tvte may 2016 web

May 2016 I NAB Show Supplement

Looking back at

www.tvtechnologyeurope.com

Commentaryfrom Industry Leaders

LightingBuyers Guide

NAB Best Of ShowFull Winners List

01 TVTE May16 Cover_final.indd 1 04/05/2016 12:16

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4K, of course.

IP, defi nitely.

VR, yep.

There weren’t

a lot of big

surprises at

this year’s

NAB Show.

For once, Las

Vegas seemed

to eschew

glamorous tech

wonderments

and far horizon-

gazing and

focus instead

on the hard

graft of slow, gradual technological

implementation. A bold vision for the

future is always exciting, but sooner or

later you’ve got to roll up your sleeves and

do the hard work of getting there.

One thing that had people buzzing at

the show was the petitioning of the FCC

(Federal Communications Commission)

by American broadcasters to approve the

new ATSC 3.0 transmission standard. FCC

chairman Tom Wheeler immediately gave

it his stamp of approval by putting the

proposal out for comment.

Adoption of ATSC 3.0 would enable

interactivity, UHD, advanced emergency

alerts, more channels, mobile broadcast,

and datacasting for US TV transmission.

But will it be enough to keep traditional

US broadcasters on their feet? In the

following pages, you’ll get to read what

some of industry leaders think about

where we’ve been and where we’re

headed.

In this NAB look-back we also feature

a buyers guide to the lighting products

debuting at NAB (think fl atpanels),

and a full list of NAB Best Of Show

Award winners, bestowed by our sister

publication TV Technology North America.

I also invite you to compare this year’s

NAB Supplement with last year’s, to see

how right/wrong our industry leaders

have been. You can read it at our online

archive: http://www.tvtechnologyeurope.

com/digital-edition nNeal Romanek

[email protected]

LET’S GET TO WORK

LIGHTING UP NABOur buyers guide to the lighting gear on display at the NAB Show

DEEP STORAGEHow to store your data for the next billion years

14

NAB BEST OF SHOWThe full list of TV Technology North America’s Best of Show winners

25

12DOES NAB CARE ABOUT AUDIO ANYMORE?Peter Poers of Jünger Audio asks the question

www.tvtechnologyeurope.com 3 May 2016 TVTechnology

CONTENTS

22IN A HURRY FOR REAL IPJoop Janssen is impatient with the industry’s progress toward a truly IP landscape

8

03 TVTE May15 Contents_final.indd 1 04/05/2016 16:35

NAB REVIEW

For Broadcast Solutions, being a

hardware independent system integrator

and acting on a global scale, NAB is -

as it is for most in the business - our

most important show, besides IBC. This year

our company visited the show in order grab the

latest news on technology, but also to meet our

suppliers and customers. Although the company

did not have its own booth, we set up shop at the

booth of our partner, slomo.tv, to have a base for

our activities.

Of course the topics people (still) were talking

about at NAB were the transition to IP, 4K and

HDR, as well as hard/software and how to cope

with a future that demands both cost savings and

streamlined productions.

In my mind, to make the transition to IP as

smooth as possible, it’s clear that there’s a need

for standards that most members of the industry

can adhere to. In order to be part of this process

Broadcast Solutions signed a membership

contract with the Alliance for IP Media Solutions

(AIMS) trade organisation.

AIMS, which made its NAB debut this year,

promotes the adoption, standardisation,

development and refinement of open protocols

for media over IP. The association focuses on

IP standards in the broadcast industry that have

been developed using a collaborative, non-

proprietary approach, such as SMPTE 2022-6, VSF

TR-03 and VSF TR-04.

For us, it is of paramount importance to

offer future-proof solutions to our customers.

Promoting open standards in accordance with

major broadcast organisations, such as SMPTE,

VSF or AES, we are very much looking forward to

contributing to the goals of AIMS for the benefit

of all members in the broadcast business.

In our ongoing projects, we integrate the

hardware and technology of a multitude of

manufacturers. Interconnectivity and seamless

collaboration is very important to delivering

successful and working solutions.

4K IS ALREADY HERE

To say that 4K is on the rise is a bit of an

understatement - it is already here. Nearly

all important camera manufacturers at NAB

presented 4K/8K or HDR camera models, such as

GrassValley’s LDX 86N or Sony’s HDC-4800. With

several new products on the signal processing

and the production side as well, a complete 4K

production workflow can be easily achieved.

Being a specialist in building OB vehicles, we

already presented a 4K OB van at last year’s IBC

show and are currently working on several OBs

that are fully 4K capable.

The full 4K slow-motion and replay server by

slomo.tv caught our interest. The company’s Red

Arrow server offers four channels recording, four

channels search and two channels playback with

six 4K physical video ports – all in 4K 50p in a

single 2RU enclosure, outmatching most other

slow-motion solutions, and we look forward to

offering this game-changer to our customers.

FUNDAMENTAL TECHNOLOGY SHIFT

The move to IP, including the use of COTS

(commercial off-the-shelf) computing hardware,

we think is a fundamental technology shift and

It’s here, it’s happeningThis was the NAB show when 4K became a reality and the industry started to roll up its sleeves and make the IP switch, observes Rainer Kampe, CTO of German systems integrator Broadcast Solutions GmbH

www.tvtechnologyeurope.comTVTechnology May 2016 4

“To make the transition to IP as smooth as possible, it’s clear that there’s a need for standards that most members in the industry can adhere to”

04 05 TVTE May16 Commentary_final.indd 6 04/05/2016 12:11

a lot of manufacturers are trying to develop

solutions working on an IP-basis thus meeting the

requirements of the broadcasters.

For us, production solutions that are IP-ready

or can be utilised in remote productions are

common in our daily work. We think that the

shift to IP will be a slow process, and some

of the major manufacturers will address this

shift by developing solutions that work in an IP

environment as well as connect with legacy SDI

equipment.

For instance Riedel now offers its media

distribution network devices, MicroN and

MediorNet, in combination with the MetroN

core router to serve as a decentralised matrix

which includes clean video switching and non-

blocking broadcast. The MicroN units feature

MADI connections, and all I/O in the network

include synchronisation, embedding and

de-embedding options. Multi-viewing capabilities

and SMPTE2022-6 support are on the roadmap.

The same approach is followed by Lawo, which

offers an IP core routing environment that is on

the one hand in accordance with open standards

mentioned above, offers clean switching, works

with an SDN and sophisticated control solutions

and on the other hand uses a special hardware

approach to ensure interconnectivity to legacy

equipment.

Other solutions include systems like Imagine

Communications’ Platinum IP3 router. The IP3 is

being used by NEP in the recent upgrade to its

fleet in order to path the way to 4K and IP, since

the routers work in hybrid SDI-IP environments.

It will be interesting to see how these new

products and developments will be adopted

by broadcasters. Later this year, at the IBC

Show in Amsterdam, we think recent efforts

in standardisation will be more visible to the

industry. In Amsterdam we will present complete

projects that incorporate all these different

technological approaches to offer future-proof

solutions to our customers. n

www.tvtechnologyeurope.com May 2016 TVTechnology5

Broadcast Solutions became a member the Alliance for IP Media Solutions (AIMS)

04 05 TVTE May16 Commentary_final.indd 7 04/05/2016 12:12

NAB REVIEW

W hat Avid and our extended family

of customers and partners have

achieved with Avid Everywhere

over the past three years has

been nothing short of a revolution in the

media industry. It began as a concept and is

now the industry’s most open, integrated, and

comprehensive media platform. We see it making

a real difference to our customers’ businesses

and livelihoods in every corner of the world.

Developments to the MediaCentral Platform

have allowed us to move toward a world where

everything is connected. We believe the platform

is much more open, integrated, and flexible than

anything else at NAB. And the response tells us

it’s working: over 32,000 MediaCentral Platform

users (a 54% increase since this time last year),

400% growth in subscriptions, 200,000 first

product line registrations, and around 2,100 asset

management installations.

During the opening session of the third

annual Avid Connect event just before NAB,

Avid Chairman, President, and CEO Louis

Hernandez, Jr. revealed our latest innovations

and revolutionary announcements to a sell-out

crowd of over 1,200 - a record attendance for

the event - and ushered in the next phase of

Avid Everywhere. We also heard from media

organisations and developers who shared the

stories of their business transformations with

the Avid MediaCentral Platform, and talked

about what the unprecedented openness and

integration of the platform has allowed them to

achieve.

CHANGING WITH THE TIMES

Like the industry, it’s essential we change with

the times, and at this year’s NAB, Avid unveiled

a revolutionary new product family, NEXIS, that

was a big talking point of the show. We believe

the future is a fully virtualised collaborative system

that connects people around an integrated

shared storage platform.

Faced with increasing competition for a

share of consumers’ wallets and viewership,

broadcasters must build their brands and

embrace new technologies to stand out from

the crowd. Avid’s new graphics production

toolsets are now fully part of the platform and

deliver rich video and graphics capabilities,

integrated 4K workflows, and powerful broadcast

enhancements for news and sports production.

NBC Olympics will benefit from these powerful

solutions with the announcement of their ninth

partnership with Avid to provide content creation

and media management workflows for their

production of the Games taking place in Rio de

Janeiro, Brazil this year.

SETTING THE IP STANDARD

This year, we’ve seen an emerging trend of large-

scale media organisations moving away from

purpose-built technologies like SDI and coaxial

cabling for transporting the large payloads of

audio and video data. Instead, they’re passing

these over standard IP networks, and an eventual

industry-wide adoption will transition the industry

to format-agnostic infrastructure while easing the

migration to emerging image formats, including

UHD and HDR.

To future proof customers’ workflows, we’ve

extended the MediaCentral Platform to support

emerging open technology standards for the

delivery of professional audio and video streams

over standard IP networks. By integrating file-

based workflows with live signal-based workflows,

Avid aims to complete the digitisation of the

entire media value chain, enabling new workflows

while unlocking new levels of efficiency.

Future updates to the platform will enable Avid

customers to orchestrate automated content

flows that span all facets of media content

creation and distribution, incorporating Avid tools

and infrastructure as well as partner solutions

from its growing ecosystem.

PLATFORM FOR EVERYONE

Fragmented technology is a major challenge

in the industry, and our customers are wasting

valuable time and financial resources on

integration efforts. Broadcast and media

organisations currently face a highly fragmented

vendor landscape, and many are spending up

to 25 per cent of their IT budgets on integrating

disparate systems.

Through the openness of the Avid

MediaCentral Platform, we’re bringing together

the industry’s best solution developers to make

media workflow integration easier for customers.

At Avid, we’re continuing to build a fully

open, global ecosystem where everyone works

together, not only with Avid products, but for

every product in the workflow – creation, audio,

video, management, storage and distribution – as

part of one cohesive process. n

Sign of the timesJeff Rosica, SVP, chief sales and marketing Officer, believes Avid’s MediaCentral Platform is more open, integrated and flexible than anything else at NAB.


“Fragmented technology is a major challenge in the industry, and our customers are wasting valuable time and financial resources on integration efforts”

This year’s Avid Connect event ushered in the next phase of Avid Everywhere

06 TVTE May16 Commentary_final.indd 6 04/05/2016 11:06

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TV Tech Euro Ad 08-15 JN150814.indd 1 3/8/16 4:17 PMFull Page Template.indd 1 3/10/2016 10:00:04 AM

Although there were a few traditional

tungsten and HMI lights at NAB,

almost all of the new lights were

LEDs - one exception being a

particularly powerful Plasma light.

One of the most interesting introductions

was a Kickstarter project from Videolights. The

Softpanels LED lights have a built-in colour meter

in each light, allowing them to match the colour

temperature of the room (and the Kelvin output

of the light, from 2700-6500K, is promised to be

accurately matched to the reading on the control

panel). They also have a Skin Tone Enhance

button, to give slightly warmer, more flattering

skin tones.

The lights cost from $1,195 to $4,295. They

offer 100 to 1 per cent flicker-free dimming and

come in three sizes. The 600W 3x4ft unit can

plug into a household power outlet, while the

300W 2x3ft and 100W 1x2ft can both be run off

camera batteries. They come with a honeycomb

grid, gel frame, and soft case, and can be

mounted vertically or horizontally.

Indeed, soft panel lights were the big theme at

the show.

SHINING HIGHLIGHTS

Photon Beard’s new Highlight LED range of

remote phosphor studio soft lights come

in 3200K and 5600K, using a semi-tubular

polycarbonate phosphor panels that take about

30 seconds to replace. Future phosphors are

likely, such as green for green screen work, and

4000K. The lights range from 90W to 360W, have

DMX and local dimming and passive cooling.

They are designed to directly replace Photon

Beard’s popular studio fluorescent Highlight

range, using the same range of accessories,

but require slightly less power (90W compared

to 110W for fluorescent), while being slightly

brighter. The lights come with a five-year warranty

for both quantity and quality of light, and the

TLCI should be about 97 as it uses the same

technology as its Photon Beam 80 LED.

Kino Flo’s new Select and Diva-Lite LED lights

are colour tuneable (2700-6500K). Users can

also add full green or full magenta to match even

poor lighting in an office. If you add a bias, it will

follow the curve through any Kelvin adjustment.

They can dim to 2 per cent, with wireless

DMX I/O (using Lumen Radio), have four user

memories and can run off a battery. The Diva-Lite

LED (expected August) has built-on ballast, while

the DMX Select 30 and 20 LED allow users to

easily take off the ballast to reduce weight.

Rosco previewed its new Silk 110 soft light LED

luminaire, which offers precise colour quality and

powerful output in an ergonomic form factor. It is

tuneable from 2800-6500K, with a TLCI rating of

97 at 3200K. The portable (4.2kg) fixture operates

under mains power as well as Anton/Bauer or

V-lock batteries, and outputs 1700 lux at 1m at

5600K, with DMX and local control.

Zylight’s new Pro-Panel variable colour

temperature (2700-6500K) LED soft light also

made its debut in Las Vegas. It is available in 1x2

and 2x2 configurations, and is fully dimmable

with a wide, 110 degree beam angle. The rear

panel includes colour and dimming control

knobs, plus two custom preset buttons.

SOFT AND GENTLE

The new Litepanels Astra Soft is the same as the

full power Astra, but with a softer look - with

no need to fit a soft box. The flicker-free 110W

bi-colour 1x1 unit goes from 2700K (TLCI 99)

to 6000K (TLCI 96). It is a little deeper than the

Astra to take the diffuser away from the LEDs - to

eliminate the risk of multiple shadows. It is 0 to

100 per cent dimmable and takes Gold mount or

V-mount batteries and any Astra accessories.

DMG Lumière’s new 85W Mini Switch LED

light has a TLCI of 90-94, and comes in 5600K,

3200K or bicolour versions. It weighs 1.8kg, and

compliments DMG Lumière’s existing 3kg soft

light, the SL1 Smart Light.

Cineo Lighting’s new HSX, colour-tuneable

(2700-6000K) LED soft source, is a compact,

25,000-lumen LED fixture that is claimed will

remain consistent throughout the life of the

fixture with no colour shift or need for calibration.

There is also no colour shift over the full dimming

range. The 400W light weighs 11.3kg and costs

$3,995.

Lowel has extended its range of Prime LED

studio lights with three new Studio LED BiColor

BUYERS GUIDE: LIGHTING

The bright stuff: Soft panel lights shine at NABLEDs and softpanels took the spotlight at NAB 2016. David Fox illuminates us on the best of lighting tech on display


Cineo Lighting’s HSX compact colour-tuneable 25,000-lumen fixture

Flash bulb: Hive Lighting’s 1000W

Plasma is equivalent to a 2.5kW HMI

8 9 10 TVTE NAB Lighting round-up_v2.indd 8 04/05/2016 12:19

Prime models. The units retain the Prime’s

wide 50 degree-beam angle, and are fully DMX

addressable, dimmable and controllable.

They are: the 85W PRM-200-BI; the 135W

PRM-400-BI; and the 210W PRM-800-BI, all of

which are tuneable between 2900-6300K and

support 90-240v at 50/60Hz.

ROCK ON

The Exalux Rock (from $1,600) is a new square

LED light that is tuneable (2700-6500K), water-

resistant (IP54), and includes a V-lock bracket. It

offers long battery life on tiny BP-U batteries (up

to one hour, 20 minutes on the 50Whr fixture),

outputting 1700lux at 1m, 98 TLCI at any colour

temperature. Both DMX 512 and Bluetooth 4.0

control are supported. It is compatible with the

Exalux X.Lite wireless control app for Android.

The bright new Ikan Rayden LED light panels

come in either bi-colour or daylight versions and

have more than 600 LEDs in the 1/2x1 and 1100+

LED’s in the 1x1, with 45º lenses. They come in

pro battery or DMX512 versions, with barn doors.

Also new is the Ikan’s Lyra LED Soft Light, in

daylight or bi-colour versions, in 1/2x1 and 1x1

models, with a 110º beam. Both Anton/Bauer and

V-mount battery plates are included.

Arri has expanded the capabilities of its

SkyPanel lights with free firmware. This adds:

emulation of Rosco and Lee gel libraries; a Low

End Mode for more accurate colour at very

low light levels; Tungsten Mode, to mimic the

dimming curve and strike on-and-off effect of

traditional tungsten lamps; DMX fan control;

four Dimming Curves for greater control; both

Remote Device Management and Art-Net

implementation; the ability to save error logs to

USB; and save/load presets or settings via USB.

Chimera Lighting also introduced Tech

Lightbanks for Arri’s SkyPanels, with one for the

S30 and two versions for the S60.

FX LIGHTS

The new Rotolight Anova Pro LED studio/location

light weighs 10 per cent less than the previous

version, has a new Flash Sync Trigger input,

redesigned electronics and 25 percent more

LEDs, making it up to 43 per cent brighter than

the V2 Anova, with the ability to flash at up to 300

per cent brightness.

It includes CineSFX (for customisable lighting

effects), Flash Sync, True Aperture Dimming

(which calculates and displays the correct

aperture for your subject at a given distance), and

Designer Fade (custom fades up and down), and

costs from £999, shipping in June. WiFi operation

will use an optional Anova Air module.

FRESNEL LENSES

Zylight launched the new F8-300 LED Fresnel

at NAB and has just started shipping its more

portable F8-200. The new LED lights are more

powerful versions of its F8 collapsible light.

The passively cooled 300W F8-300 is claimed

to be brighter than a 575W HMI Fresnel or a 2kW

tungsten fixture, and comes in 3200K or 5600K

versions, with adjustable beam spread (16-70º) for

spot and flood. It can be controlled via DMX or

via the built-in ZyLink wireless link.

Also new is the $129 ZyLink Bridge, a

lightweight, wireless fob, which allows users to

control multiple Zylights from an iPhone or iPad

via a free app. It includes four effects (crossfade,

strobe, police, and flame) and presets to save

lighting assignments.

Kinotechnik’s new Practilite 602 is claimed to

be the world’s smallest bi-colour (3000-6000K),

variable beam smart LED light that is smartphone-

controlled (iOS and Android) to adjust brightness

and colour temperature. This allows multiple

lights to be set up and controlled very quickly

without having to leave the camera.

The $967 Fresnel lens design can work on

V-mount batteries, and up to six fixtures can be

controlled via Bluetooth at a 10m range.

Also new is the daylight Litepanels Sola 6C

LED Fresnel, which offers better colour and is

brighter than the original Sola 6 (comparable to

a traditional 200W HMI). The 104W 6in Fresnel

lens promises an even light source that can be

focused and controlled, and dimming from 100

per cent to 0. It has focus control from 67° to 15°

beam via on-fixture dial or DMX and a TLCI of 95.

Lowel had two new Fresnel models - one with

a 5.5in/13.75cm lens at 146W, the other with a

DMX motorised 7in/17.5cm lens at 185W, in both


Fresnel refresh: The brighter new Litepanels Sola 6C LED Primed and ready: Lowel’s new Studio LED BiColor Prime panels

Light & Motion’s waterproof Sidekick lights can go anywhere a GoPro can go

High flier: Litepanels’ bi-colour Astra Soft


daylight (5600K) or tungsten (3200K) versions,

with 12-50 degree adjustable beam angles.

SPOT ON

Dedolight’s new 90W DLed 7 (tungsten, daylight

or bi-colour 2700-6500K) is twice as bright as the

previous DLed 4, which uses the same housing

- a very quiet active cooling system enables the

use of higher wattage LED light sources. It will

cost about £1,000 for the bi-colour unit, or about

£700 for a single colour light.

They offer a very wide angle for flood and

are claimed to be flat from edge to edge (with

no hot spots). A new wheelie case kit will cost

about £3,500 for a three-light bi-colour version,

including stands, barn doors. There will also be

battery versions. They work with any accessory

that can be used with a traditional Dedolight.

ON CAMERA

For on-camera use, Manfrotto has a new range of

dimmable LED lights powered by Litepanels, with

four compact fixtures. They range from the 650-

lux Spectra 2 – a low-priced daylight unit – and

two 900-lux lights – the daylight-only Micropro

2 can be used with AA or Sony L-series batteries,

while the tuneable (3100 to 5600K) Croma 2

adds D-Tap and AC power.

The new 1500-lux Lykos half-panel light is

similar to Litepanels’ Astra family, and has the

same output as the old Litepanels 1x1 in half the

size (daylight or bi-colour).

WATERPROOF

Light & Motion has added to its three 100m

waterproof Stella lights with a new 7000-

lumen Stella Pro. The light has an integrated

rechargeable battery that allows it to run 90

minutes on high or up to 12 hours at a lower

output. These compact lights should withstand

a 1m drop onto concrete, and the 5000K LEDs

have a TLCI of 90+.

For drone use, there is the new 70W Stella

5000d Drone LED Light. The 5000-lumen light

can be fully controlled from the drone controller

including on/off, dimming, and a power-saving

strobe mode for photography. It weighs 750g, is

88mm tall, with a native 120 degree beam and a

TLCI of 93.

Light & Motion’s small new Sidekick lights

are waterproof to 60m and can be used with a

GoPro mount or a cold shoe. The $150 Sidekick

Duo offers spot and flood, while the $130

Sidekick is flood only.

They are ideal for GoPros or other small

cameras, are light (123g), and run for 60 minutes

at full power (600 lumen) or 240 minutes at 150

lumen from the built-in battery.

PLASMA ARC

Hive Lighting’s new 1000W Plasma bulb is five

times brighter than the current 250W Plasma

bulbs, producing the equivalent output of a 2.5kW

HMI or 10kW Tungsten incandescent. It is claimed

to be “the highest output light you can plug into

a wall” and “the highest quality artificial daylight

ever produced”.

The single point source arc lamp promises

50,000 hours bulb life and colour adjustment

between 4600K and 6500K. The Wasp 1000 Par

and Bee 1000 Flood will be available in June.

It also launched an affordable pocket colour

meter, the Hive Antenna, which is operated by a

single button and can be charged with a phone

charger.

AAdyn Technology showed three upgraded

models from its JAB series – the JAB V2 Variable,

JAB Daylight and JAB Hurricane. The lights deliver

30% more foot candles than previous versions.

AAdyn also introduced a new version of its

Punch Plus fixture that is 50 per cent brighter.

The Punch Plus Variable is a variable colour

temperature LED fixture with a Kelvin range from

2950K to 6200K and delivers an impressive 6000

foot-candles at 10 feet. Dimming, along with

lightning and strobe effects, can be controlled via

a built-in user interface, remote user interface or

DMX/RDM control. n


DMG Lumière’s lightweight new 85W Mini Switch LED lights

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T his year’s NAB visitors interested in

sound had to do a lot of walking.

Audio companies were spread out

everywhere – from North Hall to South

Hall – and this made them difficult to find. In my

view, it was better when audio companies were

concentrated in one hall. The fact that they were

so spread out begs the question: Is NAB (and its

delegates) really interested in audio anymore?

It could be that audio companies are creating

this problem for themselves because they want

to forge closer links with other technologies.

There are still some old-fashioned audio

companies - microphone manufacturers, a few

mixing desk manufacturers – but they feel like a

niche market, because so many audio-focused

companies are moving into other technologies,

such as audio over IP. This may be because

technology is changing and there are better

business opportunities in these en vogue areas,

but it will be interesting to see who will survive.

Maybe those who concentrate on a niche market

will do better in the end.

I understand that NAB 2016 generated new

records in terms of numbers - exhibitors, visitors,

conference topics. It didn’t feel that busy to us,

although we did notice more Chinese companies

exhibiting and many more Asian visitors. There

were fewer European visitors on our booth this

year, which may reflect the general economic

tightening of belts. I also spoke to some

Americans from the East Coast who said they had

to fight to get NAB accepted as a business trip

because of the cost and distance involved, similar

to flying from far western to far eastern Europe.

FOLLOWING THE TRENDS

In terms of new trends, there were some, but

none that were significantly improving the

content being delivered. Moving away from

dedicated hardware to server-based solutions is

definitely a trend, as is higher resolution pictures.

4K was a buzzword. Immersive audio and UHDTV

were also hot topics as people explore the idea

of personalised audio for audiences.

Object-based audio is likely to become the

next challenge for audio production, and we are

already getting requests for products to address

this, which we are working on. For audio content,

the advent of Next Generation Audio (NGA)

formats means changing production methods,

which will improve the audio content as well.

STANDARDS FIRST

Personally, I think the industry should standardise

on formats before we start discussing codec

technologies and specs, but it seems as though

the industry is working the other way around

with codec technology vendors forcing certain

audio formats to create a need for new codec

technology. They really ought to be consulting

the audio companies first.

IP was also under discussion at NAB. In my

view, it could work for audio but won’t work so

well for video – and not at all if real 4K is the

next target. Even for audio there are too many

different protocols, including AES67 which

promises interoperability between previously

competing audio-over-IP systems and long-term

network interoperation. Although IP, standards

and formats were being discussed everywhere,

we still don’t yet know which protocol will

perform most universally for audio and video. n

NAB REVIEW - AUDIO

Is NAB interested in audio anymore?Peter Poers, CEO of Jünger Audio, gives an honest take on a changing show in a changing industry

“I think the industry should standardise on formats before we start discussing codec system technologies and specs”


“There were fewer European visitors on our booth this year, which may reflect the general economic tightening of belts”

12 TVTE Commentary Junger_final2.indd 8 04/05/2016 16:02

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NNew storage solutions are always on

display at NAB and cloud storage is

the tech of the hour. But how will be

preserve our data for the longer term?

The next decade. Or the next century. Or beyond.

In 196 BC, someone carved an honours list

in three languages onto a slab of granodiorite.

The text was rediscovered in 1799 and finally

decrypted to provide a key to the understanding

of ancient Egyptian civilisation. The Rosetta Stone

is the perfect database. It has physically lasted for

centuries and its information can be read without

any new technology. If only the quest to find an

archive solution for digital media were as simple.

Our world is overflowing with digital data, and

the digital universe is doubling every two years

according to IDC. A share of this digital universe

has long-term value, so what are the options?

In the digital age, tape has proved surprisingly

durable. Most people will know how easy it

is to put a magnet next to tape and erase its

contents. Tape is subject to degradation and bit

drop out over time, and while industry standard

LTO gets around this by recording data without

the revolving head drum used on video tape,

the system needs manual intervention every few

years in order to migrate the data stored on it to

the latest generation.

But the new generation of LTO-7 tape,

manufactured by Fujifjlm, is composed of Barium

Ferrite, a medium with magnetic properties

which means the tape does not deteriorate, and

it gives tape headends a longer lifespan. Plus, the

capacity has jumped from 2.5TB to 6TB.

“Its like a whole new format,” says Fuji’s

commercial manager Richard Alderson. “Nothing

has been done like this in the past and we are the

only manufacturer who can provide gen-7 tape.”

This is increasingly important given the move

to UHD. “A single movie at 4K can need over

a petabyte, and as the data sets get bigger,

customers are realising that tape is far safer and

more reliable than disc as a storage medium,”

explains David McKenzie, storage and archive

specialist, Oracle.

Oracle’s StorageTek division is readying a new

enterprise version of its tape drive called T10K

for release in early 2017. It will have capacity for

10-15TB. In addition Oracle is working with the

team and the Diva technology from Front Porch,

which it acquired in September 2014. Meanwhile

LTO-8 with a projected 12.8TB capacity and

427MBps speed is expected in three years.

“Tape is far from dead. In fact, it is a lot cheaper

than disc. It is more environmentally friendly and

most important it is far less corruptible. It’s the

reason why broadcasters like the BBC and Sky

archive their programme catalogues on it.”

30 YEAR OPTICAL DISC

The main alternative to LTO is optical disc, which

as McKenzie alludes to can drain power in order

to keep the mechanism cool. Earlier this year,

Sony and Panasonic launched new optical disc-

based storage systems for data centres. Sony’s

Everspan can store 181 Petabytes for 100 years.

Four systems can be ganged together to offer

724PB of total storage. To grasp that, if you were

to envision one bit of data as the equivalent to

one second, then 1PB would equal 285 million

years. Sony says Everspan is able to transfer

18GB of data per second, “outpacing the best

performance of tape libraries and archival drive

platforms. Because of the durability of optical

discs, unlike other storage media, users are

expected to never need to migrate data.”

The initiative is led by Frank Frankovsky whose

start-up company Optical Archive was acquired

by Sony last year. Previously, Frankovsky led a

project for Facebook to store the social network’s

burgeoning data and helped Panasonic develop

something along similar lines called freeze-ray.

It seems that Facebook is hedging its bets by

deploying both Sony and Panasonic variants of

Frankovsky’s system.

Frankovsky says the goal is to make it possible

for customers to store everything for as long as

they wish in a low-touch, low-cost optical library.

“We’re finally bringing a product to market that

will make tape obsolete technology,” he says.

The Everspan media developed by Panasonic

and Sony is the same as used in Sony’s next

version of its Optical Disc Archive (ODA), unveiled

at NAB. A single cartridge has doubled in capacity

to 3.3 TB. ODA is designed for use in near-line

applications, deep archive storage or disaster

FEATURE


DEEP StorageAbove: Group 47 has written software that converts a digital file into a visual representation of the data. This is a test example of writing data 256 pixels wide, versus. commercial units that will be 10,000 pixels. This is how the media appears when viewed under polarised light

Thanks to breakthroughs in data archiving, audiences 1000’s of years from now may still get to watch Keeping Up with the Kardashians. Adrian Pennington reports

14 15 TVTE DeepStorage_final.indd 8 04/05/2016 11:23

recovery systems. Hardware configurations

range from stand-alone to large, scalable robotic

archive systems. The main components of

ODA Generation 2 include: a stand-alone USB

drive unit (ODS-D280U), an 8GB fibre channel

library drive unit (ODS-D280F), for use in robotic

systems, and the Optical Disc Archive media

cartridge (ODC3300R).

100 YEAR METAL ALLOY TAPE

While LTO tape has a lifespan of 30 years, DOTS

(Digital Optical Technology System) stores digital

data onto metal alloy tape and is claimed to

be archival for 100 years. Originated by Kodak

and developed since 2008 by Group 47, the

technology’s software converts a digital file into

a visual representation of the data. With sufficient

magnification, one can actually see the digital

information. Its specification – the ‘Rosetta

Leader’ - calls for microfiche-scale human

readable text at the beginning of each tape with

instructions on how the data is encoded and

instructions on how to actually construct a reader

(it even resembles the Rosetta Stone – see image

left). Because the information is visible, as long

as cameras and imaging devices are available,

the information will always be recoverable, the

company says.

500 YEAR FILM

However, the only technology which has proven

it can last a century is film. What’s more it has

the valuable benefit of easy reading simply by

shining a light through the negative. Yet celluloid

is fragile, some types are notoriously flammable,

and it’s expensive despite the fact that most of

the film stock made by Kodak is now for the

archive market.

With Fraunhofer and Norner, Norway’s Piql

has devised a way to use the preservation

qualities of photosensitive film combined with

the accessibility of a standard IT infrastructure.

Its turnkey solution includes all equipment

and processes needed for writing, storing and

retrieving files and is claimed to last 500 years.

A high-precision piqlWriter records digital files

and related metadata onto photosensitive film.

Checksums are applied to verify the integrity

of the data. Forward Error Correction is used

for controlling errors, making it possible to fully

retrieve even damaged or corrupted data.

“Both digital and visual storage of data is

possible,” says to the company. “This means users

can select between storing data in computer

readable digital format (binary codes), or as text

or images. It can even combine the two, allowing

users to get visual previews of the data.

It provides a self-documenting preservation

master containing all information needed for

decoding and understanding

the preserved data. The

source code of the

decoding software is

open and written in

text format on the reel.

A BILLION YEARS AND MORE

But scientists at the University of Southampton

have gone even further. Using glass, the

university’s Optoelectronics Research Centre has

developed the recording and retrieval processes

of five dimensional (5D) data which is calculated

to survive for billions of years.

The glass isn’t the common double-glazed

variety. The data is recorded via an unbelievably

fast laser, with pulses of light fired at 280

quadrillionths of a second onto self-assembled

nanostructures created in discs of fused quartz.

A file is written in three layers of

nanostructured dots separated by five

micrometres (one millionth of a metre) and

in five dimensions: the size and orientation in

addition to the three dimensional position of

these nanostructures.

It sounds like science fiction and has already

been christened the ‘Superman memory crystal’,

yet Hitachi also announced a similar etched glass

data storage solution in 2012.

Cultural heritage documents like the Bible

and Magna Carta have already been fused in

5D and the team are looking for partners to

commercialise the technology.

The medium permits thermal stability up to

1000°C and virtually unlimited lifetime at room

temperature. It can be read by combination of

optical microscope and a polariser, similar to that

found in Polaroid sunglasses. Just don’t drop it! n

Pulses of light fi red at 280 quadrillionths of a second onto self-assembled nanostructures created in discs of fused quartz


decoding and understanding

the preserved data. The

source code of the

decoding software is

open and written in

text format on the reel.

A BILLION YEARS AND MORE

But scientists at the University of Southampton

A file is written in three layers of

nanostructured dots separated by five

University of Southampton has developed technology which it claims will preserve data for billions of years

The Piql Reader and Writer unit with (below) the PiqlBox and film storage package, rated to last 500 years

14 15 TVTE DeepStorage_final.indd 9 04/05/2016 11:23

N AB2016 was very busy for Axon

Digital Design, with a good flow of

people visiting the booth we shared

with our US partner, Utah Scientific.

The relationship between our two companies is

already making it a lot easier for customers to

access our wide portfolios of broadcast solutions,

and it is also helping us develop next generation

solutions together, such as the integration of

Utah’s S2022 IP router with Axon’s Cerebrum

control and monitoring.

Indeed, the subject of IP proved to be

a big talking point at the show and these

conversations made it apparent that there is still

a lot of confusion amongst broadcasters and

manufacturers on where the industry is heading.

Although everyone is convinced that video

over Ethernet will eventually happen, the debate

on which standard to use remains vibrant. It is

positive to see that there are initiatives, like AIMS

(Alliance for IP Media Solutions), that are trying to

ensure our industry adopts a single standard.

AIMS is dedicated to an open standards

approach and the creation of products and

solutions that support these standards in the real-

world environment. Axon shares that philosophy

and is collaborating with various industry bodies

such as the EBU, SMPTE and IEEE to develop next

generation standards. We have already delivered

a proof-of-concept demonstration showcasing

development work on AVB and S2022-6,

with both standards working effectively in live

production environments.

The fact that Evertz and Sony have announced

their participation in AIMS is an interesting

development, but whether that means TR-03 via

TR04 (which AIMS is backing) is the obvious way

forward remains to be seen. One could question

whether their participation is to actually support

the TR-03 initiative, or if their motives are of a

different nature.

We spoke to a number of customers during

NAB who expressed their concern about the

various standards and the fact that we, as an

industry, are not able to agree on just one.

Some customers even indicated that their plans

to move to IP were on hold because of the

confusion and that further investments in SDI

were imminent. In fact, the popularity of AIMS

stops customers from buying 2022 now!

Whatever standard our industry decides to

embrace, Axon will make sure that its signal

processing equipment can support it. We foresee

another standard change before the end of the

year and we are already prepared to support

whatever is chosen.

Apart from IP, another major topic of

conversation at NAB was 4K/UHD. Unlike the

hype around 3D, 4K is fast becoming a standard

that TV audiences are prepared to back. Their

demand for 4K content will inevitably force

NAB REVIEW

Putting IP on hold?4K will certainly play a part in the broadcast industry’s future, but how the IP transition will develop is up for grabs, says Axon Digital Design CTO Peter Schut

“There is still a lot of confusion amongst broadcasters and manufacturers on where the industry is heading”


16 17 TVTE Axon_final.indd 8 04/05/2016 12:29

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broadcasters to start broadcasting in 4K.

As a result, many of the questions we faced at

NAB related to transmitting 4x3Gb/s over a single

12G link. There were also lots of conversations

about the next step for 4K, which involves higher

dynamic range and the inclusion of the REC.

2020 Colour Gamut.

Companies like Axon will have to enable

these changes in coming months, and we are

already working towards that end. Earlier this

year we launched a range of 4K Synapse signal

procession products and production tools, which

were on show at NAB 2016. We know they are

what the industry needs because they were

developed in close cooperation with BT Sport to

help the broadcaster deal with the challenges of

this new format. Our products are now integral

to the success of Timeline Television’s bespoke

OB vehicle, which delivers content to BT Sport

Ultra HD (Europe’s first live sports Ultra HD/4K

channel).

In our opinion 4K is now accepted by the

industry and clearly here to stay. Having the

opportunity to discuss this technology – and

many other topics - with our customers was

incredibly valuable – and let’s face it, Las Vegas

isn’t the worst place you can go to gather

customer feedback! n

“Some customers even indicated that their plans to move to IP were on hold because of the confusion”


Some delegates said IP plans were on hold because of standards uncertainty and

further investments in SDI were imminent. Pic far right: Peter Schut Axon CTO

16 17 TVTE Axon_final.indd 9 04/05/2016 12:29

A sk anyone who has spent a few

years in this industry what they see

as the biggest change in the world

of broadcast, and they may be

hard-pressed to put a finger on a single area of

development.

The truth is that the last several years have

seen an explosion of new technologies that has

left many breathless. SD-SDI was the seed of the

digital revolution, and it germinated faster than

anyone expected. No sooner had that change

come about when HD-SDI began to sprout, along

with 4K UHD and more.

Is all of this new technology actually good

for the industry? That is a subjective question. If

you’re an editor, camera operator or producer,

the answer is an unequivocally yes. Now

it’s possible to achieve greater clarity, new

perspectives, easier editing and more effects,

which all combine to improve storytelling.

For the technician who has the job of learning

how all this new technology works and where

it fits into the workflow the answer may be a

bit more measured. Because technicians are

typically the people who recommend and help

decide what is to be purchased, it is important

for manufacturers to make integration and

maintenance as simple as possible and part of

the overall products development package. For

example, building in web servers and including

convenient features like dedicated remote log-in

software and simple SSD card changes can make

a real difference.

At one

time, some

technicians did

not welcome

the advent

of camera

robotics.

Though they

may have

originally feared

it would take

jobs from camera operators,

in reality, as the capabilities

and low relative cost against

investment curves have emerged,

it is evident that robotics created

new channels, and the best robotics

operators have been those who were

previously standing behind the cameras.

As a robotics company of long

standing, for Telemetrics the HD

revolution has been fruitful.

Developments in computer

processing, memory and

communications speeds have

driven huge advancements beyond

the old serial 232/422 type systems.

New digital cameras, lenses and

servo systems have worked together

to produce greater accuracy,

integrated control and improved

dynamic production values, long sought after by

customers.

The launch of our new LP-S5 PT head at

the NAB show 2016 is a perfect example. This

product was engineered to meet and exceed

customers’ expectations and needs. Faster and

more accurate, delivering higher load capacity

and better power management, and offering

easy installation and low maintenance, this is

a product that breaks new ground in robotic

camera studio systems.

While we may not have insight into all the new

technologies that will be introduced in the years

to come, you can be sure they are already in

development now.n

NAB REVIEW

Rise of the

As specialists in camera robotics, Telemetrics is used to riding the waves of technological change. Telemetrics’ head of UK & Benelux sales, Colin Clarke, assesses our current inflexion point

“Is all of this new technology actually good for the industry? That is a subjective question”


Clarke: “It is important for manufacturers to make

integration and maintenance as simple as possible”

ROBOTS

18 TVTE Telemetrics_final.indd 8 04/05/2016 15:33

White papers, webinars, opinions, blogs, case studies, tutorials and more.

Content Director: James [email protected]+44 (0) 20 7354 6002

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NewBay Connect FP.indd 1 12/01/2016 12:41

The broadcast industry has seen the

launch of several significant initiatives

over the past few years, including Ultra

HD, media over IP, software-based

virtualised infrastructure, virtual reality (VR), and

ATSC 3.0. With so many irons already in the fire,

the 2016 NAB Show was characterised more

by a display of meaningful progress on efforts

already underway than by the launch of bold new

initiatives.

Previous NAB Shows had big and exciting

announcements around the transition from

SDI to IP; this year’s show demonstrated the

tangible outcome of the hard work required to

deliver meaningful solutions. Demonstrations

of multi-vendor IP-based workflows showcased

the benefits of an open and standards-based IP

architecture as championed by the AIMS Alliance.

The move to IP is not just about simplified

cabling. Done properly, the use of IP

infrastructures should drive cost efficiencies

and increase operational flexibility by riding the

cost and function innovation curve of the IT

industry. For broadcasters to realise these goals,

it is imperative that they can leverage “off the

shelf” technologies while mixing and matching

functional components from any technology

company at any spot in the workflow. There is

still much work to do as the industry migrates

to IP, but we are heading in the right direction.

Similarly, demonstrations and announcements at

NAB 2016 show the industry continues to work

hard on the migration to cloud-based solutions,

but there is still a way to go.

VIRTUALISATION, THE DIRTY WORD

Even the most dyed-in-the-wool broadcast

engineers have come to accept virtualisation

and the cloud as part of their future, and

they understand that the appliance phase is a

transitional element in a fairly rapid move towards

a virtualised cloud environment. Given this

broad acceptance, it is no surprise that cloud-

based solutions were a key component in the

messaging from many vendors. Unfortunately,

closer inspection revealed many of these cloud

solutions to be repackaged versions of vendors’

existing software appliances into a virtual

machine, shown running in Microsoft Azure or

the AWS Cloud. This trend has made the term

“virtualisation” something of a dirty word, with

several media company CTOs stating on panels

and in interviews that they want cloud-native

solutions, not virtualised offerings.

MEDIA FACTORY OF TOMORROW

The industry has been waiting for technology

providers to take a fresh look at what it takes

to build and operate the media factory of

tomorrow, and then start from the ground up to

build cloud-native solutions that innovate both

the technology aspects of an operation and the

commercial schemes they enable. The drive

for cloud is not for technology’s sake; it is for

infrastructure flexibility that delivers both technical

and commercial value.

While the move to software-based appliances

and the ability to virtualise those appliances are

productive steps in the industry’s transition, they

do not come close to the desired end state. Only

truly reimagined solutions can solve both the

broadcast industry’s technical and commercial

agility challenges. We didn’t see enough of truly

cloud-native applications at the NAB Show,

though it is clear that broadcasters see the shift of

core infrastructure to the cloud as a key enabler

of their future success.

HDR ON THE HORIZON

Another area where the rubber has yet to fully

hit the road is in the area of high dynamic range

(HDR). Consumers and broadcasters alike,

particularly following CES, are enthusiastic about

the potential of HDR. While HDR experiences

are trickling into consumers’ homes via targeted

solutions such as Ultra HD Blu-ray and various

streaming platforms, the industry must now

focus on the nitty gritty details, particularly in the

consumer’s living room, to make ubiquitous HDR

media consumption possible.

Broadcasters are looking to HDR and the

quantifiable benefits it offers because they are

struggling to move forward with services based

on resolution alone, particularly at the distribution

bitrates that are available, and to differentiate it

from today’s HD services. The Ultra HD Forum

made an important first step with the release of

industry guidelines for end-to-end workflows

involved in the creation and delivery of live

NAB REVIEW

On the right road, but miles to goThis year’s NAB shunned paradigm-changing announcements and dazzling tech in favour of hard-nosed problem solving, observed Tom Lattie, VP of video products market management & development at Harmonic


“We didn’t see enough of truly cloud-native applications at the NAB Show”

20 21 TVTE Harmonic_final.indd 8 04/05/2016 16:46

and prerecorded UHD programming with both

SDR and HDR content. But even the forum

acknowledged that there is still a lot of hard work

ahead, declaring the scope of the guidelines

to cover UHD services in 2016 and promising

revised and expanded guidelines in 2017.

Thanks to bold statements about HDR at CES,

the demand for HDR already exists. What’s more,

the broadcast industry has an established track

record of making new television experiences

available to all consumers. Now the industry

and display manufacturers need to get to work

in making it interoperable and viable in the

consumer realm.

Although this year’s NAB Show did not contain

any grand revelations, it did showcase meaningful

progress around many of the industry’s major

initiatives. The energy of all at the show was

very high, and it served as a reinvigoration of the

resolve required to move efforts forward. It seems

inevitable that by next April, we will see many of

these solutions far better prepared to support

the workflows and operational flexibility that

broadcasters and media companies require to be

successful. n


“Broadcasters are looking to HDR and the quantifiable

benefits it offers “

20 21 TVTE Harmonic_final.indd 9 04/05/2016 16:46

Walking around NAB this year, it

was great to see the majority

of vendors offering robust and

interoperable IP-connected

products for most, if not all, of the broadcast/

media chain. I’m also happy to see more and

more facility-wide IP connected projects being

installed as we speak.

This is good news for the industry, which has

been planning the IP migration for some years.

IP’s advantages are clear, especially for greenfield

implementations.

But what surprised me is that most vendors

I saw, and especially the big ones, are still not

offering true open, native-IP products. These are

the solutions that will not only benefit from volume

COTS hardware and open-source software but

also from the huge advantages of truly virtualised

media functions. More on this later, but first the

good news:

We seem to have arrived at a consensus

regarding IP protocol standards with the AIMS

initiative and the evolution from SMPTE 2022-

1, -2, 5,-6, -7 to VSF TR03/04. This transition

should nicely leverage the flexibility, efficiency

and performance of the datacomm world.

Interoperability tests between vendors, on display

at the show, showed tremendous progress.

And orchestration systems are maturing to be

able to handle the migration to a full IP-centric

architecture very well.

INFECTED BY SDI

While these forward strides are important, I didn’t

see vendors moving beyond solutions based on

an IP connector on an SDI box.

Too many products labeled ‘IP solutions’

still have an SDI architecture at their core. In

fact, they’re not COTS at all. They require extra

translation steps. They are fixed–function and

rigid – and will likely be obsolete when network

and video standards evolve, which they certainly

will. The critical point to remember is that most

of the advantages brought about by moving to IP

architectures will not be realised if we don’t first

virtualise media and network processing functions.

At its core, the challenge is to figure out how

to turn what has traditionally been hardware

into software and to apply today’s best data

centre principles. By loading all the functionality

needed for live production as software via a

microserver inside the IP switch you can achieve

virtualisation. Virtualisation seems like a catchall

phrase today. But the key to virtualisation is really

microservers and microservices – like assigning

a piece of resource in a data centre to perform a

specific function. I like to use the example of cell

phones. We no longer need a separate camera,

calculator or GPS. These functions are virtualised

aggregations available when we need them.

The same can be done for media processing

functions but only by taking a fresh approach.

THE NEED FOR SPEED

Traditional servers are power-sucking and

heat-generating – and also slow. GPU-based

infrastructure is costly and not powerful enough

for live processing. FPGA technology provides the

speed necessary and is the best way to achieve

the low latencies required in the high-quality live

production market. FPGA technology is, however,

difficult to use and program. But by extracting its

complexity, packaging it creatively, and applying

converging technologies of the last few years,

it’s possible to flexibly configure an FPGA-based

computing platform, just like a CPU. With this

you can create open, IP-native and fully switcher-

based solutions and move traditional hardware

functions to software available through apps.

This type of approach also provides the

speed required to respond to today’s media

consumption patterns. Content providers need

to be able to spin up new channels in a matter

of minutes, not months. This environment also

requires a shift in thinking, taking time to consider

what apps are needed to get you up and running.

DON’T SIT IDLE

Consider live broadcasting, where only 20-30%

of expensive processing equipment is used at

any time, the rest of the time it sits idle – not the

most efficient or cost-effective operating model.

In the software environment, you only pay for

what you need, paving the way for new use

models.

IP is ready for the most mission-critical live

broadcast, and it was great to see new companies

at NAB thinking differently. With solutions like

a working, native-IP and fully software-based

system with a COTS foundation, customers don’t

have to compromise with transitional ‘IP-pimped

SDI’ products any more. n

NAB REVIEW

In a hurry for real IPAperi’s vision is to put data and cloud technologies at the centre of broadcast infrastructure. No wonder Aperi board member Joop Janssen is impatient with the industry’s progress

“Too many products labeled ‘IP solutions’ still have an SDI architecture at their core”

“Content providers need to be able to spin up new channels in a

matter of minutes, not months”


22 TVTE Aperi_final.indd 8 04/05/2016 12:53

In search of a modern definition for channel in a box

Buyers’ guides Drones, transcoders,

encoders

Product reviewsCamera lenses,

audio repair

BVE preview edition

TechEurope

THE TECHNICAL RESOURCE FOR THE BROADCAST MEDIA PROFESSIONALTV

Europe

THE TECHNICAL RESOURCE FOR THE BROADCAST MEDIA PROFESSIONAL

February 2015 I Issue 1 I Volume 33

www.tvtechnologyeurope.com

1 Color - 0 Cyan / 100 Magenta / 99 Yellow / 4 Black

Thinking outside

the box

TVTE Feb15 P01 FC v12.indd 1 13/02/2015 12:41

For more information contact:

Ben EwlesSales ManagerTel: +44 (0) 207 354 6000Email: [email protected]

Nicola Pett Sales ExecutiveTel: +44 (0) 207 354 6000Email: [email protected]

Neal RomanekEditorTel: +44 (0) 207 354 6002Email: [email protected]

SALES EDITORIAL

TV Technology Europe is the leading technical

resource for the media industry professional. With its independent

coverage of the latest equipment and technology releases and exclusive opinion and analysis, TVTE offers

unrivalled coverage of all aspects of technology and

engineering in the broadcast media sector.

www.tvtechnologyeurope.com@tvtecheurope

EditionTrade Show

DistributionEvent Coverage Features Product Reviews Buyers’ Guides Publication Dates

ISSUE 1 • BVE 2016• CABSAT

• BVE 2016 Product Preview

• Virtualisation• Feature interviews

• Expert commentaries• Sharpshooter series• Audio for broadcast

• User reports

• Audio • Trasnscoding/Encoding • Ad close:

Feb 1• Distribution: Feb 12

ISSUE 2 • NAB 2016• NAB 2016 Product

Preview

• Multiplatform delivery• Feature interviews


• User reports

• Storage and recording

• Affordable 4K hand-held cameras

• Ad close: March 18

• Distribution: March 31

ISSUE 3• Broadcast

Asia• ANGACOM

• NAB Best of Show 2016 Winners

• MAM and archiving• Feature interviews


• User reports

• Acquisition• Transmitters,

antennas and RF

• Ad close: May 16

• Distribution: May 26

ISSUE 4 • IBC2016• IBC2016 Product

Preview

• Broadcast over IP• Feature interviews


• User reports

• Fibre, cable and connectors

• Audio consoles and equipment/accessories

• Ad close: Aug 15

• Distribution: Aug 26

EDITORIAL PLANNER 2016

TVTE 2016 Full Page.indd 1 10/02/2016 11:24

Connecting Ideas, Transforming Business

#IBCShow

Explore the growing showfloor with the newest addition to the RAI, Hall 9 and discover our reimagined conference streams in the best IBC yet!

• Meet 1,600+ potential business partners• Learn from 300+ thought-leading speakers• Network with our 55,000+ strong community• Discover emerging technologies with our themed feature areas• Celebrate the future of collaboration with our innovation awards

Find out more at IBC.org

Conference 8 – 12 September : Exhibition 9 – 13 SeptemberRAI, Amsterdam


TV Technology announcesNAB Best Of Show winners

The NewBay NAB Best of Show Awards

are annually bestowed at the NAB

Show by NewBay Media’s US-based

media publications, including our sister

magazine, TV Technology North America.

The Best of Show Awards are judged by a

panel of engineers and industry experts according

to innovation, feature set, cost efficiency and

performance. Of the hundreds of new products

in competition, only a small number were

selected to receive a Best of Show Award.

In addition to TV Technology, NewBay Media

brands ProSound News, Digital Video, Sound &

Video Contractor, Radio, RadioWorld, VideoEdge

and Government Video, each make their own

selections for the NAB Best of Show awards.

“We are enormously proud of our Best of

Show recipients,” said NewBay Media broadcast

& video group VP and group publisher Eric Trabb.

“Recognition with an award at the NAB Show

from NewBay Media’s broadcast & video group is

a strong vote of confidence and admiration from

our leading industry publications.”

TV Technology North America’s winning

companies, with the names of the winning

products, are shown on the next page.

Our congratulations to all the winners on their

ground-breaking TV technologies!

“Of the hundreds of new products in competition, only a small number were selected to receive a Best of Show Award”

NAB BEST OF SHOW


25 26 TVTE May NAB news_final.indd 42 04/05/2016 15:33


EDITORIAL EXECUTIVE EDITOR James [email protected]

EDITOR Neal [email protected]

CONTRIBUTORS David Fox, Adrian Pennington, Barrie Smith, Ann-Marie Corvin, David Davies.

NEWBAY MEDIA LLC CORPORATEPRESIDENT AND CEO Steve Palm

CHIEF FINANCIAL OFFICER Paul Mastronardi

CONTROLLER Jack Liedke

1 Color - 0 Cyan / 100 Magenta / 99 Yellow / 4 Black

TV Technology Europe ISSN 2053-6674 (Print)ISSN 2053-6682 (Online)is published four times annually by NewBay Media. ©2016 by NewBay Media. All rights reserved.

Suncourt House, 18-26 Essex Road, London, N18LN, England

Free subscriptions are available to professional broadcasting and audio visual equipment users. Unsolicited manuscripts are welcome for review – send to Neal Romanek at [email protected].

GROUP CIRCULATION DIRECTOR Denise Robbins

VICE PRESIDENT OF WEB DEVELOPMENT Joe Ferrick

ADVERTISING SALES MANAGER Ben [email protected]

SALES EXECUTIVE Nicola [email protected]

U.S. MIDWEST, NEW ENGLAND & CANADA Vytas [email protected]

U.S. WEST Pete [email protected]

U.S. SOUTHEAST AND MID-ATLANTIC, US CLASSIFIEDS & PRODUCT SHOWCASE Michele [email protected]

HONG KONG, CHINA, ASIA/PACIFIC Wengong Wang [email protected]

ITALY Raffaella Calabrese [email protected]

LATIN AMERICA Susana Saibene [email protected]

PRODUCTION HEAD OF DESIGN, HERTFORD Kelly [email protected]

PRODUCTION EXECUTIVE Jason [email protected]

NAB BEST OF SHOW

Accelerated Media Technologies —

ENGenesis LTE IP-Based 2/7GHz ENG BAS Band System

Accelerated Media Technologies — CID-Passport

Akamai — Broadcast Operations Control Center and Services

Aspera - FASPstream Software for Live and Near-live Video Streaming

Avid — Avid NEXIS Intelligent Storage Platform

Bitcentral — 24/7 Automated Digital News Channel Solution

Black Box — DKM FX 4K60 Interface Cards

Blackmagic Design — Blackmagic URSA Studio Viewfi nder

Bridge Technologies — Timeline Data Analysis

Canon — COMPACT-SERVO 18-80mm T4.4L Zoom Lens

Canon — ME200S—SH Multi-Purpose Camera

ChyronHego — ChyronHego LyricX

Clear-Com — Freespeak II-Base Wireless Intercom System

Cobalt Digital — Cobalt Digital 9922-2FS for openGear

Datavideo — KMU-100

DekTec — DTU-315

Embrionix — emSFP-GATEWAY SDI/IP Conversion Module

ENCO — MOM-Media Operations Manager

Evertz — evEDGE Software Defi ned Compute/Routing Platform

Fujifi lm/Fujinon — UA107x8.4 4K Ultra HD Field Lens

Fusion Broadcast — ORD-55 : OLED 4K Reference Display System

GatesAir — Maxiva High-Power UHF Air-Cooled Transmitters

GatesAir — Maxiva XTE Multiformat Exciter for TV Transmitters

Grass Valley — iTX On-Demand

Grass Valley — GV Korona K-Frame S-series Production Switcher

Hitachi Kokusai Electric Comark —

PARALLAX Liquid Cooled Solid-State Transmitter

IHSE USA — Draco ultra DisplayPort 4K Extender for KVM

IHSE USA — Draco UNI matrix switch for KVM, USB & SDI formats

Ikegami — UHK-430 4K/HD Portable Camera System

Ikegami — HDL-F3000 Ultra Low-Light Multi-Purpose Compact Camera

Imagine Communications —

xG Schedule Cloud-Based Planning and Scheduling

iZotope — RX 5 Audio Editor Advanced

JVCKenwood — GY-HM200SP Sports Production Streaming Camcorder

Lawo — V__matrix

LiveU — LiveU MultiPoint IP-Based Distribution Workfl ow

Matrox — Matrox Monarch LCS Lecture Capture Appliance

Miller Camera Support — arrowX Fluid Head Series

NeoGroupe — NBS Assets Tracking Solution

Net Insight AB — Sye

NewTek — Network Device Interface (NDI)

NicePeopleAtWork (NPAW) —

YOUBORA Business Intelligence/Video Analytics Platform

ONEtastic — ONETASTIC Spectrum Restorer

Paywizard — Expanded Paywizard Agile feature set

Pebble Beach Systems — Orca, Virtualized Channel-in-a-Box

Planar, A Leyard Company — Leyard TW Series LED Video Wall

Pliant Technologies — CrewCom Professional Wireless Intercom

Pronology — Pronology mRes Multi-resolution Encoder

Ross Video — ACID Camera

RTS Intercom Systems — New Software for KP-Series Intercom Keypanels

ScheduALL — ScheduALL Portal

Semtech — UHDTV Application Specifi c Integrated Circuit

Sennheiser — EK 6042 Two—channel Camera Receiver

Sixty — Ease Live-Interactive, clickable on-air graphics

SmallHD — SmallHD HDR Production Monitors

Sony — HDC-4800 4K 8x High-Speed Camera System

SoftPanels — Softpanels LED Lights with Autocolor

Teamcast — Stream4Cast ATSC3.0 Modulation & IP Streaming Solution

Telemetrics — State of the Art Robotic Pan/Tilt Head

Teradek — Teradek Sphere

The Weather Company — Max Connect

Timecode Systems Limited — SyncBac Pro

Triveni Digital —

GuideBuilder XM Signaling & Announcement System for ATSC 3.0

TSL Products — PAM-IP

TSL Products — MPA Audio Monitoring Family

TVU Networks — TVU RPS Live Multi-Camera Remote Production System

Visionsmith — LED ReLamp for Halogen Fresnels

Vizrt — Viz Story

V-Nova — Sky in Italy’s HD IPTV Platform, powered by Perseus

Wheatstone — LXE Digital Audio TV Master Control Console

Yospace — yospaceCDS: Dynamic Ad Insertion for Live Simulcast

CONTACTS

EDITORIAL +44 (0) 20 7354 6002 | SALES +44 (0)207 354 6000

25 26 TVTE May NAB news_final.indd 43 04/05/2016 15:33

2 4 t h J u n e 2 0 1 6 l G r a n d C o n n a u g h t R o o m s , L o n d o n

FOR EVENT ENQUIRIES CONTACT:EMINE PARTALCI / [email protected] / 0207 354 6005

GEORGIA BLAKE / [email protected] / 0207 354 6010

FRIDAY 24TH JUNE 2016 GRAND CONNAUGHT ROOMS, LONDON

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FOR SPONSORSHIP OPPORTUNITIES CONTACT:GURPREET PUREWAL / [email protected] / 0207 354 6000

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