as SeniorDirector of Engineering.

Lorraine Mastersmith hasjoined Ross Video’s boardand will serve as the corpo-rate secretary. Lorraine is apartner in the Business LawGroup at Perley-RobertsonHill & McDougal LLP inOttawa, Canada where herpractice focuses on corpo-rate finance and securities.In addition to her experien-ce in private practice,Lorraine spent many yearsas in-house legal counselfor two major Ottawa head-quartered multinationaltechnology companies.

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Vitec Group acquires SmallHD

The Vitec Group announced thatit has acquired SmallHD, the NorthCarolina company known for itshigh-quality, high-definition, on-camera field monitors used byvideographers, cinematographers,camera assistants and othercreative professionals across thefilmmaking world. SmallHD will beincorporated into the Vitec Group’sVideocom division, complementingits existing brands.

“With the rapid increase ofindependent filmmakers andvideographers, the need for quality,high-performing, end-to-endsolutions has never been stronger,”said Vitec Videocom CEO MattDanilowicz. “There is definitesynergy between SmallHD andVitec Videocom, especially given

that theirpioneering drivematches our own.The acquisitionenables us tooffer another setof professional and innovativesolutions for the productionworkflow, and takes us a stepcloser to fully addressing the needsof this expanding and excitingmarket.”

“We are looking forward tojoining the Vitec Group ofcompanies,” said Wes Phillips,founder and CEO of SmallHD. “It’sexciting for SmallHD to be includedamong the great brands that theyrepresent. We have aspirations tocontinue to build outstandingmonitors, and Vitec not only

encourages that entrepreneurialspirit but offers the support andexpertise we need to moveforward.”

SmallHD joins the VitecVideocom line-up of brands thatserves its users in broadcast,cinematography and professionalcontent creation. Other VitecVideocom brands includeAnton/Bauer, Autoscript, Autocue,Camera Corps, Bexel, Litepanels,OConnor, Petrol Bags, Sachtler,Teradek, The Camera Store, Vintenand Vinten Radamec.

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Visiware launches Enriched E-Commerce advertising withRue de Commerce

Visiware and Rue de Commerceannounced the launch of a newinteractive advertising format.Visiware’s Sync2Ad platformdelivers enriched advertising totelevision viewers and radiolisteners through synched ads onmobile devices. Using the Sync2Adplatform from Visiware, the Rue deCommerce experience is one ofthe first true synched second-screen ad engagements.

Using the Visiware Sync2Adplatform, Rue de Commerce userswho have downloaded acompatible app – including the Ruede Commerce app – can engagewith rich animation and graphiccontent which are synchronizedusing sound from ads running onradio or television. In the latestSamsung Note 4 smartphone TVad, the spot makes viewers want tolearn more about the product and,with a single click, Rue deCommerce offers additional product

information instantly, including testbenches, promotions, games, andmore.

“Our collaboration with Rue deCommerce enables us to deliverour Sync2Ad technology into adynamic e-commerce environment,across all channels. The solution isan answer to the needs generatedby new television and mobile usagebehaviors,” said Laurant Weill,executive chairman of Visiware.“Our alliance with Rue deCommerce represents a stepforward in the e-commercemarketplace.”

According to GfK’s ConnectedConsumer research (September,2014), 64% of TV viewers use asecond screen while watchingtelevision. Of these dual screeners,38% would like advertising to bebetter targeted and 24% would liketo be able to purchase productsdirectly from their devices.Smartphones and tablets have

radically changed TV consumptionand online purchasing behaviors.Marketing had to accompany thisrevolution in order to enhance andbetter inform the consumer,eventually linking brand, retailerand consumer. This link has nowbeen created with Visiware’sSync2Ad technology.

“This partnership, with Visiware,is a logical milestone in Rue deCommerce’s pioneering spirit. Formore than 15 years, we haveconsistently sought to renew theway people think about our clients’e-commerce experiences, and ourwork with Visiware enhances ourreach and engagement with ouraudience,” said Albert Malaquin,CEO of Rue de Commerce.“Innovation is what we are allabout, and we are particularlyproud to be the first on the marketto offer this technology to ourconsumers.”

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McGill University’s Schulich School students tackle loudnesscontrol with RTW TM3 Touchmonitor

RTW is pleased to announce thatthe sound recording department atMcGill University’s prestigiousSchulich School of Music now usesthe company’s TM3 TouchMonitoraudio meter to instruct students inthe art of loudness control.

Recording engineer and inventorGeorge Massenburg, an adjunctprofessor of recording arts andsciences at McGill, the largestuniversity-based school forprofessional music training andmusic research in Canada, seesloudness normalization as the nextmajor trend to hit the musicindustry. He points out that AppleiTunes, for example, alreadyfeatures controls for normalizing thesound across one’s library of songs(“Sound Check”). “Normalization formusic is spreading, and we want toeducate students to take advantageof this trend the best way they can,”he says. “We want them to be ableto make good mixes so they canwork going forward.”

The RTW TM3 is one way soundrecording at The Schulich School ofMusic is helping his studentsprepare for this future. With itseasy-to-use 4.3-inch touchscreenand large number of graphical andnumerical instruments showingsingle-channel and summing-loudness bargraphs, PPM, truepeak, SPL, loudness range (LRA)and correlation.

“Another benefit of having theTM3 readily accessible is when thestudents are working with multipleprojects at once,” explainsMassenburg. “To give the studentsreferences when they’re learninghow to mix, we’ll have them do anew mix but refer to another pieceof work. It may not even be thesame song—it may be somethingelse, but to reference that on anequal playing field—meaning equal

loudness—they’ve got to measurethe loudness of that external file. Soit’s very useful to have the meterright there. It’s not software. Itdoesn’t come and go with theproject. It’s a part of the setup.”

That setup is located in theSchulich School’s Studio A, wherethe RTW TM3 is part of a range ofsolutions the students use toconduct mixes. These includeEuphonix MC mixers, MergingTechnologies Pyramix, Avid ProTools, ATC, Genelec and JBLloudspeakers and monitoringsystems, among others.

“The TM3 helps the studentsadjust the loudness of a mix untilit’s roughly in the ballpark of theirreference mix,” adds Massenburg.“Then they can move ahead withmaking better mixing decisions. Wefind that elements that arepunchier, such as a snappier snare

or kick drum, really don’t affect theloudness as much as a constant,dense mid-to-upper frequencyrange, so students don’t have tosquash their mixes to make themstand out. It leads to more dynamicmixes. It’s a tool that we think isgoing to be more and moreimportant to students andpractitioners [as loudnessnormalization becomes moreprevalent in the music industry].”

Massenburg says his studentsfind it easy to work with the TM3.“It’s very clear. We have it pre-setso that 85dB SPL is the targetplayback level, and -24dBFS is thetarget recording level. Since itsrelative between their work and anoutside work, we can just kind ofstay in that one setup. It’s nice thatit’s flexible, but we don’t want it tochange too much, so everyone isalready up to speed on how it is setup.”

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Sonnet introduces new family ofoptical Thunderbolt™ cables

Sonnet Technologies introduced a new line of opticalThunderbolt™ cables designed to connect computers anddevices over longer distances in a wide variety of productionenvironments. With support for both 20Gbps Thunderbolt 2and 10Gbps Thunderbolt connections, the Sonnet OpticalThunderbolt Cables are thin, lightweight, and durable, withperformance equivalent to copper Thunderbolt cables atdistances of up to 60 meters.

The Sonnet Optical Thunderbolt Cables are ideal for use insituations requiring the computer to be segregated fromother equipment without a loss in functionality or data-transfer speed. One example is when a computer and otherperipherals must be remotely located in a secure equipmentroom, with the cable running out to a desktop with aThunderbolt dock that supports a display, mouse, keyboard,and other peripheral devices. Another example might be anaudio production workflow that requires a particularly quietoperating environment. The longer optical Thunderbolt cableallows devices with fans to be located in another room andout of earshot.

"Thunderbolt technology has been an amazing enabler ofhigh-performance device and display connectivity with anycomputer that has a Thunderbolt port," said RobertFarnsworth, CEO of Sonnet Technologies. "OpticalThunderbolt cables literally extend those benefits over verylong distances, acapability that isessential for many ofour customers."

Available in 5.5-,10-, 30-, and 60-meter lengths, theSonnet OpticalThunderbolt Cablesfeature Optical™Cable technology byCorning. Theyprovide dual-channel,bidirectionalconnectivity for10Gbps Thunderboltdevices, or 20Gbpsbidirectional supportwhen used with aThunderbolt 2 hostand Thunderbolt 2devices. The cablesare hot-swappable,and each can carryboth data and video.

Barco Silex’ FIPS-compliant DRBG IPintegrated ininnovative short-rangewireless ICs of DialogSemiconductors

Barco Silex announced that DialogSemiconductor successfully integrated theBarco Silex BA431 IP core into its shortrange wireless communication ASIC. Thiscore is a FIPS-140-2-certifieddeterministic random bit generator(DRGB) combined with a True RandomGenerator (TRNG) designed to enablesecure cryptography.

Today’s short-range wirelessapplications transmit an exponentiallyincreasing amount of data and voice. Formany of these applications, it is crucial tohave a reliable security againsteavesdropping or data manipulation. Butthe reliability of such a cryptographicmodule depends on its ability to generaterandom bits that are unpredictable even tothe strongest adversary.

“To meet this need, we designed a truerandom number generator, as an IP blockfor ASIC and FPGA solutions,” saidSébastien Rabou, Crypto IP ProductManager at Barco Silex. “Our BA431block is a purely digital solution. Thissolution combined with our DRBG hasbeen validated with the NIST800-22 testsuite on silicon and is FIPS-140-2certified, and is considered as an extraquality insurance to our customers”.

Dialog’s short-range wireless ICs areused in devices ranging from DECTphones and wireless headsets to gamecontrollers. They are among the mostefficient in the industry, ensuring e.g. amarkedly long battery life. To help expandtheir offering, Dialog designed a new IC,for which they chose to integrate theBarco Silex DRGB solution. In addition tobeing state-of-the-art, Barco Silex’ offer isan off-the-shelf solution with easyinterfaces; a solution that has beensilicon-proven in various solutions.

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Game Creek Video ups its game with eight new Grass ValleyKayenne K-Frame 3G switchers for mobile production trucks

For more than 20 years, GameCreek Video of Hudson, NH, hasbuilt a loyal following by providingthe best technology in the industryfor mobile video capture andbroadcasting in the sports andevent markets. At the center ofthose modern mobile solutions are1080p 3G-capable Kayenne K-Frame video production centersfrom Grass Valley, a Belden Brand.

Game Creek Video currentlyoperates a fleet of nearly threedozen mobile production trucks,and has just ordered a total of eightnew Kayenne K-Frame switchersfor its next set of mobile productionprojects. In addition, some of thenew K-Frame switchers will beinstalled on existing mobile units asGame Creek continues to upgradeits fleet. The company providesproduction services for many high-profile sporting events, such ascollege football and basketball,professional football and basketball,

auto racing, baseball and more.

“We have been using GrassValley equipment for our mostcritical switching functions from thevery beginning,” explains PatSullivan, president of Game CreekVideo, “so it was an easy decisionto stay with what we know works sowell. We’ve had a great relationshipbetween our two companies andour investments have alwaysexceeded our expectations inperformance, reliability and value.”

The agreement calls for eightnew switchers to be installed overthe next four years and includes allthe necessary training as well asfive years of full technical support.Game Creek Video will leveragethe new equipment to continue togrow its live production business asit maintains a presence at virtuallyevery major televised sports andpolitical event in the United States.

“Viewers expect high-quality,

cutting-edge video when they tunein to a live event, and our role is toensure they get just that,” addedSullivan. “Technology advances areexciting, but they also make ourprocess even more critical. Wecan’t afford to cut corners—wehave to make sure we have thebest technology available. GrassValley gives us that confidence.”

“It’s been so much fun to seeGame Creek Video grow andsucceed over the years,” saidSteve Ronneberg, senior vicepresident of sales and marketing,Grass Valley. “This next phase ofinvestment will play a key role inhelping them meet the needs ofcurrent customers and attract newcustomers, especially as theindustry moves toward UHD and 4Kcapabilities. Our solutions aredesigned to ensure they will beFuture Ready—securing currentinvestments to optimize tomorrow’sbusiness opportunities.

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Camera Corps captures rumble in the jungle

Camera Corps has once againsupplied its speciality cameras,controllers and expertise to theproduction of the latest season of“I’m a Celebrity… Get Me Out ofHere”. Contracted by GearhouseBroadcast, who supply all of thebroadcast technical infrastructurefor the show, Camera Corps’equipment and expertise has beenengaged since 2008.

Camera Corps supplied almost80 cameras to the production,including a number of its Q-Ballremote-controlled pan and tiltcamera systems with high qualitybuilt-in optical lenses. Otherspeciality cameras suppliedincluded Minishot remote heads,HD Mini Zoom cameras withinfrared mode, Hitachi DK-H32, andToshiba IK-HR1s and IK-HD1 minicameras.

The company also providedweatherproof housing for all of thecameras, as well as bespokemounting brackets, and controlsystems, such as joysticks andRCP control panels. The cameraswere used to film the celebrities incamp 24 hours a day during theirstint in the jungle, as well as duringthe Bushtucker Trials, and werecontrolled from the productiongallery located over 800 metresaway.

Camera Corps technicians wereon site for two weeks to completethe rigging of the cameras, and afurther week for rehearsals. Oncefilming began, the techniciansremained on site, maintaining thecameras and carrying out additionalrigging for the trials and otherchallenges as required.

David Sisson, Camera Corpssenior technician, says: “It is not anormal job. The jungle is incrediblyhot and humid and one of thechallenges is the weather. Whereasthe cameras can cope with therain, it is the storms and lightningthat can cause issues. That’s whyit’s crucial for us to be on site so

that we can ensure all of thecameras are working 24/7, so thatairing of the show can take place.

“We’ve been working on theproduction for the last several yearsand, as a result, we know what toexpect and how to deal with anyissues that occur.”

The show, now in its 14th season,was filmed on location in a tropicalrain forest in New South Wales,Australia. The first episode aired on16 November on ITV, the finale andannouncement of king of the jungle,Carl Fogarty took place on 7December.

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Wohler hires Rodney Hamptonas Senior Sales Executive, TimeTechnology, for the RadiantGridbusiness line

Wohler Technologiesannounced theappointment ofRodney Hampton assenior sales executive,time technology, forWohler's RadiantGridline of file-basedmedia transformationsolutions. In this roleat Wohler, Hamptonwill focus on growingsales of the company'stime technology product and developing the salesdistribution channel, extending awareness and adoption ofquality media-centric time-reduction and time-manipulationsolutions within the North American marketplace.

"We are excited to have an experienced sales specialistsuch as Rodney join the RadiantGrid team," said CraigNewbury, vice president of sales for Wohler's RadiantGridbusiness line. "Interest in the Tachyon Wormholeautomated retiming solution continues to grow rapidly, andRodney's experience with past media retiming solutionsgives him perfect insight into how best to deliver solutionsthat will take our customers into the future. Supported bythe rest of the team here, Rodney will offer a valuable next-generation solution to a market that he has served formany years."

Hampton brings more than 25 years of high-techexperience to his new role with Wohler. Over a span ofmore than 15 years, he managed the sale of timetechnology to major broadcast and cable networksincluding, Discovery, NBC, ABC, and CNN.

Prior to joining Wohler, Hampton was director of salesand manufacturing at Prime Image, where he managedsales and vendor relationships for the company's TimeTailor video time reduction product. Earlier in his career, hewas the strategic planner of product introduction at MicroPower Systems, spearheading the CMOS bipolar chip setthat has been deployed in radar systems for the B-1bomber program. Hampton holds certifications through theCenter for Manufacturing Education and AmericanManagement Association software development throughmicro MRP.

Hampton is based at Wohler's San Francisco Bay Areaheadquarters and reports directly to Newbury.

Riedel appoints RobertPennington as U.S. SalesManager, Broadcast, forEast Coast

Riedel Communications has namedRobert Pennington to serve as its U.S. salesmanager, broadcast, for the East Coast. Inthis new role, Pennington will assistcustomers in selecting and implementingRiedel's broad product portfolio of networkedcommunications and signal transportsolutions.

"With unusually rich experience acrossbroadcast production, networkedcommunications, systems integration, andthe broadcast and pro AV technology supplybusiness, Bob is equipped to approach eachcustomer and application with valuableinsight," said Christopher Street, generalmanager, North and Central America, atRiedel Communications. "For more than 25years, he has been immersed in the EastCoast media industry, and his exceptionalknowledge and experience in this area willbe immensely valuable as we continue tointroduce innovative new communicationsand signal-transport solutions to NorthAmerican customers."

Pennington began his professional careeras a broadcast television news producer atWCIV-TV in Charleston, South Carolina, andat WTOV-TV in Steubenville, Ohio. Whilewith WCIV-TV he also served as cameraoperator, video editor, and microwave andsatellite remote live truck operator.Pennington later served as program directorfor MDTV at West Virginia University, wherehe helped to design and supervise amultisite telemedicine program and workedto help standardize the university'sclassroom technologies. Subsequent roleswith systems integration firms and resellersincluded that of branch manager andaccount executive at SenecaCommunications and account executive atVideo Central South. He later served assales manager and product specialist atAnton/Bauer, commercial products managerfor Sima Products, and in businessdevelopment and sales roles at TexolveDigital.

Pennington is based in Connecticut andreports directly to Street.

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Grass Valley names AndrewThornton VP, Asia Pacific

Grass Valley, a Belden Brand, announced theappointment of Andrew Thornton to the position ofVP Asia Pacific, effective immediately. Withnearly 35years of experience in the broadcastindustry,Thornton will assume responsibility for allaspects of Grass Valley’s sales activities and growthin the Asia Pacific region.

Thornton joins Grass Valley from Harmonic, wherehe served for four years as the company’s vicepresident for the Asia Pacific region and took part in

in the acquisition of Omneon, where Thornton waspreviously employed.

Before joining Omneon, Thornton served as thevice president of Asia Pacific operations at AvidTechnology, the news and production systemscompany. He began his career at Sony Broadcastand Professional,where he worked in a varietyofsales and management roles during his 10-yearpost.

Thornton is a graduate of Bradford University inthe United Kingdom, where he earned an MBA anda BS in Managerial Sciences. He is currently basedin the company’s Hong Kong office and reports toSteve Ronneberg, senior vice.

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Maxcom Telecomunicaciones improves OTT Multiscreen offe-ring with Broadpeak Solutions

Maxcom Telecomunicaciones haschosen Broadpeak solutions toimprove its OTT multiscreenservice offering. Utilizing acombination of Broadpeak's CDNmanager, streaming server, andvideo delivery analytics solutions,Maxcom Telecomunicaciones cancost-effectively deliver more liveand VOD channels to subscriberswhile providing a superior quality ofservice (QoS).

"In order to expand our serviceoffering, we needed flexible,scalable CDN solutions that offereasy integration with our existingservice platform and guaranteequality," said Miguel Ceballos, VPoperations at MaxcomTelecomunicaciones. "Broadpeak'ssystems not only support a widerange of video formats, devicetypes, and third-party equipment,they are also very scalable,providing us with a future-proofsolution. Partnering withBroadpeak, we will be able toprovide our customers with a high-quality TV viewing experience thatincludes more live channels andvideo-on-demand, than everbefore."

Broadpeak's BkS300 and BkS400

servers offer broad format support(e.g., Apple® HLS, Microsoft®Smooth Streaming, Adobe® HDS,and MPEG-DASH), enablingMaxcom Telecomunicaciones todeliver HLS live and VOD contentto any screen. Leveraging HTTPadaptive bit rate technology, theservers guarantee that viewersreceive the best possible videoquality. The operator has alsodeployed Broadpeak's CDNMediator BkM100, a unified contentdelivery network manager, toeffectively manage load balancingand failover tasks. Based on anopen architecture, the BkM100offers seamless integration withservice platforms and content

management systems, making iteasy for MaxcomTelecomunicaciones to integrateinto the network.

In addition, Broadpeak's BkA100video delivery analytics softwaresolution aggregates data fromvarious components of the videodelivery chain, providing MaxcomTelecomunicaciones withmeaningful information about videoconsumption and service quality ina variety of formats. Using theBkA100, MaxcomTelecomunicaciones personnel areable to receive daily reports aboutcontent, sessions, VOD and liveservices, alarm information, andmore.

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Roundabout Entertainment, Hollywood, gears for 4K with LEA-DER LV5490

Roundabout Entertainment hasinvested in a LEADER LV5490SD/HD/4K waveform monitor inresponse to accelerating interest inultra-high-definition contentcreation.

"Given the rapid fall in price ofUHD home video displays and thestunning quality they deliver, 4K isnow the logical resolution for anynew production project," commentsStuart Clark, Roundabout'stechnical manager. "4K camerashave become very affordable.Because it transcodes to clean HD,shooting in 4K is the best possibleway to ensure a long commerciallife for new productions.

"Expanding our 4K servicesrequired a high quality testinstrument that we could applyacross our entire field of operation.LEADER's LV5490 is the ideal toolfor today's SD/HD/UHD world,allowing careful evaluation of videoand audio content in practically anysignal standard. It also enables usto make very precise checks of thetranscodes to ensure a clean signalthroughput from start to finish.

Equipped with eight inputconnectors, the LEADER LV5490accepts up to two 4K signalssimultaneously. Two sets of HD-SDI dual link signal can be

displayed at the same time. In SDImode, up to four signals can bedisplayed simultaneously. In 4Kvideo format mode, 3G-SDI duallink or quad link are supported. Upto four 3G-SDI dual link 4K videoinputs or up to two 3G-SDI quadlink 4K video inputs can bedisplayed (selectable).

The LV5490 can be operated in avery wide selection of test andmeasurement roles. These includewaveform, vector and picturemonitoring, SDI signal dataanalysis, cyclic-redundancy-checkerror, embedded-audio error, eventlog, data dump and timing display.Leader's CINELITE® II toolset alsocomes as a standard feature,allowing easy assessment ofrelative exposure and overallluminance. Waveform, vector andpicture display can be viewedsimultaneously on the LV5490screen. Simultaneous display andoverlay display of multiple SDIinputs is possible. Size and locationof individual channel displays canbe adjusted using a USB-connected pointing device.

In addition to its video test andmeasurement capabilities, theLEADER LV5490 incorporates aversatile selection of audiomonitoring and analysis tools.

These include 4 x 4channels of SDI audiode-embedding,lissajous display,surround sounddisplay and volumetricdisplay. Up to 16channels of de-embedded SDI audiocan be output asdiscrete AES3 feeds.

Additional featuresof the LV5490 includevideo frame capture,instrumentation screencapture, timecodedisplay, tally light andID display. Eye pattern

display, jitter waveform display andDolby decoding can be ordered asoptional facilities. A rack mountingadapter is also available.

The LV5490 is equipped tohandle the video signals via two-sample interleave as well as squaredivision. In square-division signalmode, the entire image is split intofour quadrants and each quadrantis transmitted in turn as a sub-image. In the case of two-sample-interleave, two consecutive pixelsare transmitted at a time. The firstpair goes to sub-image 1 and thesecond pair to sub-image 2. Thefirst pair of the next line then goesto sub-image 3, the first pair of thenext line going to sub-image 4, andso on. Each sub-image istransmitted separately to themonitor. This type of two-sampleinterleave is the approved standardfor 4K.

An additional feature of theLV5490 is Focus Assist, a LEADERinnovation that allows easychecking of low-contrast contentand fine image detail. Othercapabilities include a CIE 1931color space chart generator. TheLV5490 can show 4K signals in thestandard's full ITURecommendation BT.2020 colorspace.

LV5490 operators can adjust thesize of up to four displays on thescreen to suit specific tasks. Thisallows easy magnification andinspection of detail on theinstrument's 9 inch 1920 x 1080 HDLCD display screen instead ofbeing limited to fixed sizequadrants.

Fully portable, the LV5490 has afootprint of just 223 millimeters wideby 360 mm deep and a height of189 mm.

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NUGEN Audio at the 2015 NAMM Show

At the 2015 NAMM Show incooperation with Music Marketing(booth 6242, hall A), NUGEN Audiowill introduce MasterCheck, the firstmodern loudness tool for the musicindustry, as well as a significantupdate of Visualizer, the company'sindustry-leading audio analysis tool.For more than a decade, NUGENAudio has been serving the needsof music producers in over 50countries, from the hobbyist tosome of the biggest Grammyaward-winning names in theindustry.

MasterCheckMasterCheck is the first music-

industry-specific audio plug-indesigned to facilitate mix andmastering for the modern world ofloudness normalized playout.iTunes®, Spotify®, and DAB Radioall now use loudness normalization,and MasterCheck reveals how theconsumer will hear audio on theseand other music platforms by usinginternationally recognized loudness,dynamics, and true-peak standards.Ideal for every aspect of musicproduction including recording,mixing, mastering, compilation,archive, and restoration,MasterCheck can also be used forproducing podcasts at optimalloudness levels for dialog claritywithin the listener environment.

With MasterCheck, audio engineerscan employ a single plug-in toapply loudness matching anddynamic content analysis, usingtechniques such as peak-to-loudness ratio (PLR) to comparemultiple sources. The advancedside-chain loudness matching canalso be used to audition signalpaths, without the "improvement" ofincreased loudness, to understandprecisely how various effects, suchas compression, can change thesound with no influence from theloudness enhancement.

Visualizer Audio AnalysisSuite Version 2

Version 2 of Visualizersignificantly expands thecapabilities of NUGEN Audio'sleading audio analysis suitedesigned for high-end musicprofessionals. Ideal for musicmixing and mastering, as well asaudio post-production, Visualizerprovides comprehensive audioanalysis for recording, mixing, andmastering in a single plug-in. Astandardized reference set ofprofessional tools is designed tohelp audio engineers work faster,avoid mistakes, repeat pastsuccesses, and understand thesuccess of others.

Based on customer feedback,Visualizer now features numerous

user interface enhancementsincluding a fully resizable interface,a multiview feature that enablesengineers to compare multiplesources with a single plug-in, and a"difference" view showing thedifference between two inputsignals. Visualizer is available in aversion supporting Avid Pro Tools |HDX, as well as a stand-aloneapplication version.

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2014

Grass Valley brings reliability and high quality to JRTV’s bro-adcast infrastructure

The Jordan Radio and TelevisionCorporation (JRTV) is a Jordanpublic broadcaster that simulcaststhree programs on terrestrial andsatellite and functions as theprimary broadcaster for Jordan inthe Middle East, reaching millionswith breaking news. The stationdelivers a 24-hour Arabic broadcastcoupled with an English-languageservice for 21 hours a day and aFrench-language service for 13hours a day.

In an effort to improve its overallbroadcast infrastructure anddependability, JRTV has turned toGrass Valley, a Belden Brand, fornew routing, production switchingand server technologies. Thebroadcaster has purchased asolution that includes five 3G-readyK2 Summit transmission clientmedia servers and a master controlsuite that includes a router andmultiviewer controlled by a newJupiter routing switcher controlsolution. The installation wasmanaged by systems integratorAVC Al-Waseet, located in Amman,

Jordan, and his partner, Hannu Proof Latvia.

“We’re a full-time operation withlive news being broadcasted inseveral different languages, so thereliability and performance of ourtechnology is crucial to the successof our station. Grass Valley helpedus put together a uniquecombination of products that giveus the confidence to distributenews around the clock withoutworrying about failure. The power,speed and overall dependability oftheir product lines is trulyunmatched,” said Khalaf Al-Khawaldeh, director of engineering,JRTV.

At its core, the K2 Summittransmission client is built formission-critical operations bydelivering 24/7/365 reliability withtwo bidirectional channels and twoplayout channels, upgradable tothree. Jupiter routing controlcombines hardware and softwarethat gives JRTV full managementof all its devices with the simple

touch of a button on the Jupiternetwork. Jupiter interfaces with themaster control switcher to giveJRTV a range of flexibility, includingthe ability for up to eight on-air keysand four audio voiceovers, as wellas support for a multitude of audiochannels and branding sources.

“The need for more flexible andhigher-quality broadcast systems iscontinually on the rise, especially inthe Middle East where the market isseeing considerable growth,”commented Said Bacho, seniorvice president, sales, EMEA, GrassValley. “We’re delighted to workwith JRTV to improve their serviceswith technologies that are reliableand perform to an exceptionalstandard. In this ever-changingbroadcast landscape, it’s importantthat our customers are on theleading edge with their solutions,and our deal with JRTV is a perfectexample of how we execute thatplan.”

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2014

Ross Video releases streamline media asset and ordermanagement

Ross Video announced thatStreamline, their new media assetmanagement solution for graphics,is now available for generalrelease.

“I am so incredibly proud of whatour talented team here hasaccomplished in developingStreamline,” said Shawn Snider,Marketing Product Manager forRoss Video. “I am especiallyexcited for our customers and earlyadopters as we’ve crafted abeautiful and easy-to-use solutionthat dramatically simplifies assetmanagement for graphics, andprovides a powerful set of tools forany broadcaster to better managetheir workflows.”

Streamline is the next generationof asset management. Built on topof the Ross Video web technologyplatform, Streamline is a web-based

software product that integratesseamlessly with the RossXPression graphics system, andallows users to attach assets tographic templates via a simple dragand drop workflow. The softwarealso offers a rich variety of assetmetadata allowing users to easilyorganize and search their graphics,greatly reducing the effort requiredto find and reuse content betweenproductions.

Robust reporting tools inStreamline provide up-to-the-second data visualization of anymetrics in the workflow process.Insights can be used to betterallocate resources to the areas ofgreatest overall benefit to theorganization. Streamline reportingallows monitoring of details likeorder types, deadlines, orderingtrends, most ordered asset types,cycle times and more.

Streamline also provides theability to manage and prioritizegraphics production through itsorder management system. Thesystem offers placeholderworkflows for graphics that, whenfulfilled by the art department, areautomatically delivered byStreamline into the XPressiontemplate and ready to air.

“Asset management is a centralhub in production workflow today,”said Jeff Moore, Executive VP ofSales and Marketing at Ross Video.“Given our diverse product portfolio,investing in a revolutionary assetmanagement system with strongworkflow and integration betweenRoss’ many product lines is goingto be a huge benefit for ourcustomers. The name ‘Streamline’is a natural fit for what we’restriving to accomplish in thisspace.”

Budding cinematograp-her wins big with Millercamera support equip-ment’s AIR tripod sys-tem at the 2014 24/7Youth Film Festival

The 24/7 Youth Film Festival, whichencourages young people of ages 12 to 24to tell their stories through filmmaking, is afast-paced competition that requiresparticipants to make a seven-minute shortfilm in 24 hours. The film must includespecial items, dialogue and locations,stipulations that are only made known to theteams at the beginning of the 24 hours.

“We were so stoked,” says the 19-year-old. “24/7 is such a fast-paced film festival,so every second was crucial and it wasimportant that we didn’t waste any timefiddling with the equipment to set up theperfect shot. We actually worked with aMiller tripod on the production of Stew andwere so impressed with its light weight andflexibility. So, the fact that we’ve now wonone is so surreal!”

Produced in partnership with a few ofMorton’s classmates—Thomas Aslanian,Polina Pashkov, Samuel Allen, SebastianReategui, Cadhla Roberts, Claire Stokesand Ellen Wiltshire—from the University ofTechnology (UTS) in Sydney, Stew is a filmthat focuses on an altruistic woman whohands out free dinner to homeless people.But, along her journey, audiences becomesurprised as they discover the horrifyingsolution she cooked up to get people off thestreets. The film was awarded BestCinematography, Best Script, Best Sound,People’s Choice, as well as Best LeadingActor for the film’s leading lady, ClaireStokes.

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2014

Studiotech launch fast deployStudio Mobile NLE

Studiotech Belgium has designed and launched a newproduct, the Studio Mobile NLE, a complete flyaway NonLinear Editing system, with the prime objective of makingfield activities for editors and operators speedy, simple andreliable.

The Mobile NLE Studio offers all the power of a mobileediting system. Easy to set up, use and store, it is readilyportable to ensure coverage of any event at express speedby providing quality results and powerful graphics. Fieldproduction is a reality for most news editors and in manycases, they make do with a laptop that operates outsidetheir editorial offices. Working conditions, often difficult andunsatisfactory, frequently forces them to use add-onequipment involving connections that are sometimes basicand unreliable.

“The integrated Avid Media Composer editing solution isthe preferred choice of professional editors in film andtelevision. Fully integrated in a portable version, MediaComposer lets you manage large volumes of media. It iscompatible with most professional formats used in the videoworld. The Mobile NLE Studio takes full advantage of thenew features of Media Composer and enables fasterinstallation thanks to optimisation of the timeline, easyediting in multicam and full audio and voiceover control” saidRudolf Mecs, Managing Director of Studiotech Belgium, andenthusiastic promoter of this type of field solution.

The complete system includes Avid Media Composer, aLaptop (HP 17'' Zbook or similar, as required by customer),Avid Mojo DX data acquisition card, monitoring screen,video patch for I/O connections, and a microphone forvoice-overs. It complies with international airline regulations,is quickly operational with very easy, accessible inputs andoutputs, and is a lightweight system, cheaper to transportthan traditional tower or rack work stations.

The compact unit is assembled in an easily portable butrobust transport case and is designed for fast and easy setup, essential for NLE mobile studio use that may includetough field conditions. The new unit has recently beentrialled very succesfully in Senegal for the Sommet de laFrancophonie.

Televisión Canaria migrates to All-Disk Archive with DAC’s ALTO-II

Televisión Canaria, the broadcasting authority forSpain’s Canary Islands, has migrated its entire archivefrom LTO tape to an ALTO all-disk storage system fromDisk Archive Corporation. Initially configured with1600TB of storage, the ALTO replaces TelevisiónCanaria’s previous archive installation based on aRobotic Tape Library and a third-party ArchiveManagement system.

Two ALTO-II systems with four EX-60 expansionchassis and a dual ALTO Filer, the system’s Virtual FileSystem interface were provided by Datos MediaTechnologies SA to Televisión Canarias for the newinstallation based at the Videoreport Canariasheadquarters. The ALTO storage is integrated with thebroadcaster’s traffic, playout and newsroom systemsthrough an in-house developed Media Managementsystem. Clips are copied and transcoded usingsoftware developed by Videoreport Canarias, and eachsubsystem of the MAM exchanges material from theALTO in the required format. Access to the audiovisualfiles is via a network folder accessed from any point inthe network, making it easy for the broadcaster toimplement open-ended future developments.

“ALTO is a great alternative for mass storage; it is aversatile and scalable technology that’s simple to use,”said Vicente Tetuani, System Manager for VideoreportCanarias. “ALTO breaks the bonds of tape-based datasystems and minimizes maintenance costs. Thescalability of the system and the fact that it is based onstandard commodity disks gives us the flexibility topredict and manage the growth of the archive withsecure user-selectable replication for backups anddisaster recovery.”

ALTO-II is a scalable, flexible and highly securealternative to a Data Tape Library for media storage,offering faster access for many more users with a lowcapital outlay and very low total cost of ownership.ALTO takes advantage of recent developments in diskdrive technology and new strategies for data protectionto offer unique performance and economic benefits forapplications including media acquisition, productionand distribution, archives and content libraries.

“We have many years experience working on theintegration of MAM systems, and for this particularproject, the archive migration was incrediblycomfortable, transparent, and extremely fast,” saidDavid Martinez, COO of Datos Media Technologies SA.“The ALTO system was installed and configured inthree days, with the migration beginning the next day.Within two weeks we had already migrated 120TB ofcontent and created the corresponding protectionreplicas.”

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It has been a year of many innovations in the audiovisual mar-ket. Brands and manufacturers are developing products that

do more and more things at a lower cost. We are also witnes-sing the broadcast world fusion with traditional IP Internet,

with new technologies incorporating the telco market.Therefore, from this year TM Broadcast make an editorial

selection of what we consider are the most important equip-ment and technologies we have seen throughout the year. We

sincerely hope you enjoy the best of 2014.

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The take up of 4K/UHD within thebroadcast sector is happening atpace — driven by viewer demand,television manufacturers and a hostof other factors. While there arechallenges in transmitting 4K/UHDcontent to viewers, broadcasters andcontent owners are quicklyovercoming these obstacles.Transmitting 4K/UHD requires fourtimes as much bandwidth as HDand as 4K screens receive 16GB ofdata per second some level ofcompression is required. This canbe accomplished using losslesscompression that guarantees nodifference in quality, as well aslossy compression where a minimalamount of data is lost. The key tosuccess here is making sure thatthe data is used optimally and thelink used for transport is used tocapacity.

Over standard copper wiring,4K/UHD can be transmitted up to100 metres before a repeater isneeded. When transmitting 4K overSDI there are significant limitations;it can run over 100 metres of 6Gcoaxial cable, whereas 12G SDI willonly go up to 30 to 40 metres. Inaddition, SDI requires the use of abespoke infrastructure which iscostly and often presents its ownchallenges. IP, on the other hand,overcomes any distance limitationsand adds other benefits such ascost-effectiveness and reliability.

As a result, IP is ideal fortransmitting 4K/UHD signal as itcan be transported over any

distance. Adder, the IP-based highperformance KVM (keyboard, videoand mouse) specialist, has a rangeof switching and extension productsthat bring added functionality,flexibility and scalability to outsidebroadcast, the studio control roomand post production.

One such product — theADDERLink XD522 DisplayPortextender has 4K capabilities,featuring plug-and-playfunctionality, extension up to 150metres, USB 2.0 high-speed portand high resolution 4K support.

Adder Technology

4K KVM

John Halksworth

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Ergonomic and lightweight indesign with unmatched connectivity,CION is capable of shooting at4K/UltraHD and 2K/HD resolutions.In-camera recording directly to theApple ProRes family of codecs,including 12bit ProRes 444,enables incredible image qualitycapture to cost-effective AJA PakSSD media at up to 4K/60p, andoffers compatibility with a widerange of post productionapplications. CION also outputs AJARaw HFR at up to 4K/120p.

CION Features:

• Sensor: 4K APS-C sized CMOSsensor with an electronic globalshutter. 12-stops of dynamicrange.

• Recording Formats andResolutions: Apple ProRes 4444,Apple ProRes 422 (HQ), AppleProRes 422, ProRes 422 (LT) andApple ProRes (Proxy); 4K(4096x2160), UltraHD(3840x2160), 2K (2048x1080),HD (1920x1080). 2K and HD arehardware scaled from the full 4Ksensor for high-quality over-sampled images and retention offield-of-view.

• Media: Record to AJA Pak SSDmedia available in 256GB and512GB capacities. Transfer viaThunderbolt™ or USB3 withoptional AJA Pak Dock; Complete10-bit and 12-bit workflow fromHD to 4K.

• Raw Support: Output AJA Raw via3G-SDI at up to 4K 120 fps or viaThunderbolt™ at up to 4K 30 fps.

• Lens Mount: Industry standard PLmount

• Connectors: 4 x 3G-SDI/HD-SDIoutputs (4K/UltraHD/2K/HD), 2 x3G/HD-SDI monitor outputs withoverlay support, 1 x HDMI outputoffering support for 4K andUltraHD or scaled 2K/HD, 1 xHDMI output for 2K/HD, 2 xmic/line/48v XLR analog audioinputs , 2 x LANC control ports, 1x LTC input connector, 1 xReference connector, 1 x USBconnector, 1 x 10/100/1000Ethernet LAN connection, 1 xMini TRS headphone jack , 1 x 4-pin XLR power connector, 1 xinput power connector forattaching third-party batteryplates, 1 x P-TAP output powerconnector, 1x Thunderbolt™

connector.

• Optical Low Pass Filter and IR cutfilter: An integrated OLPF (OpticalLow Pass Filter) reducesunwanted moiré effects while stillretaining vital image detail. Theinfrared (IR) cut filter produceshigh quality colors within theimage by blocking unwanted lightwavelengths.

• Back Focus Adjustment: Themechanical calibration� of thedistance between lens and sensorallows finely tuned adjustments toensure �the sharpest imagequality possible.

• Industrial design: Lightweightmagnesium chassis, built-inconfidence monitor, standardplayback controls and connectorsplaced to optimize functionality.Integrated “cheese plates” fittedto both the top and the bottom ofthe chassis provide easy mountingof accessories. All CIONaccessory connection points useopen standards, including 15mmrods, 1/4-20 and 3/8-16 threadedholes, and M6 hirth-toothrosettes.

AJA Videosystems CION

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Anton/Bauer’s Digital BatterySeries is the first battery linedesigned specifically to powerdigital production for theProfessional Broadcast, Cine, andPro-video sectors. The PerformanceCharger Series utilizes newtechnology to deliver the fastestpossible charging sequence, whileexceeding the high-efficiencystandards required by today’srigorous shooting schedules. Boththe batteries and chargers areavailable in Gold Mount and now V-Mount options, a first forAnton/Bauer, whose proprietary GoldMount® system revolutionizedbattery mounts.

The Digital Battery utilizesconstant calibration to deliver atruly accurate power status and

features a new, easy to read fuelgauge. When the battery is attachedto a load, such as a camera or alight, it will conveniently report theremaining run-time in hours andminutes, allowing the user toeffortlessly track usage. If the loadvaries, the run-time will updateaccordingly. When the battery is notattached to a load, it reflects thestate of the battery charge as apercentage of capacity.

The Performance Charger Seriessupports the Digital Battery andfeatures a new, efficient chargingalgorithm for multi-chemistry,simultaneous charging. The newalgorithm ensures rapid charging ofup to four batteries at a time, allwhile conserving energy, eliminatingwaste, and reducing cost of

ownership. Software constantlymonitors the charging process anddischarge curves to ensure thateach battery is charged to its peakperformance. The PerformanceCharger series is nearly 40% moreefficient than traditional chargers,rendering large power suppliesvirtually obsolete. The ergonomicchargers are easy to carry, and thebatteries are easily removed fromthe charger, enabling smoothoperation in the field. ThePerformance Charger seriesautomatically detects which batteryhas the strongest charge andprioritizes it, ensuring that a fullycharged battery is always availablein the shortest amount of timepossible.

Anton/Bauer

New Digital Battery and Performance Charger Series

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In September 2014, AVT hasannounced that the companyincreases its DAB product portfoliowith the MAGIC TBR — a tunnelbreak-in rebroadcast system forDAB+. By default the MAGIC TBRworks as repeater to ensure theDAB+ provisioning within thetunnel. The DAB Ensemble isreceived by an antenna outside thetunnel, is filtered digitally andprocessed. Via the tunnel antennathe signal is re-broadcasted.

However, the MAGIC TBR alsoallows tunnel operators to replaceaudio programmes withannouncements to provideinformation and instructions in case

of an emergency. This is a highlyimportant feature since it isrequested by the EU TunnelDirective 2004/54/EC and willbecome mandatory for tunnelsexceeding a certain length.

In case of a necessary voicebreak-in all Audio subchannels areautomatically replaced by theemergency signal. Due to a newEuropean patent pending procedure,developed by the IngenieurbüroMulka, only one Audio Encoder isrequired despite different Audio bitrates. The complete Multiplex isfully replicated and replaced frame-synchronously. From the view of aDAB Radio a continuous signal is

received in terms of data rate,sampling frequency, errorprotection, but also CIF Counter,time etc. In this way it isguaranteed that the DAB receiverdoes not lose the synchronisation oreven re-scans the DAB band.

MAGIC TBR is implemented on asignal processor based hardwareplatform which is assembled in anoptimised way and achieves bestvalues in terms of powerconsumption and reliability. It isdeveloped in co-operation with theIngenieurbüro Mulka and will beavailable in the second quarter2015.

AVT

DAB Tunnel Break-in Rebroadcast System

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Blackmagic URSA is a trueprofessional digital film camera witha 4K sensor, global shutter and awide 12 stops of dynamic range.The wide dynamic range is superiorto regular video cameras or evenhigh end broadcast cameras andresults in dramatically better imagesthat look like true digital film. Thelarge Super 35 size sensor allowsfor creative shallow depth of fieldshooting and high resolution UltraHD, 12 bit lossless compressedCinema DNG RAW and AppleProRes™ allow for easy postproduction workflow with minimumstorage requirements.

Blackmagic URSA PL and URSA

EF Key Features

• Large high resolution 4K Super35 mm sized sensor with superiorhanding of image detail.

• Professional global shutter forsmooth pans and image motion.

• Wide 12 stops of dynamic rangeallows capture of increased details

for feature film look.

• Compatible with extremely highquality PL or EF mount lenses.

• User upgradable design allowscustomers to upgrade and changethe sensor and lens mount.

• Built in dual CFast 2.0 cardrecorders allow unlimited durationrecording in high quality.

• Open file formats compatible withpopular NLE software, such asApple ProRes and compressedCinemaDNG 12 bit RAW. Nocustom file formats.

• Support for ProRes HQ, ProRes422, ProRes LT, ProRes Proxyrecording at resolutions up toUltra HD.

• Features all standard connections,including dual XLR mic/line audioinputs with phantom power, 6G-SDI output for monitoring withcamera status graphic overlay andseparate XLR 4 pin power outputfor viewfinder power, 6G-SDI

monitoring input, headphone jack,LANC remote control andstandard 4 pin 12V DC powerconnection.

• Built in stereo microphones forrecording sound.

• 3 separate built in LCD monitorsfor camera settings and metadataentry. Large 10 inch screen foldsout for full resolution HDmonitoring with wide viewingangle and high brightness.

• Supports Ultra HD and 1080 HDresolution capture in 23.98, 24,25, 29.97, 30 up to 60 fps.

• Features liquid cooling systemallowing higher frame rates whenfuture sensors support thisfeature.

• Supports quick release tripodmounts and adding V-Mount andAnton/Bauer mount battery plates.

• Includes full copy of DaVinciResolve software color gradingand editing software.

Blackmagic Design

Blackmagic URSA Digital Film Camera

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The VB288 delivers visual contentextraction, status displays andalerts, and graphic displays ofmonitoring and analysis data to avirtual videowall display viewedthrough any web browser. Poweredby a standard high-specificationserver, the VB288 displays largenumbers of HD H.264 and H.2654K channels — even after encryption— in multiple browser windows forQoE verification. Users cancustomize the display within

minutes with any combination ofcontent extraction and othergraphical analysis displays. Inaddition to showing contentextraction displays and alarms forQoE verification of multicast andunicast channel streams over IP, theVB288 also supports display of HLSand MPEG-DASH to provide thesame verification of OTT streams.The ability to provide visual analysisof OTT and traditional multicasts inone and the same device is

exceptional.

The VB288 is a server-basedsystem for confidence verificationand monitoring of QoE, allowingtechnical personnel to view eachchannel as transmitted, monitoringfrom any point within thetransmission chain. This visualconfirmation of the content givestechnical staff an instant view ofany errors signaled by system-generated alerts, and allows them tooversee large numbers of channelssimultaneously, in a compactdisplay area. The display can bereconfigured flexibly across multiplebrowser windows. The VB288 hasthe power to display large numbersof HD quality H.264 and H.265 4Kchannels simultaneously, withintegrated graphical alerts based onObjective QoE tests. Displayelements that can be incorporatedinto the layout include BridgeTechnologies’ patented graphicaltimelines, loudness monitoringmeters, geotagged monitoring bymap display, and other elementssuch as timezone clocks. Thismeans that the VB288 can be usedto provide a complete range of real-time monitoring and analysisinformation configured in anycombination of graphical displays.

Bridge Technologies

VB288 OBJECTIVE QoE CONTENT EXTRACTOR

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The LIVE-X architecture isspecifically designed to meet thehigh demand for content creatorsand distributors to cost effectivelycreate, package and deliver anexponentially growing number ofassets to an ever increasing numberof delivery platforms and consumerdevices.

The LIVE-X architecture pullstogether key elements from Evertz'sMEDIATOR-X, ORT-RENDER-X and

3480TXE products areas to delivera revolutionary solution for highthroughput and short turn-aroundVOD asset generation and delivery.The LIVE-X architecture utilizeshighly automated workflows, hyperaccelerated rendering/transcodingtechnologies and Evertz SDVN10GbE networks, to deliverincreased operational efficiency andreduced time to market.

For linear channels, the LIVE-X

architecture also provides anautomated process for faster than

real-time channel origination withautomated QC eliminating the needfor costly and time consuming "lookahead channels".

With speeds of more than sixtimes real-time and highlyparallelized non-linear workflows,Evertz's LIVE-X architecture deliversa game-changing solution at acritical time in the market place.

Evertz

LIVE-X

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C-Cast Xplore is a web applicationwhich gives authorized users remoteaccess to EVS XT3 live productionservers. Studios, archivists andeditors can tap directly into theserver network in the outsidebroadcast unit for instant access toany camera, and transfer footage toany location:

• Studio production teams — selectcustomized content forrepurposed delivery to secondscreen devices, using images fromany camera and any angle toenhance and enrich the end-userexperience.

• Multimedia distribution packaging—select customized content forfurther repurposing to secondscreen devices, using images fromany camera and any angle toenhance and enrich the end-user

experience

• Archives — select and transferaction to be archived as it ishappening for instant access byall

• Access and review content (lo-res)available in the XT3 serversthrough a simple web browserfrom any location

• Unique multi-camera interfacemakes selecting angles easy

• Puts the content into the familiar,comfortable environment of thestudio and the edit suite

• Instant access and selection forrepurposing, re-packaging andsecond-screen companion apps

• Archivists can log and makecontent available as it ishappening

Sports and live events recordmultiple camera channels onto theEVS server networks, as part of theoutside broadcast productionoperation. Now, with C-Cast Xplore,that content is available, as ithappens, to producers, editors andarchivists — anywhere.

Additional content and commentcan be created from the comfort ofthe studio — lowering productioncosts. Using an intuitive browserinterface, anyone who needscontent can find it quickly andeasily. Part of the EVS C-Castconnected content platform, Xploremanages content transfers quicklyand securely, without the need todisturb the live production staff onlocation.

EVS

C-Cast Xplore

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The ZK12x25 offers the industry-leading zoom ratio of 12x to coverthe most frequently-used 25mmwide angle to 300mm on thetelephoto end. With its opticalperformance supporting 4Kcameras, the lens delivers premiumimage quality across a versatilerange of shooting scenes. TheZK12×25 features high-precisionlarge-diameter aspheric elements,designed with Fujifilm’s proprietarycutting-edge optical simulationtechnology.

The use of the “three movingzoom group*3” system, whichminimizes aberration fluctuationduring zooming, controls imagedistortion across the zoom rangewhile delivering edge-to-edgesharpness to enable videoproduction at premium image

quality. The ZK12x25 canaccommodate an optionaldetachable drive unit for electricmotor zooming, focusing and iris.Mounting the drive unit enables theremote control of zooming, focusingand iris (aperture) adjustment. Theavailability of the Zoom RateDemand*4 and Focus PositionDemand*4 controls means the lensoffers the operability equivalent toconventional television cameralenses, making it ideal for shootingmovies, commercials, dramas or liveTV productions.

Main specifications：

- Model name: ZK12×25

- Camera specifications: 35mm PLMount camera

- Focal length: 25mm - 300mm

- Zoom ratio: 12x

- T-No.: T 3.5 (25mm-273mm) T 3.85(300mm)

- Minimum object distance(M.O.D): 1.2m (4’)

- Object Dimensions (at the M.O.D)[Horizontal × Vertical]:25mm 937mm x 527mm300mm 77mm x 43mm

- Angular field of view[Horizontal × Vertical]16:9 aspect ratio *8:25mm57°32’ x 34°19’300mm 5°14’ x 2°57’

- Approx. size. (φ× Length)φ136mm x 401mm

- Approx. Weight: 8.4kg

Fujifilm

4K Cine zoom lens “FUJINON ZK12×25”covering 25mm—300mm focal length

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During the last eight years,Genelec has created a line of highlysuccessful Smart Active Monitoring(SAM™) products designed to adaptautomatically and accurately to theacoustic environment. Geneleclaunched a new generation of SAMsystems by introducing two newcompact two-way monitors, the8320 and 8330, and a newsubwoofer, the 7350, along with anentirely new and highly intuitiveGenelec Loudspeaker Managersoftware, GLM™ 2.0,complemented with a newmeasurement microphone andnetwork adapter unit.

The 8320 and 8330 monitorsfeature Genelec’s MinimumDiffraction Enclosure (MDE™),

made of recycled die-castaluminium as well as the advancedDirectivity Control Waveguide(DCW™) technology. While the8320 and 8330 monitors and the7350 subwoofer are small instature, they are outstanding inperformance and are part of thehighly integrated software andhardware solutions developed byGenelec R&D team. With theirfloating point digital signalprocessing engines and Genelec-designed Class D amplifiers, theseSAM systems will make youappreciate the forward thinking thatmakes Genelec the leadingbenchmark in audio monitoring forbroadcast, post-production, andmusic facilities.

Genelec’s SAM technology is anindispensable tool when dealingwith the challenging reality of smallroom acoustics. SAM technologyautomatically optimises and alignseach monitor and subwoofer forrelative levels, time of flight,subwoofer crossover phase as wellas individual room responsecompensations. So, even if themonitors or the production projectsmove between rooms, you canexpect that SAM technology willachieve the highest consistency inmonitoring by always providing aneutral sound stage imaging withlow distortion.

Genelec

Smart Active Monitoring Range

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The LDX 4K/UHD system camerais based on standard 2/3″ lensesand a new high-bandwidth digitalfiber transmission solution tocapture live events without thecompromises associated with digitalcinema optics. The LDX 4K/UHDsystem camera is the first 4K/UHDcamera on the market that isdeveloped specifically for sports andlarge-event live productions. Inaddition to the new camera, manyexisting Grass Valley products areready to support 4K/UHD workflowstoday such as switching, routing,editing, replay, multiviewer andmonitoring technologies.

Grass Valley’s 4K/UHD-readysolutions include:

• K2 Dyno Replay System with4K/UHD pan/zoom directlycontrolled from K2 Dynotouchscreen application

• Kayenne and Karrera VideoProduction Center switchers withK-Frame that are 3G ready withfull 1080p 50/60 supportscalable to 4K/UHD

• NVISION 8500 Seriesrouters that deliverframe-accurate 4K/UHDrouting and are central

to preparing for the additionalbandwidth required by 4K/UHDproduction

• EDIUS 7.4 multiformat nonlinearediting software, which canhandle both 4K/UHD and 8Kcontent

• Kaleido-Modular-X, a flexible andscalable multiviewer that isnatively capable of handling4K/UHD quad-link sources andseamlessly recombining them intoa pixel-perfect image

Grass Valley

LDX 4K/UHD

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Harmonic’s Ellipse® 3000 familyof contribution encoders optimizethe production and delivery of high-value video services for digitalsatellite newsgathering (DSNG) andlive sports broadcastingapplications, providing operatorswith superior video quality, thehighest level of function integration,and ease of use in an economical,compact package. The innovativeproduct family includes the Ellipse3102, a powerful contributionencoder specifically designed forfixed contribution over IP or telconetworks, and the Ellipse 3202, thefirst DSNG encoder with anintegrated broadcast satellitemodulator that supports both thenew DVB Carrier ID (DVB-CID)standard for reducing interference

between satellite signals and thenew DVB-S2X specification forimproving performance of DVB-S2satellite digital broadcasting. TheEllipse 3202 was recently used byseveral leading satellite operatorsincluding Eutelsat, Intelsat, RRMedia, and SES to test the DVB-CID standard, helping to make newstandard become a reality for thesatellite industry.

The Ellipse 3102 and Ellipse3202 offer a range of advancedcapabilities, including dual powersupplies and support for all SD andHD MPEG-2 and MPEG-4 AVCcodecs at 4:2:0 or 4:2:2 chromasubsampling and 8 or 10 bits. Fullyfirmware upgradeable, the encodersoffer a smooth and cost-effectivemigration path from MPEG-2 SD

4:2:0 8-bit to AVC HD 4:2:2 10-bitcompression schemes. In addition,the encoders feature 3G SDI inputsto support the compression of 4:2:210-bit 1080p60 content forcontribution applications wherepristine video quality is essential.

Options for remultiplexing andcascading allow the devices tooperate on a stand-alone basis withno need for external multiplexers orPSI generators. Featuring a compact1 RU footprint, rugged design, andplug-and-play deployment, theEllipse 3000 encoders are theperfect fit for DSNG vehicles,teleports, and flyaway packagesoperating on the C, Ku or Ka bands,simplifying installation and use.

Harmonic

Ellipse® 3000 Contribution Encoders

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This pioneering solution allowsmedia companies to manage videooperations and channel playoutfrom the cloud, enabling them toaccelerate new channel launchesand extend their brands and contentwith more freedom, visibility, andcontrol than ever before. “Today’svideo consumer has an increasingarray of alternatives from linear TVand Over-the-Top sources,pressuring media companies to takeaggressive action to maintainmarket share and keep viewersengaged with their content,” saidCharlie Vogt, CEO of ImagineCommunications. “VersioCloud’sdisruptive new technology is theultimate competitive advantagebecause it simplifies the creationand management of channels,advancing the monetization ofcontent into new demographic orgeographic markets. While otherofferings are burdened by hardwareCODECsor GPUs, VersioCloud is theindustry’s only solution that is

100% software running oncommercial off-the-shelf (COTS) ITplatforms.”

With VersioCloud, all of thetraditional integrated channelplayout functions are now cloud-enabled, including branding,graphics, automation, and servercapabilities. Also available as partof the cloud playout solution,Imagine Communications’ newlyannounced Magellan™ SDNOrchestrator software control systemand Selenio™ processing andcompression solutions allow thetransparent management of hybridSDI, ASI, and IP content, providinga seamless on-ramp and off-rampbetween IP and legacy basebandtransport to advance the transitionto IP.

Playout in the Cloud, enabled byVersioCloud, profoundly improvesthe interactions between contentproviders, distributors and networks,affiliates, and video consumers by

redefining the technology requiredto originate, store, deliver andmonetize video content. Thecombination of cloud-based playoutand hybrid transport enhances allparts of the broadcast businessincluding improved visibility tooptimize advertising playout,efficient methods of disasterrecovery, fast channel creation toaccommodate seasonal or one-timeevents, the expansion of brands andcontent into new markets and newgeographies without requiringexpensive brick-and-mortarfacilities, and a pay-as-you-goPlatform as a Service (PaaS) modelto greatly lower the cost and timebarrier to traditional methods ofestablishing linear and OTTchannels. By integratingVersioCloud with ImagineCommunications’ Zenium™workflow manager, mediacompanies can easily designPlayout in the Cloud workflows tosuit their particular needs.

Imagine Communications

VersioCloud

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The mc²36 audio console is anall-in-one mixing desk, with acomprehensive feature set thatcovers broadcast, theater, house ofworship, live and installapplications. The compact size ofthe console belies its power.Apowerful DSP micro-core withinternal 512x512 port audio matrix,and integrated I/O make it ideallysuitedto permanent installationswith limited space,as well astorental companies looking tooptimize transportation. As it isnatively equipped withRAVENNA/AES67 technology, the

mc²36 integrates seamlessly into IPinfrastructures. And for operationalsecurity, the console not only hasredundant power-supplies but alsoDSP redundancy.

In terms of connectivity, theconsole’s interfaces include 32mic/line inputs, 32 line outputs,eight digital AES3 inputs, eightdigital AES3 outputs, eight GPIOports, one MADI (SFP) port, threeRAVENNA/AES67 channels, and aheadphone jack. In addition to theonboard I/O, a MADI tie-lineconnection and three

RAVENNA/AES67 Audio-over-IPports provide future-proofconnectivity for up to 384 externalinputs and outputs, offering a totalcapacity of 496 physical inputs andoutputs. The mc²36 is also fullyprepared for intelligent networkingwith other mc²36/mc²56/mc²66consoles, and can be operated incombination with Lawo Nova audiorouters, giving instant access tothousands of audio channels. Lawomc² consoles provide intelligentmechanisms (including user-rightsmanagement) to allow input sharingbetween consoles.

Lawo

mc²36 RAVENNA mixing console

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As cellular uplinking has grown asa sector, creating a powerful newacquisition model for mediacompanies across the spectrum, sothe demand for ultimate resiliencehas grown. LiveU’s flagship LU500is a powerful and flexible responseto that demand. It takes thecompany’s expertise and packages itin a form factor that is driving themarket to the next level.

This small-sized unit with up to13 network links, including eightinternal bonded connections, ispowered by LiveU’s new multi-processor video encoding engineand fourth-generation patentedbonding algorithms. Weighing

around 1 kg (2.2 lbs), the LU500offers the ultimate combination ofhigh-performance and portability.

The world of newsgathering andsports coverage has changed andresponsiveness and speed ofcontent delivery are keybattlegrounds for media companiesfighting for market share. With boottime under a minute, andproprietary antenna modules forincreased performance, the LU500is a key tool for journalistsbroadcasting rapidly changingevents and requiring immediateturnaround.

For extra-resiliency in challengingconditions, the unit can be

connected to the LiveU Xtenderexternal antenna and to satelliteequipment to create a hybridcellular/satellite solution.

The LU500 also supportsadditional modems via external USBports and can be controlled by asingle operator in the field using anintuitive touch-screen interface orcontrolled remotely from anycomputer using the LiveU Centralmanagement platform. In additionto direct camera connectivity, theLU500 also supports inputs from avariety of field editing and switchingdevices, enabling multi-cameraproduction and real-time fieldediting.

LiveU

LU500

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Introduced to the market thisyear, the Cineline 70 is purpose-built for film and digital productioncinematographers who desire a newdimension in professional camerasupport. The robust fluid head isideal for use on feature films,documentaries and high-endtelevision commercial productionsthat require heavy payload, frequentre-rigging and a diverse range oflenses and cameras. It is set toaccommodate industry-leadingcamera mountings, including Arri,Sony, RED, and Canon, and also

features an Arri-compatible side-loading camera platform, along withan easy-to-fit 1225 Mitchell BaseAdaptor (optional) to suit traditionalMitchell Flat Base tripods.

With a lightweight design, theheavy-duty fluid head offersadvanced precision fluid dragcontrol with ultra soft starts andsmooth stops and perfect diagonaldrag transition. For easy setupchanges during and in betweentakes its counter balance systemswith “all-in-one-location” rear-mounted controls easily allow users

to capture the big picture. Inaddition to providing these industrystandard benefits, the Cineline 70Fluid Head also features anextended sliding range to promotequick and seamless rebalancing ofthe rig when lenses and accessoriesare changed resulting in weightdistribution shifts. Constructed ofcorrosion resistant alloy, theCineline 70 Fluid Head offers dualside mounts for monitors andaccessories, as well as anassistant’s box front mount.

Miller Fuid Heads

Cineline 70

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The turnkey TalkShow systembuilds upon Skype TX software fromMicrosoft for initiating, receiving,monitoring and managing videocalls, with a exclusive set of liveproduction tools. With TalkShow,users have access to customizablesettings for fully color correctinglive video calls (including featuresfor automatic color balancing) aswell as SDI-embedded audio, andcompressor/limiter, equalization,and adjustable head-room controlsfor further improving audio quality.These tools allow producers todeliver enhanced video/audioexperiences that are critical whenproducing credible, high-qualitybroadcast programming and are

simply not possible with standarddesktop video messaging products.Furthermore, the SDI inputconnected to the program out of thevideo mixer provides a real timeview of the final program to thecaller.

Additionally, producers usingTalkShow with TriCaster multi-camera video production systemswill be able to route Skype videocalls directly to and from a TriCasterover a network connection withouttying up an additional HD-SDIinput. TalkShow enablesbroadcasters to manage all aspectsof a live Skype video call in thecontrol room like any other video

source, and adjust the visual andaudio quality of each call. Theintegrated hardware and softwaresolution offers dual channelEthernet connectivity, two channels(1 in, 1 out) of HD-SDI I/O thatincludes reference signal,professional XLR audio support,Tally support and more. The 1RUsystem allows producers to easilyincorporate TalkShow into any liveproduction or studio. It used to takea lot of coordination, expense, andequipment to capture theseconversations live with satellitefeeds or it took piecing together ahome grown, desktop chat solutionthat left everyone wonderingwhether the call would hold up.

NewTek

TalkShow

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OPTIMOD-FM 8600 is Orban'sflagship processor. There are fourversions of Optimod-FM 8600.Model 8600HD and 8600S HD isthe full FM and Digital Radioversion and the analog FM-onlyversions are 8600FM and 8600SFM. The only difference betweenthe regular 8600 and 8600S is therack space they use. The 8600S isonly 1U high which makes it idealfor sites where rack space is limited

Featuring versatile five-band andtwo-band processing for both analogFM transmission and digital media,the 8600 provides the industry's

most consistent sound, track-to-track and source-to-source. Thisconsistency allows you to create asonic signature for your station withthe assurance that your signaturewill stay locked in, uniquelybranding your sound. The 8600provides stereo enhancement,equalization, AGC, multibandcompression, low-IM peak limiting,stereo encoding, and compositelimiting – everything that even themost competitive major marketstation needs to stand out on thedial. More than 20 excellentsounding, format specific factory

presets get you started.

The factory presets are fullycompetent "out of the box, user cancustomize them with easy one-knobLESS-MORE control in BasicControl, with 50 parametersIntermediate control or with morethan 120 in the Advanced controls,whose versatility will satisfy eventhe most finicky on-air sounddesigner. The 8600 offers 8500-style processing too. This allowsbroadcasters to run favorite 8500presets if they wish.

Orban

Optimod-FM 8600

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Tango supports AES67 and AVBstandards and is Riedel’s first fullynetworked and expandable platform.It will accommodate current andfuture standards in broadcast,theater, and live-event environmentsand can perform in a variety ofcommunications scenarios. Tango’sown dedicated intercom application,“My First Riedel” is a powerfulentry level application, which turnsthe Tango platform into an efficientintercom system that users can

tailor according to their needs,offering a matrix size of 40 x 80.

Riedel’s Tango TNG-200 isequipped with a high-resolution,full-color thin-film-transistor displaythat ensures perfect readability atall times. The unit’s intuitive front-panel controls simplify the recall ofpresets and adjustment of audiolevels.

The Tango TNG-200 features twointegrated Riedel Digital Partylines,

two AES67 and AVB-compatibleports, two Ethernet ports, oneoption slot, and redundant powersupplies. The system is 1.5 RUhigh and features a shallowmounting depth and low-noisedesign. It is fully compatible withall of Riedel’s current and legacyintercom panels, including thecompany’s new RSP-2318Smartpanel.

Riedel Communications

Tango

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The culmination of 40-years’production switcher designexperience, Acuity combinesseemingly limitless productionpower with aesthetic beauty andunprecedented connectivity. Acuityis an innovative, futuristic largeproduction switcher platform thatnot only delivers fast, efficient anderror-free production, but also isergonomically perfect andstunningly beautiful. When coupledwith Ross Video’s DashBoard system

manager, the custom PanelBuilderor the industry leading OverDriveAPC system, Acuity deliversproduction-control speed andefficiency as well as flawlessprogram creation, every time, all thetime.

Acuity’s control panel, which isfully modular and can be customconfigured to suit operator needs,was designed from the ground upafter considerable consultation withcustomers, partners and prospective

users to determine the idealergonomics and perfect feature set.Innovative manufacturingtechniques were used to constructcontrol surfaces that considerablyenhance overall operation and easeof use–and take productionswitchers to a whole new level.

A true interconnectedcommunications hub for the entiresystem, Acuity is the foundation forthe production room of the future.

Ross Video Technologies

Acuity

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Digital 9000 is a digital wirelesssystem that can transmit completelyuncompressed audio, artefact-freeand with superb dynamics.Targeting broadcastingprofessionals, (musical) theatresand high-profile live audio events,Digital 9000 sets a new benchmarkin digital wireless transmission. Thesystem, which includes the EM9046 receiver, SKM 9000 handheldand SK 9000 bodypacktransmitters, and a comprehensivesuite of accessories, has beenmeticulously designed for thehighest channel counts in today’sincreasingly dense frequencyenvironment.

The ground-breaking digitalwireless system is fitted with twotransmission modes to suit anyneed and environment. The HighDefinition (HD) mode will transmitentirely uncompressed, artefact-free

audio, as if a high-quality cabledmicrophone were used. The LongRange (LR) mode has beendesigned for difficult transmissionenvironments with many sources ofinterference. It ensures maximumrange with a proprietary Sennheiserdigital audio codec.

The system does not generate anyintermodulation products — the highlinearity of the entire system, fromtransmitters to antennas andreceivers, and a special transmitterdesign make laboriousintermodulation calculation a thingof the past. Transmissionfrequencies can simply be set in anequally spaced grid.

A large display with clearly laidout controls is at the heart of theEM 9046 receiver. Three displaymodes ensure that the RF or soundengineer has an optimum overview

of important parameters in livesituations and can change settingsquickly via an intuitive, icon-basedmenu. Channels can be monitoredvia the headphone output, eitherindividually or any number can belistened to combined. The modularEM 9046 receiver is a mainframethat accommodates up to eightreceivers internally. The receiversystem covers the UHF range from470 to 798 MHz (328 MHz band-width). To easily integrate thesystem into an existinginfrastructure, the user can choosebetween transformer-balancedanalogue or digital AES3 audiooutput modules, or a mix of both.System set-up is facilitated by abuilt-in graphical spectrum analyserto scan the RF landscape, and anRF level recorder for checkingreception and optimising antennapositions.

Sennheiser

Digital 9000

The BVM-X300 30-inch* 4KOLED master monitor is the flagshipmodel in Sony’s professionalmonitor line-up. This highperformance TRIMASTER EL™OLED monitor includes unparalleledblack performance, colorreproduction, quick pixel response,and industry-leading wide viewingangles. In addition, the BVM-X300supports High Dynamic Range modeand a wide color gamut conformingto DCI-P3 and most of the ITU-RBT.2020 standard*. By unleashingthese superb features and qualities,this master monitor makes an idealtool for a wide range of applications

such as colour grading and QC(quality control) in the 4Kproduction workflow.

In addition to the intrinsic high-contrast performance of theTRIMASTER EL™ OLED panel, thismonitor provides High DynamicRange mode. Peak brightness canbe reproduced more realisticallywith colours that are typicallysaturated in a conventional standarddynamic range. This mode canbrilliantly express sparkling townlights and stars in the night sky.

The BVM-X300 offers industry-leading wide colour gamuts. It

complies with the DCI-P3 colourgamut and supports the ITU-RBT.2020 colour space (not full),which is an international standardfor high-resolution video formats.Furthermore, it supports S-GAMUT3.cine and S-GAMUT3.

This master monitor supports both2 Sample Interleave (2SI) andSquare Division signals. It alsosupports HD signals including 3G-SDI single link for 1920 x1080/50p 60p, YCbCr 4:2:2 10-bit,and 3G-SDI dual link for 1920 x1080/50p 60p, 4:4:4 12/10-bit.

Sony

4K BVM-X300 OLED Monitor

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The GENESIX VideoServer is aflexible and reliable multichannelingest, graphic and playout solutionfor SD and/or HD. Thanks to itsversatility, the GENESIX VideoServercan be used almost anywhere in thebroadcasting environment. As a VTRreplacement (1 GENESIXVideoServer can replace up to 4VTRs), as a studio playout for newsproductions or as a multichannel24/7 playout automation in aplayout farm. Its features, such asstudio playout, playout automation,

automated insertions of overlaygraphics, CG, GPI and Routersupport, VDCP, traffic managementand automated gap-filling ensure areliable operation and easyintegration into existinginfrastructures and processes. TheGENESIX VideoServer supports allindustry-standard codecs andformats. Its client/serverarchitecture, as well as asimultaneous up or downscalingguarantee maximum flexibility. Theintegrated ingest function allows

automated recording via scheduledingest, loop recording, and manualrecording of video footage by meansof batch capturing or crashrecording to be carried out withmaximum efficiency. To meet thespecific request of the market,STRYME works constantly on theadaption of its client’s needs anddeveloped a newsroom playout —NewsEdit, as well a multichannelplaylist — ABRoll.

Stryme

GENESIX VideoServer

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Is a modular 16-channelaudio/video workstation with acomplete suite of tools for analyzingand managing audio quality, leveland loudness, metadata, Dolby D,E, and DD+ decoding and more.

BENEFITS:

◾Full 16 channels of simultaneous,mixed-format audio metering andmanagement

◾Customize two large highresolution LCD screens to displayapplication specific audio/videodata

◾32 presets enable completereconfiguration of the entire unitwith a single button press

◾Added support for SMPTE2020metadata handling, audio delayand loudness monitoring

◾Mix, sum and route program audiolive without the need for separateaudio console

◾Save and copy system presets toother units via Ethernet/Serialconnection to PC

FEATURES:

◾Monitor, mix, route and fully

manage SDI embedded audio,AES, analog or even TOSLINKsources

◾Ability for re-embedded audio inSDI output

◾Dual LCD screens with auto-detecting 3G/HD/SD-SDI video

◾16 Hot Keys enable one touchaccess to critical functions

◾Fully-customizable level metersincluding scale, color, range,thresholds, and more

◾Single screen view of 16 channelmeters/clusters, phase indication,loudness, Dolby D, E, and DD+presence and hot key assignments

◾Menu lockout function andredundant power supplies forsecure transmission chainoperation (optional)

◾"Super-Pair" feature offersadditional channel pair (17, 18)to monitor additional two intercomor PL intercom channels

MODULAR CARDS:

◾3G/HD/SD-SDI CARD: 16channel 3G/HD/SD-SDI dual inputAudio/Video module with 8 de-

muxed AES output pairs from SDI

(PN 829024)

◾AES INPUT CARD: 8 Pair (16-

channel) AES audio input module

(PN 829001)

◾AES OUTPUT CARD: 8 Pair (16-

channel) AES audio output

module (PN 829002)

◾ANALOG I/O & TOSLINK CARD:

8-Channel analog inputs on DB-

25; 8 channel analog outputs on

DB-25. Also includes optical

TOSLINK input (PN 829021)

◾DOLBY DECODER CARD: Field

upgrade for non-Dolby units.

AMP2-16V models support 1

Dolby D/E/DD+ daughter card

(PN 829014)

◾AVB Input Card: Monitor two 8-

channel AVB streams via 100

BaseT Ethernet port (PN 829009)

Wohler

AMP2-E16V-M

CTV, part of the Euro MediaGroup, is now one of the largestand most well-respectedindependent OB companies inEurope. Based in High Wycombe inthe UK, CTV has just taken deliveryof what has been described byspecialist UK coachbuilders, A.Smith Gt. Bentley Ltd. (ASGB) as“probably the largest OutsideBroadcast trailer ever built.” Theexpandable 84m2 full HD OBvehicle was manufactured byASGB in collaboration withProjectBuilders, a division ofBelgian broadcast and productioncompany VIDEOHOUSE. The truckcomes complete with a significantcomplement of DirectOutequipment including 25 KYRA

MADI monitoring and line checkingdevices which were speciallydesigned for CTV.

According to CTV’s Paul Francis,DirectOut are CTV’s first port of callfor all their MADI broadcastsolutions, and so when it came tospecifying equipment for their newvehicle, CTV got in touch.“DirectOut actually ended updesigning a new product based onour requirements which has sincebeen publically released,” recalledFrancis. At CTV’s request,DirectOut added a headphoneoutput on the front panel,incorporated PFT technology(Power Fail Through ensuring thatsignal transmission via the BNCMADI port is maintained in case of

power loss), enabled channelselection on the front panel to belocked as a precaution againstaccidental changes, and reducedthe unit depth from 25cm to 20cm.“We particularly appreciated theopportunity to be involved in thelater design stages of the KYRAMADI monitor as it ensured that wereceived the equipment mostappropriate to our project.”

In addition to the 25 KYRA units,DirectOut also supplied two M.1k2MADI routers along with some extraI/O modules and an ANDIAMOAD/DA converter.

“DirectOut equipment forms theprimary monitoring and routingsystem in this OB truck,” stated

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Francis. “Signals between the audiodesk, VTR/DDR, stage boxes andmonitoring are all routed usingDirectOut M.1k2 router. As for theKYRA devices, they have made theoperator and client monitoringmuch simpler and more flexible. Byusing the technique of constructingand routing MADI streams in thisway we have reduced audioinstallation cable in this truck byover 80%, which is a hugeachievement.”

CTVIn 1986, CTV has developed into

one of the largest and well-respected independent OBCompanies in Europe. CTVmaintain a refreshing and dynamicapproach to Outside Broadcastingthat is endorsed by our most valuedclient base of blue chipbroadcasters and high profileproduction companies.

CTV is built upon a highlymotivated team of television

professionals who have establisheda wealth of experience and know-how over many decades. Thy workall the way as a technical partneroffering cost-effective solutions astheir clients programme demands,is not only the latest technology inHD and SD OB fleet.

CTV works with the worlds’leading broadcasters andprogramme makers, these include:2 way Traffic, ABC, BBC, CBC,CBS Sports, Channel 4, Done andDusted, E! Entertainment, Endemol,ESPN, European Tour Productions,Five, Fox Sports, HBO Sports, ITV,Initial, Living, Matchroom Sports,MTV, NBC Sports, Sky One, SkySports, Turner Sports, TVNZ, TWI,Whizz Kid

DirectOut GmbH was founded in2008 by a team of professionalsound engineers headed up byStephan Flock, an award-winningclassical music sound engineerwith over 20 years’ experience indigital audio signal processingdesign.

DIRECTOUTThe company specializes in

developing essential pro audioconnectivity, networking andbridging solutions for broadcast,studio, live and installed soundapplications.

Unique in that all members of theDirectOut development team arestill active professional soundengineers, the company is thusfully focused on real-worlddemands and problem solving.

The product range, marketedunder the brand of DirectOutTechnologies®, offers solutions thatbuild bridges between differentaudio worlds and make systemsand formats more flexible. Audioformats supported include MADI,AES67 and RAVENNA.

Headquartered in Mittweida,Germany, DirectOut products aredistributed worldwide.

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More than 9,000 visitors attendedthe Radio Days event held byGerman public broadcasters’association ARD between 5-9November at the Center for Art andMedia Technologies (ZKM) inKarlsruhe, Germany. The audience

was presented with a programthat included live radio dramasand interviews, alongside thepresentation ceremony for therenowned German RadioDrama Award (DeutscherHörspielpreis). In addition tobeing aired on radio, theevents from Radio Days(Hörspieltage) werebroadcast via live audioand video streams onthe Internet, and alsorecorded for laterdownload from thebroadcastingstations’ mediacenters.

The qualitystandards thatthe publicbroadcasterssetthemselves

for streamingproductions like this

are close to those of theirregular productions – but theavailable budgets for theirproduction are lower. Historically,this would have presented someserious problems but new technicalconcepts promise a solution to thedilemma, as a test setup at statebroadcaster SWR proved duringRadio Days.

The events comprising RadioDays took place in different venueswithin the ZKM facilities. Forexample, the DeutscherHörspielpreis awards ceremonywas staged in the large hall, whileinterviews were conducted in alounge that was set up specificallyfor the purpose. There were fourcameras in use, whose signals hadto be sent to the control room,together with audio andcommunications signals. Sascha

Schwoll and Wolfgang Goetz (bothfrom broadcasters within ARD)devised a method to achieve thisefficiently and in a flexible way.Central to the concept were severalLawo V__link 4 Video-over-IPprocessors and crystal mixingcores. “With a Lawo V__link4 inevery venue, I exchanged all typesof signals in and from each venue.The V__link4 was housed in asmall stagebox in the venues,together with a crystal core thatcollected the microphone signals,”explains Schwoll. “We had videowith four camera feeds from eachvenue, plus a program monitoringsignal for the camera operators,and audio including the intercomsignals and GPIO control signalsfor the tallies.”

The signals were all collected bythe V__link4 and sent to the controlroom via a single 10-Gbit/sEthernet connection. “In theconventional way of working, wewould have used quite a lot ofcables”, says Schwoll. “That wouldhave had us questioning whetherthe program monitor was reallynecessary. And for the intercomsignals, we would have to set updedicated intercom units. At RadioDays, this was done by using thecrystal console that we have on siteto convert the mic signals and toembed the GPI/Os. The intercom iscontrolled by the InterCom Tool thatis integrated in the crystal. We tookthe audio signal from the cameraoperators, embedded them into thevideo signals – and we were done”.

In the control room the signalswere received by two furtherV__link4 units, and sent into aV__pro8. This pro8 functioned as apre-positioned video matrix, sincethe video mixer can only handlefour video signals.

Besides the flexibility, additionalbenefits became evident whenusing the Lawo equipment, andthese helped to further reducecosts. For example, the quad splitout of the V__pro8 was streamedvia WLAN to iPads that were

mounted in the camera tripods. Inthis way, every camera operatorhad a perfect overview of thecurrent pictures, and everybodycould create pictures accordingly.“When creating video streams forsmaller productions like this, wesimply have different workflows –faster and slimmer than at biggerand more complex productions withOB trucks. When doing a bigproduction, it is common to haverehearsals and every cameraoperator has his clipboard with thecamera schedules on them. Sothey know exactly, ‘OK, in Scene 1I film the long shot, and in Scene 2I do the close-up’. When doing asmall streaming production, thelead times are much shorter.Basically, we went into thisproduction without detailedrehearsals or camera schedules.The Quadsplit output that comeswith the V__pro8 is really a usefulfeature. and kept us from having toinvest in additional infrastructure.”

The approach to Radio Daysused a test setup that wasdesigned to extend thebroadcasters’ experience of thiskind of production. After a couple ofdays in use, the responses werevery positive. Sascha Schwoll: “Theresults are really unbelievable –especially taking into account howlittle effort we had to use to createthis output. Before, results like thiswould not have been possible – oronly by using a lot more resources.Especially during festivals like thisone – one hour streaming here,another hour of streaming there,and after that the interview from theinterview lounge… and all that withonly one team and one set ofequipment. So with this system wereally get a great scalability at avery good rate. We can deliver alevel of quality that compares withour colleagues in the big OB trucks,and that helps us to widen ourproduction portfolio from the hugeproduction to the slim and flexiblesmaller productions at the low end.

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Time-shifted services such ascatch-up TV, start-over TV andnPVR enrich live TV experiences,can be adapted for multiscreenviewing and offer new ways topackage live content alongsidetargeted advertising. Increasingly,consumers expect their videoanywhere, on any device and wantto view that content with DVRcontrols like time delay, pause orrepeat.

Pay TV operators can add valueto live broadcasts by creating VODassets in real time. Thoughcustomer satisfaction and loyaltyare important objectives foroperators, so too is monetization.Live-to-VOD capabilities offer newways to package live contentalongside targeted advertising.

To keep a competitive edge,content providers also need to beable to easily prepare theirtechnology infrastructures for livelinear streaming at the lowestpossible total cost of ownership.That strategy starts with acontinuously upgradeable videoprocessing and deliveryinfrastructure that can bringpremium live-streamed content to

viewers no matter what devicethey’re using or where they are.

Fixed-function hardware mightoffer good performance initially, butcan be quickly surpassed by morecost-effective and highly-adaptiveoptions. A software-defined videoprocessing platform provides fargreater flexibility and scalability,while extending the useful life ofinfrastructures as the industryevolves. By leveraging the mostpowerful general purposeprogrammable processors, thepower and efficiency of a softwareplatform can follow the same rate ofperformance and costenhancements as standard ITinfrastructure.

SOFTWARE-DEFINED

VIDEO ENABLES LIVE-TO-VOD

The flexibility of a software-defined video processing approachallows content providers to offerpremium live content whileextracting unmined value from thatsame content. They can enhancecore live linear streaming services

with catch-up TV functionality andmultiscreen delivery. By integratingad insertion capabilities, operatorscan even generate additionalrevenues through targetedadvertising.

By supporting third partyintegrations, a software platformcan allow DRM, ad-servers, andother video functions to be fullyintegrated into a unified system.Modular software-based platformscan also support a multitude ofoptional add-ons including videoprocessing specific to deviceprofiles, just-in-time packaging, oraudio transcoding. Live-to-VODfeatures such as nPVR and catch-up TV can also be supportedthrough modular softwarecomponents. Other possibilitiescould include video analytics,content protection systems and ad-servers.

When built upon a softwareplatform, a live-to-VOD system canquickly scale up through ground orcloud-based video processing. Asprocessing and storage capacitiesof cloud infrastructures improve,video processing can benefit fromincreased performance while

Txt: Keith Wymbs

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legacy hardware can berepurposed for less capacity-hungryapplications.

OVERCOMING LIVE-TO-VOD MULTISCREEN

CHALLENGESLive-to-VOD services can be

adapted to second screen devicessuch as PCs, smartphones andtablets. However, formatting live-to-VOD content to fit second screendevices is not as straightforward assimply playing back content on aTV set.

A live-to-VOD service needs to beable to repackage content, usingrecorded catch-up TV or nPVRcontent as mezzanine files, to awide variety of devices supportedby the pay TV operator. The systemneeds to be both scalable andflexible to support edge servers and

third party CDNs. With premiumpay TV content, it is also importantthat live-to-VOD servicesincorporate DRM technology toprotect valuable content regardlessof the device used for playback.

Whether it’s catch-up, start-over,nPVR, or pause TV, each live-to-VOD service implementation mustalso take into account the differenttypes of screens and networks inuse. Bandwidth, storage,monetization and security concernscan lead to complications that arequickly multiplied by the myriadviewer devices and scenariosinvolved.

By relying on a software-basedapproach rather than fixed-functionhardware, live-to-VOD systems canbe more easily upgraded toembrace new standards andfeatures as they emerge. By alsoincluding a just-in-time (JIT)packager that can adapt videostreams to network and device

parameters in real time, pay TVoperators can be prepared forwhatever comes next.

A NEW VIDEO

DELIVERY PLATFORM

FOR ADVANCING LIVE-TO-VOD: ELEMENTAL

DELTALeading cable and satellite

operators are already usingsoftware-defined video processingto enable multiscreen TV and time-shifting features. As the price toperformance ratios of off-the-shelfhardware continue to improve andprivate cloud IT capabilities mature,the business case for shiftingtraditional video encoding andmultiplexing to software-definedvideo systems is now compelling.

Elemental’s video processing and

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multiscreen delivery solutions areall built with a software-basedapproach. This allows for the rapidaddition of new live-to-VODfeatures and support for new typesof devices as they are introduced tothe market. For example, theElemental® Delta video deliveryplatform supports multiscreendelivery of advanced live-to-VODservices such as catch-up TV,start-over TV, and nPVR. The IPvideo delivery solution lowersstorage, bandwidth and transitcosts and helps content providersmitigate distribution expense bytaking ownership of greater portionsof the delivery infrastructure.

Already adopted in more than 10countries, Delta combines just-in-time (JIT) packaging, originservices, intelligent caching,dynamic ad insertion andreplacement, and end-to-end

encrypted content protectionfunctions in a single platform. Theplatform reduces multiscreensystem complexity with the ability totransform any input into any outputfor high-quality, secure videodelivery. The IP video deliverysolution lowers storage, bandwidthand transit costs and helps contentproviders mitigate distributionexpense by taking ownership ofgreater portions of the deliveryinfrastructure. Elemental Deltaenables video providers to leveragea single multiscreen deliveryworkflow for every connecteddevice, eliminating themanagement of multiple CDNs andnetwork topologies.

Unlike generalized multiscreendelivery services, Delta provideson-the-fly support for all majoradaptive streaming protocols,compression formats, and multiple

digital rights management (DRM)systems within a single framework.Among supported protocols areHDS, HLS, Smooth Streaming andthe MPEG-DASH standard, whichsupports on-demand, live and time-shift applications and services.Delta also handles H.264 deliveryand the high-efficiency videocoding (HEVC/H.265) codecneeded for next-generation videodelivery.

To secure content, the platformcombines embedded encryptionand decryption capabilities with JITDRM wrapping, enables protectedassets to be stored and movedefficiently through the network andapplies DRM in real time upondelivery. Elemental Delta has built-in failover and redundancy, whetheron the ground or in the cloud.