TM BroadcastMagazine #136, December 2024 by Daro

EDITORIAL

A year full of news and advances in Broadcast ends. 2024 has been a challenge for our sector with numerous and important sporting, political and social events to cover along with great technical requirements. Far from being an obstacle, this is an incentive for our industry to continue improving and innovating.

Speaking of event coverage, IP is already present in all phases of audiovisual production, from workﬂows to remote production and distribution. LiveU, Lawo and Blackmagic Design tell us about their experiences with this technology.

In the meantime, UHD continues to take ﬁrm steps and proof of this is the article that this magazine includes in which you will get to know how the Spanish public broadcaster, RTVE, launched a few months ago -on the occasion of the

Editor in chief

Javier de Martín editor@tmbroadcast.com

Key account manager

Patricia Pérez ppt@tmbroadcast.com

Editorial staff press@tmbroadcast.com

Paris Olympics- Europe’s ﬁrst UHD channel. An important achievement full of challenges whose workings are described in detail in this report by the technical team of this broadcaster.

And finally, let’s talk about artificial intelligence, without a doubt a topic that has been the subject of many conferences, debates and article pieces this year. Much is being done and more is to come, and no one is able today to point out what the limits of this technology will be. The lab analysis featured in this issue reveals, among other things, how artificial intelligence is already almost becoming a standard in the field of PTZ cameras.

We bid farewell to 2024 and look forward to 2025, wishing everyone a successful year.

See you all in January!

Creative Direction

Mercedes González mercedes.gonzalez@tmbroadcast.com

Administration

Laura de Diego administration@tmbroadcast.com

Published in Spain

ISSN: 2659-5966

TM Broadcast International #136 December 2024

RTVE and the

rst UHD channel in Europe

The moderator, Luis Sanz, opened the conference by stating that: “Radiotelevisión Española, the first Spanish broadcaster, is once again a pioneer in an essential technological action to improve services for viewers with the launch of the first Ultra High Definition channel in Europe ever.

By Ronen Artman, VP Marketing, LiveU

TECHNOLOGY | LED

A new way for audiovisual production IMMERSIVE LED

SETS

The world of cinema and television has always resorted to the innovation of techniques and technologies to enliven new images and sounds.

INTERVIEW | ZERO DENSITY

Improving virtual production with Zero density

Interview with Ralf van Vegten

TEST ZONE | SONY BRC-AM7

Sony BRC-AM7

Artiﬁcial Intelligence comes standard

The integration of AI-controlled functionalities plus some technical features, make this PTZ a different camera. All this combined will be a significant leap forward in the workflows of this type of equipment.

ARRI announces the small and lightweight ALEXA 265 camera

ARRI introduces ALEXA 265, a new-generation 65 mm camera that responds to feedback from users of the ALEXA 65, its predecessor. ALEXA 265 combines a small form factor with a revised 65 mm sensor, delivering higher image quality through 15 stops of dynamic range and enhanced low-light performance. Featuring the same LogC4 workﬂow, REVEAL Color Science, and accessories as ARRI’s state-of-the-art ALEXA 35, plus a new ﬁlter system, ALEXA 265 makes 65 mm as easy to use as any other format.

The ALEXA 265 camera body is based on the compact ALEXA 35 and despite containing a sensor three times as large, is only 4 mm longer and 11 mm wider. Using this body design means ALEXA 265 is less than one-third the ALEXA 65’s weight (3.3 kg vs. 10.5 kg) and takes advantage of ARRI’s latest cooling and power management technologies. While the camera’s small size and weight allow it to be used in ways never imagined for 65 mm—from drones and stabilizers to the most space-constrained locations—its eﬃciencies make it faster to work with on set. Boot-up time and power draw have been improved, and compatibility with the ALEXA 35 accessory set opens vastly more rigging options.

Feedback from ALEXA 65 users over the last decade made the dramatic reduction in form factor a design priority for ALEXA 265, but also determined the approach to image quality.

Filmmakers wanted to retain the 6.5K resolution and large pixel pitch, but were interested in higher dynamic range and improved low-light performance. A brand-new and comprehensive revision of the 65 mm sensor was therefore developed for ALEXA 265, increasing the dynamic range from 14 to 1 5 stops and the sensitivity from 3200 to 6400 EI (ISO/ASA), with crisper blacks, greater contrast, and a lower noise ﬂoor.

Delivering this higher image quality is a simple and efficient workflow that utilizes ARRI’s latest developments. The new-generation LogC4 workflow and 3D LUTs introduced for ALEXA 35 are now shared with ALEXA 265, which records ARRIRAW in-camera to the Codex Compact Drives used in all current ARRI cameras. Standard drive readers and docks can be used, as can Codex HDE (High Density Encoding), reducing file sizes by up to 40% without diminishing image quality. On-set monitors can be set up in HD or UHD, displaying SDR or HDR, or both. ARRI is updating its SDK to ensure that ALEXA 265 images are compatible with all major third-party software tools.

A unique feature of the ALEXA 265 is its filter cartridge system, which allows special filter trays, encased in a protective cartridge, to slide in front of the sensor. ARRI FSND filters from zero to ND2.7 in singlestop increments will be available with ALEXA 265 at the time of launch, and many more creative

filter options are in the works. An encoded chip on the filter tray conveys information about whatever filter has been inserted; this information is available in the user interface and is also recorded in camera metadata for use on set and in post.

ALEXA 265 images are processed in-camera using ARRI REVEAL Color Science, introduced with the ALEXA 35 and also compatible with ARRIRAW images from the ALEXA Mini LF. REVEAL is a suite of image processing steps that collectively help the camera to capture more accurate colors, with subtler tonal variations. Skin tones are rendered in a ﬂattering, natural way, while highly saturated colors and challenging colors such as pastel shades are displayed with incredible realism. All ALEXA 265 and ALEXA 35 cameras are super color-matched to each other, simplifying color grading, and the ALEXA 265’s advanced LED calibration streamlines virtual production and LED volume work.

The list of ALEXA 65 films and filmmakers over the last 10 years is a roll call of the industry’s most visionary projects and people. While 65 mm may only be accessible to relatively few productions, this historic format inspires many and represents the pinnacle of mainstream image acquisition. Now, with the launch of ALEXA 265, a new era of 65 mm begins—one that will redefine the format’s creative possibilities. ALEXA 265 will be available to productions from early 2025. 

OpenDrives launches Atlas 2.9 with new professional bundle for mid-sized media organizations

OpenDrives has unveiled Atlas 2.9, the latest version of its software-deﬁned data storage solution, along with the introduction of the Atlas Professional feature bundle. The new mid-tier oﬀering targets fast-growing, mid-sized media organizations, providing a balance of enterprise-grade performance, cost predictability, and scalable data management.

The Atlas Professional bundle fi ts between the entry-level Atlas Essentials and the high-end Atlas Comprehensive bundles, both launched earlier in 2024 with Atlas 2.8. According to OpenDrives, Atlas Professional is designed to meet the needs of organizations with moderately complex workflows that require robust performance while maintaining cost efficiency. It delivers features like Active/ Passive High Availability (HA), Containerization, NFS over RDMA (NFSoRDMA), and a Single Pane of Glass (SPOG) administrative view, all on OpenDrives’ Ultra hardware platform.

Targeting mid-sized media workﬂows

Atlas Professional aims to support creative teams in mid-sized media organizations, providing scalable storage and advanced data management features necessary for both planned and unplanned projects. It is particularly suited for companies seeking both performance and cost predictability in a streamlined package. The platform’s ability to simplify the management of dispersed teams is key for organizations looking to stay agile in a competitive market.

Lawo unveils software version 10.12 for mc² Audio Mixing Systems

Lawo introduces software version 10.12 for its latest mc² audio production consoles, featuring significant improvements in channel management, Waves integration, user experience, and system security. Designed for professionals in demanding audio environments, this update enhances efficiency, flexibility, and production reliability.

One of the key updates in version 10.12 is the new Strip Assign page, which streamlines channel management. The new page offers a modern, intuitive interface that makes assigning channels to fader strips quick and easy. Users can assign single or multiple channels in one step and reassign, duplicate, or swap channels between strips effortlessly. The page also allows for the direct customization of channel labels and fader strip colors, making it simple to tailor the console layout to the user’s preferences. A clear, visual representation of the console banks ensures that the number of sections matches the physical bays, offering an organized view that supports fast navigation. This update saves valuable setup time and ensures that operators can navigate their systems more

eﬃciently during both live and studio operations.

Version 10.12 also brings substantial improvements to the integration between mc² consoles and Waves systems through the new ProLink protocol. This update replaces the older RFC protocol and enhances communication between mc² consoles and Waves SuperRack 14 systems. Label synchronization is now automatic, reducing manual entry errors. Additionally, the new access channel linking feature allows engineers to open a connected Waves Rack with a single button press on the mc² console. This provides quick access to plug-in adjustments and streamlines the workﬂow, making it easier for engineers to focus on delivering high-quality sound without navigating between systems.

The user interface and workﬂow have also been improved with version 10.12. The Signal List now includes new visual indicators that clearly show the status of Aliases, Waves, and Loopback connections, simplifying the management of signal paths. These updates

enhance the clarity of signal health and connectivity, providing immediate feedback on the status of each signal. The new icons and updates to the signal list help operators manage complex, multi-console setups with greater ease.

Finally, version 10.12 strengthens system security with advanced features aligned with EBU R.143 cybersecurity guidelines. It introduces new password policies, including enforced expiration, complexity requirements, and the elimination of default passwords, ensuring a higher level of protection. Private/public key authentication is now available for secure access, minimizing risks associated with password management. The update also includes simple, guided procedures for password resets, making the process straightforward while maintaining robust security measures for the system.

Software version 10.12 is available now for all compatible mc² audio systems, oﬀering audio professionals enhanced control, security, and operational eﬃciency.

Matrox Video introduces Matrox Vion

Matrox® Video has oﬃcially entered the IP video gateway market with the introduction of Matrox Vion, a high-density IP video gateway, and a new update for the Matrox ConvertIP DSH SMPTE ST 2110 and IPMX transmitter/receiver. Together, these innovations help address the growing complexity of IP video workﬂows in ProAV and broadcast environments.

Vion is a compact, IT-inspired gateway designed to excel in both local and cloud-based IP video gateway workﬂows. Vion supports real-time encoding, decoding, transcoding, and conversion across multiple compressed and baseband formats, including H.264/HEVC, JPEG-XS, ST 2110, IPMX, and NDI, addressing the challenges of interoperability between diverse applications across broadcast and ProAV workﬂows.

Vion is available in two versions, EX and NX, with the EX model oﬀering additional SDI and HDMI inputs. Key beneﬁts include:

> Eﬃciently convert, transcode, transmux, transrate, and transceive compressed IP signals over IP networks to ensure seamless media distribution.

> Take advantage of HEVC 4:4:4 color codec to deliver superior desktop content making it ideal for color-sensitive applications.

> Ensure compatibility across devices and future-proof your infrastructure with support for ST 2110-22, IPMX, and JPEG XS.

> Facilitate NDI media and protocol conversion, including seamless conversion between NDI and SRT, as well as NDI and IPMX.

> Instantly preview content locally with HDMI and audio outputs.

> Deliver multiple concurrent and bi-directional streams with advanced multi-channel encoding, decoding, transcoding, and cross-conversion.

ConvertIP 2.04 IP-to-IP Update – Bridging the Gap

The upcoming update for ConvertIP DSH introduces an IP-to-IP bridging feature,

enabling conversion between uncompressed and compressed formats such as ST 2110-20, ST 2110-22, and IPMX. With this update, ConvertIP DSH becomes an even more versatile solution for IP video conversion, enhancing workﬂow ﬂexibility.

“Vion and the new ConvertIP update represent strategic advancements in AV and broadcast technology,” said Spiro Plagakis, Vice President of Product Management at Matrox Video. “By supporting open standards, oﬀering comprehensive protocol conversion, and delivering high-performance encoding and bridging options, these devices empower users to seamlessly adapt their IP workﬂows, whether on-premises or in cloud environments.”

With the launch of Vion and the ConvertIP DSH update, Matrox Video expands its IP technology portfolio, empowering users to unlock new levels of efficiency, interoperability, and flexibility in their IP workflows. 

Vislink introduces DragonFly V 5G Miniature Transmitter

Vislink Technologies announces the launch of DragonFly V 5G, a groundbreaking bonded cellular miniature transmitter that combines 5G connectivity with ultra-lightweight, high-performance video streaming capabilities. This new transmitter is available for purchase alongside the previously announced DragonFly V COFDM model. With DragonFly V 5G, Vislink continues its reputation of providing industry-leading solutions for live broadcast production, delivering seamless HD video streaming in a small and versatile device.

Key features include:

> 5G Bonding Connectivity: Compatible with public and private 5G networks ensuring greater bandwidth and reliable, high-quality video streaming.

> Compact and Lightweight Design: Weighing just 82 grams,

DragonFly V 5G is ideal for use on drones, body-worn cameras, and other portable applications.

> High-Deﬁnition Video Support: Captures and streams video in formats up to 1080p 50/60 HDR.

> Versatile Inputs: Supports HDMI and SDI connections for seamless integration into production workﬂows.

> Low Power Consumption: Optimized for extended ﬁeld use without compromising performance.

> Unmatched Reliability: Engineered to maintain robust performance in challenging conditions, such as crowded live events and remote locations.

Versatile Applications Across Industries DragonFly V 5G

transforms the way live video is captured and shared, oﬀering endless possibilities:

> Sports Production: Capture dynamic angles using drones or on-ﬁeld body-worn cameras for immersive coverage.

> News Broadcasting: Stream live footage from breaking news scenes with minimal setup time.

> Entertainment: Deliver stunning live event coverage with real-time streaming that ensures ﬂawless viewer experiences.

> Public Safety: Provide live situational awareness for surveillance and ﬁrst responder coordination.

DragonFly V COFDM

Complementing the new DragonFly V 5G is DragonFly V COFDM, a miniature transmitter designed to deliver reliable, high-deﬁnition video in environments where signal integrity is crucial. Utilizing advanced COFDM technology, this device ensures resilient video links even under challenging conditions. Weighing just 73 grams, DragonFly V COFDM integrates seamlessly with drones and body-worn cameras, enabling dynamic, on-the-move live video capture for broadcasters. Its compact and durable design also makes it ideal for defense and public safety applications, providing real-time surveillance and situational awareness for critical missions. 

LucidLink launches next-generation cloud collaboration platform

LucidLink has unveiled a major update to its cloud storage and collaboration platform, designed to enhance real-time creative workﬂows across desktop, browser, and mobile devices. The new release aims to provide creative teams with instant, secure access to their data, no matter where they are working.

The latest version of LucidLink introduces a streamlined, collaboration-focused user interface, intended to unify the user experience across all platforms. The update is scalable, making it suitable for teams of all sizes, from individual freelancers to large enterprises. LucidLink’s ﬂexible pricing model and infrastructure support a wide range of collaborative needs, ensuring users can work without technical or geographic limitations.

Peter Thompson, Co-Founder and CEO of LucidLink, highlighted the signiﬁcance of the release:

“This is both an evolution of everything we’ve built and a revolution in how teams collaborate globally. For the ﬁrst time, teams can collaborate instantly on projects of any size from desktop, browser, or mobile, all while ensuring their data is secure.”

While the initial update focuses on improving the desktop and web experiences, future versions will expand to include mobile apps, providing even greater ﬂexibility for remote collaboration. This release also positions LucidLink as a more

comprehensive platform, with expanded integrations, business intelligence capabilities, and advanced pricing options to meet the needs of diverse teams around the world.

According to the company, the key features of the new LucidLink release:

> Real-time collaboration across platforms: The new release introduces a refreshed experience for both desktop and web users, built on a new architecture that ensures smoother collaboration. Future updates will extend this functionality to mobile devices, giving teams more options for accessing and working on ﬁles remotely.

> New desktop and web applications: LucidLink now offers an upgraded user experience, allowing teams to collaborate in real-time across workflows that span home, on-premise, and cloud environments, without the need for data downloads, syncs, or transfers. This update simplifies administrative tasks

for both desktop and web platforms.

> Global user model: Users can now access multiple ﬁlespaces from a single account, seamlessly switching between desktop, web, and mobile devices. This feature is especially useful for freelancers and the organizations that work with them.

> Streamlined macOS installation: The update provides a faster, more straightforward installation process for macOS users, eliminating the need for system reboots or security changes, allowing users to get started more quickly.

> Simpliﬁed onboarding: New team members can now be onboarded quickly using a simple link, reducing friction during setup.

> Scalable infrastructure: LucidLink oﬀers users the option to choose from its bundled high-performance, egress-free storage solutions powered by AWS, or to bring their own cloud storage provider. 

NOA delivers advanced archiving solution to TV 2 Denmark

NOA GmbH has announced the completion of a digitization system delivery to TV 2 Denmark to preserve the broadcaster’s extensive video archive containing approximately 60,000 Betacam cassettes.

TV 2 Denmark continues to invest in cutting-edge technology, content development, and digital transformation strategies that enhance viewer engagement and maintain its competitive edge in an increasingly complex media environment.

In alignment with the agreed terms, NOA delivered a comprehensive preservation solution at TV 2’s main facility in Odense on standard COTS hardware, including the jobDB archive workﬂow management system, alongside with specialized ingestLINE and actLINE tools. Initiated in early November, the project was designed to digitize and preserve the broadcaster’s historical video content with rigorous, professional-grade quality control measures.

TV 2 represents the third Scandinavian client for NOA, with

the system strategically designed as a short-term service-based solution. Recognizing the temporary nature of the implementation, both parties have agreed to a service-oriented approach that aligns with the anticipated few-year operational timeframe.

According to Josephine Beck Høpner, project manager at TV 2 Denmark, the organization sought an on-prem streamlined digitization solution to safeguard its vast media heritage and therefore avoid the shipment of any material. “We are thrilled to implement an eﬃcient digitization platform that will preserve our 60,000 Betacam and DigiBeta carriers,” Beck Høpner stated. “NOA’s professional solution integrates seamlessly with our existing IT infrastructure, enabling us to leverage our internal resources for a high-quality, error-free digital conversion.”

The implementation ensures a smooth transition, allowing the organization to systematically digitize and protect its valuable

archival media collection with precision and reliability.

Manuel Corn, sales director for NOA, commented on the strategic expansion: “We are proud to expand our footprint in the Scandinavian region, building on successful digitization projects with Swedish (SRF) and Finnish (YLE) broadcasters. Our robust framework of jobDB, ingestLINE, and actLINE enables rapid deployment within days, leveraging our extensive experience in archive technology,” said Corn. “With a proven track record of digitizing over 5 million hours of audiovisual material across global digitization centers, we are uniquely positioned to deliver comprehensive archival solutions.”

TV 2 Denmark, a state-owned public service broadcaster founded in 1988, operates multiple channels and Denmark’s most popular streaming service, TV 2 Play. The broadcaster employs approximately 1,500 employees across Odense and Copenhagen and reaches millions of viewers nationwide. 

TV Markíza upgrades studios with Leyard TVF and CarbonLight solutions

TV Markíza, an independent broadcaster in Slovakia, has completed a signiﬁcant studio upgrade, enhancing its broadcasting capabilities with new LED video wall technology from Leyard. The broadcaster installed a Leyard TVF video wall in its News studio and Leyard CarbonLight CLI and CLI Flex displays in its Morning Show studio ahead of a busy summer season of news and sports coverage.

The Leyard TVF Series video wall, known for its fine pixel pitch and modular design, provides TV Markíza with increased flexibility across its multi-purpose, 24-hour studios. The new displays allow seamless transitions between different content formats, from news and weather to talk shows, with minimal disruption. The upgrade is part of a long-term collaboration between Leyard and the broadcaster, which began in 2017.

TV Markíza had previously installed Leyard TVH series video walls in its News studio in 2017.

Following a studio expansion in 2019, the broadcaster once again turned to Leyard for the 2020 completion of the Good Morning studio, though the project was delayed due to the COVID-19 pandemic.

In September 2022, discussions for renovating the News studio began, with TV Markíza seeking a partner who could provide a high-quality, flexible display solution. “Leyard’s European manufacturing facility and headquarters in Slovakia were key factors in our decision,” says Jaroslav Holota, the architect responsible for the project. “This provided us with the flexibility of local support and eliminated language barriers, which was a massive benefit.” The proximity of Leyard’s factory also allowed for cost-effective testing of the displays, ensuring they met the broadcaster’s exacting standards.

The installation of the new TVF video wall, originally planned for later in the year, was expedited to accommodate TV Markíza’s busy programming schedule, which

included two national elections and other live events. As a result, the installation was completed in the summer, taking advantage of a quieter period in the studio calendar.

The Leyard TVF Series is designed specifically for broadcast environments. Its fine pixel pitch, front-serviceability, and stackable, modular structure make it ideal for dynamic, multi-use studio spaces. The modular design eliminates the need for cabinetto-cabinet cabling, reduces the required installation space, and enhances overall system efficiency. Additionally, the system’s low heat output creates a more comfortable environment for presenters and crew.

From a performance standpoint, the Leyard TVF Series oﬀers low latency and high refresh rates, manufacturer says, essential for live broadcasting. With redundant power supplies and backup control systems, the TVF Series is optimized for content-critical applications, ensuring reliability during high-stakes broadcasts. The new installation also features a curved design in the News studio, achieved through the stackable frame modules, providing an aesthetically versatile backdrop for a range of programming formats. The screens oﬀer improved brightness and visual clarity on camera, further enhancing TV Markíza’s broadcast quality. 

SPOTV adopts Zixi for aﬄiliate delivery

Zixi has announced that SPOTV, a linear and digital sports service in Southeast Asia, has adopted Zixi technology to streamline and enhance content distribution across the region.

South Korea’s provider of linear and digital sports content, SPOTV has expanded into Southeast Asia. By deploying Zixi, SPOTV gains complete control over its content distribution, enabling a transition from traditional satellite and ﬁber to a modern, cloud-based IP infrastructure.

Utilizing Zixi-as-a-Service (ZaaS), SPOTV has seamlessly adopted a flexible, cost-effective, and robust IP delivery workflow, overcoming issues common in fiber networks, like packet loss and signal drops.

A key component of this transformation is the Zixi Broadcaster, bridging SPOTV’s on-premises sources to the cloud where the SDVP eﬃciently processes and distributes content to aﬃliates, with ZEN Master serving as the control plane to orchestrate

operations and provide end-toend visibility. By transitioning to IP-based distribution with Zixi, SPOTV can onboard new affiliates faster, enhance operational agility and reduce costs. With the elimination of costly fiber networks and satellite infrastructure in favor of streamlined IP and cloud-based networks, SPOTV can reach new markets and explore additional revenue streams without significant upfront investments.

Zixi-as-a-Service (ZaaS) oﬀers broadcast infrastructure as a service, allowing SPOTV to seamlessly ingest and distribute live video over any IP network with ultra-low latency. It delivers the full capabilities of the SDVP while ensuring a fully redundant video-over-IP pipeline, protecting against all potential failure scenarios. Zixi’s protocol optimization, including higher throughput and lossless compression, along with ZEN Master cloud control interface further enhance cost-eﬃciency

and ease of management. With reduced egress costs and lower computing power requirements, SPOTV beneﬁts from a lower total cost of ownership while gaining the tools to monitor and manage signals across the network.

“One significant discovery was the positive impact of the Zixi protocol on our network performance, and how Zixi’s adoption has helped resolve issues our affiliates encountered with traditional delivery methods,” said Prakash Maniam, Head of Broadcast Operations and Engineering at SPOTV. “With Zixi’s advanced FEC capabilities, the system effectively recovers lost packets, resulting in error free delivery across the network.”

“The Zixi platform enables SPOTV to fully manage and control our signal delivery, ensuring reliable, end-to-end distribution,” said Lee Chong Khay (CK), CEO of SPOTV. “This partnership with Zixi has empowered us to deliver higher-quality service and meet the growing demands of our audience across Southeast Asia. We look forward to deepening this collaboration as we expand into new phases of growth and innovation with Zixi.”

“With over 15 years of experience in delivering large-scale video workﬂows, Zixi brings invaluable expertise to our customers,” said Marc Aldrich, CEO, Zixi. He added, “From planning through to execution, our team of regional technical experts supported SPOTV at every step, making the transition to IP a seamless experience.” 

Ovyo and The Loop Co. merge to strengthen OTT and video software services with nearshore capabilities

New partnership expands global reach and service oﬀerings for media and telecom industries

Ovyo Ltd, a provider of custom OTT and media software services, has announced its merger with Portuguese technology services ﬁrm The Loop Co. This merger combines Ovyo’s experience in delivering software solutions to the video, telecom, and satellite industries with The Loop Co.’s nearshore capabilities and expertise in cloud software engineering and embedded systems, both companies stated.

The combined entity aims to oﬀer a comprehensive portfolio of services for OTT streamers, broadcasters, telecom operators, industry vendors, and other media businesses, with a strengthened presence across Europe, North America, and Asia.

Ovyo has expanded its service offerings with the addition of The Loop Co.’s nearshore capabilities in Portugal. This enhances Ovyo’s established offshore presence in India and the UK, providing increased access to global talent and expanding the company’s cloud and data engineering capabilities. The merger allows Ovyo to deliver a broader range of expertise, helping clients access niche skills more efficiently.

“We’re excited to move forward with The Loop Co.,” said Pav Kudlac, CEO of Ovyo. “The addition of nearshore resources provides our customers with faster access to specialized teams across two continents, oﬀering deeper technical expertise in key areas like cloud and data engineering. This is a signiﬁ cant step forward as we continue to expand our global footprint, particularly in the context of media teams’ growing need for high-quality, on-demand services.”

Both Ovyo and The Loop Co. have grown rapidly as software services businesses, sharing a commitment to customer success and employee empowerment. The merger brings together a combined workforce of approximately 250 people, strengthening the teams in Europe, North America, and Asia while ensuring continuity in client-facing

operations. The companies have retained all management and project teams to maintain expertise and provide ongoing stability for clients.

João Bernardo Parreira, CEO of The Loop Co., commented, “We are excited to join forces with Ovyo. Their global delivery model and deep experience in custom software development will enable us to oﬀer even greater value to our customers as we expand our capabilities.”

This merger marks a signiﬁcant strategic move for both companies as they continue to grow their presence in the fast-evolving media, telecom, and software services sectors. The combined expertise in OTT and video software services, along with enhanced cloud engineering resources, is expected to deliver added value for clients across multiple industries. 

Ateme and Lingopal.ai partner to enhance global content delivery with AI-driven localization solutions

Ateme, a provider of video delivery solutions, has announced a partnership with Lingopal.ai, an AI-based language translation platform, to deliver an integrated solution aimed at simplifying content localization for broadcasters and Direct-to-Consumer (D2C) services.

Addressing Language Barriers in Global Content Delivery

The collaboration combines Ateme’s expertise in video compression and delivery with Lingopal.ai’s AI-powered translation technology, allowing content creators to eﬃciently localize video content for diverse, global audiences, as both companies stated. This enables broadcasters and streaming services to deliver content in multiple languages, thereby reaching new markets and better serving existing ones, according to their words.

Rémi Beaudouin, Chief Strategy Oﬃcer at Ateme, commented: “This partnership marks an important step in helping our customers reach global audiences more eﬃciently. By integrating Lingopal.ai’s AI-powered speech-to-speech capabilities with our video compression and delivery technologies, we’re enabling content providers to do more with less, while breaking down language barriers and enhancing viewer experiences worldwide.”

AI-Powered Eﬃciency and Cost Reduction

The collaboration aims to streamline the localization process, cutting operational complexity and reducing the total cost of ownership (TCO) for content providers. By combining AI-based video compression with speech-to-speech translation, the solution simplifies workflows and enhances efficiency, enabling broadcasters to scale their content globally without significant increases in cost or operational burden, companies stated.

Chase Levitt, Vice President of Sales at Lingopal.ai, added: “We are thrilled to partner with Ateme to deliver a truly comprehensive solution. With our AI translation technology, we can help broadcasters and content creators localize content faster and more effectively than ever before. Combined with Ateme’s advanced video delivery solutions, this integration will allow companies to scale their content globally while significantly improving operational efficiency.”

Simpliﬁed Global Content Delivery

The integrated solution is designed to assist content creators, broadcasters, and D2C providers in delivering localized, feature-rich content that resonates with global audiences. This approach reduces both costs and operational complexity, providing a more eﬃcient way to handle content localization at scale.

Lingopal.ai’s recent recognition

This announcement comes shortly after Lingopal.ai’s success at the Sportel Conference in France, where the company won first place in the pitch competition, competing against leading firms in the industry. This recognition highlights Lingopal.ai’s innovation in real-time speech-to-speech translation technology and underscores its potential to influence the future of global content delivery, as the company stated. 

Pixotope partners with 7thSense for enhanced virtual production solutions

Pixotope has announced a new collaboration with 7thSense, a company specializing in media server, pixel processing, and show control solutions. As part of the partnership, 7thSense has been added to Pixotope’s approved hardware vendor network, integrating its high-performance hardware products with Pixotope’s software ecosystem.

The collaboration aims to combine 7thSense’s expertise in media servers and pixel processing with Pixotope’s real-time graphics and tracking software, creating an optimized solution tailored to the demands of virtual production environments.

According to the company, 7thSense’s hardware is already deployed in major entertainment venues, theme parks, and live event attractions, such as the Millennium Falcon: Smuggler’s Run ride at Disney Parks, Sphere Las Vegas, Expo 2020 Dubai, and the Museum of the Future in Dubai.

Certiﬁed compatibility for virtual production workﬂows

As part of the agreement, 7thSense’s R-Series 10 media server hardware has received official certification from Pixotope. The hardware has undergone thorough testing to ensure seamless integration with Pixotope’s tracking and graphics software. Additionally, a new “Pixotope-ready” SKU will be available, offering Pixotope users a certified, high-performance hardware solution specifically designed for virtual production.

“We’re proud to welcome 7thSense into our growing network of approved hardware partners. Their expertise in advanced pixel processing and media server solutions ensures that our users have access to the powerful, high-performance hardware necessary for exceptional virtual production,” said Marcus B. Brodersen, CEO of Pixotope. “This partnership makes it easier for creators to

ﬁnd trusted tools that meet the demanding requirements of virtual production.”

Oﬃcial certiﬁcation for 7thSense hardware

Rich Brown, CTO of 7thSense, commented, “We’re thrilled to have our hardware officially certified for use with Pixotope software, after completing the functionality testing of our PC hardware with Pixotope’s tracking and graphics applications. We now offer a special ‘Pixotope-ready’ SKU for users seeking high-performance hardware that can elevate their virtual production setups.”

According to both companies’ statements, the partnership between Pixotope and 7thSense aims to drive advancements in virtual production, enabling more immersive and technically sophisticated media experiences across various industries, including ﬁlm, television, live events, and themed entertainment. 

Amagi acquires Argoid AI to accelerate AI-driven innovation

Amagi has announced the acquisition of Argoid AI, a cutting-edge AI company specializing in recommendation engines and programming automation for OTT platforms. This acquisition strengthens Amagi’s mission to empower media companies with intelligent content planning, distribution, and monetization solutions.

Argoid AI, known for its state-of-the-art artiﬁcial intelligence capabilities, has developed innovative AI products that enhance content recommendations and enable real-time programming decisions. Its solutions have been pivotal in increasing viewer engagement and optimizing channel operations for customers in the streaming media space. By integrating Argoid AI’s advanced algorithms into Amagi’s existing platform, this acquisition will signiﬁcantly boost the functionality of Amagi’s product

suite, particularly the Amagi NOW and Amagi CLOUDPORT oﬀerings — enabling media companies to make faster, smarter, and more personalized content scheduling decisions at scale. It will also allow Amagi to deepen its AI-powered content programming, metadata enrichment, and recommendation engine services, which are crucial for transforming to personalized streaming as part of the FAST 2.0 innovation.

“Amagi has been investing in AI/ML over the last couple of years. We strongly believe in AI/ML’s pivotal role in transforming the media and entertainment industry, creating eﬃciencies, enhancing monetization, and providing an engaging viewer experience,” said Baskar Subramanian, Co-founder and CEO of Amagi. “With this acquisition, Amagi will integrate Argoid’s AI components into its award-winning cloud solutions, signiﬁcantly enhancing value for

our customers. The combined tech expertise of both companies will address key challenges in the streaming industry, such as content discoverability, viewer retention, and intelligent programming.”

Acquiring Argoid AI brings advanced AI capabilities as well as talented engineers and data scientists to Amagi. Argoid’s founders Gokul Muralidharan, Soundararajan Velu, and Chackaravarthy E will join the Amagi team, contributing to the future roadmap and further integrating AI into Amagi’s oﬀerings.

“We are thrilled to join forces with Amagi, a true leader in media technology,” said Muralidharan. “This partnership allows us to scale our AI-driven solutions, delivering even greater customer value. Together, we will revolutionize how content is programmed and distributed in the digital era.” 

SMPTE and Avid announce new standard for VC-3 codec in IMF

New SMPTE ST 2067-70 standard streamlines VC-3 codec integration for broadcast distribution

The Society of Motion Picture and Television Engineers (SMPTE) and Avid have announced the publication of SMPTE ST 2067-70, a new standard for the VC-3 codec within the Interoperable Master Format (IMF) framework. This collaboration aims to improve the eﬃciency and ﬂexibility of audiovisual content distribution, particularly for broadcasters and media organizations involved in largescale production and delivery.

The VC-3 codec, provided by Avid under its DNx brand, is a widely used production codec for various broadcast operations, including capture, editing, rendering, and long-term archiving. The new standard speciﬁes how VC-3 should be integrated into IMF, building on the existing SMPTE ST 2019-1 standard.

Shailendra Mathur, Avid’s VP of Technology, explained, “For many of Avid’s customers, the DNx family of codecs, speciﬁcally VC-3, is used as a mezzanine format to maintain high-quality footage and optimal editing performance. The new SMPTE ST 2067-70 standard will ensure that this same quality can be carried through the IMF mastering stage, simplifying the process for distribution.”

IMF is a key international standard designed to simplify the management and distribution

of content. It consolidates all audiovisual assets needed for diﬀerent versions of a program into a single, interchangeable package. This framework supports content fulﬁllment and versioning across multiple territories and platforms, making it a critical tool for modern media supply chains.

The adoption of VC-3 within IMF aims to maintain high-quality video for broadcast, distribution, and archiving, ensuring that the original creative intent is preserved throughout the production and delivery pipeline. The new standard also offers broadcasters the option to use a constant bit rate (CBR) profile for VC-3, which improves predictability for storage and network transport, further optimizing workflows and reducing the potential for quality loss due to transcoding.

The Digital Production Partnership (DPP), an organization representing the media supply chain, played a key role in supporting the development of this standard. DPP Technology Strategist David Thompson noted, “The collaboration between Avid and SMPTE has addressed a clear need for broadcasters who rely on VC-3 as their primary production codec and are looking

to adopt IMF for distribution and archiving. The standard offers significant workflow advantages, including faster turnaround times and easier integration of changes before creating a final IMF deliverable.”

Kevin Riley, Avid’s Chief Technology Officer, added, “We are committed to improving the DNx family of codecs, including VC-3, to meet the needs of our customers and partners. This new standard aligns with our goal of making media processing more efficient, while delivering time and cost savings. It allows broadcasters to maintain existing media workflows and deliver content using the same codec from production through to distribution and archiving.”

The ST 2067-70 standard is expected to streamline workflows for broadcasters and media organizations, offering a more efficient path from production to delivery without the need for additional transcoding or format conversions. This approach will not only help preserve quality but also simplify the storage and transport of large media files, offering significant operational advantages for high-scale content distribution. 

Zixi: Pioneering Live IP Video Delivery and Orchestration

Since it’s inception, Zixi has been the trusted leader in live IP video delivery and orchestration technology. The patented, Emmy winning Zixi Protocol was a groundbreaking innovation that addressed the unique challenges of live video streaming over IP that delivers the levels of security, scalability, efﬁciency and quality that are mandatory for media companies whose business is dependent on pristine broadcast of high value, revenue generating content such as live sports.

Much more than the protocol, Zixi now offers the comprehensive Software Deﬁned Video Platform (SDVP®), a seamlessly integrated suite of tools mandatory for the flawless delivery and orchestration of mission critical content, including capabilities for conﬁguration, automation, monitoring and reporting, advanced AI and ML based analytics, video switching and processing, all designed to meet the demands of modern complex workflows. The platform's ability to deliver broadcast-quality live video over any IP network, cloud platform or edge device has transformed the media and entertainment industry. Known for its scalability, reach, and cost-effectiveness, the SDVP is a preferred choice for broadcasters, OTT providers, service providers and sports organizations such as Amazon Prime Video, Bloomberg, MLB, NFL, Roku, Sky, Warner Media, and YouTube TV.

The Evolution of Zixi

Recognizing the expanding requirements of the media industry, Zixi has developed the complete SDVP, a modular platform that provides all the tools required for the end-to-end broadcast quality delivery and orchestration of live video. It enables broadcasters to quickly and easily deploy digital ﬁrst, or transition from legacy satellite, to flexible, IP-based cloud workflows.

The Zixi Broadcaster is the backbone of live video distribution. Supporting 17 protocols, acting as a Universal Gateway, aggregating and normalizing content from diverse sources for seamless distribution while offering advanced features such as multiplexing, OTT packaging, PID normalization, bonding and hitless failover.

ZEN Master serves as the SDVP’s orchestration and management layer, enabling oversight of large-scale deployments with end-to-end visibility, real-time monitoring and reporting. Its Live Events Manager supports autonomous workflows, allowing users to build and visualize event schedules, validate infrastructure, manage multiple live events simultaneously, and transition smoothly to post-event feeds. With ZEN Master, media companies efﬁciently manage their entire video ecosystem and ensure quality across networks to ensure a flawless viewer experience.

The Intelligent Data Platform (IDP) leverages AI/ML algorithms and advanced analytics to optimize network paths to proactively resolve potential issues. Broadcasters can reduce reliance on manual monitoring and minimize operational costs while maintaining the highest quality of services.

Zixi Edge Compute (ZEC) is installed at the network edge, enabling high-performance connectivity to Zixi Broadcasters, optimizing bandwidth and ensuring ultra-high-density throughput. Support for ARM-based processors enhances efﬁciency for edge-based deployments.

Zixi Live Transcoding consolidates transcoding and distribution workflows, reduces costs and simpliﬁes distribution. GPU and VPU acceleration allow OTT providers to customize content and scale flexibly.

Zixi Market Switching (ZMS) replicates traditional satellite workflows over IP using ESNI schedules and POIS policies for precise stream switching. This enables broadcasters to enforce content rights and optimize monetization, supporting modern advertising insertion workflows.

Flexible Deployment and Cost Eﬃciency

The SDVP offers unparalleled deployment flexibility, operating on-premises, in private or public clouds (AWS, GCP, Azure), or via Zixi-as-a-Service (ZaaS). This pay-asyou-go model allows broadcasters to scale resources dynamically and minimize costs during peak periods.

Zixi also delivers significant cost efficiencies, with innovative, video-aware algorithms that compress null packets during transmission, reducing unnecessary bandwidth for dramatic efficiency gains and 30 - 60% decreased egress charges. Zixi support for ARM-based processors such as Graviton enables companies to maximize cloud resources and reduce compute costs by up to 90%, significantly reducing the TCO.

The SDVP powers the Zixi Enabled Network, a global ecosystem of 1400+ customers and 400+ integrated technology partners, including cameras, encoders, playout systems and cloud providers who enable seamless end-to-end video workflow interoperability with media organizations.

One of North America’s largest networks, FOX deploys Zixi to distribute all 190 regional and afﬁliate feeds to digital MVPDs, leveraging the cloud and public IP networks. FOX afﬁliates use Zixi to transmit the streams to Zixi Broadcasters hosted in AWS to transcode streams into the appropriate format before egress to the MVPDs. ZEN Master is utilized for end-to-end orchestration and visibility as part of a quickly scalable solution that was up and running in a matter of months, only possible with IP and the cloud.

The Future of Video Distribution

The SDVP is an innovative leap in modern live IP video technology. Zixi has evolved from its protocol origins, into a comprehensive platform that supports ultra-low latency, video processing, orchestration, and analytics. Broadcasters, OTT providers, service providers and sports organizations are now able to quickly deploy complex workflows, while still minimizing costs with the lowest TCO in the industry.

In the modern media environment deﬁned by increasingly rapid change and high expectation, the SDVP offers a flexibly deployed, future-proofed solution for high value, secure and reliable video distribution. With the industry, Zixi continues to evolve and provide future-proofed solutions that enable the delivery and orchestration of live IP video with unmatched efﬁciency and scalability.

Zixi SDVP-platformZixi ZENMaster grid

Photos’ copyright: Pedro Cobo

And it has done so within the structure of Digital Terrestrial Television –DTT– in such a way that any citizen having a TV set capable of receiving Ultra High Deﬁnition will be able to watch all the UHD broadcasts made by the Spanish public broadcaster, Radiotelevisión Española, at no cost.

This milestone has allowed Spain to be the first European country to offer, in Ultra High Definition and at no cost to viewers, the complete broadcast

of the Olympics held in Paris last summer.

But setting up a permanent UHD channel requires, in addition to a great professional commitment, the development of technical infrastructures enabling so. Therefore, in this conference, we will take a look the key elements implemented by RTVE for the new channel: the continuity of broadcasting in UHD, an UHD OB truck, routing and distribution, etc.

Finally, the coverage that RTVE has made of

the Paris Olympic Games in Ultra High Deﬁnition will be adequately reviewed.”

Jesús García Romero, Director of the Technical Area for Television, commented on the journey of UHD in TVE.

UHD has been an adventure that we have experienced in the Televisión Española as an authentic technological triathlon competition.

From left to right: Ángel Parra Martínez, TV Sports Producer; Jesús García Romero, Director of the Technical Area for Television; Luis Sanz, Audiovisual Consultant (Moderator); Manuel González Molinero, Director of TV Technical Media; Víctor Sánchez García, Director of Media and Television Operations.

It was an Olympic year and our performance in recent times had been impacted by a simultaneous switch-off and switch-on: the switch-off of standard definition on Digital Terrestrial Television and the kindling of the Olympic flame. Three goals had to be achieved. First of all, complete the transformation of all territorial centers that were operating in SD (Standard Definition). It had been a long road of almost three years that ended just before SD was turned off

Secondly, we had to mount a continuity scheme in Ultra High Definition to use the multiplex that remained available on DTT after the shutdown of SD. And, finally, facing the Olympic Games, since OBS (Olympic Broadcasting Services), the company in charge of television production for the Games, was going to produce completely in Ultra High Definition, we at Televisión Española had to be up to the challenge of delivering the signal in Ultra High Definition.

For this, we needed to have at least one UHD OB

truck that would have to be in operation before the start of the Olympic Games, including the training of technicians and operators, running of technical tests, etc.

And there you have the results. It has been quite an achievement, not only by our technical team, but also of integrators, installers, manufacturers, each of them with their individual collaboration and contribution. It’s indeed been a collective success by the industry.

UHD has always been part of the technological roadmap for Televisión Española. Long ago we started installing editing booths in the Torrespaña and Prado del Rey studios in order to be able to carry out the coloring and grading for the small UHD productions that we were beginning to undertake.

Also since long, we had been leasing a UHD camera to record, as a public service, important events in Spain’s history. We have archival images already recorded in 4K, even though we did not have the production infrastructure

in place back then, but at least we have documented pieces of important events recorded.

This was a long-term vision. We started in 2014 with the Television Chair at Universidad Politécnica of Madrid by doing a pilot project at the Prado

Museum. We also tested a live broadcast in Ultra High Deﬁnition of the Parsifal opera from Teatro Real. And in 2016, we made a production of the Changing of the Guard at the Royal Palace in Madrid, with collaboration and loan of equipment from manufacturers.

We have also collaborated in the UHD Spain partnership and in all the technical tests that have been carried out prior to launching a DTT UHD channel. There was a test channel in Televisión Española, on which Radio 3 concerts could be watched in UHD every night, Monday to Thursday, at 01:20 a.m.

We are also stressing the value of this UHD production, not only from the point of view of its technical features, but also with new production formats,

specifically with cinema lenses, in a filmmaking look with compact single-sensor cameras and the result, in the opinion of the filmmakers, is spectacular.

Víctor Sánchez García, Director

of Media and Television Operations, explained Radiotelevisión Española’s strategy regarding technical initiatives and above all, UHD.

We at Televisión Española in general see ourselves as the technological driver for part of the sector. It is the mission the Spanish Radio & Television Law has entrusted us, and once the SD channels were turned oﬀ, the window of UHD technology was opened for us.

But not only is UHD technology what I wanted to talk about, I wanted to delve somewhat in the more global strategy and also discuss a little bit what movements are being seen in this sector.

There are two or three disruptive technologies, some of which are appreciated by viewers, others that are not perceptible by the audiences and the ones that will change the way we produce.

What viewers probably don’t notice is the IP technology. We made very signi ﬁ cant progress in Spain with IP technology when we started its implementation at the San Cugat center, which we hope to complete by next year. Introducing IT technology into broadcast production systems has been hard work and a matter of several years, but su ﬃ cient reliability is being achieved to meet the requirements for television. For example, at the Olympics, OBS has also used this technology as a backup for distribution. IP technology is setting a trend in the industry. At user experience level is not noticeable, it stays behind the scenes.

The technology that viewers do appreciate is UHD, which has an

impact on user experience and comprises two elements, both important: one, video quality, and the other -that we are also introducing- is audio quality. TVE works with Dolby Atmos, which allows for a better user experience. Therefore, with UHD, viewers will see and hear better.

TVE is a public service and has introduced UHD in the DTT infrastructure with broadcast technology accessible to all viewers at no cost. This is important, because in order to reach UHD bandwidths and achieve massive access for spectators, OTT platforms are either not ready or the cost of doing so would be huge.

Recently, RTVE has become a member of the 5G MAG association, which promotes the use of 5G broadcasting for transmission, which can be supplemented by the unicast transmission of OTT platforms.

And ﬁnally, there is artiﬁcial intelligence (AI),

a technology that will change the way we produce, both in the capture and editing of content, as well as, most likely, in broadcasting.

For this reason, and in relation to the latter technology, Televisión Española recently approved internal regulations for the use of AI. We have an internal AI committee within the strategy and implementation group and I think this technology will impact all of us, the entire industry. We are starting several projects, some of them having to do with automatic promotion, some with assistance issues, understanding by means of simple language.

TVE is a public service and has introduced UHD in the DTT infrastructure with broadcast technology accessible to all viewers at no cost.

Jesús García Romero commented on the elements that Radio Televisión Española has actually implemented with UHD, both at local facilities and for the Ultra High Deﬁnition OB truck.

The UHD continuity was already tested, assembled, when we were preparing the Games in IP 2110 technology, “channel in a box” type. Everything is already working. Now we have a second step ahead, to provide a live recorder and our own branding in UHD.

We had the Ultra High Deﬁnition OB truck foreseen, but it arrived late because ever since the pandemic the delivery of trucks, which is the OB infrastructure, is very complicated as it takes a long time. But then we did well in releasing the tender for the truck and we would see afterwards what to have on board because otherwise we would not make it on time. But while the truck project was being dealt with, we started the engineering design and in the end we succeeded in making it -always on the very last minute- and have enough time to prepare the technicians.

The OB truck is made in Ultra High De ﬁ nition, with up to 12 cameras and features 5.1.4 immersive audio. We chose to continue the line of work that we had been using for OBs, a distributed matrix based on Riedel systems, which allows us to interconnect more than one OB. That is, with this OB truck working alongside another one, we can -instead of just 12 cameras- make a production with many more cameras and also have two diﬀ erent productions, the international signal itself and also a customization from the other OB truck.

We opted for 12G-SDI technology, not IP, ﬁrstly because it is not true that IP is cheaper: just as in a large installation at a higher cost, this is oﬀset by the possibility of sharing resources, it is not the case with an OB truck. At that time, it seemed easier and also more reliable for the sector, for the technicians who were in charge of these OBs, with 12G technology, identifying issues is easier.

OBs, in addition to the matrix, have the whole set of ancillary elements that we need: mapping, up conversion and down conversion,

because the OB truck can work or have to deliver signals for third parties in HD.

Image control, of course, dedicated for image control in HDR conditions, with grade 1 monitors of the highest quality, etc.

Manuel

González

Molinero,

Director of TV Technical Media, said that this is what Radio Televisión Española has done at the Olympic Games in Paris.

One of the ﬁrst doubts that arose was what format to choose for

We had a UHD broadcast channel in DTT already in operation and, on the other hand, we had the delivery of an OB truck for production in UHD, and we also had stateof-the-art UHD cameras so we only needed additional equipment to complete the jigsaw.

production and broadcast of such an important sporting event as the Olympics. It was solved for us, as OBS decided that the native format of all competitions would be UHD 2160 p50 curved HDR and HLG with immersive audio 5.1.4.

We had a UHD broadcast channel in DTT already in operation and, on the other hand, we had the delivery of an OB truck for production in UHD, and we also had state-of-the-art UHD cameras so we only needed additional equipment to complete the jigsaw.

As Jesús said, another doubt at the beginning was whether we should address the project in video over IP ST-2110 or in baseband, that is, 12G SDI. But taking into account the short notice and available means, we decided to go for baseband since by doing so we removed a point of diﬃculty.

The project was based on three main pillars: production in Paris, signal conveyance, and local production in Torrespaña (Madrid).

Production in Paris

RTVE installed an MCR (Signal Control) at the IBC in Paris. This control served as a central node to receive and send all the necessary signals. In this place we received the signal package for all competitions and multilateral signals. In total, we received 49 UHD signals through ﬁber optics that we converted to 12G signals by means of electric-optical transceivers.

Additionally, we had 5 pre-selected signals from the OBS matrix with up to 80 available signals and we also had 4 exchange video lines connected with the OBS output matrix to exchange customized signals, mixed zones, ﬂ ash interviews, commentator positions etc. with the competition venues.

8 audio lines were engaged in order to receive the audios from the commentator positions and be able to give them the N-1 returns and orders. In that same RTVE’s control spot at the IBC, the ﬁ nal mix of audios from our

commentators was made with the international immersive audio signal, in such a way that from the IBC we took out the signal ﬁ nalized for broadcast and we also relied on two commentator booths where competitions for which personal attendance was not possible were narrated.

From the IBC we would send a total of 6 UHD signals and their corresponding multicast in HD to Spain. As return channels, 6 HD program return signals would be sent. For audio exchange, 12 AES-EBU signals were set up in each direction.

RTVE also had a representation studio and iconic views of the city of Paris on Trocadero Square overlooking the Eiﬀel Tower. This studio was equipped with four UHD cameras, one of them on a light crane, and as a mixer we used a light one from the Datavideo brand.

The connection of this studio with the IBC was made through dedicated 1+1 Gbps ﬁber provided by OBS, where by means of NImbra equipment we transmitted signals, including video/audio/ intercom/communications/ corporate services. We always hire redundant services because

RTVE’s OB at Paris.

throughout our experience we have had many issues of all kinds. In these events everything can happen and we have had to let some events go on many occasions.

Víctor Sánchez

“We usually do duplicates and triplicates on many instances, meaning that we had two ﬁbers on diﬀerent paths to television input, plus via the Internet, since we managed to transmit a UHD signal over the Internet. It is a guaranteed Internet, we had more than 50 megabytes of Internet upload assured and with these three paths the spectators never had the problem.”

Manuel González

This studio at the Trocadero was used as continuity between competitions, a spot for live cast, as well as to provide information services for La 1 and Teledeporte and Canal 24h.

As an additional resource, we sent 8 ENG photojournalists with their editors to Paris in order to offer viewers different aspects of the daily activity in the Games, as well as a different view of Paris.

To solve the problem around changing light conditions, it took us a lot of eﬀort to install a RoscoView system, a system

of polarized ﬁlters that are placed in the window panes and in the lenses ﬁtted on the cameras in an easily adjustable fashion depending on how light shifts throughout the day.

Signal transport

To interconnect Paris and Madrid (Torrespaña) in such a way that it was possible to exchange signals, RTVE contracted international circuits through POP (Point of Present) in Paris and Frankfurt. Based on our experience, we always use two diﬀerent paths in a way that interconnection is guaranteed in the event that one of them becomes unavailable.

During the Games there were acts of vandalism in France that managed to cut connections for three days and there were broadcasters that lost their connectivity during that time.

For the connection between Paris and Madrid, we estimate a capacity of 2 Gbps for conveyance of all the signals, and for transport of the POP signals to Madrid EBU was hired to deliver the signal to the Madrid International Control through the FINE network.

For signal exchange, connections were set up by means of NIMBRA systems and services were opened for the necessary video, audio, communications and corporate services. Low-delay Sapec Sivac One encoders were chosen for UHD video signal encoding. The codec used was H265 at 125 Mbps, with a 150 ms delay; and for HD signals, Nimbra MAM cards in JPEG2000 format were used. Finally, we used SRT transmission equipment over the

dedicated internet as backup signals for the studio and the IBC.

Víctor Sánchez

“It is worth mentioning that, thanks to the encoding system, the commentator could be inserted live in the audio loop, that is, we sent the signal from Paris to Madrid and over the same signal -which in turn we distributed- the commentator’s audio would be included. It was done successfully because of the system’s low latency, and the slight delay was not seen in the TV broadcast.

We also took a risk with the audio returns and settings, which we did through the intercom and generated the N-1 returns with the latter rather than with the sound console. The return management was done with the intercom and this was an advantage at production level, since the presenters could talk to the commentator, all of it live. It was solved in a simple way with Riedel conferencing. Once done, it went pretty well.”

Manuel González

Local production in Torrespaña

As we have mentioned, the 6 UHD signals from Paris (x6) were received at the International Control, which was in charge of delivering them by ﬁber optic to the UHD H01 OB truck. This OB truck was used as production control and for making part of the continuity of La 1 UHD channel.

On the other hand, this OB truck was responsible for the production on a set (Studio A4 in Torrespaña) with 5 UHD cameras that allowed to make summary programs, as well as move from one sport to another. On this set, one of the cameras was sensorized to oﬀer augmented reality.

The remaining HD signals were delivered from the International Control to San Cugat to make the continuity of Teledeporte through the RTVE contribution network through Nimbra. The ingestion or recording of the signals either for the preparation of summaries,

archiving or preparation of pieces for information services was carried out in HD.

The H01 OB truck was responsible for recording UHD signals on EVS recorders, managing up to 6 UHD signals for recording for summaries and replays. The OB truck’s output supplied two program signals: one in UHD and one in simulcast for La 1 HD channel. To achieve this, it was necessary to resort to downmapping, i.e. lower the resolution and change the color space from HDR to SDR. Such conversion was done automatically by

converting LUTs and, in this instance, we used the OBS parameters for sports.

For the Olympic Games, 8 additional booths were set up between Torrespaña and San Cugat combined. As long as the broadcast was in La 1 UHD, the mixing of voice-over audios was carried out at the IBC in Paris, so all the audios from the booths were sent via Nimbra with an ultra-low delay. As Victor said, we invented ultra-low latency audio circuits so that the entire ﬁnished product was ﬁnalized at the IBC and the workload on the H01 OB truck alleviated as much as possible.

Finally, at the A4 studio we mounted a system of screens powered from the OB truck and graphics systems in UHD and augmented reality that complemented the viewer experience.

Regarding the most relevant operational challenges we faced, one of them was to change the vision for the way of working in capture, lighting, makeup, and production for camera controls in diﬀerent color spaces. Working in HDR (High Dynamic Range) and expanding the color space means that the lighting and CCU settings handle diﬀerent

This OB truck was responsible for the production on a set (Studio A4 in Torrespaña) with 5 UHD cameras that allowed to make summary programs, as well as move from one sport to another. On this set, one of the cameras was sensorized to offer augmented reality.

Audio control.

parameters, but since in all cases it was necessary to oﬀer UHD and HD simulcast broadcasting whereas the camera controls adjusted only in HD, here emerged the ﬁgure of the HDR supervisor, in charge of ensuring that the UHD broadcast was correct.

In this operation, another of the most important challenges was to make narrations of the same broadcast from two diﬀerent points, which forced us to constantly control the relevant delays. Regarding 5.1.4 immersive audio, it was necessary to expand the sound console to handle many more channels, coupled with the added diﬃculty of mixing.

Another of the novelties that we took this year at the Paris Olympic Games was the use of IPVandA Flex as a backup for multilateral signals, which is a service for transporting signals in the cloud, delivered by SRT over the internet. This service, provided by OBS, allowed up to 10 simultaneous signals to be pre-selected from 80 available channels of

multilateral and additional content provided by OBS. As an experience, the service has worked very well and we believe that it is a very good alternative as a replacement for the traditional satellite service.

Ángel Parra as a director, contributed his rather more artistic experience on concrete work when producing with UHD technology.

It has been possible to bring a UHD signal to viewers during all the production processes, sports broadcasting, presentations at the studios and in connections with the diﬀerent live points with hardly any kind of failure, either in communications or in stability/quality of the signal.

Signal production for the UHD channel has been compatible with the broadcast on the HD channel, with the complexity that this entails concerning adjustments both in video, making SDR compatible

with HDR, as well as in color space and sound, 5.1/Atmos immersive sound, compatible with the ﬁnal mix in stereo.

The HFR (High Frame Rate) broadcast is noteworthy. The use of the progressive signal has meant a signiﬁcant quality leap in sports broadcasts so as to avoid moiré and sweeps with loss of deﬁnition.

In relation to the use of UHD film cameras, I think that in order to convey to viewers the full potential offered by these cameras, it is necessary to adapt the use of film cameras with fixed lenses to the type of content you want to show. A documentary is not the same as a live broadcast or a sports broadcast. In fact, when this type of device is mixed with the production

of the signal done with cameras from an OB truck, the eﬀect achieved is strange -to say the leastand too ﬂashy for viewers.

What I would highlight is –in terms of the OB truck– that being capable of working in multi-camera UHD is something that not long ago was unthinkable. UHD, or what is the most ﬁlmlike 4K, was designed precisely to have that cinema look for working, recording, coproducing and then achieve a broadcast with that look. What I do highlight and regard very important here is the fact that this type of live cinema signal can be achieved in an OB truck, which is something that a few years ago was just ﬁction. I think this is where technology has advanced the most and the thing we can be most proud of.

Jesús García Romero closed with an important reﬂection

We are very satisﬁed with this technical achievement, but I also wanted to give a slightly more far-reaching message. In addition to our technical pride –as a public service medium– and in general, for all of us who have worked on the Games, we have been able to convey values to society.

I can recall the example of Elena, the Paralympic athlete who broke the rules to help her guide, who had fainted, and that cost her to lose the olympic medal. Or all the eﬀ ort made with the consequences of the DANA storm, to bring the images closer to viewers, with the use

of helicopters, ENGs, etc. I think we all have to be very satisfi ed with the role we play in the broadcast world: convey values; make these situations known so that the communities can mobilize their very best; and fi nally, it must be said, the technicians, the operators, they are the fi rst ones to arrive whenever the Olympics are going to be held and they are the last ones to leave. They have been there long before journalists and athletes arrive and never got an olympic medal, so let’s give ourselves that medal, because I believe that all the media, all the technical staff that are in these events are the ones who make all this to be seen and enjoyed possible. So, an olympic medal for the entire sector!

From Trend to Standard: The Limitless Potential of IP Workflows

By Ronen Artman, VP Marketing, LiveU

2024 has been packed full of major global news and sports events, from THE EUROS, Summer Games and European Athletics Championships to global elections in more than 70 countries. With more content being delivered to more platforms than ever before, broadcasters and other organizations are transitioning to end-to-end IP workﬂows.

Ronen Artman, VP Marketing, LiveU

Eighteen years ago, we invented IP bonding with LRT™ (LiveU Reliable Transport), which is now deployed globally. As an industry, we’re seeing the growing use of IP technology for producing live content, enabling dynamic, robust and ﬂexible workﬂows. As technology evolves at pace, alternative versions of IP-video bonded connectivity solutions are being tested in real-world environments, including private 5G, network slicing

and the use of LEO (Low Earth Orbit) satellites, such as Starlink. They are being tested for reliable performance in various use cases, including news and sports events.

Network slicing gives telcos the ability to create a dedicated bandwidth “slice”, guaranteeing a certain amount of up and downstream bandwidth for a given period of time – the length of a major event, for example. This provides huge potential when combined with

IP-bonding, creating a powerful combination across contribution workﬂows that overcomes previous network congestion issues.

We’re seeing telcos make greater investments in 5G now, especially around major venues. For example, Orange has a private 5G Lab at the Stade Vélodrome, also known as Orange Vélodrome in Marseille, France, which operates as a 5G Standalone (5G SA) network.

LiveU Actua Sport

Private 5G is also likely to play an important role, especially for sports events in remote areas and major news events. Further beneﬁts of utilising private cellular networks are that they provide an additional layer of service for customers including network segmentation, prioritization and greater security, while delivering additional capacity for expanded remote production technologies and employee communications.

Private Connectivity for Major News Events

At this summer’s Republican National Convention (RNC) and the Democratic National Convention (DNC), LiveU, in collaboration with Pente Networks, provided customers with the option of adding LiveU Private Connectivity. This gave major news broadcasters access to private network connectivity and allowed the world to participate more closely in two of the largest political events of

the year. This option, which provides uncontested connectivity via a dedicated Private 5G connection, is also being made available for the inauguration in January 2025.

There are also use cases for Starlink connectivity in conjunction with LiveU, which are varied and extensive. This includes using Starlink alone, bonding two Starlink terminals, bonding Starlink with cellular networks, and bonding Starlink with other forms of connectivity like WiFi or a local venue LAN. Users have also used Starlink as bandwidth to remotely locate receivers.

5G certainly has a huge role to play in live sport. We know this from the multiple trials in which we’ve been involved, such as with Sky Deutschland for the Special Olympics, where we highlighted the eﬃciency and ease of use of 5G with IP-bonding. We’re now testing use cases spanning on- and oﬀ-site remote production, cloudbased production, mobile production, and edge-cloud production, as part of

FIDAL’s ‘Field Trials Beyond 5G’ Research Project. We will also test Beyond 5G (B5G) technologies, such as network slicing, edge computing, standalone (SA) private network/SNPN, and network exposure.

With the increased deployment of 5G, we see many opportunities for live sports production, replacing traditional transmission methods with cost-eﬀective IP technology. It also makes remote production even more viable, facilitating more sustainable live productions with reduced travel and transport of heavy equipment.

IP hits the target

IP is also changing the face of video distribution removing the need for dedicated infrastructure.

At this summer’s European Athletics Championships, live production expert Actua Sport used, alongside our field units, LiveU Matrix for cloud IP distribution to the 35 takers, complementing traditional satellite or fiber connectivity. Actua Sport had to produce field events with multiple

galleries. It had a total of 12 feeds available on-site and remotely through LiveU Matrix distributing the production feeds in LRT™ or SRT to takers and a couple of cloud-based platforms. Takers could access the feeds and record them as a standalone, use for post-production purposes, live stream or feed to other platforms. A couple of takers used those feeds to recreate their own main feed.

Reliable and cost-eﬀective, cloud IP distribution enables sharing and receiving of high-quality, low-latency live feeds with, and from, broadcasters and other stakeholders around the globe both inside and outside their organisations.

As we continue to meet the industry’s growing demand for IP workﬂows with cloud IP solutions, in combination with remote production, organisations

can reduce production costs and increase flexibility and efficiency. Sustainability is also a key factor with remote IP workflows helping to reduce the number of people on-site as well as the costs. As this article’s headline suggests, IP workflows are shifting from a trend to a necessity providing unlimited potential for the industry as we head into a new age of broadcast innovation.

LiveU Summer Games

Embracing the IP Revolution in Broadcast: Strategies and Beneﬁts

The broadcasting industry is undergoing a profound transformation driven by the adoption of IP-based infrastructures. Once dominated by traditional baseband systems, broadcast workflows are being reshaped by the flexibility, scalability, and efficiency that IP offers. Apart from being a technological shift, this evolution is a necessary strategic move for broadcasters desirous to future-proof operations and enhanced storytelling capabilities in an increasingly competitive media landscape.

Talpa MCR Lawo Multiviewer

The Core Concepts of IP Infrastructure

At its foundation, an IP-based broadcast infrastructure replaces traditional point-to-point connections with a packetbased system where audio, video, and metadata are transmitted as data streams. Unlike ﬁxed baseband systems, IP networks allow any source to connect with any destination without the need for extensive rewiring or manual patching.

The advantages of IP go beyond simplifying connectivity. The architecture enables dynamic resource allocation, interoperability between systems, and integration with cloud-based services. Broadcasters can scale operational resources to meet the demands of high-profile events or adopt decentralized workflows that empower production teams to work collaboratively across different locations.

Moreover, the ability to virtualize media processing further

enhances the flexibility of IP infrastructures. Functions such as audio mixing, video processing, and signal routing, once tied to dedicated hardware, can now run on generic IT servers. This software-defined approach decouples functionality from physical equipment, offering unparalleled agility for broadcasters.

Beneﬁts of IP for Broadcasters

Flexibility

and

Scalability:

IP infrastructures allow broadcasters to scale their operations easily. Whether expanding a studio’s capabilities, integrating new production tools, or managing complex live broadcasts, IP networks easily adapt to evolving requirements. This scalability is especially valuable during major live events where resource requirements can spike unpredictably.

Eﬃciency

in Work

flows: Centralized control and monitoring systems streamline workflows by providing a unified user interface for managing

all networked devices. Broadcasters can make changes to routing, processing, or conﬁguration with minimal eﬀort, reducing downtime and operational complexity.

Remote and Distributed Production: IP’s ability to facilitate remote production workflows is a game-changer. Teams located in different regions can collaborate seamlessly, accessing shared resources and contributing to the same production. This capability not only reduces logistical challenges but also enables cost-effective content creation.

Interoperability and Future-Readiness: Standardized protocols such as SMPTE ST2110 ensure interoperability between equipment from diﬀerent vendors, fostering an open and adaptable ecosystem. Additionally, IP systems are well-suited for integration with emerging technologies such as cloud computing, artiﬁcial intelligence, and 5G connectivity, preparing broadcasters for the future.

Sustainability: IP infrastructures support more eﬃcient resource utilization. Virtualized processing reduces the need for hardware that consumes energy even when not in use and is only solicited sporadically. By consolidating functions on generic servers, broadcasters can minimize their carbon footprint while maintaining high performance.

Lawo’s Role in the IP Transition

As a leading provider of IP-based broadcast solutions, Lawo has been at the forefront of this shift, offering tools and technologies designed to maximize the advantages of IP workflows. Central to their approach is the HOME platform, a management solution that simplifies the discovery, registration, and control of IP devices within a network.

HOME provides broadcasters with centralized management, ensuring seamless operation of diverse systems while addressing

critical concerns such as security and user authentication. Its compatibility with NMOS (Networked Media Open Speciﬁcations) guarantees interoperability with other standards-compliant equipment, making it a ﬂexible choice for multivendor environments.

Another innovation from Lawo is its suite of HOME Apps—software applications that run on generic IT servers. These apps perform specialized processing tasks such as audio DSP, video processing, and signal conversion, enabling broadcasters to adapt their workﬂ ows to speci ﬁ c needs. The modular, microservicebased architecture of HOME Apps allows for rapid deployment and updates, ensuring that broadcasters can stay ahead of technological advancements.

Example: Talpa Network Upgrades Broadcast

Infrastructure with Lawo IP Solutions

Talpa Network, a leading Dutch broadcaster, has partnered with Lawo to modernize its broadcast infrastructure across its sites in Hilversum and Amsterdam. Facing challenges in integrating various production environments and transferring signals between distributed locations, Talpa required an IP-based solution to centralize control, optimize workﬂows, and enhance scalability. The project called “Audio, Video and Communication Network”, or AVC for short, features Lawo’s HOME Management Platform for IP infrastructures and .edge Hyper-Density SDI/IP Conversion technology, enabling seamless conversion of video signals to raw ST2110 streams. These solutions, alongside Lawo’s VSM broadcast control system, provide centralized signal routing and interoperability with equipment from multiple vendors. The infrastructure also includes HOME App multiviewers for UHD, 3G, HD, and SD video monitoring, oﬀering ultra-low latency and

pixel-perfect clarity for mission-critical operations. By integrating all production environments into a unified network, Talpa benefits from efficient resource sharing, streamlined workflows, and future-ready scalability. With Lawo’s proven reliability, the broadcaster is well-equipped to meet the growing demands of modern, high-quality content production.

Preparing for the IP Future

The transition to IP is not just a technological upgrade but a strategic imperative for broadcasters aiming to

remain competitive in a rapidly changing industry. The ability to adapt workﬂows, integrate new technologies, and scale operations eﬃciently are advantages that cannot be ignored.

Suppliers like Lawo enable this shift by providing solutions that combine robust technology with ease of use. By offering modular, software-defined tools and interoperable platforms, they empower broadcasters to embrace IP with confidence.

As demonstrated by installations such as Talpa Network, the beneﬁts

of IP are already being reaped in real-world applications. These projects highlight how broadcasters can leverage IP to achieve greater ﬂexibility, scalability, and eﬃciency while preparing for the opportunities and challenges of the future.

For broadcast professionals, the message is clear: IP is not just the future—it is the present. By adopting innovative infrastructures, broadcasters can unlock new levels of creativity and operational excellence, ensuring they remain at the forefront of the industry.

Talpa Lawo edge rack

Making broadcast simpler and smarter

As broadcasters consider the transition from SDI to IP, Blackmagic Design’s Craig Heffernan explores why cost-effective solutions and a commitment to accessibility will be crucial.

The shift towards IP-based workﬂows in broadcasting has gained undeniable momentum in recent years. While IP video in broadcast isn’t necessarily new, the adoption rate is accelerating as more IP-ready solutions emerge, embracing new standards such as SMPTE 2110.

By Craig Heffernan, Technical Sales Director, EMEA Blackmagic Design

Craig Heﬀernan

Standards like SMPTE 2110 are allowing broadcasters to explore building uncompressed 10-bit IP video systems with enhanced ﬂexibility and interoperability.

However, for those still unsure about taking the leap, perhaps due to the complexities of network engineering, we aim to bridge that gap by designing tools that replicate traditional SDI workﬂows. These familiar approaches simplify deployment, ensuring IP workﬂows are accessible to broadcasters without specialized IT expertise.

Our initial foray into IP began with the three-by-three converter, a foundational product that paved the way for broader ambitions. Since

then, we’ve signiﬁcantly expanded our IP product portfolio, launching a new range of mini IP converters, an 8x12 converter and a presentation-speciﬁc model aimed at AV and OEM use cases.

Overcoming the Challenges of IP

Developing IP technology isn’t straightforward. Early conversations around IP often painted an overly optimistic picture of oﬀ-the-shelf simplicity and aﬀordability. In reality, the shift to IP introduces complexities around timing, synchronization and engineering requirements. Our approach has been deliberate, observing and evaluating industry needs before fully committing to a standard.

We’ve seen formats and standards develop, and while some are practical for our customers, others are demanding in terms of network capability and engineering. Initially, we adopted TICO, an open and easy-to-use compression standard, to provide cost-eﬀective

IP connectivity. However, as the market evolved, we embraced SMPTE 2110, which provides a framework for customization and interoperability. This standard enables us to maintain compatibility with third-party tools while embedding Blackmagic technologies into broader ecosystems.

Building on the 2110 standard, we have developed the Blackmagic IP10 codec to enable the transmission of 12G baseband video (2160p) over 10G networks. This visually lossless and low-latency compression technology ensures broadcasters can maintain high-quality video without needing expensive 25G or 100G infrastructure. Likewise, it is an open standard with no license fee, so other manufacturers can adopt this too, ensuring future SMPTE 2110 IP video products remain affordable. By focusing on cost efficiency and accessibility, the IP10 codec underscores our commitment to making professional workflows achievable for a broader audience.

Our IP solutions are designed to cater to a wide range of practical use cases. For instance, the IP-to-HDMI converters are ideal for facilities with existing 10G backbones, such as sports venues and post-production studios. These products oﬀer the ﬂexibility to deploy IP within network architectures without the need for specialized cabling or SDI connectors, making them a practical choice for many.

We’ve designed our IP solutions to function similarly to traditional SDI workflows. Whether it’s a video hub or a network switch, the goal is to offer an intuitive, end-toend system that doesn’t require specialized IT expertise. This approach simplifies deployment while

retaining the robustness broadcasters expect.

Our live production ecosystem includes studio cameras, ATEM switchers, HyperDecks, and converters. By integrating SMPTE 2110 support into these products, we enable broadcasters to build scalable, high-quality live production setups that maintain the uncompressed integrity of their video streams.

While our IP video products can be integrated into more complex IT infrastructure, they can also be operated in point-to-point conﬁgurations or routed with our Ethernet Switch, which can act in the same way as a traditional SDI-based video router.

Beyond SMPTE 2110, we’ve also explored the potential

of SRT (Secure Reliable Transport) for remote and distributed workﬂows. A notable case study involved the “Mountain Attack” skiing event in Austria, where URSA Broadcast cameras leveraged bonded cellular systems and SRT streaming to transmit video over a 5G network. This approach eliminated the need for expensive satellite uplinks or extensive cabling, showcasing the cost and logistical advantages of IPbased remote production.

While SRT is often seen as a solution for lower-end workﬂows, it has proven reliable in high-end applications. SRT’s cost savings, ﬂexibility, and ability to maintain high-quality output make it an appealing option for a wide range of productions.

Blackmagic Ethernet Switch

Bridging the Gap

A recurring theme in our approach to IP is accessibility. We recognize that many broadcasters are hesitant to adopt IP due to the perceived complexity and cost of implementation. By oﬀering solutions that mimic the workﬂows of SDI systems, we aim to make the transition less daunting.

We’ve always emphasized that IP should be approachable for non-network engineers. Our goal is to provide tools that leverage the beneﬁts of IP while retaining the simplicity of traditional video workﬂows.

Looking ahead, our vision for IP includes continued support for open standards and interoperability. By integrating technologies like Blackmagic IP10 and

embracing standards such as 2110, we ensure that our IP solutions integrate seamlessly with third-party products, giving broadcasters the ﬂexibility to build systems tailored to their needs.

As the shift from SDI to IP accelerates, challenges like bandwidth requirements,

infrastructure investment and IT expertise will inﬂuence adoption rates. For broadcasters navigating this change, our commitment remains clear. To deliver cost-eﬀective, accessible solutions that can unlock the full potential of IP while keeping the barriers to entry as low as possible.

Blackmagic Studio Camera 6K Pro Lens

A new way for audiovisual production

IMMERSIVE LED SE TS LED SETS

The world of cinema and television has always resorted to the innovation of techniques and technologies to enliven new images and sounds. In short, putting all the capacity and means to tell stories with the sole purpose of continuing to bring viewers to the movie theaters and/or to entertain and inform audiences on the small screen (currently not so small since many users have 65", 75" or even 85" TV sets in their homes).

By Carlos Medina Audiovisual Technology Expert and Advisor

We surely remember the effects and tricks by the Frenchman Marie-Georges-Jean Méliès or the Spanish filmmaker Segundo de Chomón, surprising audiences at movie theatres, or the weatherman with the map of Spain embedded on the background on the every TV set in our homes, and of course the large number of audiovisual works that resort to advanced chroma-key techniques, rear projection or sophisticated visual effects (VFX) incorporated into audiovisual post-production such as: 300, directed by Zack Snyder (2007); Star Wars, by George Lucas (1977); Alice in Wonderland,

by Tim Burton (2010); Avatar, by James Cameron (2009); Jurassic World, by Colin Trevorrow (2015); Gravity, by Alfonso Cuarón (2013), The Lord of the Rings, by Peter Jackson (2001); The Mandalorian, a Disney TV series (2019); or the Fría videoclip by the musician Enrique Iglesias (2024)...

So, what has changed when immersive set technology is incorporated into the ﬁlm and television process? Basically, everything. At the ISE (Integrated Systems Europe —Barcelona— an Audiovisual and Integration Systems Fair) in 2023, there was talk of a revolution in the ﬁlmmaking and AV sectors.

The main novelty of immersive sets/studios, or also known as virtual production (VP), is that it is not regarded as a part of the process, as if it were just adding an eﬀect, but there is actually a rethinking of every single decision that is taken to achieve the entire audiovisual work.

Virtual production (VP) is not the same as virtual reality (VR). VP is the recording/ﬁlming of images that combine what is real with generated and presented images. To achieve this, an immersive set with a large-scale technical installation, inside a studio (ﬁlm/TV) is required.

Such an installation is a large screen made of a multitude of LED modules in a continuous fashion, which allow to generate backgrounds, images, and immersive videos reaching 360º with a high level of realism (hyperrealism). That is, it maintains the essence of recording/ filming live the images that are shown on the LED screens along with other classic film/television resources such as the acting cast (star, group of actors/actresses, presenter), lighting (daytime effect, sunset effect...), camera equipment, props, costumes, sound capture... among many others. This combination of LED technology and actual scenography is also known as StageCraft.

StageCraft became a reality thanks to the innovation in technology seen in The Mandalorian TV series that has revolutionized the world of filmmaking. This innovation is made up of a set with a physical floor (scenography, called 'The Volume') and huge LED panels/modules (usually three: two curved on the sides and one on the ceiling, called 'Render Nodes'). This technology is both the work and a development by the visual effects company Industrial Light and Magic (ILM).

The implementation of StageCraft in the audiovisual world has opened up a range of fascinating opportunities that can be seen in ﬁlms such as The Batman (Matt Reeves, 2022),

The main novelty of immersive sets/studios, or also known as virtual production (VP), is that it is not regarded as a part of the process, as if it were just adding an eﬀ ect, but there is actually a rethinking of every single decision that is taken to achieve the entire audiovisual work.

Ant-Man and the Wasp: Quantumania (Peyton Reed, 2023) or The Fabelmans (Steven Spielberg, 2022), among others.

This conception of what virtual production is stands quite far from what many may know as virtual scenography, where, for example, the actor/actress/presenter carry their job only on a colored background and, after the integration and composition processes, a resulting image is obtained where what is real is blended with the virtual creation (the computer-generated scenography). The virtual scenography can be done live or later on during the editing/post-production phase of the audiovisual process.

On the other hand, virtual production means going back to being able to see the reality during filming, leaving behind those empty sets painted blue or green where the entire audiovisual team had to make an effort to imagine how the different shots of filming were turning out.

What immersive production brings as a novelty is a great realism. The basic principle is the ability to show and recreate an imaginary world in an open-plan but highly technological physical space in terms of image display and generation, in which work cand be done in real time and live as if it were a conventional kind of shooting. Various pieces of equipment are therefore a must:

> Image display devices. High-resolution LED modules/panels are used to form a large wall (screen/background) and/or enveloping space (sides, ceiling, zenithal...), be it a "U" shape, semicircular, circular... Some studios even oﬀer the possibility of equipping these devices with automated movement or LED panels mounted on wheels as a totem.

This kind of equipment is essential for the proper visualization of the images during the shooting/recording process, so, in terms of quality/resolution,

horizontal/vertical viewing angle, brightness, contrast ratio and/or ﬁnish of the LED modules, it is the most demanding kind of equipment in the audiovisual market. In particular, the joining of LED modules together is decisive for success and good reception among image professionals and cinematographers. This is known as pixel pitch.

Pixel pitch is deﬁned as the distance between the centers of two contiguous pixels and is usually expressed in millimeters. Pixel pitch is identiﬁed as PXXX (where XXX is the number of millimeters between pixel centers). Thus, a P10 or P10MM screen features a distance of 10 mm between the centers of two contiguous pixels.

An image achieves smoother edges and ﬁ ner details with lower pixel pitch values. Currently, the pixel pitch standard is about 2.3–2.6, which is suitable for the distances that must be taken into account between the camera, the actor/actress and the LED panel screen; however, these values can always change depending on the innovations that come up in the ﬁ eld of technology and R&D.

For instance, ORIM (Optical Resin Injection Module) technology is a new system for ﬁnishing LED panels by means of an optical resin injection that improves the precision between modules (< 0.5 mm).

The seamless splicing technique found in the XR-Studio LED display also redeﬁnes the aesthetics of LED displays. With no visible gaps between modules, the various LED panels create a continuous and ﬂuid image that captures attention without interruptions.

Other technical aspects that need to be taken into account and for which it would be appropriate to be advised by an expert

when using an LED panel screen are scan rate, LED type, the LED package size, ability to support 16-bit HDR or an adequate refresh rate (1,900 Hz could be enough for static content; a refresh rate between 3,840 Hz and 7,680 Hz oﬀers signiﬁcant improvements in the sharpness and smoothness of movement).

> Visualization and calibration system

for the resulting LED display/wall.

> Visual content generation equipment. From very powerful content development environments under what are known as video game engines, such as Unreal Engine, Unity, Game Maker, UbiArt Framework, CryEngine, Godot... In each of these possible solutions all the pieces come together, from the most artistic or creative to programming issues.

Immersive production impacts the audiovisual creation process from the very development of the idea/script up to mastering, including, of course, any novelties and variables that can be added in the shooting/recording.

It is, perhaps, the second most important piece of equipment since it has to work in real time and render a credible resulting image in relation to the content being ﬁlmed. The result is what is known as virtual art, that is, the recreated and generated stage.

> 2D/3D tracking and real-time mapping solutions and systems

for the camera(s) and other elements such as characters that we use during recording-shooting.

> Signal distribution units and speciﬁc wiring for connecting the various equipment units: video infrastructure, data network and scale and installation of the electrical system.

This new way of understanding how to make an AV gives us a very real chance to get the story unfold in an inﬁnite range

of possible places/locations, many narrative resources and dramatic spaces. In turn, directing/ﬁlmmaking together with acting have to adapt to this new way of doing things. What is clear is that everything is shown and seen as if it were ﬁlmed in a natural location.

Partnerships between companies from diﬀ erent backgrounds such as technology companies,

suppliers, manufacturers and content producers, are already yielding spectacular results in virtual production (or immersive sets). For example, Brompton Technology's with Kantana Post Production and Dexter Studios, or the partnership formed between the same company with Disguise and AOTO; a collaboration among the

Italian Experimental Film Center, Broadcast Digital Service (BDS) and Alfalite; a partnership between the technological complex Cidade das TIC (Corunna), Telefónica Servicios Audiovisuales (TSA) and Tangram Solutions; or Big Blue Technology and Brompton Technology, the association established between Disguise and MARS, or the one created between G-Works, Ark Ventures and Brompton Technology; among others.

At present there are still many audiovisual works (cinema, advertising and TV series) that continue to understand the production process under the parameters of the conventional world. That is, the search for a location to carry out the shooting/recording, be it indoors/outdoors, a natural scenography, tailor-built and/or an adapted space.

But things are changing and new technologies are going in a single direction: the facilitation of audiovisual creation.

It is still too early to know the scope of the expansion of immersive virtual production, but we can already lay a number of evidences on the table:

> A strong economic investment is necessary for the construction of an immersive set, and the greater it becomes when you want a large set with 360º enveloping.

> It is a scalable technological solution for projects of diﬀerent production sizes and with a wide range of narrative and creative possibilities, ideal for any client who wants to make a quality audiovisual piece.

> Decreased production costs as compared to conventional filming, such as the costs of mobilizing technical equipment and staff, permits, the physical limitations of the spaces where filming takes place and, of course, avoiding unknowns such as weather conditions, among others.

> An immediacy in seeing the resulting image during the shooting/recording without the waiting times that are usual in conventional audiovisual post-production.

> The possibility of changes and decision-making within the set that aﬀect both virtual and real.

> A higher eﬃciency in ﬁlming time, resulting in working days with a greater number of shots/ takes being achieved.

> Quality and resolution as a reference parameter to obtain a resulting image with high levels of sharpness, contrast and detail that is capable of casting a doubt on whether it is a real scene or a virtual, computer-generated one.

> LED panels as a lighting resource for the sequence that is displayed.

> Errors and technical misconﬁgurations can cause situations that are diﬃcult to manage in a live shooting/recording, whether in terms of colorimetry, 2D/3D tracking, mapping or calibration.

> Success in syncing the movements between the real and the virtual in a natural way, such as when it comes to a camera movement.

> Innovation in LED modules is generating increasingly attractive and adaptive screens since we can ﬁnd them curved, without seams/ribs (with invisible joints), ﬂexible and even transparent ones.

> The incorporation on the set of qualified technical staff from the post-production field and the creation of video games together with the technicians and

Things are changing and new technologies are going in a single direction: the facilitation of audiovisual creation.

operators that are typical of conventional ﬁlming.

> The combination of new workﬂows on set to render a credible and believable image: modeling, texturing, mapping, composition, lighting, camera, art... making the data collected and metadata the very key elements of this new way of producing audiovisuals.

> The combination of chroma-key and visualization techniques with live LED panels

oﬀers fantastic results, which means that these techniques are not mutually exclusive when it comes to putting them into practice at a ﬁlm set.

> The need for audiovisual training centers focusing on the reality of production, that prepare technicians for the most immediate present, given that technology gives rise to changes in the professional sector at great speed.

Immersive LED sets (Virtual Production-VP), augmented

reality (AR) and generative artiﬁcial intelligence (AI) clearly make up a paradigm shift when it comes to translating the stories you want to tell into images and sounds.

Films, TV series, entertainment programs, news, short ﬁlms, video clips, commercials, documentaries and, thus, an endless number of types of ﬁlms, TV programs and audiovisual content are thriving with a new way of making audiovisual production.

Immersive LED sets (Virtual Production-VP), augmented reality (AR) and generative arti ﬁ cial intelligence (AI) clearly make up a paradigm shift when it comes to translating the stories you want to tell into images and sounds.

Improving virtual production with Zero density

What accomplishments has Zero Density achieved in the last 5 years?

Ever since Zero Density’s journey began in 2014, we embrace providing content creators with innovative real-time virtual production and real-time motion graphics solutions that allow them to create engaging, immersive, and impactful stories that resonate with their audience. In that sense, we bring the change in the industry with our end-to-end graphics ecosystem, enabled by our newly launched real-time motion graphics platform Lino and the enhanced capabilities of Reality. Together, they deliver a comprehensive Unreal Engine-based workﬂow. This ecosystem includes

EVO II as the render engine crafted for ultimate performance required for the most advanced virtual productions as well as the Traxis Camera Tracking system for accurate talent and camera tracking and lens calibration. This uniﬁed ecosystem is seamlessly integrated across virtual production and real-time motion graphics, with Reality Hub serving as the central control and NRCS, automation, and data integration layer. This holistic ecosystem sets a new industry standard for eﬃciency and creative control. Along with new platform and solution launches and our commitment to support each Unreal Engine release within weeks, this expansion is the boldest achievement Zero Density has accomplished so far.

Can you elaborate on the integration between Lino and Reality Hub for managing broadcastgraphics?

Reality Hub is the central control system and integration layer of our graphics solutions, including Lino, that simpliﬁes the live operations even further. They can seamlessly adapt to both basic and advanced broadcast environments including those utilizing newsroom computer systems (NRCS) and automation platforms. This integration streamlines workﬂows, reduces operational complexity, and enhances the quality and consistency of broadcast graphics. Reality Hub’s modular approach streamlines operations by eliminating the need for multiple control

Zero Density CMO Ralf van Vegten

applications or separate users managing di ff erent work fl ows for both real-time motion graphics and virtual production graphics. The Channel Management Feature in Reality Hub allows users to add, remove, and assign channels to the Full Screen or Key and Fill graphics pages in a rundown. Channels can be composited with any Live feed or other channels with di ff erent graphics, allowing broadcasters to layer multiple graphics on top of each other dynamically. Reality Hub also includes a Motion Design Playout module

with features for managing on-air graphics, including Take-In, Take-Out, Continue, Next, and Clear operations. Users can view thumbnails, rearrange rundown items via dragand-drop, and customize template properties.

How does Lino streamline the workﬂow for creating and managing graphics within Unreal Engine?

Our real-time motion graphics platform, Lino, consists of a 2D and 3D motion graphic editor built on Unreal Motion Design and developed

with the ‘Create once, use anywhere’ mindset. With Lino, all production assets can be created in Unreal to be used in video wall content, on-air graphics or pre-production motion graphics and virtual production graphics. Its intuitive interface also gives motion graphics designers familiar animation timelines and tools, so it’s easy to switch from existing applications. This innovative approach and features not only enhances rendering and compositing quality but also signi ﬁ cantly cuts down production costs and redundancy.

Zero Density Expanded Graphics Ecosystem

Which are the beneﬁts of the no-code customization feature in Lino for broadcast professionals?

The main beneﬁt of no-code customization is making building complex and advanced graphics logic accessible to all skill levels. This is especially important considering the talent gap our industry faces. Lowering the entry barrier is now more crucial than ever.

What are the key features of Reality5, and how does it enhance virtual production capabilities?

Reality5 our real-time virtual production platform and its latest version with a brand-new, node-based architecture, NODOS, brings limitless possibilities to life. This comprehensive solution enhances storytelling by enabling creators to produce hyper photorealistic real-time graphics for Virtual Studio, Augmented Reality and Extended Reality productions in every shape, including curved, fl at, cube, J-shape, fl oor and sky panel LED. With dynamic visuals, data-driven graphics, and seamless work fl ow integration, it is

a new paradigm for visual storytelling. Battle-tested with over 3 million hours of ﬂ awlessly produced content, Reality5 is expanding and enhancing virtual production with AI-driven innovations and new features that enhance storytelling and streamline work ﬂ ows. Its other notable features are advanced rendering, its unique and intuitive node-based compositor, and the revolutionary 3D PixelPerfect Keyer that preserves real shadows and other essential details, setting the standard for precision in real-time post production quality keying.

Open Studio License Program from Zero Density

What are the key components of Zero Density’s end-to-end graphics workﬂow, and how do they work together?

Our high-end virtual production ecosystem designed for seamless integration includes the full virtual production stack with Reality for Virtual Studio, AR, and XR, plus industry-leading Traxis Camera and Talent Tracking solutions and Traxis Hub for tracking data and lens calibration management.

In 2024, we expanded our ecosystem with Lino, an Unreal Motion Design-based (real-time) motion graphics

solution, creating a unified Unreal-based graphics ecosystem. This unified ecosystem is seamlessly integrated across virtual production and real-time motion graphics, with Reality Hub serving as the central control and NRCS, automation, and data integration layer. EVO II is the render engine Zero Density developed to give the ultimate performance required for high-end virtual production environments. Our platforms come and work together to form our end-to-end integrated real-time graphics workflow and this holistic ecosystem sets a new industry standard for efficiency and creative control.

How does Zero Density’s ecosystem support the creation of augmented reality (AR) and extended reality (XR) content?

The simplest form of Augmented Reality (AR) overlays real-time virtual graphics like props or data, on top of a video image of a physical set. The AR elements use tracking and lens data to adjust their perspective to exactly match the camera’s viewpoint. However, our Reality platform takes AR to the next level. With our unique compositing pipeline AR elements become integral parts of the environment, casting shadows and

Zero Density EVO II Render Engine

reﬂections onto physical objects and vice versa. The execution is so natural, you can’t tell where actual stops and virtual begins.

On the other hand, XR transforms an ordinary physical space into a dynamic, photorealistic extended reality stage, unlocking a world of creative possibilities. Our solution combines colossal LED canvases, precision camera tracking, and lifelike lighting to create a seamless blend of physical and virtual worlds. Powered by Unreal Engine 5, out-of-the-box tools of the Reality platform redefine storytelling in XR. Reality5 is created with workflow integration in mind. We integrate with data sources, editorial systems and the broadcast environment. Unlike industry practice which necessitates multiple engines and complex setups, Reality5 uses a single engine for both low and high-resolution rendering and simplifying the process. The extremely efficient rendering pipeline opens up new levels of graphics quality and virtual set complexity.

How does the Traxis platform complement Reality5 in creating seamless virtual production environments?

The Traxis platform provides ultra high resolution camera and talent tracking, lens data management while reducing complexity for setup and maintenance with Traxis Talent Tracking, Traxis Camera Tracking and Traxis Hub. They work with Reality5 to create unrivaled, photorealistic graphics in real-time. Traxis Talent Tracking allows talents to freely move around the 3D space, appearing behind or in front of the graphics and interacting with them as if they were real objects. Traxis Camera Tracking eliminates the technical headaches with easy lens calibration and sets new industry standards for accuracy, working in perfect harmony with Reality5 to deliver an immersive story.

What advancements in camera tracking and talent tracking does the Traxis system oﬀer?

Traxis Talent Tracking exceeds the physical limitations of a studio as a virtual camera can fly in and out, following the talent and creating the effect of an enormous environment. It keeps the audience fully immersed in the program with hyperphotorealistic shadows, reflections and virtual object interaction. Traxis Camera Tracking accurately captures movements as small as 0.2 mm and provides seamless, real-time tracking with a minimal latency of just 6 milliseconds. Thanks to its fully modular design, it can fit into a wide range of camera needs and adapt to meet specific requirements. Upgrading Traxis Camera Tracking is quite simple. All the users have to do is swap out the interchangeable processing cartridge.

Could you describe the EVO II hardware platform and its advantages for real-time virtual production?

High-end servers lack the specialized speciﬁcations of gaming hardware and gaming systems don’t

come equipped with essential professional 24×7 operational features such as redundant power supplies and rackmount capabilities. Until now, no engine on the market could deliver everything in one package. With our render engine, EVO II, we re-engineered the concept of rendering hardware designed speciﬁcally for game engine-based virtual productions.

EVO II render engine is the most advanced real-time virtual production render hardware platform on the market today and its superior performance is driven by four core factors: GPU, the CPU, the power delivery system, and thermal management. We carefully selected the best components for the EVO II render engine after meticulously reviewing every possible alternative. If we couldn’t ﬁnd a component that met our needs, we developed our own to the right speciﬁcations.

Could you discuss the partnership with Matchday

Production and its signiﬁcance for sports broadcasting?

Our collaboration with Matchday Production contains a comprehensive end-to-end solution for two white-label virtual studios in Copenhagen. The ﬁrst users of the new studios are Disney+, streaming the UEFA Europa League and UEFA Conference League, and ESPN Matchcenter, providing football updates. The innovative setup includes Zero Density’s Reality5 virtual production platform, renowned for its

superior virtual production capabilities. The delivery also features Traxis Camera Tracking, Traxis Talent Tracking, and the powerful EVO II render engines, ensuring unparalleled realism in every production. Our advanced technology will enable Matchday Production to create immersive, high-quality content that enhances the viewing experience.

What is Zero Density’s goal for 2025 and what is its strategy to remain a major player in the market?

Currently the best-in-class virtual production and motion graphics solutions are oﬀered by diﬀerent vendors. That’s why the options are either to accept a legacy holistic graphics platform with mediocre quality or to use the best solutions that will increase costs. We have a third option that combines the best of two options with our end-to-end graphics ecosystem recently completed with the Lino, the new global motion graphics standard in the industry.

With our ecosystem, broadcasters and users

from a wide variety of industries can create their virtual production and real-time motion graphics assets directly in Unreal Engine easily and without a steep learning curve, reducing the time and costs for the asset creation and integration across multiple applications like video wall graphics, pre-production motion graphics, full-screen real-time motion graphics, in studio AR element and more!

The eﬃ ciency and cost bene ﬁ ts of this ecosystem alone are a game changer, but we took one more

step further with our new groundbreaking initiative, the Open Studio License Program. With this program, companies with annual revenue below 1 million dollars like SOHO (Small O ﬃ ce / Home Oﬃ ce) users, educational users and self-learning users will be eligible to use our entire software stack at no cost. This includes Reality5, Lino, Reality Hub and Traxis Hub. We launched this program to help address one of the pain points of our industry and that is the talent gap in the industry. With the Open Studio License program, we ensure more professionals are trained on our software. Additionally, the expanded user base will provide valuable feedback and user-driven innovations that will help us improve our platforms and products more rapidly.

With our expanding graphics ecosystem and Open Studio License Program, we are on course to carry our industry forward by empowering content creators with innovative and advanced technology.

Zero Density Lino

Sony BRC-AM7

Artiﬁcial Intelligence comes standard

Text: Luis Pavía

In the short time span between the IBC in Amsterdam and the BITAM Show in Madrid, we published interesting content that described some of the most important features in the PTZ camera segment. My colleague Carlos Medina also mentioned a good number of models from various manufacturers and focused correctly on the reasons why these cameras have become another tool in broadcast workﬂows.

Continuing with our outreach work, today we are bringing you a detailed review of Sony's latest and most advanced model: the BRC-AM7. It is not a complement or a successor of any other camera.

It is a signiﬁcant step forward by making the most of all the opportunities provided by well-integrated AI to create an excellent and innovative solution.

It is not a medium-term prototype, it is a tool that already exists and works; it can be tested and there will be production available for delivery to customers beginning early next year.

A couple of years ago Sony made an important leap forward with the FR7 camera and its interchangeable optics

in the PTZ environment, thus hitting an important milestone in the segment.

Sony's surprising leap on this occasion could go almost unnoticed if we look only at the casing but, as we said, internally the camera oﬀers plenty of interesting technical novelties, notably the integration of an AI-based detailed analysis and intense eﬀorts on improvement of framing capabilities.

But let's not be mistaken. Yes, it is true that for some time now many

The camera uses facial analysis with recognition of the individual, head, movements of the entire skeleton, even analyzing details related to the clothing of the relevant subject. This functionality goes far beyond mere tracking. manufacturers have had equipment capable of tracking a subject autonomously. Even some of them with an autoframing capability like Sony's own A40. But what we have in our hands today is a few steps ahead. The big diﬀerence it brings –a real innovation– is the ability to maintain perfect frames with air ranges that we can conﬁgure.

To do this, the camera uses facial analysis with recognition of the individual, head, movements of the entire skeleton, even analyzing details related to the clothing of the relevant subject. This functionality goes far beyond mere tracking.

Not only does it have an autonomous ability to track a subject; it is even capable of recognizing a speciﬁc person within a group of people and maintaining the predeﬁned kind of frame (close-up, medium shot, wide shot, etc.) while keeping the correct proportions of air above and on the sides.

Additionally, it has enough capacity and responsiveness to follow, for instance, a tennis player in play from a position similar to that of the chair umpire. This example has been chosen by Sony as shown in one of the presentation videos available on its website. By the way, the result is impressive.

Importantly, all processing is done in-camera, with no need for external drives of

any kind, and all features come standard, with no additional licenses required.

Of course, there are more new features, such as a variable ND filter and its enormous benefits, as well as two slots for recording on internal cards. And some others that had to be developed to achieve this impressive result should be mentioned such as the new servomotors. Although, just in view of the ability to frame correctly, we already dare to label it as a real innovation, different from anything we had available until now.

On the other hand, the generic features found in the segment are still there, such as ﬁxed optics, SDI and HDMI outputs in addition to direct streaming, or sensor type. But having a signal in several outputs simultaneously is only

available in the high-end models of each range. So let's go now with the description of physical and technical features.

The sensor is a 1-inch, 14-Mpixel type with Exmor RS CMOS technology, capable of resolutions up to UHD (3840x2160) at 60p which, combined with a BIONZ XR processing engine, oﬀers high image quality with very low noise levels. In fact, the sensor has a higher native resolution and supports up to 5K oversampling with up to 5120x2880 resolution.

The assembly is housed behind the well-known optical variable ND ﬁlter, which is identical to the one we already know from other Sony cameras, with a continuous variation range between 1/4 (2 f-stops) and 1/128 (7 f-stops).

PTZ family

The newly developed optics are a 20x optical zoom, with a focal length of 24 to 480 mm (equivalent to 35 mm lenses), phase and contrast detection focusing ability, which it capable of focusing accurately even in low-light conditions. The closest focus is achieved less than 1 cm from the front lens in the angle position, a distance that gradually grows to less than 1 m when we the maximum zoom is reached. These are really short close focus distances.

Brightness is quite good, starting at 2.8, although, as expected in a zoom lens of such a long range and in a compact size, it drops to 4.5 when we take the optics to the highest telephoto position.

The Clear Image function, which allows to digitally extend the maximum zoom range without perceptible degradation in the image and with no need for cropping at the wide end, reaches 30x in UHD resolution (equivalent to 24-720) and up to 40x in HD resolution (equivalent to 24-960).

To facilitate the integration of this camera into workflows involving other cameras or different needs, it is capable of working with different color responses and color curves ranging from an ITU709 to S-Cinetone or S-Log3, as well as different HLGs. This aspect makes it especially interesting in a wide range of options, from filming to

live, including practically all types of sports venues, stages and halls.

By combining this capability with the remote operation possibilities, it becomes a great complement in any situations and locations where positioning traditional cameras is very complicated or even outright unfeasible.

The sensor has a higher native resolution and supports up to 5K oversampling with up to 5120x2880 resolution.

The video signal from the camera exits in UHD or HD resolution at diﬀerent frame rates via 12G-SDI and HDMI outputs. Through the 3G-SDI output, needless to say, we will only have HD signals. But through HDMI we can also have signals of 720 x 480 up to 60p and 720 x 576 up to 50p, thus facilitating the functional integration of the camera in somewhat older installations while the rest of the equipment is gradually replaced by newer models.

As for audio, we have two XLR connectors that are conﬁgurable as line/micro/ micro +48 V and a 3.5 mm mini-jack, enabling our video signal to carry up to 4 independent channels in its relevant embedded audio. And, to synchronize with other equipment units within our installation, we have connectors for Genlock and TC (time code) signal input.

As for data ports, there is a socket for optical connection with an SFP+ transceiver, although the transceiver will be optional as per the customer's

criteria. Regardless of the above, the Gigabit Ethernet port allows us to have the signal available for streaming by using RTSP, RTMP, VISCA over IP, SRT and NDI/HX protocols. This same port is the one that also enables remote control and management functions.

We insist that the AV signal outputs can work in parallel, even with diﬀerent resolutions that can be conﬁgured through a menu, thus facilitating operability in nearly all kinds of situations and needs.

Through the RM-IP500 remote controller we have all the usual positioning and color functions manually. And through software access to its web interface, we can have full control of the latter parameter from any device, such as tablets or computers. But we will see this in due course, later.

The power supply also takes care of versatility, since the camera can be powered by the classic 4-pin XLR-DC between 11 and 17 volts, or through PoE (Power over Ethernet), which allows us to simplify the installation to a single

cable for all functions under certain circumstances.

To finish with signals, one novelty we already pointed out: the ability to record content in two internal slots, suitable indistinctly for CFexpress A-type memory or the most common SDXC card. This recording can be configured in different variants of XAVC, HEVC and AVC formats, with up to 4 audio channels in 24-bit LPCM format at 48 kHz.

Moving on to motion –a key feature in PTZ (Pan-Tilt-Zoom) equipment–the new brushless motors oﬀer surprising performance. On the one hand, because of the very broad interval in available speeds, ranging from 180º in one second to a barely perceptible movement of 0.004º/second. No typo here: four thousandths of a degree per second.

To get an idea of the magnitude of that value, the minimum speed is even slightly lower than the movement of the stars in the sky. For curious minds, the movement of celestial bodies is 15º/hour or 180º in 12 hours...

These speeds are available within the entire range of action for both axes: from 175º to each side in horizontal movement, covering a total of 350º, and from -30º to 210º in vertical movement, for a total of 240º. This means that we will have the entire visible ﬁeld safely covered regardless of the position in which it is installed, either tripod or ceiling.

But if the range of speeds is impressive, with surprising extremes, no less so are the smoothness and silence

of the movement. Noise level is rated as NC25. The smoothness makes movement tremendously ﬂuid and pleasant. And not intrusive at all. We could put it next to an orchestra without disturbing.

The silence was such that –to push the test to the limit– we even put the camera on a wooden table –our ears sticking to the table without seeing the camera– in the silence of the night, and asked someone to move the camera and zoom at

any speed. Three diﬀerent people, one of them with a particularly acute hearing, were unable to tell when the device was moving. Only the faint whizzing of the fan could be heard.

These impressive features do not translate into a bulky or heavy bundle. On the contrary, the size is slightly smaller than 17 x 23 x 19 cm, for a weight of only 3.7 kg. It comes with a pair of threads for direct tripod mounting, in addition to the usual ceiling mount.

The smoothness makes movement tremendously ﬂuid and pleasant. And not intrusive at all. We could put it next to an orchestra without disturbing.

The design, consisting of simple lines and matte black or neutral white ﬁnishing, means that the unit can be discreetly mounted anywhere without drawing special attention. Its two parallel tally indicators are large at the rounded ends of the arms of the mobile body, thus providing clear visibility at any angle of operation. The tally function also supports the TSL protocol and the four colors provide extended information on the operating mode in a very eﬃcient way. For example, blue indicates that AI analysis functions are enabled and in operation.

Precisely moving on to operation, keep in mind that we have highlighted the novel autoframing capability, but let's not lose sight of the fact that we have another signiﬁcant number of automatisms such as an excellent autofocus with facial recognition, which can work independently from autoframing, or in combination, further enhancing the creative possibilities of the equipment.

We also have automatisms for exposure control, which include the variable ND ﬁlter as a manageable

parameter, thus making it easier for us to maintain a consistent visual narrative, even when there are important changes in lighting levels in our scene.

In terms of gain, in our tests we assessed that up to about 5 dBs are acceptable in broadcast productions without generating perceptible noise.

To start working, once powered, we will only need to know the device's IP address to gain access to operation from the classic remote controller –in the fashion of the RM-IP500–and we will be able to

achieve exactly the same thing we would with any other PTZ camera: manual movements, position memories, movement paths, iris adjustments, zoom, focus, colorimetry, etc., just as it is possible, through the same network connection, to control all image parameters from an RCP controller.

It is highly compatible thanks to its multiple control protocols, including VISCA over IP, CGI, S700PTP, RS422, PTP-IP, and TSL tally. In this way, integrating the unit into the creation of virtual environment is easy since it is capable of exchanging positioning information in real time with the image generation equipment.

However, in order to squeeze out its full potential we would not really need a traditional controller, since it oﬀers us all the functionalities provided by software through access to its web interface. To do this, we can simply use any device with a browser capable of pointing to an IP address within the same network segment, access being possible through

virtually all operating systems: Windows, Mac, iOS, and Android.

By the way, speaking of protocols and before reviewing the menu, we should not overlook the Free-D protocol that it also features. This functionality allows the exchange of data and direct interaction with virtual content creation systems such as those from Brainstorm, Unreal Engine or Vizrt, among others. Thanks to this, its integration into productions using either VR (virtual reality) or AR (augmented reality) is simple and very eﬃcient.

This technology is what allows us to credibly and coherently integrate real scenarios, situations and characters with others generated through a computer, be it in ﬁlm studios, TV sets, concerts halls, sports venues, etc...

Now on with the menu. Once validated with username and password, on this interface we do not only have all the conﬁguration parameters and controls available, but also the image monitor that oﬀers us an exact replica

of the viewﬁnder, together with touch functions to select the focus point or the subject for tracking, etc., which means that we could be operating our camera even from a remote location. Very remote indeed.

Only on the ﬁ rst connection is it possible that we will be asked for validation or conﬁ rmation of a camera parameter, such as the administrator password or date/time, and we will have the opportunity to choose our preferred language from a wide range of available options, which of course include English and all major languages.

The web interface initially divides the screen into five areas with clearly differentiated functions: a narrow selection bar at the top whose central area contains the 4 tabs for the various main functions: live operation, autoframing settings, playback of recorded content and configuration settings. The side and bottom areas of this main panel will change or disappear depending on the active module.

In this same top bar we ﬁnd the camera's remote on/ oﬀ button on the left and, on the right, the alarms and the lock button for the entire panel to prevent unintended actions.

When the first module –live operation– is activated most of the space is taken up by the camera viewfinder, with the presets panel on the left and the indications and access to the main parameters such as gain, shutter, iris, ND, scene and white balance on the bottom. On the right we find the main menu divided into three sections to access every single configuration item.

At the top of this right-hand panel we ﬁnd the REC and AFR (autoframing) buttons. Right below, capabilities related to camera settings, AF, audio, Wi-Fi, etc. And further below, those related to PTZ motion functions. Each of them has a small top menu bar with a collection of icons to open the various subpanels that are nested, which we are not going to discuss in detail so as not to make this too long.

In the second module –PTZ settings for autoframing–we ﬁnd the options to ﬁnetune all the details. These include detection settings and framing settings for the three main positions: close-up, mid-shot, and wide shot. Also included are settings related to response and operation speed, and one especially interesting: starting position.

When we are operating the camera, we can naturally determine which subject we want to track. But even this can be automated by establishing a starting position so that the person who enters and remains

in that position for a few seconds will be registered as the main subject and monitored from that moment onwards.

Moving on to the third main module, playback of recorded content, here we not only find the usual playback functions, with media selection and access to clips, but we also have direct access to some viewfinder features. And, what is more important, on the lower right-hand side we find the buttons to access and manage the camera's internal menu as if we had the unit in our hand.

This huge beneﬁt entails a small drawback: In order to know what we are doing, we must have the image menu overlay enabled, this being the reason why having this feature on is not recommended during a recording or a live performance.

But all this should not worry us in the least because, in any case, all these camera menu options are accessible from the fourth module of the interface. It gives us access to all the functions of the camera's internal menu and we can change any parameter without interfering with

the signals that may eventually be broadcast.

The internal menu is very similar to the one found in most Sony devices: very extensive and intimidating for some, and a delight –given the enormous control it allows– for others. Remember that we always have the "user" menu option, whereby we simply group the usual and necessary options for the job at hand. Thus, without having to navigate between options, we will have together and easily accessible all the options –and only those–of our choice.

With some settings we must be especially careful, since anyone having the address, username and password could gain access to the camera. To prevent this, it is possible to create users with restricted access, as in any other network device. This allows us to provide access to a limited array of functions or features, and therefore minimize potential risks and errors by less experienced operators.

Also in the network con ﬁ guration it is possible to set up a series of target FTP servers for our content. This makes changing destination a quick and easy task, without the need to deal with usernames and passwords from one production and the other.

One of the settings that we will only ﬁnd in this type of camera relates to PTZ functions. These allow us to set not only movement speeds, but also limits on angles so that we never go astray focusing on walls if the camera is, for example, near a corner.

Going into the part of pure operation and user experience, despite the enormous number of elements that we have under our control, all operations are quite simple, even for those who may, for the ﬁrst time, operate equipment of these characteristics.

It can be a bit surprising to be sitting on an armchair and see how with a simple click on the screen of our tablet the camera will be set to following our protagonist accurately and tirelessly. And, while it is true that the armchair can be hundreds or thousands of miles away, in a live show or in an important shooting we will still feel more at ease on the set.

To control the operation, especially in situations where the subject exits the take or is lost, we have several possibilities: a waiting timer to make it easier for our main subject to re-enter or return to a predeﬁned starting position. In this position, we can select a new main subject or the camera can be conﬁgured to auto selection.

The autoframing feature worked very well, tracking the relevant person without problems. When searching for limits, we have been dimming the lighting until the result was compromised. And yes, we succeeded in making the tracking fail, but with such a poor level of lighting that the images would have been unusable anyway.

In short, the progress of AI-aided autoframing is a new milestone that we are convinced will advance audiovisual production, opening up new and interesting areas of action. The combination of visual functionalities such as image quality, variable ND or various color spaces, the ability to integrate into broadcast environments thanks to a familiar operation and integration with VR and AR also the Free-D protocol, as well as the mechanical

functionalities provided by the new servomotors coupled with the camera's responsiveness, turns the camera into a versatile, reliable and very powerful tool for creation of new content. Content that we are all eager to watch and enjoy.

But before finishing, it is important to make a clarification regarding the possibilities of AI analysis for subject tracking: the results it offers thanks to this feature are outstanding, but this only works with humans. At least for the time being. We are convinced that, just like photo or video cameras that originally only recognized people and are now capable of recognizing even eyes in a multitude of animal species, it is very likely that, in the not too distant future and with the appropriate updates, all thesecapabilities will be enhanced.

Despite the enormous number of elements that we have under our control, all operations are quite simple, even for those who may, for the ﬁrst time, operate equipment of these characteristics.

In the meantime, let's get ready to make the most of everything we already have at our reach today without losing sight of the fact that all this was science ﬁction not very long ago.

The autoframing feature worked very well, tracking the relevant person without problems.