tvte october 2015
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The Highs and lows of IBC, Aquisition, Marketplace and Best of Show.TRANSCRIPT
October 2015 I IBC Show Supplement
www.tvtechnologyeurope.com
IBC 2015 SPECIAL REPORTAcquisition
From 8K to drones
MarketplaceAudio, post, delivery & more
Best of ShowWinners revealed
Grass Valley’s iTX – the original integrated solution –
continues to offer the most functionality to play out dynamic,
fully composed channels. It’s a proven solution that can help
reduce operational budgets by as much as 20% per year.
That’s why broadcasters relied on iTX to manage playout of
more than 17.5 million hours of television last year – including
live telecasts from local news to some of the world’s biggest
sporting events.
Now iTX features a completely new real-time broadcast engine –
built from the ground up for exceptional quality and reliability.
It paves the way for 4K, IP, and virtualized operations, while
flawlessly delivering frame-accurate, high-performance channels
with live content, dynamic schedules, and rich graphics.
It’s playout your way, and it’s how we’ll help you continue to
do more with less – without compromise.
The World’s Biggest Events are Delivered by iTX.
Sydney LovelySenior Vice President - Worldwide Research & Development
Grass Valley’s iTX Integrated Playout Platform
in the United States and other jurisdictions. Grass Valley and iTX are trademarks or registered trademarks of Grass Valley.
CONTENTS
Among the many acronym-heavy industry trends highlighted by IBC 2015, OTT (over the top) is probably the one that causes the
the rage, prompting broadcasters and other traditional televisual service providers to
The development of these services, and the technology and networks that underpin
a host of new personalised advertising applications: technology that melds
programme information and automatically injects relevant adverts into live and
Broadcasters are looking for ways to better monetise their audience’s thirst for
OTT continues to disrupt and gain popularity
Will StraussEditor
WHY GOING OVER THE TOP IS GETTING PERSONAL
TAKE THE HIGH ROADA rundown of the high-end camera technology that debuted at IBC.
TALKING SHOPFrom picture resolution to codec development there was plenty to discuss during the IBC conference.
16
THE CUTTING EDGEIn post production terms, IBC highlighted the move to NLE-agnostic shared storage and the increasing influence of HDR.
28
08
12DRONES AND MOREIBC was not just about broadcast cameras. There was lots of innovation for the indie filmmaker too.
THE RESULTS ARE INAfter much debate and deliberation, TV Technology Europe has chosen its IBC 2015 ‘Best of Show’ winners.
THE ROUTE TO IPWith the broadcast industry’s move to IP now in full swing, signal distribution really came to the fore at IBC.
38
www.tvtechnologyeurope.com 3 October 2015 TVTechnology
24
Every year at IBC there is an air of
anticipation about the next hot piece of
technology. Last year the focus was very
much on UHD 4K and the early stages of
high dynamic range (HDR), so this year we were
eager to see what progress has been made in the
development of better pictures.
Japanese public broadcaster NHK showed
8K at IBC again but for the first time with HDR
using BBC R&D’s hybrid log curve. I felt the HDR
pictures were an improvement, but the shadows
looked unrealistically bright.
This was no doubt deliberate so that the
football match they were showing could be
better enjoyed, but it begs the question can the
same approach work well when the programme
‘look’ is as important as the content? In my
opinion, this is fine for live sport but needs work
for features and drama.
NON-STANDARD STANDARDS
With my ear to the ground, I also heard that both
the BBC and NHK are calling for one standard
to be used for HDR. After what I saw at IBC, it’s
something I’m unsure about right now. Of the
four different proposals I’m aware of, they all
have strong and weak points. One standard for
broadcast and one for cinema and VOD seems
right to me, not unlike current audio standards.
While the BBC hybrid log curve is well
placed to serve broadcasters, Dolby Vision is a
strong contender for HDR in the cinema and
home entertainment markets. Dolby showed
a complete HDR workflow: from production
to post-production, including grading and
mastering and this was some of the most visually
compelling HDR at the show.
Digital Vision’s Thor accelerator card, that
runs noise reduction on UHD 4K in real-time, is
about 40 times faster than current CPU based
processing. AJA, BlackMagic Design, Rohde &
Schwarz and Nvidia were all showing upgrades
featuring UHD 4K too.
OPENING UP THE INDUSTRY
Away from UHD 4K and HDR, this year’s key
theme was collaboration and integration. You
couldn’t walk ten paces without seeing vendors’
signage boasting about their openness and
partnerships with other vendors.
As a manufacturer-agnostic facility, it’s music
to our ears. One of our development engineers,
Tim Nicholson, presented a paper at the EBU
stand on our use of open source. We spend a lot
of time and effort opening up our technology to
work with other applications so we can deliver
the right workflow to meet client needs. Seeing
and hearing manufacturers taking huge steps to
open up their APIs to competitors is a fantastic
move forward for our industry.
We’ve made significant investment this year in
asset management and storage solutions from
TMD, Levels Beyond and Pixit Media, and hearing
about their roadmaps and third-party integrations
was also very encouraging.
VIRTUAL REALITIES
No trip to IBC is complete without a visit to The
Future Zone. The Academy Color (sic) Encoding
System (ACES), a free, open, device-independent
colour management and image interchange
system from AMPAS was there but, for me, it was
really a showcase for Virtual Reality (VR). I entered
the VR world courtesy of Rewind FX. Their demo
had to be experienced to be believed.
The Oculus Rift VR headsets were available to
try out on their booth. They advocate polygon-
based real-time environment mapping and, I
believe, one day this will cross over with live
action. The experience was amazing. I flew the
Red Bull Air Challenge, and felt pretty queasy in
the tight turns. It is a totally immersive experience.
Balance and orientation are entirely visual and
I had the freedom to look down, around and up
without any glitches. VR is definitely a hot topic
that we’ll be keeping a close eye on.
So with IBC over for another year, what
learnings can we take away? Most compelling
for me was that everyone is building in workflow
management as the need to make everything
compatible without further R&D becomes ever
more important.
Partnerships are most definitely the way
forward but the big question for me is: who is in
the driving seat? Perhaps we’ll find out next year.
Kevin Shaw is technology and restoration lead for
BBC Studios & Post Production‘s Digital Media
Services.
COMMENTARY
www.tvtechnologyeurope.comTVTechnology October 2015 4
Back to (virtual) realityAway from Ultra HD and IP, the big theme of IBC was collaboration and openness. But it was virtual reality that really got the pulses racing, writes Kevin Shaw
You couldn’t walk ten paces without seeing vendors’ signage boasting about their openness and partnerships with other vendors.
Kevin Shaw, technology and restoration lead, BBC S&PP, Digital Media Services
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COMMENTARY
As the dust settles on another IBC,
what were the highlights of this year’s
show? The key themes were largely as
expected: ultra high definition (UHD),
IP, and the migration to software all featured
prominently both on the trade show floor and in
the conference sessions.
UHD certainly felt more tangible and both
interest and activity has moved on more quickly
than many expected from last year’s show.
There was a lot discussion about BT Sport’s
Ultra HD channel launch in the conference
sessions. The fact that such a channel has
gone on air, particularly one that carries some
of the most high profile sports content in Europe,
seems to have acted as a catalyst for many
other broadcasters to consider accelerating
their own plans.
There was also a lot of focus on high dynamic
range (HDR) and when it might be available, the
consensus being that it’s more desirable and less
complex to introduce than originally thought.
However, a lack of agreement on standards and
the unavailability of TV sets mean it won’t be
coming to living rooms for a little while yet.
IP FRIENDLY
It is fair to say that pretty much every major vendor
seemed to be showing off their new IP friendly
products. We are clearly in the midst of a significant
and long heralded transition away from SDI to IP,
but many challenges remain.
Proprietary implementations exist for those
looking to build systems today but what we
really need is broad industry collaboration to
drive highly interoperable IP products. Thankfully
there were some key announcements at the
show on this front.
The VSF/SMPTE/EBU Joint-Task Force on
Networked Media published its long awaited
Reference Architecture shortly before the event,
providing an architectural blueprint for next
generation IP broadcast facilities.
The Advanced Media Workflow Association
(AMWA) also announced its Networked Media
Incubator Project. This is potentially a significant
stepping stone to an IP-based broadcast industry
as it provides a practical vehicle for broadcasters,
vendors, service providers and others to come
together and test real world interoperability.
COME TOGETHER
Finally, the Digital Production Partnership (DPP),
well known in the UK for its work in guiding
the broadcast industry towards file-based
production, delivery and operation, announced
a series of important developments at IBC.
These included a collaboration with the North
American Broadcasters Association (NABA) on
a US equivalent of AS-11 DPP, an update on
their forthcoming UHD specification and new
partnerships with both AMWA and SMPTE.
It is really encouraging to see all of these
organizations coming together to work on the
strategic direction of our industry at such an
important and active period of change. We at
Ericsson are active members of all of these
bodies and are very supportive of the work
they are undertaking.
That leads me to the last key theme of the
show: software-defined broadcasting. While IP
provides a great deal of flexibility at the control
and transport layers, we need new software-based
networked resources to replace the hardware
devices in place today if we are to truly transform
our industry for the future.
SOLID PROGRESS
There has been good progress made in this
area and most vendors demonstrated live
implementations of their software-only products.
So, in summary, it was a good IBC with few
surprises but plenty of solid progress towards a
major evolution of the broadcast industry. Now,
time to book those flights for NAB.
Steve Plunkett is chief technology officer,
broadcast and media services, at Ericsson
IBC 2015: IP friendly but few surprisesUltra HD, HDR and IP media system interoperability were key IBC themes for Steve Plunkett, who also pinpoints a growing need for software-based networked resources
www.tvtechnologyeurope.comTVTechnology October 2015 6
www.tvtechnologyeurope.comTVTechnology October 2015 8
IBC - ACQUISITION
The camera that attracted the most
attention at IBC was Sony’s compact
Super 35 handheld UHD camcorder,
the PWX-FS5, a smaller, and less
feature-full, brother to its best selling FS7.
Its body weighs just 0.8kg, light enough to
consider for drone use, and it is well designed,
with a very comfortable rotating hand grip,
six custom buttons (three on the grip), and a
really nice electronic variable ND filter (which
retracts out of the way completely when not in
use, to make the most of the sensor’s low light
performance of ISO 3200 to 32,000). Its 3.5-inch
LCD screen can be positioned on nine different
mounting points on the body.
Its main drawback is that it only goes up to
30p in UHD, however it can do eight second
bursts at up to 240 frames per second in HD. The
FS5 records internally (to SD cards) using XAVC
Long-GoP 4:2:0, but can output 10-bit 4:2:2 to
an external recorder. It can record S-Log2 and
S-Log3, with up to 14 stops dynamic range. When
it becomes available in November, pricing should
be around €5,800 (£4,200) for the body only or
€6,300 (£4,600) with 18-105mm E-mount lens.
Blackmagic Design’s Ursa Mini also attracted
crowds, as the €3,395-€6,225 (£2,025-£3,699)
camcorder has only recently started shipping. For
broadcast users, the more expensive PL-mount
Minis are the ones to get, as they can be fitted
with a $295 B4 mount (shipping November)
to take ENG lenses, complete with power and
control from the camera. The mount includes
optics, to give full sensor coverage, but “we don’t
lose any light or have vignetting,” claims Bob
Caniglia, a senior regional manager.
Thanks to upgrades since NAB, the camera
can also now do both SDI in AND out as well as
timecode and intercom, and can be controlled
from Blackmagic’s Atem switcher like a studio
UHD: On the right track
BY DAVID FOX
With ultra high definition (UHD) channels going live, buying 4K capable equipment is no longer a matter of mere future-proofing. Fortunately, as IBC proved, there is now a wide choice of cameras available, and it can make financial sense to buy one, even if you only use it for HD
camera. The 4.6K Mini offers 15 stops of dynamic
range (compared to the 4K version’s 12), and also
affords room for cropping/stabilisation for 4K or
UHD. EF mount versions of both are available.
LITTLE OR NO ALIASING
Canon’s recently released XC10 is one of
the least expensive UHD camcorders (under
£1,600/€2,100), but it may not be the ideal form
factor for many as it tries to be a camcorder in a
DSLR body. However, it does show how the extra
resolution of UHD can make for an excellent
HD camera, as an independent test against the
EBU’s standards for HD content acquisition found
that the 1-inch CMOS sensor and DIGIC DV5
image processor provides “little or no aliasing”
and meets Tier 1 for HD production, making it
suitable for use on even high-end productions.
JVC’s GY-LS300 handheld Super 35 4K
camcorder (pictured, left) has received a version
2.0 update, and now includes: a film-look JVC
Log mode; a histogram; Cinema 4K/2K recording
(4096x2160 and 2048x1080); and zooming using
prime lenses without losing resolution - offering
2.3x maximum zoom for HD or 1.25x zoom
for 4K. It can also now trigger recordings
via HDMI/SDI, has JVC LUT support for the
Atomos Shogun recorder, and HD output
via HDMI/SDI when doing 4K recording, for
HD monitoring.
V2.0 also adds colour matrix
adjustment, spot meter for
exposure, and a black paint setting
to precisely adjust the colour
temperature of master black.
A new 70Mbps
recording
mode allows
4K recording on
economical Class 10
SDHC/SDXC cards.
The GY-LS300 includes HD
streaming with WiFi and 3G/4G for
live HD transmission.
THE 2/3-INCH CONUNDRUM
Sport is where Ultra HD is really taking
off, however, and because OBs require
greater depth of field to keep everything
in focus, all the major manufacturers have
been intent on releasing models with 2/3-
inch sensors that take B4-mount lenses.
Hitachi was first last year with its
SK-UHD4000 four-chip camera (two green
sensors), and has now been followed by
more traditional three-sensor cameras
from Grass Valley (LDX 86 range), Sony
(HDC-4300) and Ikegami (Unicam UHD).
Panasonic has taken a single-sensor approach
(B4 mount with convertor and slight light
loss) for its AK-UB300 and AK-UC3000 box
and studio cameras.
The HDC-4300 will also address one of the
biggest sports requirements, live slo-mo replay,
via a software update, to offer 2x (100 or 120fps)
shooting in UHD and up to 8x super-slow-mo
in HD. The camera can also be used for high
dynamic range shooting (it will get S-Log3
output in the update), something that the LDX
86 will also be able to offer via its new XF fibre
transmission base station.
The latter will provide 15-stops of dynamic
range plus one-wire UHD transmission (instead
of 4x 3G-SDI), using Tico compression, “which
is getting a lot of momentum because it is low
latency and can be virtually lossless at 4:1,” says
Mike Cronk, Grass Valley’s senior vice president
of strategic marketing.
SMALL AND MIGHTY
Another problem that broadcasters need to solve
for UHD is miniature cameras capable of 50/60p.
With commitments to test transmissions of 8K next year, and full coverage by the 2020 Olympics, anyone that wants to sell cameras to Japan’s NHK must be able to offer 8K.
JVC’s upgraded GY-LS300 4KCAM
Right: ENG ready: Bob Caniglia shows off
Blackmagic’s Ursa Mini with B4 Mount
www.tvtechnologyeurope.com October 2015 TVTechnology9
Here Bradley Engineering has been working with
AltaSens (JVC Kenwood’s sensor manufacturer),
and is using its Super 35 4K sensor in the fibre-
based Bradley 4K PTZ (3840x2160 50p) remote
camera, which was demonstrated in a small
spider-cam type rig at IBC but can also be
housed in Bradley remote heads.
The 4K SDI camera from IO Industries offers
50/60p in both UHD and 4K in a tiny package,
and received several updates at IBC. It now
supports Camera Corps and TV Skyline remote
control panels, with full control of focus and iris
for Canon EF lenses, as well as all the standard
camera functions. The camera has a Super 35,
global shutter CMOS sensor, outputting 4:2:2,
4:4:4 or Raw.
Panasonic’s new AW-UE70 is claimed to
be the industry’s first integrated UHD pan/tilt/
zoom camera, but it only delivers 3840x2160
25p (via HDMI), although this might be OK for a
commentary camera. It can stream UHD IP and
record to microSD. It also delivers various HD
formats including 1080 at 50p, 50i and 25p.
TO A GREATER XTEND
For high-end production, the new Alexa SXT
(Super Xtended Technology) adds electronics
from Arri’s Alexa 65 camera to the existing
Alexa XT sensor for in-camera recording of
ProRes 4K UHD (3840x2160) and ProRes 4K
Cine (4096x2637).
It can do live colour grading, so there is no need
for a separate LUT box, and can output to an
on-set monitor as well as doing the final grading
and dailies creation, “so the people in post will
know what the intended look was,” says Stephan
Schenk, Arri’s managing director. It also has
SXR (Super Xtended Recording) with new 1TB
or 2TB capture drives. “That gives you massive
capabilities to shoot without stopping,” up to
seven hours in ProRes, he adds.
SXT ships later this year, and “a lot of orders”
have already been taken. Anyone taking delivery
of an XT now gets a free upgrade to SXT.
Arri’s Amira documentary camera will get a
free new software update (v3.0) enabling ProRes
4444 XQ recording, plus MPEG-2 HD 4:2:2 to
match the XDCAM workflow. It will also connect
via Ethernet to a Sony box to be controlled by a
standard Sony RCP-1500 for multicam capability.
A new Amira Slot developed with Ambient for
wireless audio has a two-minute battery to
allow hot swapping the camera battery without
interrupting the signal. There will be a paid update
for the Alexa Mini made available later this year,
adding Arriraw and 4:3 capability.
ROLLING IN THE DEEP
Canon’s new EOS C300 MkII shoots 4K and
UHD, and offers wider dynamic range (up to
15 stops). It uses a new Canon-designed Super
35mm CMOS sensor that has twice the readout
speed (reducing rolling shutter effects), and a
more advanced imaging engine with dual DIGIC
DV5 processors.
The extra dynamic range is courtesy of a new
Canon Log2 codec that retains more highlight
and shadow information. It also has the Wide DR
setting from the C100 MkII, which requires less
work in post.
Other new features include: improved auto
focus; extended ND filters; an increased ISO
range of up to 102,400 for low light use; and dual
CFast 2.0 memory card slots.
www.tvtechnologyeurope.comTVTechnology October 2015 10
IBC - ACQUISITION
The FS5 is well designed, with a comfortable rotating hand grip, six custom buttons and a really nice electronic variable ND filter
Grass Valley’s LDX 86 Universe
offers UHD and 6x HD slo-mo
The C300 MkII also has new XF-AVC recording
codecs based on H.264 compression and MXF
wrapping, with 10-bit 4:2:2 XF-AVC intra for
4K/UHD at 410, 225, 220, or 110Mbps, while
HD and 2K can be recorded in 10-bit 4:4:4 at
210Mbps, or 12-bit at 225Mbps. It won’t shoot at
more than 30p in 4K/UHD, although it can go
up to 100/120p in 2K/HD mode.
BEYOND UHD
With Japan’s NHK committed to test
transmissions of 8K next year, and full coverage
by the 2020 Olympics, anyone that wants to sell
it cameras must be able to offer 8K, so camera
manufacturers are ramping up their development
efforts. Canon announced at IBC that it will
commit to 8K - it just wouldn’t commit to any
time scale for this, but it said it is working on an
EF-mount Cinema EOS System 8K (8192x4320)
camera, a professional 8K reference display, and
a still-image SLR camera equipped with a CMOS
sensor with about 120 million effective pixels.
It is also working on 8K-to-4K down conversion
and 4K cropping.
Ikegami, however, is already on its fourth
generation 8K/Super Hi-Vision camera. The new
SHL-810 is one tenth the size and weight (less
than 9kg) of its first model from 2002. It uses
a single 33-megapixel Super 35 CMOS sensor,
achieving 4,000 TVL horizontal and vertical
resolution, and provides 8K, 4K and 2K output,
all in native quality. It can be used in a fully 8K
production environment or alongside UHD
and/or HD cameras.
This camera uses regular PL-mount lenses,
while a System Expander enables the use of large
viewfinders and full studio lenses, converting
the portable camera into a full facility studio/OB
camera. Output from the camera head to the
control unit is 40 gigabits per second via standard
SMPTE hybrid fibre, allowing long-distance links
for live broadcasting. The SHK-810 employs a
dual-green colour filter to deliver SHV’s wider
dynamic range.
RED ALERT
Red was showing its 8K Weapon complete with
a new lighter, stronger forged carbon fibre body.
It was fitted with a 70-200mm Zeiss Compact
Zoom, as this gives the most complete coverage
of its sensor. This Weapon has a smaller body
than its predecessors, but with a larger sensor,
and should ship by the end of the year.
Unlike the Dragon, which had its fan inlet at
the front (which could cause noise on set), the
Weapon has its fan inlet at the back, using the
front to house two on-board microphones, so
users always have a reference audio track.
Red was also showing live monitoring of high
dynamic range. Its HDR-2084 option uses the
quad outputs of the Redcast module (developed
for live broadcast use) to offer four different LUTs
at once, and supports HDR monitors, including
those made by Dolby.
Blackmagic Design’s Ursa Mini also attracted crowds. For broadcast users, the PL-mount version is the one to get
Red’s new forged carbon fibre 8K Weapon with Zeiss lens
Sony’s new FS5 is light
enough for use on a drone
www.tvtechnologyeurope.com October 2015 TVTechnology11
The GoPro booth at any trade show
always promises some of the most fun
and innovative applications around, and
IBC 2015 proved to be no exception.
Having established a market-leading brand
associated with indie sports there is plenty of
latitude to exploit. The mini Hero Session (circa
£260/€350) captures HD from a square module
half the size of a normal GoPro and is so rugged
that a GoPro rep said his dog had even eaten one
- and both survived. Two new mounts for the unit
are the ‘Ball Joint Buckle’ and the ‘Floaty’.
For live broadcast, GoPro has a tethered Hero
model engineered with Vislink’s HD RF link that
has been branded as HeroCast. The latency is 180-
200 milliseconds. The Hero4 Black is GoPro’s 4K
camera and while 4K can’t yet be streamed from it
live, the company says it is looking at this.
GoPros can also be ganged together as a
budget means of recording 360-degree video.
Users can use either GoPro’s own software,
which it acquired from Kolor, to stitch the images
together or upload the video to Google’s Jump.
The difference is that the Kolor rig uses six
cameras and includes views from above and
below to create full 360-video, while the
Google/GoPro Odyssey rig rings 16 models,
four of which at any one time are focused on
one data point meaning that it can capture stereo
3D video for VR applications (though not quite all
views above and below).
Films can be published direct to YouTube
to fuel its growing 360-degree video inventory
(YouTube is adding support for VR playback
soon) or sent back to the creator for further
artistic refinements.
Firmware data is provided with Odyssey to
enable processing on the Google cloud.
The world in your
handsIBC 2015 was not just about high-end production tools and UHD-capable cameras. It was also a great place to seek out innovation for indie filmmakers, self-shooters and anyone looking for something a little bit different, as Adrian Pennington discovered
www.tvtechnologyeurope.comTVTechnology October 2015 12
“One of our goals is to have a best stab at teleportation – jumping to another place with immersive video.”
IBC delights: the Canon 6D on a Syrp Genie (left), the Shenzen Wingsland
drone (top), and the Sony FS5 (bottom)
IBC - ACQUISITION
“One of our goals is to have a best stab at
teleportation – jumping to another place
with immersive video,” explains a Google
representative who didn’t want to be
named. “A lot of work goes into genlocking
the cameras and synchronising the data to
make sure its ingested into our pipelines.
Other solutions for 360 video require a lot of
manual intervention to stitch the image.”
TEENY TINY CAMERAS
Earlier this year the Union Cycliste
Internationale (UCI) used tiny cameras during
multi-platform overage of the 2015 UCI Track
Cycling World Championships. The VeloVue
HD was designed by Broadcast RF and built
by Videosys, fitted with the Cobham Solo7
HD Nano transmitter.
Now Videosys plans to go a step further with
an even more discrete camera unit, barely 2cm
wide, also working with the Nano. It could be
ready to buy by the time you read this article.
Sales manager Alistair Horne said Videosys
used its expertise in engineering camera
controllers for Sony, Grass Valley and Hitachi to
give the new camera a unique colour control that
will see it matched to outputs from broadcast
cameras. While some manufacturers, Marshall
Electronics, for one, look to mass produce POV
cameras, Videosys prefers to develop bespoke
tools for broadcasters.
“We can reshape the sensor to any size or
shape with our own milling machines and design
team,” explained Horne. “The fact that it is 1080i
on the sensor means we can output 1080i while
other technologies capture progressively at the
sensor and have to convert it later.”
Incidentally, the latest addition to Marshall’s
range of compact cameras is the CV620 which
features a
20x optical
zoom,
340-degree
pan,
120-degree
tilt and a two
megapixel ½.8-
inch sensor designed
for studio, reality TV or
commentator positions.
CAPTURING LIGHT
For all the talk of virtualisation, the one thing the
industry can’t yet translate into software is the
physics of light hitting a sensor.
It is refreshing therefore to see a number
of new high quality budget cameras come
to market, many with the ability to capture
extended dynamic range.
The Sony FS5 is a compact 4K Super35mm
camcorder with built-in electronic variable ND
filters. These are designed to expand
the depth of field and to
control exposure of the
unit’s 14 stops. The unit
has the ability to capture
240fps in eight second bursts
making 1/10 times Super Slow
Motion possible. There’s an
E-mount to take SLR lenses
via an adaptor, as well as
Sony’s A-mount lenses.
The FS5 will probably
compete against the
Panasonic’s GH4 and Canon’s
XC-10 and its EOS C300
Mark III. The latter has a new
Super35mm CMOS sensor, will
shoot 4K/UHD and up to a range
of 15 stops. However, it won’t
shoot at more than 30p in 4K.
Sony is also launching the a7S
II full-frame mirrorless camera
(pictured, left). Its key feature is the
ability to capture pictures in highly
sensitive light conditions to a range of
ISO 409600 (and record 4K video).
Knocking even that capability into a dark
corner is the Canon ME20F-SH (pictured, right)
which boasts an ISO in excess of four million.
Canon is of the opinion that this stunning ability
to capture extremely low-light environments –
without using infrared – is useful for specialist TV
productions of night-time wildlife, deep sea/cave
exploration or astronomy.
Before we leave cameras it’s worth taking
note of the Panasonic AG-DVX200, a new
£3,240 (€4,400) large sensor (micro four thirds)
4K 50/60p machine with integrated zoom that
promises all the joys of professional run and gun
style shooting combined with a cinematic look.
FOCUS PULLING PRECISION
What can generate a 3D map from a 2D image
in 60 milliseconds? The Image+ measurement
system from Qinematiq. Where previous
instruments like laser or ultrasonic determine one
measurement point, the Image+ measures the
whole scene in detail over 600,000 pixels. This
is useful for focus pulling with pinpoint precision
– maybe to an actor’s nose or a flower in the
scene background.
“It aids any situation where the depth of field
is very close or your subjects are in motion,
including sports or live shows,” explains founder
Martin Waitz. The mechanism houses twin lenses
IBC - ACQUISITION
www.tvtechnologyeurope.comTVTechnology October 2015 14
The Atomos Ninja Assassin (left) provides 4K/UHD monitoring, recording, playback and editing for £900
and sits adjacent to a digital (4K, 6K, 8K) camera.
Control is wireless via touch screen.
“The accuracy is lower than one percent of
the distance,” said Waitz. For example, it will be
accurate to 2cm from a distance of four metres.
Smart Ranger is a companion range finder
that measures the distance between the anchor
unit on a camera and a portable transponder
which might be carried under their clothes by
an actor, which would prove useful in moving
shots and steadicam work.
If it is time-lapse or motion controlled video
for DSLRs you’re after then New Zealand designer
Syrp has a beautifully crafted set of controllers.
The Genie (£520/€700) allows panning and linear
motion control when attached to standard gear
such as dollies, sliders, jib arms and tripods. The
maximum speed a 360-degree pan takes is five
seconds, while 30 inches of linear movement
takes 23 seconds. The battery will last long
enough for 50 hours of time-lapse. All of this can
be controlled wirelessly on an app.
Just launched is a smaller module, Genie Mini,
which at £200 (€270) a pop “has been selling
like hot cakes” according to co-founder Chris
Thomson. Updates to the app include time-lapse
image processing on smartphones.
GET A RECORDER (AND SOME LEDS)
Now you’ve captured the shot how are you
going to record it? Options include the Atomos
Ninja Assassin which provides 4K/Ultra HD
monitoring, recording, playback and editing in a
430g package that costs £900 (€1,200). It lacks
the 12G/6G/3G-SDI inputs and other functionality
of the Shogun but is priced for the DSLR and
mirrorless camera market.
The Odyssey 7Q+ is Convergent Design’s
competitor to the Assassin’s bigger brother
Shogun. It costs around £1,500 (€2,000), will
record 4K raw and is direct compatibly, via HDMI,
with cameras like the GH4 and the Sony A7S.
To mount recorders and other accessories
on DLRS, small camcorders or mirrorless cams
you might try the new (£300/€400) Walimex Pro
Aptaris Universal Frame system or the LockCircle
BirdCage BoomBooster, a new modular camera
grip (£180/€243).
You may not need lighting with all that
dynamic range to play with but, just in case, here
are a couple of new portable LED options. The
Little Vid kit from Videssence includes three 50
watt Fresnel lens LED fixtures plus stands and
reinforced case, power cords, gel frames and
barn doors. Exalux Briks from Ledixis is described
as the Lego of lights as several of the 9x9 cm
squares can be connected in a variety of ways to
create a bespoke lighting shape for tricky shots in
awkward places.
www.tvtechnologyeurope.com October 2015 TVTechnology15
The drone zoneSMARTPHONE innovation such as single-chip
accelerometers and GPS systems have decreased in
price, increased in number and given the UAV market
lift-off. IBC set aside an outdoor cage for visitors to see
or pilot unmanned flying vehicles in action.
Like GoPro, DJI has a market-leading
technology that has attracted other companies to
build accessories around it. These include the TVU
Networks TVU One transmitter which can sit
onboard a DJI Inspire and stream HD live with
one second latency.
“The market is booming and we are able to provide
products that are very affordable but very powerful at
the same time to generate stable 4K resolution in the
air over a mile away and with 20 minutes flight time,”
says DJI marketing director Willis Chung. “The flight
collusion avoidance systems which is in our Phantom
1 model will be integrated across our range.”
Fellow Chinese drone maker Shenzhen Wingsland
said that while DJI's technology was more mature, it
couldn't match the control of its own. “We design and
build our own controllers,” said company rep Hui Liu.
“Unlike DJI we offer a monitor with the controller. This
is easier to use than a mobile phone app.”
The quadcopter Wingsland Minivet includes support
for four mllion pixel static picture shooting, HD 30p
recording plus an automatic frequency hopping
function in the controller that increases flight safety.
Debuting at IBC was ProDrone, a UAV designed
to fold up into a iPad sized package to fit into a
backpack. Apparently “ruthlessly tested in the world’s
harshest climates to guarantee unconditional quality”
the design has a modular payload for quick exchange
of gimbal and camera combinations. It will launch
later in 2015 priced between $800 and $3,000 (£527-
£1,900) depending on package.
“For all the talk of virtualisation, the one thing the industry can’t yet translate into software is the physics of light hitting a sensor.”
“Unlike DJI we off er a monitor with the controller. This is easier to use than a mobile phone app.” Shenzen Wingsland
Videosys: An HD camera, barely 2cm wide, that works with a Cobham Solo7 Nano, is in development.
CONFERENCE REPORT
Talking the talkFrom the perceived importance of TV resolution to codec development, there was plenty to talk (and disagree) about during this year’s IBC conference
www.tvtechnologyeurope.comTVTechnology October 2015 16
Assessing the bigger picture of technology
trends during IBC, leading chief
technology officers (CTOs) were excited
by the possibilities of extreme data while
cautioning against a narrow focus on 4K.
“We’re in danger of missing the boat by
concentrating on 4K and HDR if we can’t
distribute content to mobile and do so far more
quickly to keep pace with binge demand,” argued
Sinead Greenaway, UKTV director of operations
during ‘Roadmap Session: Our CTOs look
forward 12 months.’
“When we talk about 4K and HDR we are
focused on one use case which is the big
screen in the living room but it is the myriad of
multiscreen TV use cases that may matter more,”
added Paul Dale, CTO, Dentsu Aegis Network.
Discovery Communications is producing 4K
programming and would like to do so at frame
rates of 120p but even that amount of data is not
enough for CTO John Honeycutt. “One idea is to
create different viewpoints from 8K data to give
the sense of being a fan in a stadium,” he said.
One of the possibilities of a move to IP
is object-based broadcasting. “Releasing the
components of sound and picture for a viewer
to interact with is extremely interesting,” said
Ulf Ewaldsson, senior vice president and group
CTO, Ericsson. “We are moving to a point where
we can use data for more than just forming
pixels into a big block. It goes beyond the
resolution of the TV.”
“I think the idea is profound and little
understood,” mused BBC CTO Matthew Postgate
(pictured). “It’s about moving the whole industry
away from thinking of video and audio as
hermetically sealed and toward an idea where we
are no longer broadcasters but data-casters.”
He added: “I am not interested in 4K. I am
very interested in UHD.”
The ‘Outlook for Broadcast and Media –
IBC 2015 Wrap Up’ session underlined
several big trends at IBC with the
consensus being that HDR is the next big thing
on which broadcasters should focus.
“Even your grandmother can see HDR,”
quipped Phil Laven, DVB chairman. “And I don’t
have anything against grandmothers.”
“HDR is the new black,” added Simon Fell,
director of technology and innovation at the
EBU. “HDR is much more applicable today and
it is really astonishing,” said Marco Pellegrinato,
director of research and development RTI
Mediaset Group in Italy. “To move to UHD will
take until the next decade because of all the
costs but we can do this much more quickly.”
But Fernanado Bittencourt (pictured) from
Society of TV Engineers (SET) in Brazil warned
the broadcasting industry that with the moves
towards higher resolution formats they must look
to protect their spectrum capacity.
He said: “Broadcasters have always had the
highest quality of video but I am worried that
in five years it will be the worst quality. If
you don’t have the spectrum to
broadcast new technology there
is a big risk of losing the market.
“Nothing is as profitable as
over the air broadcasting but
to keep the high percentage of
viewers we need to keep the
best quality.”
There was also agreement
that IP is the future but
fewer assents about how
new devices like Apple TV
and new forms of internet
content are going to
affect the industry.
Richard Friedel,
executive vice president
and general manager of
Fox Networks, believes
that the linear TV system
will still be in place in ten
years because people
will still want “curated
streams of content” but
it won’t be from “big
TV transmitters on
mountaintops.”
Aspera chief
HDR is the
CTOs think beyond resolution
www.tvtechnologyeurope.com October 2015 TVTechnology17
An in-depth examination of the likely
progress for codec development, and what
could replace HEVC on the current road
map, occupied panelists at the IBC ‘Breaking the
Codec’ session.
Speakers discussed the merits of some
recent ‘free’ codec suggestions (from the Open
Media Alliance) but the
overwhelming view was that
this would stifle R&D, and
could only lead to a field
day for lawyers as IP-patent
holders argued over usage.
The trends were clear,
stated Tony Jones, head of
technology/TV compression
at Ericsson. “MPEG-2
has been around for 20 years and every year
improvements are made,” he said.
“We wouldn‘t be doing this if the MPEG-2
equipment was no longer in use, but the fact is
there’s a huge legacy out there.”
Matt Stagg, principal strategist at mobile
operator EE, showcased a recent trial with a new
compression offering, V-Nova’s Perseus system,
which delivered flawless Ultra HD signals to urban
and thinly populated areas at 6 Mbps. Stagg said
that EE is now working with V-Nova on developing
the relationship. “We champion any innovation
where we can see clear benefits to us and our
customers,” he said.
Eric Achtmann, executive chairman of
V-Nova (pictured, above), said broadcasters and
operators already had a huge problem dealing
with ever-increasing
capacity demands: “We
recognise that current
codec improvements
are delivering a two-fold
capacity improvement
every five to seven years,
but demand is growing
at 20-fold – and there’s a
huge disconnect which
needs addressing.” He went on to argue that
demand for bandwidth was not going to be
satisfied by these incremental improvements.
“The installed base represents a huge elephant
in the room,” he said.
“Smartphones have proliferated over the past
four years, and the TV industry is still deploying
200 million set-top boxes annually. The USA
is investing $1 billion every ten days in extra
bandwidth capacity and upgrades.”
executive Michelle Munson added that the rate
of growth in internet delivery systems means that
it will be less than ten years until non-linear is the
dominant form of delivery.
new black
Breaking the codec log-jam
“We wouldn‘t be doing this if the MPEG-2 equipment was no longer in use, but the fact is there’s a huge legacy out there.” Tony Jones, Ericcson
MARKETPLACE - LENSES AND LIGHTS
My light, my guideUHD lenses unveiledFujifilm introduced two new
Fujinon lenses for 2/3-inch
UHD/4K cameras at IBC: an 80x
box lens and a 22x ENG-style
lens. The UA80x9BESM (pictured)
uses the latest optical simulation
technology to achieve an 80x
zoom with advanced optical
performance, such as high image
resolution, contrast and colour
reproduction. Covering the focal
length from 9mm in wide angle to
720mm in telephoto, it uses a new
optical stabilisation mechanism
providing optimum adjustment to
reduce image shake caused by
vibrations and wind. The portable
UA22x8BERD covers a focal length
from 8mm to 176mm.
At the same time, Canon
launched two new 2/3-inch lenses,
the UHD Digisuper 90 (UJ90x9B)
and the UHD Digisuper 86
(UJ86x9.3B).
Neo feels effects of upgradeNew software that turns the
colour-tuneable Rotolight Neo
(pictured) into a lighting effects
machine was shown at IBC.
The software upgrade includes:
Designer Fade, for programmable
custom fades (up/down); True
Aperture Dimming, which
calculates the correct
aperture (f-stop)
at a given
distance,
shutter
speed and
ISO, and
is useful
for both
stills and
video; and
CineSFX,
a quickly-
accessible menu
that turns the 91 TLCI
Neo into a versatile effects light.
Rotolight chief executive Rod
Gammons demonstrated strobe
effects that can be adjusted to
sync with the camera’s shutter
speed, lightning flashes, throbbing,
colour cycling, emergency vehicle
lights, and fire effects. The
latter can be adjusted
to replicate
candles or
camp fires
and even
flares where
the flame
changes from
red to blue.
Also shown
was an effect
that randomly
changes colour and
intensity as if someone
is lit by a TV screen.
Anamorphic readyfor its close upCooke Optics’ new 65mm
Macro Anamorphic/i 2x prime
lens (pictured) made its debut at
IBC, alongside a major update
to the /i Squared Technology
metadata system. The 65mm
Macro anamorphic lens, which
recently went into production,
boasts a close-up magnification
ratio of 4:1:1. It has a close focus
of 13.75cm from the front of the
lens, which is almost unheard of
in an anamorphic lens. According
to Cooke, the key feature of the
lens “is that its focus does not fall
apart as it gets to macro focuses,
making it ideal for close-ups and
product shots.” Cooke has also
been working on enhancements
to its /i Squared Technology to
provide more detailed lens data to
VFX and post-production teams.
The latest firmware addition
provides distortion mapping.
LED lighting on the bounceThe Alphatron TriStar 4
on-camera LED light “can
be thrown on a concrete
floor, just bounce and
still work,” according to
Richard Payne, technical
pre-sales manager
with Holdan, one of its
distributors. “We threw it a few
times, and the only damage was a
slight dent in the metal barn doors,
which - like its metal ball joint - is a
rare feature in this price bracket.”
The £180 bi-colour light is
tuneable between 3200K to
5600K, doesn’t change its intensity
when you change colour, and
uses 96 long-life, high-brightness
three-chip surface mount diodes
(with three times the output of
non-SMD lights using the same
number
of LEDs). It
promises 100-
ten per cent dimming without
noticeable colour shift and is
powered by Mini 4-Pin XLR or
Sony NP-F Battery, draws 12W and
has a beam angle of 120°. A built-
in diffuser is included.
www.tvtechnologyeurope.comTVTechnology October 2015 18
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MARKETPLACE - T&M AND MONITORS
A test of strength
T&M in the handThe Linear Acoustic MT2000
Multichannel Bitstream Analyser
made its European debut at IBC
2015. Featuring a full suite of
test capabilities in a handheld
form factor, the MT2000
allows engineers to analyse
and troubleshoot digital audio
paths quickly, inside or outside
a facility. Linear Acoustic said it
is ideal for a variety of testing
applications, including broadcast,
cable, satellite and home theatre.
Tim Carroll, chief technology of
officer of parent company Telos
Alliance, said: “The MT2000 is
the next-generation in PCM and
Dolby- encoded audio analysis
and generation. It is an efficient
tool for end-to-end system testing
and is ideal as a replacement
for the original Dolby DM100.”
Welcome the Grand MasterTektronix has launched a hybrid
master sync generator that
supports incremental migrations
to IP-based video, as well as
supporting traditional SDI. The
SPG8000A comes standard with
multiple independent black burst
and HD tri-level sync outputs
that are designed to meet the
synchronisation needs of
traditional baseband video
broadcast or production facilities.
The device also incorporates an
optional, field-upgradeable IEEE
1588 Precision Time Protocol (PTP)
grandmaster clock that enables
precise synchronisation of IP-based
production workflow. Paul
Robinson, chief technology officer,
video at Tektronix, said: “In the
production IP world, if the video
isn’t tied together in time, you can’t
do anything, which is why we’ve
spent so much time working on
this product so early in the day
for SMPTE ST2059.
“The SPG8000A is the world’s
first production quality PTP
grand master and SDI hybrid
reference generator.”
Qx updatedPhabrix has introduced a new
incarnation of Qx, its UHD TV test
and measurement device. The
Qx provides manufacturers with
a toolset for both analysis and
generation of signals up to 48Gbps
payloads and, importantly, provides
12Gbps eye and jitter analysis. Also
at IBC the Rx rack mount range of
rasterizers were updated to version
9.03, adding new audio instruments
to the video complement. At
the same time the Sx range now
benefits from a new A/V delay
generator and inclusion of a VANC/
ANC signal monitoring grid.
The SxE has a new advanced eye
and jitter toolset with additional jitter
instrument, and celebrated its 5,000
sales since release.
www.tvtechnologyeurope.comTVTechnology October 2015 20
Convert, generate, analyseOmnitek showcased the Ultra 4K Tool
Box, a test and measurement device for
the analysis, generation and conversion
of ultra high definition (UHD) signals.
The Tool Box, which includes 12G-
SDI Physical Layer analysis and
generation, was built to aid 12G-SDI
product design. It supports SD through
to 4K60 UHD via quad 3G, dual 6G,
12G-SDI and DisplayPort and provides
real-time 12G-SDI Eye with automatic
rise and fall-time measurement, Jitter
meters, waveform, histogram and Jitter
spectrum analysis.
David Ackroyd, vice president business
development, at Omnitek said: “We are
seeing an increase in demand for our
high speed test equipment both from
manufacturers and system designers.”
www.tvtechnologyeurope.com February 2015 TVTechnology15
7-inch on-board monitor sees the light of dayA new series of daylight-viewable
7-inch HD on-board monitors
has been unveiled by SmallHD.
The 700 Series monitors come
in a very slim, lightweight form
factor and promise to provide an
accurate 1080p display of focus,
exposure, colour rendition and
framing, even in broad daylight.
The 323 dpi, 1920×1200 display
boasts 1000 NITs of brightness
plus a bonded glass protector with
an anti-reflective coating, offering
improved contrast. Its aluminium
housing and an optional acrylic
screen protector are designed
to survive harsh shooting
environments. Features include 3D
LUT video output to downstream
devices and built-in dual-purpose
battery slots tor either Canon
LP-E6 or Sony L-Series batteries.
Quad-view engineeringLED monitor on showA new desktop/rack-mountable
17.3-inch 1920×1080 LED
engineering monitor with
waveform, vectorscope,
16-channel audio and CEA-708B
closed caption decoding has been
released by Marshall Electronics.
The V-R173-DLW Quad-View
test and measurement monitor
(pictured) supports SDI, HD-SDI,
3G-SDI and Dual Link SDI.
Selectable multi modes enable
the monitor to break into four
quadrants and display signal
input information (link status),
embedded audio
levels, a waveform
monitor, a
vectorscope
and live video
simultaneously. A
DVI input supports
all HDMI modes and
DVI to 170MHz.
The V-R173-DLW
also supports the
in-monitor display
(IMD) protocol.
New Ultra HD monitorsTVLogic demonstrated a new
12G-SDI single link 4K monitor for
production and post-production
use. The LUM-240G is a 24-inch
monitor with UHD resolution
(3840 x 2160), 10-bit colour depth,
high contrast ratio of 1000:1 and
wide viewing angle. It supports
various standard colour gamuts
including Rec.709 and DCI.
TVLogic also showed the LUM-
170G, a 17-inch full HD (1920
x 1080) resolution panel.
Both the LUM-170G and
240G support 12G-
SDI signal with
four BNC input
connectors (2
for 12G-SDI and
2 for 3G-SDI)
and an HDMI
2.0. input.
2160/30p
through 6G-SDI signal link is also
supported. Andrew Sunwoo Kim,
director for the international sales
department at TVLogic, said: “The
LUM-240G enables people that
are checking and editing 4K files
to have 1:1 pixel mode or single
mode. Users can select one
quadrant of the screen to see the
4K image enlarged for detailed
checking,”
www.tvtechnologyeurope.com October 2015 TVTechnology21
MARKETPLACE - TRANSPORT
www.tvtechnologyeurope.comTVTechnology October 2015 22
Going the distanceNo monkeying aroundNew products for sending uncompressed
signals further over a single fi bre optic cable
were showcased by MultiDyne at IBC. The new
SilverBack-III 4K6 camera-back transceiver provides
six 3Gbps signals directly from a single camera or
multiple cameras to a base station, located near the
camera, or miles away. Current uses include virtual
reality applications for live sports viewing at home
using specialised viewing devices. Multidyne also
demonstrated its existing SilverBack 4K5 camera-
back transceiver (pictured) with new feature
enhancements that improve Intercom performance
and other system components for the camera
operator. The SilverBack 4K5 system
allows users to convert any quad-link
camera into a fully systemised live
production camera with full intercom
and camera control directly to/from the CCU.
Also on show was FibreNet, a real-time
uncompressed optical network topology
that connects multiple nodes of fi bre
infrastructure for managing,
controlling and distributing
uncompressed signals from one
centralised location to a production crew
anywhere in the world over a single fi bre cable.
The fibre effectMaking its fi rst IBC appearance was Ikegami’s
BS-98 and CCU-980 hybrid 2K/4K rack-
mountable optical-fi bre transmission links.
When used in combination with current Ikegami
Unicam HD cameras, the BS-98/CCU-980
can deliver HD and 4K processed UHD signals
simultaneously. This allows users to employ their
existing HD cameras and accessories, including
lenses, for 4K production until such point as
Ultra HD broadcast becomes popular. Also on
show was a lower-cost camera transmission
system that uses single, dark fi bre cables and
can carry multiple uncompressed HD signals,
or 4K, over distances of up to 40km. The HTR-
100 Multi-video Fibre Optic Transmission unit
can stream up to eight HD-SDI channels and
can also be confi gured 4-in/4-out, or 6+2. “The
signal is packetised at a very fast speed, less than
200 microseconds (0.2 milliseconds), point-to-
point, based on a new type of SFP module,” said
Masanori Kondo, president, Ikegami Europe.
Solo encoder for online
36 signals into one
LiveU has launched a plug-and-play live
streaming bonding product for the online
media market. Solo, designed to work
with web streaming workfl ows, connects
automatically to Wowza Streaming Cloud and
a number of CDNs, OVPs and YouTube Live.
The encoder is built around LiveU’s existing
bonding technology and its integral LRT (LiveU
Reliable Transport) adaptive bit rate and forward
error correction protocol and can be managed
and controlled remotely via a web interface
or smartphone. LiveU chief executive Samuel
Wasserman said: “LiveU Solo is set to create a
new standard. Our goal is to off er an integrated
and much more powerful solution to sports and
other vertical markets.”
Technology that allows 36 camera and CCU
signals to be multiplexed on a single fi bre cable
was touted by Barnfi nd Technologies.
The Norwegian company’s innovation uses
a higher density of small form factor pluggables
(SFPs) in order to get double the channel count
when using existing CWDM infrastructure. The
technology splits the CWDM grid into ‘high’ and
‘low’, enabling the same wavelength window
to send and receive signals bi-directionally over
fi bre. Working this way, up to 36 signals (or 18
bi-directional) can be transported over a CWDM
infrastructure that would normally be limited
to 18 channels. Barnfi nd Technologies chief
technology offi cer Arild Skjeggerud said: “This
makes it possible to multiplex 36 camera/CCU
signals on a single SMPTE hybrid fi bre cable. It
reduces set-up and tear down complexity and
time.” Larger solutions with more camera/CCUs
on one fi bre are in development, he added.
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MARKETPLACE
www.tvtechnologyeurope.comTVTechnology October 2015 24
The route to IP
Scalable powerThe NVISION 8500 hybrid routing system
(pictured) was shown at IBC by Grass
Valley. The company said that it combines
“exceptional resilience with cost, space and
power effi ciency to make it an ideal enterprise-
class routing solution.” Designed for production
and playout applications from trucks to the
“largest engine rooms”, it is said to off er the
convenience of integrated audio processing
and simplifi ed cable management. The routing
system is available in fi ve frame sizes, from
144×144 to 1152×1152 and larger.
At the same time Grass Valley highlighted
a new IP Gateway card for the 8500 that
provides broadcasters with the ability to
“ensure their facilities are ready for the
transition from SDI to IP infrastructures.”
By packetizing realtime, uncompressed,
baseband video using SMPTE 2022-6, the IP
Gateway enables broadcasters to transport
video over 10GE networks.
Support for ASPEN grows Evertz used IBC to tout an increase in support for
ASPEN, the open, non-proprietary protocol that
it believes is better suited to IP-based production
than the SMPTE 2022-6 standard.
Submitted for publication as a Registered
Disclosure Document (RDD 37), ASPEN is used
for sending uncompressed Ultra HD/3G/HD/
SD over MPEG-2 transport streams (TS). When
combined with SMPTE 302M (Audio over TS) and
SMPTE 2038M (Ancillary data over TS), it allows
broadcasters to switch uncompressed video and
audio over an IP
network. Among
the new ASPEN
supporters is
Ross Video. At
IBC, the two
companies announced that they are developing
10GE IP interfaces with ASPEN support for the
Acuity production switchers (pictured), allowing
connection to Evertz’s Software Defi ned Video
Networking (SDVN) high capacity switching
MicroN for media distributionRiedel Communications’ MicroN is an 80G
media distribution network device for the
company’s MediorNet line of media transport
and management products. Working with the
MediorNet MetroN core fi bre router, MicroN is a
high density signal interface with various audio,
video, and data inputs and outputs, including
24 SD/HD/3G-SDI I/Os, two MADI optical digital
audio ports, a Gigabit Ethernet port, two sync
reference I/Os, and eight 10G SFP+ ports.
At IBC Riedel announced that Cologne-
based OB fi rm RecordLab TV & Media (part of
the NEP Group) had added the MircoN to a
new truck. Thomas Riedel, chief executive of
Riedel Communications, said: “This 1RU box is
a powerful and fl exible 80G media distribution
device that can be used in several diff erent ways
to create unique signal topographies and simplify
signal transport like never before.”
IP at the coreAt IBC, Sony waxed lyrical about how IP-based
technologies can open up new possibilities
for broadcasters. It also revealed that in
excess of 30 companies are now working to
develop IP production products based on the
company’s Networked Media Interface (NMI), its
development for latency and noise-free switching
of HD and 4K video, audio and metadata.
Michael Harrit, marketing director, Sony Europe,
SIGNAL DISTRIBUTION
EVS hopes to get “more out of live”
Virtualisation consolidation
A multi-vendor approach to ‘getting more
out of live’ is one of the cornerstones of EVS’
IP4Live, a new initiative revealed at IBC.
The IP future, as envisioned by the Belgian
fi rm, is non-proprietary and IP infrastructures
should be open and standards-based, it said.
“What we’re talking about now is really the
last frontier for IP,” explained Johan Vounckx,
senior vice president of innovation and
technology for EVS. “Our IP4Live initiative
is a strategic programme to lead and guide
customers in a smart way with real cost
and fl exibility benefi ts.” One example saw
a demonstration of IP-based live remote
production alongside Cisco. With EVS’ new
XiP gateway enabling in/out IP links to its
video server, the company showed multiple
live feeds – using SMPTE 2022-6 – over an IP
network featuring Cisco’s standard IP switches
and software defi ned networking.
Among the highlights of Cisco’s IBC 2015
presence was a virtualised video processing
(V2P) technology that consolidated various
infrastructure elements into a single, cloud-
based, virtual off ering.
Also on show was the company’s
contribution to security for the virtualised
video environment across the entire attack
continuum, including: video streaming, end
point, network, data centre, web and email
security. Demonstrations of broadcast video
production over IP were featured, as were
programmable private and hybrid cloud
infrastructures for the media data centre that
support secure, elastic, scalable and fl exible
workfl ow requirements.
New business and monetisation models
with Video Everywhere delivered as a service
were also on show, together with advertising
substitution and advanced viewer analytics.
www.tvtechnologyeurope.com October 2015 TVTechnology25
A risk-free path to IP?At IBC, SAM (formerly Quantel and Snell)
demonstrated what is described as its “risk-
free” IP migration strategy, one that enables
broadcasters to move via hybrid SDI/IP working
to fully-IP operation at their own speed.
This approach, the company said, would see
existing SDI systems across its router, switcher,
infrastructure and playout product ranges made
IP-capable. The strategy embraces support for
SMPTE 2022-6, VC-2 and other compression
formats. For IP routing, SDI inputs and outputs
on the SAM Sirius 800 multi-format router,
for example, can be replaced with IP I/O on a
modular basis, enabling IP routing capabilities
to be added progressively as required. For
switching, the entire Kahuna switcher range can
now be progressively IP-enabled by swapping
out input and output ‘fi ns’ over time.
A range of three fully-IP Kahuna switchers
(pictured) that “retain all the power and
capabilities of their SDI counterparts” were
also unveiled.
For an IP infrastructure, new IQMIX modules
will provide SDI/IP and IP/SDI encoding for up
to 12 streams. IQMIX slots into the IQ Modular
frame alongside other infrastructure modules.
cores, the 3080IPX and EXE-VSR. This interface
removes the need for external gateway modules.
Other ASPEN supporters include: ChryonHego,
Discovery, Game Creek Video, Hitachi, NEP
Group, PacketStorm, Sony, Tektronics and Vizrt.
said: “IP solutions enable information to be
transmitted with true creative fl exibility and
reliability across workfl ows. Sony works
with its customers to create streamlined live
workfl ows, allowing them to get content out
quickly and effi ciently.” At IBC Sony added a
live switcher (the Sony-XVS-8000, pictured),
a baseband processor unit and a multiport AV
server to its IP Live Production System.
Cellular bonding technology has changed
the world of live video acquisition in the
broadcast space with LiveU’s market
leading solutions having truly disrupted
the previous status quo. Particularly across the
news and sports sectors, the ability to capture high
quality live video while being extremely mobile,
responsive and shooting from places previously
unimaginable has changed the way that people
think. Now there’s LiveU Solo.
LiveU Solo is a new ‘Plug and Play’ live
streaming bonding solution from LiveU, launched
at IBC2015. It brings the company’s expertise and
highly successful technology from the broadcast
world – where it has established a reputation
for innovation and excellence with products
like the small LU500 backpack – to the online
space. In fact, it won a Best of Show Award
from TVBEurope.
LiveU Solo is a best-in-class live streaming
solution based on LiveU’s robust and field-proven
bonding technology, 10 industry patents, and
integral LRT™ (LiveU Reliable Transport™) protocol.
Optimised specifically for video performance,
LiveU Solo delivers the rock-solid video streams
LiveU is known for across the broadcast world by
using LRT’s integral adaptive bit rate and forward
error correction technology.
Designed from the ground up to fit seamlessly
with web streaming workflows, LiveU Solo
connects automatically to popular CDNs, OVPs
and YouTube Live as well
as to Wowza
Streaming Cloud™,
a cloud streaming
service offered
by Wowza Media
Systems™. For
further east of use
and convenience, Solo
can be managed and
controlled remotely
via a web interface or
smartphone.
LiveU Solo provides a
cost-effective and seamless
way to send contribution
video over the internet, bringing
an integrated ‘glass to glass’ live
streaming solution that delivers
the highest possible quality
and reliability to anyone,
anywhere. LiveU Solo is
aimed at any live online
media production looking
to improve their viewers’
experience
LiveU Solo was developed
in response to discussions
with customers and a growing
need for a professional-
grade live video
product for the
online media
market. LiveU
Solo follows in the
footsteps of existing LiveU technology by setting
a new standard in the web streaming space. The
ethos behind LiveU Solo is to provide a simple,
integrated solution for sports and other vertical
markets, which is much more powerful. LiveU Solo
brings all the reliability and quality of professional
broadcast technology to the mainstream, allowing
anyone to begin streaming at an accessible price.
Similar to LiveU’s broadcast solutions, LiveU
Solo is an integrated unit that comes with
everything required to function within an online
workflow. On the transmission side, and as part
of the overall streaming solution, this small, easy-
to-use encoder is available in a single channel
streaming configuration or with premium full
bonding capabilities.
LiveU Solo will be offered via LiveU’s new online
store (initially in the US, then rolled out more
widely) and LiveU’s international partners.
LiveU owns the patent for cellular bonding used
today for remote news gathering in the US and in
other countries. All LiveU products are based on
this fourth-generation patented technology.
www.liveu.tv
RONEN ARTMAN, VP OF MARKETING, LIVEU
LiveU Solo is aimed at any live online media production looking to improve their viewers’ experience
Going solo with LiveU
www.tvtechnologyeurope.comTVTechnology October 2015 26
At IBC, LiveU delivered Solo, a best-in-class streaming solution for the online media market
SPONSORED REVIEW
MARKETPLACE - POST AND MAM
www.tvtechnologyeurope.comTVTechnology October 2015 28
The cutting edgeAvid opens up Avid has announced that its Interplay MAM asset
management system (pictured) and its ISIS shared
storage now support a variety of third-party video
editing systems, including Adobe Premiere Pro
and Apple Final Cut Pro.
“Avid is committed to providing media
professionals with the collaborative workfl ows
they need to create, manage, and deliver the
highest-quality content, regardless of the tools
they choose to use,” said Dana Ruzicka, vice
president and chief product offi cer at Avid. “Now,
editors using third-party non-linear editing
systems including Final Cut Pro, Premiere Pro, and
Grass Valley EDIUS can benefi t from the fl exibility,
effi ciency, and enhanced collaboration that Avid
media management and shared storage systems
provide.” At IBC Avid also revealed that sales of
its MediaCentral Platform have topped 26,000
and that it is making available Studio Suite, a new
grouping of products that enable collaboration
between users of Orad applications and other
Avid and third-party products on MediaCentral.
HDR, HFR for Clipster
Media Navigator
Aff ordable, scalable and fl exible are the words
used by Sony to diff erentiate its Media Navigator
from the rest of the crowded media asset
management pack. Adam Fry, deputy vice
president, Sony Professional, said: “Unlike other
asset management systems currently in the
market, Media Navigator does not require a
deep technical knowledge for operation of the
platform or the creation of workfl ows. It allows
customers to adapt the platform for their specifi c
needs, be it a one-man operation or enterprise
level company.” Acknowledging that the market
is highly competitive, Fry added that Sony has
Standalone LTFS tape archiveA standalone storage and archive product that
uses the Linear Tape File System (LTFS) was
handed its European debut at IBC.
Paragon is designed as a complete sub-system
for adding hierarchical storage management
(HSM) to existing asset management systems
from multiple vendors. It has a RESTful API in
order to make integration as simple as possible
and incorporates appropriate data tape storage
and management technology using the LTFS fi le
system for permanent storage life and media
portability. TMD is also off ering Paragon+,
which also includes core asset management
functionality. “We know, from talking to our
customers, that there is a gap in the market for a
simple and highly targeted storage system, which
can sit as the archive for any asset management
or digital workfl ow system,” said Tony Taylor,
chief executive of TMD.
The intention is that Paragon and Paragon+
will be sold to production companies, post
producers and small broadcasters as packaged
systems, via distributors. ERA has been appointed
as the Paragon distributor for the UK.
www.tvtechnologyeurope.com October 2015 TVTechnology29
At IBC Rohde & Schwarz DVS previewed
a ‘next generation’ version of its Clipster
mastering station. Based on an entirely new
hardware platform, it includes new features
for high-end post-production including high
dynamic range (HDR), high frame rates (HFR)
and 4K Ultra High Defi nition (UHD).
For HDR, Clipster supports Dolby Vision as
well as mastering formats that support 4K HDR
such as IMF. Clipster will additionally work with
high frame rates up to 120 fps in 4K and 12-bit.
The company also highlighted new features
for the ingest and production server Venice
including direct recording in 4K without the
need for stitching processes.
The bridge to 4K UHD via IPAJA unveiled several new technologies at IBC
for 4K UHD-over-IP workfl ows. “Now that they
are becoming real, people are fi nding holes in
their workfl ows and we are giving them tools to
bridge the transition,” said product marketing
manager Bryce Button.
Products debuting included a 4K and
multi-channel HEVC encoder. Corvid HEVC
is a PCIe 2.0 8-lane video card that provides
real time, low-latency HEVC encoding at 4K,
1080p HD and lower. Development partners
can use AJA’s SDK to integrate Corvid HEVC
directly into Windows and Linux applications.
Cisco demonstrated the integration of Corvid
HEVC into its UCS rack-based server at IBC.
Also at the show, AJA debuted FS3, an addition
to the company’s line of professional frame
synchronisers that provides 4K up-conversion. A
line of openGear-compatible cards, and various
new mini converters, were also on show.
UHD and HDR in focus As well as a big focus on Ultra HD, Adobe off ered
an early look at optical fl ow time remapping
algorithms in Premiere Pro (pictured) and
highlighted 3D improvements in After Eff ects,
including a Cineware plug-in.
Bill Roberts, senior director of professional
video product management, Adobe, said:
“We’re all about Ultra HD. That includes three
attributes: frame sizes, frame rates and most
interesting is high dynamic range (HDR).” This
theme was underscored in the latest updates
and technology previews for its tools including
Premiere Pro, After Eff ects and Audition.
The company also showed support for
HEVC compression, and work towards an HDR
framework that includes P3 colour space. A
Dolby Vision HDR format demonstration with
Dolby was also available.
MAM launch
studied the sector and would not have launched
into it if it did not believe the technology added
value. Media Navigator is drawn from the
company’s existing Media Backbone Navigator,
which is the content management option for
Sony’s Media Backbone Conductor workfl ow
platform. It will work with a range of popular
non-linear editors and be integrated with any
storage platform.
One diff erentiator is compatibility withthe
cloud platform Ci for content sharing, review and
approval content and with Sony’s Catalyst suite of
media preparation tools.
MARKETPLACE - AUDIO
www.tvtechnologyeurope.comTVTechnology October 2015 30
Making noises
Back in blackHarman’s Studer debuted the Vista 1 Black
Edition at IBC. Based on the same patented
Vistonics user interface with 40 on-screen rotary
knobs, the Vista 1’s look and feel is identical
to that of its larger sister models the Vista X
and Vista V. Features such as true broadcast
monitoring, talkback, red light control, GPIO,
N-x (Mix Minus) busses, snapshot automation
and DAW control make the Vista 1 suitable
for broadcast, live and production use. With
software v5.3, the Vista 1 Black Edition user
will also get the SpillZone and FollowSolo
functionality, as well as a server-based event
logger application, which is logging Vista system
and user-events. An integral DSP engine of 96
channels allows the Vista 1 to handle mono,
stereo and 5.1 inputs.
RMS2040 successor New 1010 digital wireless microphone system
from Audio Ltd was on display at IBC. The fully
digital successor to Audio’s RMS2040 wireless
microphone system, the 1010 transmitter and
receiver have been designed to match the rich
sound and rugged reliability that the 2040 is
known for but also to deliver the precision that
digital technology can off er. It took 12 years to
develop. Kishore Patel, Audio’s managing director,
said: “Sound recordists are insisting that if they
make an investment in new equipment it should
be able to cope with the way available bandwidth
‘Stress-free’ wireless micThe Sennheiser AVX wireless microphone system
for video cameras was showcased at IBC. A
TVTE ‘Best of Show’ winner (see page 38), the
compact receiver unit plugs directly into the XLR
of a camera, where it automatically pairs with the
microphone and switches on with the camera.
The AVX automatically adjusts the correct audio
levels between transmitter and receiver and
transmits using a specially protected link in the
license-free 1.9 GHz range. Sennheiser said that
the system has been designed so that setting up
and recording high-quality audio for video is fast,
convenient, and stress-free. The plug-on receiver
automatically switches on with the phantom
powering of the camera, and automatically pairs
with the transmitter. The system immediately
sets the correct audio level for the microphone
transmitter, matching it to the receiver, and
selects a free frequency. If there is interference,
AVX will inaudibly shift to a new frequency.
Vest choice for tactical audioThe new Audio Tactical Vest (ATV)
is claimed to be a ‘fi rst-of-its-kind
product’ that combines both an
audio harness and audio bag
in to one cohesive military-
style tactical vest. Porta-
Brace said that the ATV’s
lightweight, streamlined
design provides users with
improved stability, as
the vest grips the body,
providing better support
and weight distribution,
which should allow
users to move more
rapidly and freely on
location. There are
custom fi t models for
diff erent mixers, such as
the Sound Devices 633
and 688, the Zaxcom
Maxx, and the Zoom
F8 (coming soon).
Combined with dual
wireless systems, this
will create “lightweight,
compact rigs capable
of recording multiple
tracks on the run”
making it particularly
suitable for ENG or
fast-paced reality or
documentary production.
www.tvtechnologyeurope.com October2015 TVTechnology31
Wheatstone unveiled the
Gibraltar IP Mix Engine
plus a new touchscreen for
the Dimension Three audio console (pictured).
Another TVTE ‘Best of Show’ winner, the
Gibraltar IP Mix Engine is a network interface
that provides Wheatstone audio consoles with
direct connectivity into WheatNet-IP, the AES67
compatible IP audio network. The new engine
can handle 1,024 channels of audio, allowing
IP audio consoles to handle live and post-
production. It will be available for the Dimension
Three,
Series Four, D8-EX, Series Two
and IP-64 digital mixing consoles. Wheatstone
also showcased the Dimension Three with a
touchscreen. Eliminating the “sea of knobs,” as
Wheatstone describes it, this option features a
tabbed menu for basic functions like talkback,
confi guring bus matrices, muting mic groups,
and managing sources.
Solid as a rock
New options for Hydra2An integrated Waves SoundGrid
option for the Hydra2 platform
of consoles was announced
by Calrec. The company said
this is unique among broadcast
desks in that it uses a brand new
SoundGrid interface module
on Calrec’s Hydra2 network.
The module provides direct
connection between Hydra2 and
the Waves SoundGrid network,
off ering lower latency and greater
reliability. Calrec customers can
control Waves software from the
integrated touch display in Apollo
and Artemis surfaces, allowing
direct control of Waves plugins
from the mix position.
Also revealed at IBC was a new
automation system for Apollo
and Artemis consoles. Designed
to record the movements of
a console’s channel and bus
controls in real time, Calrec said
its implementation is unique
in that it operates entirely in
the background during a live
broadcast. The system is similar to
traditional post-production and
music automation systems, but is
“user-transparent”, according to
Calrec.
is being squeezed. So we’ve designed the 1010
system to allow up to 20 systems to operate
together in just one TV channel. We’ve also
equipped it with 100MHz switching bandwidth –
which we think will deliver maximum fl exibility.”
MARKETPLACE - DELIVERY
www.tvtechnologyeurope.comTVTechnology October 2015 32
Getting personalThe Dolby Vision catalystThree more system-on-a-chip (SoC) companies
are integrating Dolby Vision into upcoming
releases, it has been revealed. Following Sigma
Designs earlier this year, HiSilicon, Realtek
Semiconductor and MediaTek are all now
incorporating, or planning to incorporate, the
high dynamic range and wide colour gamut
technology into their chipsets. The signifi cance
of the move is that it will allow makers of
Ultra HD set-top boxes, TVs, Blu-ray players
and digital media adapters the opportunity to
support Dolby Vision in their devices. Roland
Vlaicu, the vice president of consumer
imaging at
Dolby Laboratories, said: “This gives the device
manufacturers the ultimate choice: to stay with
their existing silicon choice and just add the
Dolby Vision component in a very economical
way without having to add additional hardware
components. That is a great enabler and key
catalyst for us.” The fi rst Dolby Vision displays
for the consumer market, the VIZIO Reference
Series 65-inch and 120-inch Ultra HD LED
Smart TVs, are due to ship before the end of
the year. An initial slate of Warner Bros. 4K Ultra
HD Dolby Vision titles are already lined-up for
distribution via VUDU. Sony Pictures also plans
to use the Dolby Vision mastering process in the
release of 4K Ultra HD titles.
Targeted ads spottedA multi-criteria advertising insertion and delivery
platform was shown for the fi rst time at IBC.
Designed for broadcasters and multi-screen
pay-TV operators, DVEO’s Spotter uses both
content data and viewer information to make
decisions about which adverts should be
played out. Content type, consumer profi le
and geolocation data are gathered by mining
multiple data bases in real time.
The Spotter triggers the start of adverts
using analogue cue tones or SCTE 35 triggers
and can insert commercial spots into live or
stored transport streams. Commercials can
be added inside, over or around video content
via slices, overlays, crawl messages, alert bugs
and video squeezes.
The Spotter transcodes content and inserts
SCTE 35 signals with the metadata required for
ad insertion. Input can be ASI, IP, or HD-SDI.
The platform transcodes MPEG-2 to H.264 and
converts HD-SDI content to IP or DVB-ASI. The
resulting DVB-ASI output is typically passed on
to a modulator for transmission via satellite.
Great and small India’s Lukup brought to IBC the Player X1,
a portable media player that functions as
both an IP set-top box inside the home and
an OTT device when used on a third party’s
internet connection.
Smaller than a cigarette packet, it has
built-in HDMI and USB cables and an
Ethernet port, 8GB of internal SD storage
and a 1GHz processor. The device also has
a built-in wireless access point that other
devices can tether on to for accessing the
Internet and content. For choosing content
and services on connected devices, the
Lukup Player X1 has a hand held controller.
Two streams of content can displayed
at the same time while an integrated
transcoder allows users to stream content
to a remote display. The X1 features a TV
Guide for channel management, content
search, recording on cloud drives, and social
media sharing.
Lukup also makes a larger player, called X,
that has the same capabilities but additionally
works with cable and satellite feeds.
AdsEdge for localised content Regionalisation benefits A new content management system that gives
DTT broadcasters the chance to localise their
output immediately before it is delivered to
viewers was debuted at IBC.
AdsEdge from Enensys Technologies is
based on the use of SCTE 35 ad break markers
and enables locally targeted pre-stored content
- such as adverts, news and weather forecasts
- to be inserted at the transmitter
site within a DTT single frequency
network environment.
AdsEdge works with Enensys’ HDc chassis
platform and is compatible with any terrestrial
network, including those using DVB-T, DVB-T2
or ISDB-T.
Based on industry-standard interfaces,
it behaves as both an Ad Server, in order to
store content fi les and generate reports for Ad
agencies, and like a deterministic Splicer so
that it can update live streams
with content upon receipt
of SCTE 35 triggers.
Broadcasters looking to insert local
advertising and content into their output,
without the need for separate satellite
feeds, are the target audience for Amagi’s
Storm platform. At the heart of Storm is
Storm IRD, Amagi’s satellite receivers and
decoders, which are capable of storing
content, detecting remote-insertion triggers
and inserting HD video and multiple audio
tracks – including Dolby surround – as well
as adding subtitles and multi-layer animated
graphics. Storm has a watermark-based
workfl ow. A cloud-based user interface
provides users with options for scheduling,
controlling, and monitoring playout of local
content and ads at remote head-ends.
www.tvtechnologyeurope.com October 2015 TVTechnology33
At IBC 2015, Omnitek showcased the
Ultra 2.1 release which added new tools
to its highly successful Ultra 4k Tool Box
which has been shipping since June
and been adopted by a large number of leading
broadcast manufacturers developing equipment
requiring quad 3G, dual 6G and 12G-SDI interfaces.
The Ultra has been created to help address
the problems of connectivity that manufacturers
and system designers currently face in the
implementation of new 4K / UHD broadcast
workflows. The Ultra is a small, portable test and
measurement platform that helps to debug high-
speed physical layer issues and pixel ordering
complexities whilst supporting the array of different
interface standards to ensure all bases are covered
now and in the future.
It boasts significant feature sets that allow the
analysis, generation and conversion between any
video format signals, including between quad
3G and 12G-SDI, as well as support for 4K60
over 12G-SDI. Of particular interest at the show
was the sophisticated range of Physical Layer
measurement tools that have been recently
added to the Ultra’s functionality.
These world-first features offer Eye & Jitter
analysis up to 12G-SDI and include unique
tools to determine sources of jitter using the
Ultra’s innovative Jitter Spectrum and Jitter
Histogram displays typically only available on high-
end oscilloscopes. Enhancements made for the
show include audio PPM, channel status displays
and tone generation.
The Ultra now also provides ‘RVF’ full -raster
support allowing the playout and capture of active
video and all ancillary data. This powerful feature
allows the capture and analysis of problem material
as well as the ability to create custom ancillary test
signals. The Hex View display now expands on
the extremely useful Data View, Cable View and
Zoom View instruments for
even more detailed pixel
- level interrogation that is
essential to understanding
the complexities of the
multiplexing systems that
have been adopted for
quad 3G-SDI, 6G-SDI and
12G-SDI interfaces.
An ANC watch display
now provides ancillary
packet presence detection
to easily see which
common and user-specified
packets are present in the
incoming stream.
One highlight of the show was winning the
‘Best of Show’ TVBEurope award for the Ultra
4K Tool Box. As well as the Ultra 4K Tool Box,
Omnitek presented its established OTR and
OTM products, which not only feature
waveform monitoring capabilities
but also picture quality analysis, providing
real-time video quality measurement between
original and transmitted streams.
Another impressive feature that is available on the
OTR and OTM products is Omnitek’s ingenious
‘In-Service’ Lip-Sync delay measurement which can
be used to accurately determine A/V delay without
the need for a dedicated A/V delay test pattern &
tone or watermarking.
Omnitek showcased its upgraded OZ745
development platform, which now supports 4K
UHD TV over 12G-SDI, offering an ‘all-in-one’
solution for 4K video design to its already popular
design platform. The OZ745 was also used to
demonstrate the Warp Design Engine and OSVP
Scalable Video Processer IP blocks and associated
Xilinx RTVE 3.1 reference design, available as part of
Omnitek’s design services.
www.omnitek.tv
BY DAVID ACKROYD, VP OF BUSINESS DEVELOPMENT
www.tvtechnologyeurope.comTVTechnology October 2015 34
Enhancements made for the show include audio PPM, channel status displays and tone generation.
Ideal for the job The addition of physical layer measurement tools bolsters Ultra 4K Tool Box
SPONSORED REVIEW
Probing content for errors Ideas Unlimited has launched Contentprobe
Revenue and Contentprobe Detect.
Contentprobe Revenue uses Ideas Unlimited’s
patented, non-destructive identifi cation and
verifi cation system, Media FingerPrinting, which
checks and verifi es content, and alerts users
about errors. Material is automatically monitored
from ingest to off -air to ensure that the correct
video, audio, subtitles, and access services are
being delivered as agreed. Any defects – such as
sub-frame audio sync errors, transport stream
data, SDI feeds, bars, tones, or silence – that
are erroneous or not required, are fl agged by
Contentprobe Revenue. Contentprobe Detect
is a content protection service provided from
Contentprobe’s managed broadcast centre that
accepts uniquely fi ngerprinted reference fi les
from a content owner or advertising agency.
The control panelCan quality assurance reduce churn?Helping broadcasters and other
video distributors to reduce
subscriber churn was the IBC
focus for the Boston-based video
intelligence technology company
IneoQuest Technologies.
End-to-end video assurance
services and innovations for both
linear and OTT/adaptive infrastructures were on
show, as was new technology for linear network
quality of service (QoS) management.
Kurt Michel, senior marketing director at
IneoQuest, said: “The industry is scrambling
to meet the demands of today’s always-on
viewers, and this is driving complexity to levels
never before seen. At the same time, viewer
quality expectations continue to increase, and
subscriber churn is often a
refl ection of quality issues. Our
comprehensive set of services
and solutions off er the focus
and visibility that our customers
must have to manage both
their traditional and emerging
video-based businesses, and
reduce churn.” Ineoquest’s video
intelligence technology measures
and aggregates metrics in real-time from several
key points within the video distribution chain
including: content preparation, network delivery
and device playback.
Data gathering assures quality
Series 5 of Agama’s technology for
monitoring, assurance and analytics of
service quality and customer experience was
launched at IBC.
According to the company, many
broadcast processes can be made more
effi cient and predictable when using data
to support better-informed decisions. The
company has thus updated its products so
that they make the valuable information
derived by their products available for
much wider use within an organisation.
Mikael Dahlgren, chief executive at Agama
Technologies, said: “By [doing this], we
can enable great improvements in quality,
effi ciency and customer understanding across
the video operator.” As part of this, Agama has
released a new media measurement package.
MARKETPLACE - SERVICE ASSURANCE
Live service QoE showcased The S3 Group used IBC to tout new capabilities
for testing live quality of experience (QoE) and
checking IP user load.
Live service QoE testing allows operators
to proactively check their services, using
multiscreen devices deployed in the network,
and to monitor the performance and availability
of the video delivery chain. Load Testing probes
for platform weaknesses across a variety of video
consumption scenarios, especially during spikes
in demand, using real-world devices and then
measures results against KPIs.
“Customers are worried about loading the
network,” said John Maguire, chief strategy
offi cer for TV technology. “What happens when
more two-way IP traffi c comes on to their
platform? We use StormTest to test the end-user
experience while we put the load on the system.”
www.tvtechnologyeurope.com October 2015 TVTechnology35
The first fibre optic link connecting an
antenna back to a control room was
installed 40 years ago. Over this time,
fibre optic technology has made huge
strides but today’s compact and robust fibre
systems offer the same advantages of isolation
from lightning strikes and low loss. The StingRay
RF over Fibre range has been designed for
high density, with up to 16 inter-facility links
housed in one 1U chassis. Systems of several
hundred links are easily contained in a single
equipment rack and systems of over 100 links
are now in the field.
StingRay is a complete solution for RF over
Fibre links with a wide range of modules and
chassis operating up to 2450 MHz. The
range is expanding as ETL works with
customers to engineer solutions to
new opportunities.
OPTICAL PERFORMANCE
The quality of an RF over
fibre link is largely set by
the transmit laser. StingRay
modules use high quality
DFB lasers with a two-
stage optical isolator. This
stops reflections and back
scattered light from the fibre
degrading the performance
of the laser. Standard transmit
modules operate at 1310
nm with one link per fibre.
Coarse wavelength division
multiplexing (CWDM) allows
up to eight links to share
one fibre, each using its own
colour of light. Standard
StingRay links operate from
1m to 10km with options to
extend this distance up to
35km or more.
ALWAYS ON
StingRay systems are
always operational due to
a combination of system
redundancy and hot-swap
components. Features
include dual redundant
power supplies, redundant hot swappable fan trays
and modules which remain operational even if
central control and monitoring functions are hot
swapped. Chassis and modules are fully monitored
with input and output RF power levels reported to
allow failures in adjacent equipment to be easily
localised. Transmit modules can provide monitored
and short circuit limited LNB power of up to 500
mA with 13/18V and 22 kHz
signalling available.
SYSTEM DESIGN FOR RELIABILITY
StingRay RF over Fibre provides two methods of
improving system availability through equipment
redundancy. 1+1 links have one working link and
one standby link, in the event of a failure in the
main link the system automatically switches to
the standby link.
1+1 redundancy is simple and provides a high
level of availability but doubles the number of
fibre transmitters and receivers. StingRay RF
over Fibre also allows 4+1 redundant links to be
constructed. In these systems, one
A sting in the tailAdrian Sparks provides the inside track on StingRay, ETL Systems’ offering for RF over fibre links.
REVIEW
www.tvtechnologyeurope.comTVTechnology October 2015 36
www.tvtechnologyeurope.com October 2015 TVTechnology37
standby fibre link is provided for every
four working links, reducing the cost of
redundant equipment.
MONITORING AND CONTROL
Both chassis and modules are fully monitored.
Temperature is reported in the chassis and in
each module and the current of each RF amplifier
stage is measured with maximum and minimum
limits set. Monitoring information is reported via
web browser interface, SNMP, RS232/RS485 serial
interface and RJ45 Ethernet port. The modules
are easy to use and after installation, internal
levels are automatically adjusted for optimum
performance and to compensate for fibre loss.
After initial module
set-up the link gain can be fixed or advantage
can be taken of the wide 50 dB AGC range. Laser
optical power is measured at the transmitter and
receiver, this allows problems caused by loss
optical power to be quickly diagnosed.
REFERENCE TONE DISTRIBUTION
Modules are available covering L-band,
broadband, IF and 10 MHz applications. 10 MHz
applications are a particular strength of the range
with signal distribution over the chassis backplane
to individual modules. Within the transmit
modules, the 10 MHz signal level at the output
can be set over a -10 to +5 dB range allowing
the reference level to be optimised for each LNB;
a useful feature if the installation contains LNBs
from more than one manufacturer.
OUTDOORS UNITS
All the features and ease of use of an indoor
chassis can be provided outdoors with the
StingRay range of IP65 rated ODUs. These
support either ten or four modules with dual
redundant power supplies and full remote
control and monitoring over copper or
optical Ethernet. The ten-module ODU has
hot-swap power supplies and can be
configured with optical and RF patch panels, local
control and monitoring, and heaters for
operation down to -60 C.
COMPONENT MODULES
StingRay component modules are ideal for
applications requiring a small number of links.
The robust shielded housing is mounted using
four screws and powered from a small mains
power unit, basic settings can be controlled
using DIP switches.
Visit: www.etlsystems.comCall: +44 (0) 1981 259020
EXCELLING IN RF ENGINEERING
Call us or email us to discuss how we can provide the solution for your RF requirements.
Introducing an evolution in RF technologies for the RF distribution chain
Flexibility. Performance. Reliability.
New RF products which provide optimised performance, power consumption reductions, cost savings and rack space savings to teleports and broadcasters.
‘Fibre optic technology has made huge strides, but today’s compact and robust fibre systems offer the same advantages of isolation from lightning strikes and low loss...StingRay is a complete solution for RF over Fibre links with a wide range of modules and chassis operating up to 2450 MHz. The range is expanding as ETL works with customers to engineer solutions to new opportunities’
www.tvtechnologyeurope.comTVTechnology October 2015 38
BEST OF SHOW
The best of the bestDuring IBC, a panel of expert judges trawled the halls on the hunt for innovation and technical excellence. After much deliberation (and no little arguing) they chose 23 products, solutions, and devices as TV Technology Europe’s IBC 2015 ‘Best of Show’ winners. Here is the full rundown. Congratulations to one and all
EVERTZ: MAGNUM GATESAIR: MAXIVA XTE
THE MAGNUM SDVN
(Software-Defined
Video Networking)
orchestration and control
software has been
specifically developed
to bridge all the major
components in a hybrid
or all IP based facility
and provide end-to-
end governance of the
video, audio, and data
flows from production to
playout.
A SOFTWARE-DEFINED
platform with unparalleled
signal processing power,
advanced Transport Stream
over IP (TSoIP) input capabilities
and Real Time Adaptive
Correction techniques that
provides optimum signal
performance over a wide
variety of modulations and RF
amplifier topologies.
The judges said: “Quite simply, way ahead
of its competition.”
The judges said: “Multi-standard and multi-input, and
based on a powerful HW, it is a future-proof solution with innovative features
already in the roadmap.”
AN ULTRA-SMALL
camera back
transmitter that
brings “software-
defined” into the RF
world for the first
time.
The judges said: “Brings dynamism to RF. It runs various apps, much like a smartphone, and can instantly transform its functionality for a
number of different requirements. A very clever device.”
BLACKMAGIC DESIGN: ATEM 2 M/E BROADCAST STUDIO 4K
ALLOWS video
production teams
to create live,
switched, high
frame rate HD
and Ultra HD
programmes at up
to 60 frames per
second.
The judges said: “Impressive 4K capabilities in a compact design and with an impressive price, plus integrated camera control for Blackmagic
Studio cameras.”
COBHAM: SOLO8 SOFTWARE-DEFINED RADIO
www.tvtechnologyeurope.com October 2015 TVTechnology39
ASPERA FILES
A CLOUD solution that allows TV stations and
digital publishers to acquire, curate and select
live and recorded video contributions. Includes
cloud-based mobile and web apps for live and
recorded content acquisition from various
sources and user groups.
THE PRODUCTION Resource Manager for Astra Studio 3 optimises
operations within news production automation. Its use improves
efficiency through pooling resources and dynamically assigning them
based on operational priorities.
AN SAAS offering that transforms content
sharing and collaboration across all storage
locations – on premises and in the cloud.
Using Aspera Files a media organisation can
establish a branded web-based presence
for the fast, easy and secure exchange and
delivery of file-based media or data of any
size, over any distance and between users
across separate organisations, combining
multiple cloud and on-premises storage
platforms. It is built on the Aspera FASP high-
speed transport platform for distance-neutral
transfer of extremely large files and data sets
over the internet.
The judges said: “Like all great inventions, it is not just a great idea but also
easy to use. It even works when the bandwidthisn’t brilliant.”
The judges said: Transformative. Essential.
Breaks down barriers.”
The judges said: “A ground-breaking QC system
that is capable of analysing from raw to end-user delivery.
Through a light metadata structure it allows frame-by-frame comparison between
any couple of points along the entire broadcasting chain.”
SIGNATURE technology that allows
automatic confidence monitoring
and media verification throughout a
broadcast chain.
MAKE.TV: LIVE VIDEO CLOUD
SAM: MEDIA BIOMETRICS
AVECO: ASTRA STUDIO 3 PRODUCTION RESOURCE MANAGER
The judges said: “A simple but brilliant solution to dealing
with the logistical complexity of covering breaking news. The best innovations are those that solve real-world
problems. This does just that.”
www.tvtechnologyeurope.comTVTechnology October 2015 40
BEST OF SHOW
DESIGNED to handle medium-size large-sensor cameras incorporating
anything from a light rig with just a camera and a lens, to a full rig with
monitors, wireless mics, batteries and more.
The judges said: “Just amazing for the money. Smooth
and stable. I love it.”
MILLER FLUID HEADS: COMPASS 23 FLUID HEAD
ALL-IN-ONE transmitter,
featuring the ONEtastic
wideband Doherty high-
efficiency technology, that
raises the bar of power
density to new levels.
ONETASTIC: ONECOMPACT P TRANSMITTER
TMD: PARAGON
AN OPEN architecture and media-aware storage management system
that uses the LTFS standard to control LTO data robots.
The judges said: “It shows good awareness of the market,
responds to its needs and proves that ‘easy to use’ doesn’t have to
mean cut-down.”
A PLUG-IN for Adobe Premiere
Pro CC that allows users to handle
complicated editing workflows
quickly, safely and across different
platforms.
The judges said: “Impressive power density in a fully
integrated all-in-one multi-standard high efficiency TV transmitter that is capable
of spanning across almost any TV transmission application, including echo
cancelling re-broadcasting.”
HOUSES ALL the DSP processing power for Wheatstone’s line of TV audio
digital mixing consoles and distributes aux, programme and mix-minus
feeds to the WheatNet-IP audio network.
ARVATO SYSTEMS: EDITMATE
The judges said: “Makes it possible to insert any legacy audio
equipment - from microphones to switchers - into a fully IP network, allowing TV production facilities to smoothly move to IP and add the utmost flexibility
to production audio workflows.”
WHEATSTONE: GIBRALTAR IP MIX ENGINE
The judges said: “Changes the
way editors and producer can use
Premiere Pro. Impressive.”
www.tvtechnologyeurope.com October 2015 TVTechnology41
ROSS VIDEO: ULTRIX CONNECTIVITY PLATFORM
PACKS an unprecedented feature set into a compact package. Includes
historically big router-only technology like audio processing and multi-
viewers while supporting the new SMTPE 12G standard that gets 4K/UHD
video on a single coaxial cable.
IMAGINE COMMUNICATIONS
The judges said: “Effectively proves interoperability
between mission-critical equipment from different vendors AND with different
protocols. A potential game-changer.”
A MARKET-READY, interoperable, end-to-end IP-based joint solution
(with EVS) for the live production of slow motion and instant replay.
SENNHEISER: AVX
A WIRELESS microphone
system for video cameras
that ensures totally stress-free
audio capture and offers ease
of use right from the start.
Operates in the licence-free
1.9 GHz frequency rage.
COMPACT, ultra-bright and
high-quality LED soft lights with
a design that is focused on
form, colour, beam field and
output.
ARRI: SKYPANEL LED SOFT LIGHTS BROTHER, BROTHER & SONS: PIPELINE SYSTEM
A MODULAR LED lighting
system in a lightweight
versatile form-factor that
provides brighter and higher
fidelity light emission. It
benefits from an expandable
array of cylindrical fixtures
that are customisable to suit
specific requirements.
A FULL HD monitor with
a daylight viewable 1000
nit display, anti-reflective
coating and 179-degree
wide viewing angle.
The judges said: “It’s very bright and
looks really promising.” The judges said: “Broadcast-grade,
compact, light, self-tuning wireless microphone
system fit for ENG and HDSLR shooting,
requiring almost no user intervention. Perfect for
single-person operation.”
The judges said: “Accurate colour. Yes, it’s bigger and
heavier, but it’s been really well thought out. Everything you could need is already in place and it will take a serious kicking.” The judges said:
“I love these. I just wish that they’d been around 20-plus years ago.”
SMALLHD: 702-BRIGHT 7-INCH MONITOR
The judges said: “High density, SW scalable, ultra compact
routing solution that is 4K and 12G-SDI capable and has the ability to individually
route 4K embedded audio inputs. Another great Ross product.”
www.tvtechnologyeurope.comTVTechnology October 2015 42
BEST OF SHOW
EDITORIAL EXECUTIVE EDITOR James [email protected]
EDITOR Will [email protected]
CONTRIBUTORS David Fox, Adrian Pennington, Ann-Marie Corvin, Christina Fox, Ian McMurray, George Jarrett, Heather McLean, Carolyn Giardina, Mark Hallinger, Anne Morris, Chris Forrester.
NEWBAY MEDIA LLC CORPORATEPRESIDENT AND CEO Steve Palm
CHIEF FINANCIAL OFFICER Paul Mastronardi
CONTROLLER Jack Liedke
GROUP CIRCULATION DIRECTOR Denise Robbins
VICE PRESIDENT OF WEB DEVELOPMENT Joe Ferrick1 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. ©2015 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 James McKeown at the feedback address.
CONTACTS EDITORIAL +44 (0) 20 7354 6002 SALES +44 (0)207 354 6000
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
PRODUCTION DIRECTOR Davis White
HEAD OF DESIGN, HERTFORD Kelly [email protected]
PRODUCTION EXECUTIVE Jason [email protected]
USING Remote Phosphor technology, the HS2
from Cineo Lighting is a second generation
fixture that combines impressive brightness
and extremely accurate colour quality with
power efficiency and flexibility.
A SHARED storage system for real-time
collaboration that is powered by the Avid
MediaCentral Platform and integrates
with Avid Media Composer, Pro Tools,
and third-party tools including Adobe
Premiere Pro CC.
The judges said: “Proactive, seamless hybrid storage solution and storage management system. Great vision behind it and a
broadcast-focused design.”
QUANTUM: Q-CLOUD ARCHIVE PUBLIC CLOUD STORAGE SERVICE
EMPLOYING the power of the public cloud as an off-site tier within
a Quantum StorNext 5 workflow environment, it enables users of
Quantum’s intelligent data management software to store data in the
cloud when it makes the most sense for a given workflow.
CINEO: HS2 AVID: ISIS | 1000
The judges said: “This shows that they are listening to their
customers. Changes in ballast make that clear. Lovely light and one of the few LED lights that gives accurate colour.”
ENVIVIO: CLOUD DVR
AN ALL-SOFTWARE DVR solution working on standard servers, it
combines advanced storage technologies, designed to scale to
Petabytes, with optimised software for packaging and transcoding to
minimise the infrastructure costs.
The judges said: “Ideal for broadcasters that are looking to reduce set-top box costs, it cuts the
storage bill and includes advertising insertion features. Neat.”
The judges said: “A scalable and
affordable collaboration solution, and a
clear step towards interoperability. It
opens the doors of the Avid echosystem to
almost any NLE suite on the market.”
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A Anton Bauer Digital 90 Gold Mount Battery#ANDIG90GM$26900
B Lowel PRO Power Daylight LED Light#LOG510DA $60995
C Blackmagic Design Production Camera 4K#BLPRODCAM4K$2,99500
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F Canon CN-E30-105mm T2.8 L SP Cinema Lens#CAE30105PL$23,27500
G Elvid 7” FieldVision Pro Monitor with Scopes#ELOCM7PWV$89900
H Porta Brace CTC-3 Traveler Camera Case#POCTC3$25085
I Canon EOS C100 mkII Cinema EOS Camera with 24-105mm f/4L#CAC100AF2E24$5,99900
J Panasonic LumixDMC-GH4 Camerawith Interface Unit#PADMCGH4BK$2,29799
K Magnus VT-400 Tripod System with 2-Way Fluid Pan Head#MAVT400$12995
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THE TV AUDIO REPORT: IP AUDIO NETWORKING +
Which Is Harder: Golf or Audio for Golf? How the Right IP Audio Network Can Help Make One of the Toughest Jobs in TV Sports an Easy 36 Under Par....
Golf is a unique sport in that its action and its fans are spread out over many acres. And the action moves over the course while the fans stay stationary. Grabbing audio at every point is a true challenge. Fortunately, with WheatNet-IP Audio networking, it’s as simple as dropping a BLADE-3 and a switch every place there’s action...
Depending upon how much coverage you want to provide, by our reckoning, for an 18-hole course, you’re going to want to cover all the tees and all the holes – that’s 36 audio locations spread over as many as 200 or more acres! And each location is going to need several mics to cover the wide dynamic range from the swoosh of the club to the crowd roaring. That’s a LOT of coverage!
Then there’s possible fairway coverage or folks out with remotes and before long you are up over 100 or more audio feeds from the course. Add the announcers, IFB, and different crowd mics, etc, and we are talking some SERIOUS audio.
IP Audio Networking has greatly reduced the strain associated with such an event. But that’s only the beginning. Imagine having interface boxes that manage switching based on which cameras are active. Imagine mixing the audio in the interfaces, remotely, using built-in virtual mixers at every audio point. Imagine the same boxes managing your IFB feeds as well as off-intercom conversations when needed. Imagine mixing and controlling all that in real time from wherever you like – your remote truck or maybe even your studio. With WheatNet-IP, you have the option.
Well that’s just scratching the surface. It’s here. No more need to imagine. No smoke. No mirrors. No Bogeys (but some Mulligans if you need them).
Wheatstone’s WheatNet-IP Audio Networking makes moving audio and controlling audio a snap. Built-in and programmable mix-minuses. Full IFB support. Full control over everything you could possibly want to do with your audio, including integrating it into your overall IP network (now, or when you adopt one).
1. BLADE-3 Audio InterfaceWith a Mic BLADE, you’ve got audio I/O, eight mic preamps, two 8x2 virtual mixers, audio and control routing matrix, source and destination control, gigabit connectivity, 12 GPI/O ports, 128 software logic ports, full programmability, auto mono summing, full AES67 compatibility, signal splitting, ACI, and so much more - all controllable from the console at the truck or studio. It’s kinda like dropping a full studio at each hole.
2. Managed Gigabit Ethernet SwitchYou may already have one at some of the holes for cameras if you are up to speed on IP networking. If not, they are relatively inexpensive and easy to come by.
3. Fiber Optic CableYou’ll need some heavy duty cable - like OCC B04 tactical breakout - stuff that is really rugged AND lightweight. Setup and teardown is fast and easy. And it’s less than the multipair copper cable you’ve been running.
Here’s what you’ll need at each audio point: (in addition to your Wheatstone IP console, mics, headsets, etc)
WHEATNET-IP: THE IP AUDIO NETWORK THAT’S ACTUALLY DESIGNED FOR TV
DIMENSION THREE WITH TOUCHSCREEN
AWARDED AT IBC TO GIBRALTAR IP MIX ENGINE –
BY ENGINEERS, FOR ENGINEERS