TM Broadcast International 14, October 2014

Staff Editor Javier de Martín editor@tmbroadcast.com Editor in chief Jesús Carrillo director@tmbroadcast.com Key account manager Cristina Feduchi international@tmbroadcast.com Eva Barreras eva.barreras@tmbroadcast.com Creative Direction Mercedes González design@tmbroadcast.com Editorial staff press@tmbroadcast.com Administration Margarita Quevedo administration@tmbroadcast.com

Summary

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Editorial

06 SPECIAL

Best of IBC 2014

PAN SHOT

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IBC ended with a good result. 55,000 visitors from 170 countries attended the most important fair of this side of the planet. There was a team of TM Broadcast displaced throughout the show.

TEST AREA

DataVideo HS-2800

TM Broadcast International #14 September 2014

TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 1 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43

Published in Spain

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A briefcase with surprise. In this new issue of TMBROADCAST we will analyze one of the compact equipments that has been missed at one time or another by every one of us who work on this area (professional production or broadcast).

Editorial Connectivity is the key to the future of television, union of different equipments together to incorporate new technologies like UHD and IP. Everybody agree that they are the two keys to the future production of television, high quality 4K image added to the endless benefits of IP. This is obvious but we feel that brands are going too fast. Actually, there is no standard way to connect all the equipments in a live production or similar, which is normal because we talk about a lot of information, a lot of bandwidth, and complex signals. To transport them is obvious that fiber works well but is an active element that needs power continually. And once saved the transport issue is the connector itself, really there´s no cheap solutions like it happened in 3D. But there is a huge difference from stereoscopy, 3D results were not always as well as expected with very expensive production costs, the ROI, and the household penetration. But the 4K and IP is different, because there are obvious advantages in production, such as processing, distribution for a better experience in homes even in HD. So yes we predict that those two technologies will triumph, although there are still important things to be resolved such as the wiring and connections.

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BCE wins‘Best workflow/asset management/automation solution’ at CSI Awards 2014 BCE participated in the category of ‘Best workflow/asset management/automation solution’. BCE won the category for its Integrated TV Services for RTL CBS Asia Entertainment Network – a joint-venture between RTL Group and CBS Studios International. The services are a complete revolution for the media industry: the workflowof theRTL CBS Asia Entertainment Network channelshas beendecentralised, while keeping streamlined processes between the business units, allowing cost reduction at all levels of the company.

BCE’s content management solution is organised around two main developments: - The MediaCMS allows for managing multiple types of content, triggers work orders, enables fast editing, and automates postproduction tasks and distribution with Movie2Me©, - The Broadcast software solutions: Athena© for managing the content and its rights, Cronos© for creating long and short-term planning, and Adonis© for creating the running order.

In combination with Movie2Me, the MediaCMS and the broadcast software solutions allow a channel to operate from and to anywhere in the world.

The complete content management system and its workflow are a real step forward for RTL CBS Asia Entertainment Network.

Being tapeless is just one aspect – the decentralisation of the entire workflow is the real breakthrough.

With the adequate partners, it is no longer necessary to invest in building new infrastructures. In the case of RTL CBS Asia Entertainment Network: no tape, no heavy infrastructure costs and a reduced staff for a HD TV channel in multiple languages, plus catch-up TV and VoD deliveries.

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Lawo to debut new mc² Series Console at AES At this year's AES show in Los Angeles, Lawo will debut its newest mc² series console. The mc²36 is an all-in-one mixing desk, with a comprehensive feature set that covers broadcast, theater, house of worship, live and install applications. Along with uncompromised sound quality and Lawo-grade mic preamps, it offers unprecedented value for money. The console comes completely self-contained including a powerful DSP processing core and all I/O connections and is available in 16, 24 and 40 fader configurations. Ease of use is paramount, with large touchscreen displays that provide instant, touch triggered pop-up menus for fast access to all mixing and routing parameters. Natively equipped with RAVENNA/AES67 technology, the mc²36 integrates seamlessly into IP infrastructures. Rear panel connections provide 32 mic/line in, 32 line out on XLRs, 8 AES in/out, 8 GPIO, MADI and three RAVENNA connections. And for operational security, the console not only has redundant power-supplies but also DSP redundancy.

See it at Lawo's booth #1329.

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EVS enhances the in-stadium fan experience with FanCast

FanCast is an easily implemented, all-in-one recording, production and multi-screen box.

Combining industry-leading EVS tools, it enables the production and delivery of live and near-live content to fans through in-stadium screens (jumbos, hospitality, bars, alley screens), as well as direct to attendees’ connected screens, including smartphones and tablets.

“FanCast allows stadium owners to enhance the live experience before, during and after live sports events,” said Laurent Petit, Live Sports Production & OB Market Solutions Manager, EVS. “But that’s not all. A more connected, vibrant live experience extends fan engagement, builds loyalty, and enables greater commercial opportunities.”

The FanCast stadium package comprises the following solutions and services under a single comprehensive offering: - Powerful XT3 video server enabling multiple channel input/output and extended format range selection - IPDirector for instant management and production of video clips and highlights during live productions - C-Cast cloud-based multimedia distribution platform enabling the aggregation of multi-angle video, live streams and statistics for instant delivery to multiple connected screens within the venue.

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CANAL+ Group selects Moments Share, Wildmoka’s Social TV Solution Wildmoka announces that Moments Share has been selected

by CANAL+ Group, the leading pay-TV operator in France, to launch a videoclip-sharing feature on CANALPLUS.FR called L’#INSTANTCANAL. Moments Share, Wildmoka’s Social TV revenue generating solution, is a simple and fun sharing application allowing the enduser to navigate in a video, select a sub-set of images or a short clip and share it with his/her friends through any social media.

With Moments Share, Content Owners benefit from a powerful and highly customizable solution that: - Generates extra value through consumer-to-consumer recommendation - Provides complementary advertising revenues - Helps to better control their brand through curated social content and positive buzz.

Fabienne Fourquet, Head of New Content at CANAL+ Group confirms the choice of Wildmoka ’s Moments Share: “In a context where we leverage more and more

social media to grow our audience and increase our audience’s loyalty, Wildmoka has provided us in a few weeks with a fun and intuitive Social TV application, empowering CANAL+ users, that will help generating more buzz around our programs and increase the consumption of our non linear content.”

Moments Share is part of the Moments Service Suite that includes other breakthrough solutions such as Moments Replay, which provides an enriched and fun replay of any TV programs, or Moments Capture, which automatically captures and values key moments of TV shows or live events.

Moments Share has been developed on top of Wildmoka platform, a cloud based scalable video infrastructure that turns in realtime any video source into rich, interactive and social-enabled content.

Wildmoka platform ingests any video stream (including live TV), and thanks to patented algorithms, de-linearizes and enriches this content in real-time, complementing this stream with social-enabled content.

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12Stone Church uses Riedel Artist Intercom to enable communications for multicampus live video system Riedel Communications announced that its Artist digital intercom matrix is being used in a multicampus live video system at Georgiabased 12Stone Church. The Artist matrix connects the new 12Stone Church Sugarloaf Campus, home to the church's John C. Maxwell Leadership Center and Williams Auditorium, with the central 12Stone Church facility. Integrated by Technical Innovation's Blue Hat Design team, the award-winning installation employs Riedel's Artist system to facilitate the flexible and reliable communications necessary for collaborative real-time production of worship services.

needed."

"The 12Stone Church production team has had excellent performance over seven years of Artist intercom use at the main campus, so the Riedel product was a natural solution for this project," said David Roche, project manager at Blue Hat Design. "In fact, there was really no need to consider any other intercom product for this project. The Artist system proved very easy to deploy and configure, and its flexibility gives the production team the freedom to make on-the-fly changes as

In building the Sugarloaf campus, 12Stone Church worked with Blue Hat Design to create video production facilities that include a 1,000seat church auditorium, a control room, and the 250-seat Williams Auditorium and studio. The audio, video, and communications system installed by Blue Hat Design allows 12Stone Church to distribute live teachings in real time to all four campuses, as well as to broadcast from one of two "live teaching campuses" at a moment's notice. New

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12Stone Church is the largest Wesleyan church in the world and one of the fastest growing churches in America. Every weekend 12Stone offers its 30,000 parishioners more than 20 worship services held across four campuses. The newest of these is the Sugarloaf, Georgia, campus, where a new 68,000-square-foot facility houses not only a satellite worship facility, but also the headquarters of the John C. Maxwell Leadership Center's international training organization, EQUIP, and the Williams Auditorium, where the center will produce a digital leadership library.

fiber video connections link all four campuses and support time-shifting capabilities so that all four can share Pastor Kevin Myers' teaching. The resulting installation earned Blue Hat Design the 2014 Commercial Integrator and Tech Decisions Integration Award for Best House of Worship.

The new Riedel system installed

by Blue Hat Design uses the fiber links among 12Stone Church campuses to connect to an existing Artist intercom system at the church's main campus. The 12Stone production team takes full advantage of the fact that the Riedel Artist is a matrix system, using it to isolate different users according to the needs of the production in progress.

"The Artist intercom system is ideal for collaborative production in any environment, and the new installation at 12Stone Church is a perfect example of how flexible communications systems can help both to enable and enrich live events held across multiple sites," said Christopher Street, general manager, North and Central America, at Riedel Communications.

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Boris FX adds Blackmagic DaVinci Resolve Support to Boris Continuum Complete and Boris RED product lines Boris FX, announces added host support for Blackmagic DaVinci Resolve to its flagship product line, Boris Continuum Complete (BCC), and to Boris RED. "From the advanced vector titling of Boris RED 5.5 to the many and varied VFX filters in BCC 9, we’re convinced these new VFX toolkits will be widely embraced by Resolve users," says Peter McAuley, Senior Product Manager.

“Through DaVinci Resolve’s support of OpenFX plug-ins users now have access to many of the same effects and tools that are used within other nonlinear editing workflows through Boris Continuum Complete, making the process of editing and grading in DaVinci Resolve even more amazing,” explains Grant Petty, CEO of Blackmagic Design.

Blackmagic DaVinci Resolve joins the Boris FX plug-ins supported host family that includes Adobe (After Effects and Premiere Pro), ASSIMILATE SCRATCH, Avid, Blackmagic DaVinci Resolve, Grass Valley Edius, Final Cut Pro X, and Sony Vegas Pro. Boris Continuum Complete 9 delivers the most comprehensive VFX plug-in suite ever created. Featuring over 230+ filters, including: 3D particle effects, image restoration, touch-up tools, true 3D lens flares and volumetric lighting effects, keys and mattes, real 3D extrusions, color grading, time-based effects, blurs, glows, and cinematic effects. BCC 9 also includes 3,000 presets designed to help editors and motion graphics artists work more creatively and efficiently.

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Radio Television Suisse optimizes broadcast resources with Orad Radio Television Suisse (RTS) choose Orad to centralize control of its video walls and external broadcast devices. Thanks to the Orad HDVG4 video rendering platform and Maestro solution, RTS can synchronize graphics distribution across its large video walls.

Collectively, the walls behave as a single entity, enabling graphics elements to display across all video walls seamlessly. In addition, the Orad installation allows RTS to control external devices.

Using Orad’s Maestro controller and HDVG4 video rendering platform, RTS is able to manage its very high-resolution video wall displays, which are composed of three independent Barco walls plus one big plasma screen for standup inside the studio. All surfaces are fed by a single HDVG4, enabling them to run the graphics on the video walls effortlessly.

“Only Orad was able to provide us with the ability to control all of our third-party devices via an easy-to-use controller, supplying us with an efficient and effective work-

flow. All third-party device presets can be set in the NCRS, including camera positions, and gathered by Maestro using MOS communication, while video wall graphics are triggered by Orad’s Smart-Shot,” states RTS Project Manager Etienne Favereau.

With the smooth communication between the Orad Maestro and 3DPlay controllers, RTS is able to better manage Snell routers, Sony mixers, Harris character generators, lighting desks, Ross robotic cameras, and other third-party devices that would otherwise not communicate with each other. From the user standpoint, presets are triggered by the Orad Smart-Shot shotbox.

“By combining the power of our HDVG4 rendering platform with our Smart-Shot shotbox and Maestro graphics suite, RTS can easily control the graphics display and external devices, and fully benefit from its large video wall display, while simplifying their workflow,” states Avi Sharir, CEO and president, Orad.

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Primestream products on display at Broadcast India 2014 • Xchange Downloader: Allows users to download source content in order to edit final packages locally, with the ability to choose among multiple qualities to download.

• Xchange Partial File Download: Allows users to download sections of media, leading to faster download workflows and eliminating the need to download entire media.

“The Indian broadcast market is at an exciting inflection point as it moves from tape-based, manually intensive operations into the future of all digital file-based workflows with sophisticated automation layers that optimize processes from ingest to archive. The number of stations in India has grown at a rapid pace over the last 10 years and now stands at well over a thousand, which makes for a staggering amount of media assets that need to be managed.

The market is ripe for MAM automation, and visitors at Broadcast India will see how Primestream's FORK and Xchange Suite bring everything under control for efficient, end-toend management of complex content creation and delivery workflows." Warren Arenstein, Senior Vice President, Business Development, Primestream.

FORK Production Suite v4.6 At Broadcast India 2014, Primestream® will be showing FORK™ 4.6, the latest version of FORK Production Suite for managing the automation of the most complex broadcast workflows. With new modules, functionality, and integrations, FORK 4.6 is the most extendable, configurable, and powerful version of FORK ever released and includes major revisions to the underlying structures of FORK 4.5 that debuted at the 2014 NAB Show. These upgrades increase overall system responsiveness and provide for the handling of a vastly

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increased quantity of media assets.

These many improvements position FORK for the support of H.264, H.265, and MXF formats as well as 64-bit and 4k workflows. Behind this thinking is the intent that customers feel secure that the investments they make today pay big dividends in the future as they move towards the adoption of new formats and standards. FORK v4.6 also includes deep two-way integrations with nonlinear editors like Adobe® Premiere® Pro, Avid® Media Composer®, and Apple® Final Cut Pro X®.

FORK Xchange Suite 3.0 Primestream® will demonstrate FORK™ Xchange™ Suite 3.0, a major upgrade to the application that gives broadcasters instant Web access to content on their FORK Production™ servers from any Windows®, Mac®, or tablet device.

Xchange 3.0 features a completely redesigned iPad® interface optimized for Apple® iOS 7. Also new in Xchange, users can now manage non-video files such as audio, images, documents and project files.

Direct integration with Telestream's Episode Engine for proxy rendering is also available in Xchange 3.0.

Other new features and capabilities include: • Xchange Uploader: Allows users to submit raw or finished packages directly into the FORK production environment via a Web-based interface.

• Quick, Cuts-Only editing: Allows users to create a rough cut with footage in Xchange and send the timeline to the FORK Production environment for distribution.

FORK Logger with STATS FORK™ Logger, the metadata tagging module in the acclaimed FORK Production Suite, now integrates with in-depth data feeds from STATS, the global leader in sports information, technology, and content. With this service, FORK Logger users can start their sessions with pre-populated placeholders that contain rich event data pulled from the STATS feed, such as team name, location info, rosters, conference, and win/loss records.

Working from these populated placeholders enables users to avoid manually entering data and increases the accuracy of the descriptive information.

FORK Archive Bridge 1.0 Archive Bridge™ 1.0 is a new module for the FORK™ Production Suite that provides tight integrations between industry-leading archival solutions and the FORK media asset management and production automation platform. Archive Bridge enables disaster recovery workflows and interconnects multiple production environments with a central archive point — adding essential visibility into the archival workflow and allowing facilities to make the most of their archiving dollars.

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EVS workflow brings speed and efficiency to Mega studios Chilean television network Mega has implemented a new file-based workflow from EVS for its production of live and studio-based entertainment programming.

Lingospot and SeeSpace partner to deliver a deeper television experience

Multiple XS production servers from EVS form the backbone for new systems in two studios. With its unique continuous loop recording, the four-channel XS server is designed for studio applications and supports a wide range of codecs with high speed and reactivity. EVS’ IPDirector asset management suites are used for full production control, allowing everything from ingest control and metadata management to on-the-fly editing.

“The new workflow gives us tremendous advantages over our prior tape-based system,” said Saul Ureta, engineering and technical operation manager of Mega. “Multi-angle ingest has been a priority for us for a long time, but in the past it was complicated and required a lot of technical resources.”

The system also incorporates EVS’ XTAccess, which is used to reliably handle all station transcoding through Watch Folders. The new workflow is fully integrated with Adobe Premier, Final Cut Pro and in a few months with the Avid editing platform, which all are heavily used in Mega’s live programs and daily shows including "Mucho Gusto", "Morandé Con Compañía", “Secreto a Voces”, and “Más Vale Tarde”, as well for sports programs and most of the studio productions from Mega.

“In addition to giving us much greater speed and efficiency, the new system is also easy to use and offers greater compatibility with third-party tools and systems,” added Ureta. “We couldn’t be happier and this comes directly from the testimony of our final users on the EVS platform.”

“The XS server, along with other EVS tools, is operating as it was designed: to provide studio environments with speed, efficiency and reliability, and as well as the flexibility to expand when needed,” said Benjamin Mariage, vice president sales, Latin America, EVS.

Nikos Iatropoulos

Thanks to the recent partnership, Lingospot’s metacontent technology will be powering this Augmented TV experience for inAiR’s live TV broadcasts. Lingospot uses patented natural language processing, semantic search, image analysis and machine learning technologies to analyze multiple modalities of a TV station’s broadcast in order to automatically extract metadata. It then enhances TV viewing by providing additional relevant metacontent — such as articles, photos, tweets and celebrity profiles — to second screen and Smart TV applications. Lingospot’s scene-level metacontent leverages the company’s extensive network of relationships and integrations it with thousands of content sources from across the web.

“We are excited to be part of the inAiR launch, a revolutionary new way to consume synched-to-TV content,” said Nikos Iatropoulos, CEO and cofounder of Lingospot. “The SeeSpace team has developed a great user experience that really makes the Lingospot metacontent standout without distracting from the consumption of the main TV content.”

“The metacontent technology provided by Lingospot is key to enable inAiR to surface the most relevant and up-to-date internet information alongside broadcast content,” said Nam Do, CEO of SeeSpace. “Lingospot’s expertise in natural language processing and semantic search brings significant value to our inAiR product.”

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Forbidden Technologies makes Triangle Post Canada's First Forscene service provider Forbidden Technologies announced a partnership with Toronto postproduction house Triangle Post.

Triangle Post has incorporated Forscene into its post-production services business, making it the first company in Canada to do so.

Forscene's cloud-based workflows will be available to Triangle's clients and the Toronto broadcast community to complement existing AvidÂŽ nonlinear editing (NLE) systems.

Matthew Bush, president of Triangle Post, first became aware of Forscene at this year's NAB conference while exploring how people are embracing the cloud and how it could impact the Canadian broadcast industry. "At first I thought it was too simple, but then I realized that simplicity was the key," he said.

"Forscene worked, and it was easy to understand. I also saw how well it integrated with our existing Avid workflows."

Forscene's interface is simple enough for producers and directors but has an underlying array of sophisticated video production tools

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that appeal to editors. The platform integrates seamlessly with existing infrastructures to complement workflows that are already in place.

Because Forscene is cloud-based and available on any computer, tablet, or smartphone with an Internet connection, production teams can use Forscene for any or all parts of the production process including logging, editing, review, and approval from anywhere in the world.

In Triangle Post's case, Forscene offers clients the ability to prepare for their edit before post-production officially begins. Online access enables Triangle's clients to work with media they have stored on Triangle's servers and to collaborate with others to log, edit, and review their project in Forscene from any location and then easily transfer the project to Avid when they are ready.

It also gives members of a client's production team who aren't well-versed in Avid a way to start the shot selection and editing process. For example, a producer can create a rough cut in Forscene and then

transfer the project to an Avid suite for further editing and finishing. With less time in Avid being spent on shot selection, more time can be spent on craft editing, resulting in a better product.

"With Forscene, Triangle Post can offer its clients a lower-cost, easyto-use, yet powerful option to supplement the Avid system. And being able to offer the convenience of the cloud and enable remote collaboration is a bonus for everyone," said Jeff Krebs, Forbidden's regional manager for Canada and the Eastern U.S. "Forscene's ease of use allows anyone on the production team to be up and running in minutes. It includes familiar storytelling tools to satisfy editors and it is fast and efficient from ingest to distribution."

"Forscene is very powerful. I can only imagine where it will be in the near future," Bush added. "It is the elegance of the application that allows the software to take control of the edit and let the creative process simply move forward."

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TechNavio Research names Envivio as a key vendor for Global Video Services in the Connected TV Market 2014-2018 Envivio announced that it has been named as a company that is leading the global video services for the connected TV industry, along with Comcast, DIRECTV, Hulu and Netflix, according to TechNavio Research.

The report, "Global Video Services on Connected TV Market 2014-2018,” predicts this market to grow at a compound annual growth rate (CAGR) of 74.73 percent over the period 2014-2018.

The study was conducted using an objective combination of primary and secondary information including inputs from key participants in the industry. The report contains a comprehensive market and vendor landscape in addition to an overall analysis of the key vendors. Envivio

was cited in the report as having a “unique video compression technology that enables Envivio to offer high-quality video across a wide array of networks, devices, and operating systems,” said TechNavio Vice President Faisal Ghaus.

“We are pleased to be named as one of the key players who are leading this market, alongside Comcast, DIRECTV, Hulu and Netflix. We are in good company with such mega-brands,” said Envivio CEO Julien Signès.

According to the report, the major driver of the Global Video Services for the Connected TV market is the increase in the number of smart devices. “Consumers find it easy to

subscribe or download data as they have access to content from their smart devices,” a TechNavio analyst stated in the report.

Video services on connected TVs are provided by various websites that distribute online content provided by content developers. These services enable users to order content online, without downloading it, to watch it on their TV. Connected TVs allow viewers to access online content from their TVs without using their PCs or laptops, and the devices used for this purpose include gaming consoles, streaming devices, smart TVs, and set-top boxes.

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Riedel products at Broadcast India 2014 "We are returning to Broadcast India with a remarkable array of new solutions that alter the way Broadcast and AV professionals manage communications and signal transport. From our innovative new Smartpanel to the new Tango platform to our professional interface for bringing Skype content into live production — all of the products we'll demonstrate at the show allow users to realize new levels of operational and creative freedom."

Christian Bockskopf, Head of Marketing, Riedel Communications

STX-200 Professional Broadcast-Grade Interface The STX-200 professional broadcast-grade interface brings any Skype® user worldwide into the professional broadcast environment. Licensed by Microsoft®, the new Riedel product meets broadcasters' increasing need for a reliable single-box solution that enables them to bring live contributions from both reporters and viewers into live programming — all this without consumer PCs running common Skype clients, scan and HDMI-toSDI converters, or audio dropouts and menu pop-ups on their live feed. Serving as more than a stand-alone solution, Riedel's STX-200 integrates Skype into the intercom solution to enable even more powerful, flexible applications and workflows. The unit offers broadcastquality HD-SDI and balanced XLR audio I/Os and is packaged with professional Microsoft Skype TX software. The solution's broad feature set includes remote management and monitoring of Skype calls.

Tango TNG-200 Fully Networked Platform Based on AES67 and AVB The Tango TNG-200 represents Riedel's first fully networked platform based on the AES67 and AVB standards. With its own dedicated intercom application, the platform can be turned into a flexible, cutting-edge solution for a variety of communications scenarios. The unit itself is equipped with a high-resolution, full-color thinfilm-transistor display that ensures perfect readability at all times. Intuitive front-panel controls simplify the recall

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of presets and adjustment of audio levels. Along with powerful processing capabilities, the Tango TNG-200 features two integrated Riedel Digital Partylines, two AES67- and AVB-compatible ports, two Ethernet ports, one option slot, and redundant power supplies. The TNG-200 application transforms the platform into an efficient intercom system that users can tailor according to their needs, including choice of matrix size starting with 40 x 80. The asymmetric 40 x 80 matrix size is another Riedel innovation, as it allows for a standard premiumquality stereo audio connection to Riedel panels.

RSP-2318 Smartpanel The new RSP-2318 Smartpanel offers features and capabilities that will enrich the user experience and change the way broadcasters and AV professionals communicate. The world's first smartpanel designed to serve as a powerful multifunctional user interface, the Riedel device boasts a unique feature set that includes three high-resolution, sunlight-readable, multitouch color displays; premium-quality stereo audio; a multilingual character set; and 18 keys in just 1 RU. These features make Riedel's new smartpanel a powerful user interface that can be further expanded through the use of apps. Riedel's first app for the RSP-2318 turns the smartpanel into an innovative and smart intercom panel.

AES67 and AVB connectivity are standard, with AES3 over CAT/coax optional. Additional features include exchangeable headset connectors for mono or stereo applications, an integrated power supply, individual volume controls for each key, two USB ports, two Ethernet connectors, GPIO, audio I/O, an option slot, a removable gooseneck microphone, an SD card slot, and an HDMI output.

Other Products on Display: - MediorNet and MediorNet Compact - MediorNet MetroN Core Router - Artist, Performer, and Acrobat Intercom Systems - RockNet Audio Systems

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I-MOVIX X10 UHD delivers world premiere 4K live super slow motion at German MotoGP Race Ultra slow motion took a major step forward as a live broadcast production tool, with the world-first use of 4K continuous super motion at the eni Motorrad Grand Prix in Germany. I-MOVIX’s X10 UHD was used in a variety of innovative ways to explore the system’s potential in both 4K and HD coverage.

Exclusive MotoGP television rights holder Dorna Sports used an X10 UHD system in 4K high speed modes at 500, 750 and 1,000 fps, and in 4K 2x super slow motion delivering a continuous 2160p feed at 100 fps. The demonstration of the 4K capture in continuous super slow motion is a world first, the X10 UHD being the only system capable of doing this live. During the event, Dorna Sports also pioneered continuous 10x super slow motion in 1080 HD at 500fps.

For this ground-breaking broadcasting event, the I-MOVIX X10 UHD system was tested in two configurations: with the new FUJINON's 4K Cine lens, Premier PL 25300mm Cabrio Cine Zoom (ZK12x25) and with an XA99x8.4 BESM big box lens and IBE HDx35 adapter. The Austrian cmotion provided lens motorisation with its new

broadcast camin system, and EVS supplied its XT3 production server and Epsio Zoom solution.

The Dorna Sports production team tested X10 UHD, combined with an EVS XT3 server and the EVS Epsio zoom solution to explore yet another creative way to use 4K ultra motion in both high frame-rate and continuous modes. Zooming in 4K was used to show very close details on the bikes, or reframe when a crash happened. The combination of the X10 UHD and the Digital HD extraction is also a very attractive proposition for HD productions, either to provide exceptionally beautiful and detailed downscaled HD pictures, or for zooming in without losing HD image quality.

The class-leading X10 UHD is the industry’s first 4K ultra-slow motion system to support both continuous super slow motion (SSM) and ultra slow motion (USM) at frame rates of up to 1000fps. The X10 UHD now has an increased dynamic range, further boosting the versatility of the camera in widely differing lighting conditions. Featuring the best highspeed 4K image sensor available in the market, and with reduced noise levels to provide even cleaner ima-

ges, the X10 UHD also supports higher frame rates in SSM mode (continuous mode), further extending the performance advantage over other slow motion cameras.

For very high-frame rate ultraslow motion in 4K sports coverage, the system operates in USM mode to deliver instant replays of up to 1,000fps. For continuous non-stop recording, SSM mode delivers up to 120fps at 2160p60. When operating in HD resolutions (1080p or 1080i) X10 UHD offers up to 600fps in continuous SSM mode, and up to 2,000fps in USM mode. The system can also complement these specialized applications by performing in a conventional live camera role.

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Independent Production Giant Endemol transforms storage and content management with DIVArchive速 and DIVAdirector速 Front Porch Digital announced that global production powerhouse Endemol has deployed a DIVArchive速 CSM system and DIVAdirector速 media asset management (MAM) system across its vast portfolio of companies. The deployment is part of a major installation that overhauls Endemol's content storage and management infrastructure to automate file-based deliverables and simplify access to its massive archive so that it can more readily monetize its assets.

The new system also ensures compliance with the U.K.'s Digital Production Partnership (DPP) AS-11 standard.

Amsterdam-based Endemol is the largest independent television and digital production company in the world, with about 90 companies in 30 countries.

"With DIVArchive managing our vast library of assets and DIVAdirector as our primary MAM system, internal producers and editors throughout the Endemol net-

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work can tap into the archive to find, use, and back up material more easily, and also be sure their deliverables meet the new file-based DPP requirements, which was one of our highest priorities for the new system," said Mark Cotterel, head of IT at Endemol UK. "We chose Front Porch Digital because of the simplicity and reputation of its product. We tested the system against various alternatives, and Front Porch Digital's system stood head and shoulders above the competition."

DIVArchive is at the core of Endemol's production workflow, where it serves as the management layer driving a Spectra Logic t950 library that houses HD masters stored on LTO-6 tape. DIVArchive is connected to Endemol's postproduction environment, storing and retrieving complex objects and backing up content to the remote tape library through both automated workflows and actions that users control in the DIVAdirector MAM

interface.

DIVArchive fully supports the AS11 DPP format by using adapted media-centric features at the archive level, such as inline transcoding operations, partial file restore, and constant file monitoring and checksums. These features, and others that are in the works, will help Endemol producers and constituents in the U.K. meet current and emerging DPP requirements.

"Endemol works with more than 300 broadcasters, digital platforms, and licensees worldwide and distributes about 2,500 hours of content per year, so it is impossible to overstate the company's significance," said Rino Petricola, COO and general manager, Front Porch Digital.

"The installation at Endemol is a prime example of DIVArchive's ability to transform content storage management and streamline production operations on a massive global scale."

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2014

Nugen Audio launches MasterCheck for loudness optimization of music for streaming, Plus Visualizer Audio Analysis Version 2 At the 2014 AES Convention in Los Angeles, Nugen Audio is celebrating a decade of service to the music and audio postproduction communities by introducing MasterCheck, an audio plug-in that empowers producers to create music in the new audio paradigm of loudness normalization in music streaming. In addition, NUGEN Audio is featuring version 2 of Visualizer, the latest incarnation of the company's industry-leading audio analysis and real-time comparison toolset.

"Over the past 10 years, NUGEN Audio has become the recognized leader in loudness technology — and now we're pleased to introduce the world's first loudness tool specifically designed for the music producer," said Jon Schorah, founder and creative director, NUGEN Audio.

"Streaming services such as iTunes Radio, Spotify, and DAB Radio are now using loudness normalization and true-peak limiting techniques.

We designed MasterCheck to empower producers to mix audio to the new criteria and understand not only how algorithms from the major streaming platforms will affect the mix, but how the music will sound on consumer playout devices for the optimal listening experience."

MasterCheck is an audio plug-in for professional recording systems such as Avid Pro Tools, Steinberg Cubase, or Ableton Live. Ideal for every aspect of music production including recording, mixing, mastering, compilation, archive, and restoration, MasterCheck is also very useful for producing podcasts at optimal loudness levels for dialog clarity and the listener environment.

With MasterCheck, audio engineers can apply loudness matching and dynamic content analysis, using techniques such as peak-to-loudness ratio (PLR), to compare their audio output with existing productions. The advanced side-chain loudness matching can also be used to audition signal paths without the

"improvement" of increased loudness to understand precisely how various effects such as compression can change the sound with no influence from the loudness enhancement.

In this manner, MasterCheck empowers professionals to re-gain control over the playout environment by providing a precise understanding of how their tracks will sound during streaming.

For the first time, producers can take full advantage of the new loudness normalization paradigm.

"Incorporating many highly requested user interface features and the latest techniques for comparative audio analysis and usability, Visualizer version 2 demonstrates our ongoing commitment to the thousands of existing Visualizer users as well as the Avid community.

In fact, it is our first Pro Tools | HDX plug-in," Schorah said. "Through more flexible use of display real estate and more robust diagnostic power, Visualizer is now the most powerful single analysis tool on the market. Engineers can access precisely the information they need, when they need it, and with no unnecessary clutter."

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2014

Club DAB Italia Rolls Out National SFN DAB Network with 2wcom Technology

Italian network operator Club DAB Italia has rolled out the country’s nationwide DAB service with help from 2wcom’s FlexNsert+ and FlexXtract+. In a technical first for Italy, the 2wcom technology was deployed to allow the DAB network to be fed with an ETI stream and distributed over a large geographical area.

Before using satellite distribution Club Italia relied only on a limited network of radio links, which would not have been adequate for the speedy development of a national DAB network. To provide a better distribution infrastructure, the company installed technology from 2wcom including FlexNsert+ encoders providing the ETI to ASI conversion, and FlexXtract+ receivers with ETI and EDI output.

Fabrizio Guidi, Club DAB Italia’s

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President, commented: “The system delivered by 2wcom made it possible for us to have a rapid and successful roll-out of our national network – one of the largest SFN DAB networks in Europe, currently covering over 3000 km of highways and major roads in Italy, and reaching more than 50% of the population.”

sites. The FlexXtract+ DAB+ Distribution Extractor demodulates a data stream (2048 kbps) from a DVB-S or DVB-S2 signal and converts the data into a standard ETIsignal according to (EN 300799) or EDI-signal according to (TS 102 693) to feed DAB or DAB+ transmitters.

The FlexNsert+ DAB+ Distribution Inserter receives a DAB ETI data stream (according to EN 300799) or a DAB EDI data stream (according to TS 102 693). The FlexNsert+ DAB+ converts the data stream into a standard MPEG2-TS-signal and outputs it via its transport stream interfaces.

Additionally the FlexNsert+ may act as timestamp inserter for SFN Networks. The generation of timestamps within the MPEG-stream is basis for a synchronized transmission at transmitter

“We chose the 2wcom system because it allowed us to build a simple, reliable and cost-effective distribution chain for a fast-growing network,” said Hanns Wolter, technical manager for the project. “Although this was a technical first, implementation proved to be extremely fast and we were up and running within days of delivery. Over time we have been able to appreciate the reliability of the units and the excellent customer support from 2wcom.”

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2014

Riedel Australia appoints Espen Brynildsen to serve as Technical Solutions Manager Riedel Communications announced the appointment of Espen Brynildsen as technical solutions manager for Riedel Australia. In this new position, Brynildsen will play a central role in designing and managing solutions delivered to customers throughout Australia and New Zealand.

"Espen's extensive experience spans both the sales and rental markets across the video, broadcast, digital signage, music, and events industries, and his expertise unites excellent technical knowledge and a keen understanding of sales support and strategy," said Cameron O'Neill, general manager at Riedel Australia.

"Paired with his enthusiasm for problem-solving, these traits make Espen a great addition to our team.

Espen Brynildsen.

We are very pleased to welcome him to Riedel."

Brynildsen joins Riedel Australia after most recently serving as tech-

nical director at Microhire Sydney, a leading national supplier of computer rentals, particularly for largescale events. He earlier was technical sales manager at projectiondesign (now part of Barco), where he helped to build and maintain partner networks with specialist integrators across Australia and New Zealand.

Before that Brynildsen served as an account director at Digital Signage Group and as technical manager at Moving Tactics. Also, as director at MIDIamore Pty Ltd, Brynildsen provided technical training services for hardware and software systems, as well as technical support, installation, and configuration services for advanced video systems, networks, and IT-based systems.

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2014

Foxtel upgrades Pay-TV video platform based on Thomson Video Networks' Industry-Leading ViBE™ EM4000 HD/SD Encoder Thomson Video Networks announced that leading Australian pay-TV provider Foxtel is upgrading its direct-to-home (DTH) video platform with the latest generation of the ViBE™ EM4000 premium HD/SD encoder. In addition, Foxtel has installed updates of Thomson Video Networks' NetProcessor 9040 multiplexer and video processor, Amethyst redundancy switch, and XMS network management system.

Foxtel operates one of the largest Thomson Video Networks-based platforms in the Asia-Pacific region, incorporating several generations of ViBE encoders, multiplexers, and video servers. With the latest release of the EM4000 earlier this year, Foxtel took the opportunity to upgrade its platform to take advantage of the encoder's superior HD video quality and Thomson's advanced feature sets for multiplexing and network management. Foxtel chose the

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EM4000 not only for its video quality, but also for its ability to integrate smoothly with the company's existing ecosystem and its world-class density, supporting up to eight HD MPEG-4 AVC channels in a single rack unit.

"The latest ViBE EM4000 includes compression innovations specifically designed to give pay-TV operators even more bandwidth savings and higher video quality, so we knew it would be ideal for our DTH upgrade. It's one more example of Thomson Video Networks' ongoing innovation and technology leadership, resulting in an unrivaled portfolio of solutions," said Darren Windus, transmission technology manager, Foxtel. "We evaluated the encoder thoroughly to ensure smooth system integration and set-top box interoperability, and the EM4000 passed with flying colours. With the EM4000, we'll be able to offer the

best possible quality of experience to our audience, and the system offers an exciting and aggressive roadmap for density, feature set, and video quality to help us plan for the future."

"Not only is Foxtel one of Australia's highest profile media brands, but the company has been a loyal Thomson Video Networks customer for more than 12 years," said Tony Berthaud, director of sales and services, Thomson Video Networks APAC. "Over that period, Foxtel has leveraged our solutions in several highly strategic applications, such as in an IP video acquisition link between Sydney and London for the 2012 London Games. Thomson Video Networks looks forward to the ongoing partnership with Foxtel as the company continues to extend its DTH operation with our industry-leading video quality and encoder density."

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2014

DVEO's Ad+EAS Serter™ selected as a finalist in 27th Annual San Diego Connect Most Innovative New Product Awards DVEO has been selected as a finalist in the Communications and IT category for the 2014 Most Innovative New Product Awards, sponsored by CONNECT. CONNECT, a regional program that catalyzes the creation of innovative technology and life sciences products in San Diego County, continues its twenty-seven year tradition of honoring San Diego's leaders of innovation and groundbreaking new products with the annual award. The Ad+EAS Serter is a broadcast quality playout server with Ad and EAS (Emergency Alert System) capabilities. It inserts emergency alerts – plus video clips, text, graphics, and RSS news feeds – anywhere on

video content, live, on a schedule, or via signaling like SCTE 35 signals from EAS generators. It adds messages to one to four targeted SD cable or on-air channels or sub channels, or to one to four IPTV SD channels. (An option for 1 HD and 3 SD channels is available.) The high density system is available for three video formats -- DVB-ASI, IP, or SDI. The Ad+EAS Serter is designed for broadcast studios, cable head ends, and IPTV operators who require an easy to use EAS messaging system to communicate with their subscribers. The system is currently deployed at a major cable company to originate important messages to the entire subscriber base. The system

is compatible with Trilithic™, Sage™, and Monroe™ EAS Alert generators. EAS audio from EAS systems is spliced into live audio, and emergency audio messages are sent to viewers.

"We are excited to be one of three finalists in our category for the very prestigious Most Innovative New Product Awards," stated Laszlo Zoltan, Vice President of DVEO. "With the Ad+EAS Serter, our customers can reduce the cost of ad insertion in IPTV and digital broadcasting. Traditional methodology relied upon post production work flows. In the digital world, ads are inventoried and inserted in real time."

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IBC ended with a good result. 55,000 visitors from 170 countries attended the most important fair of this side of the planet. There was a team of TM Broadcast displaced throughout the show. We could see everything that was in the past a prototype NAB in Las Vegas and new equipment. And also, all purchases and mergers that were made between 2013 and 2014, those companies are already consolidated. Big brands like Imagine Communications or Gras Valley are something solid and perfectly designed right now.

On the technological side, follows the trend we saw at NAB regarding 4K UHD, IP and cheaper & scalable equipments. Brands are preparing to work with that technologies but still have to resolve the connectivity part, especially in live events, but we have seen some solutions in this show. Below is a summary of what seemed to us the best of IBC 2014.

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AJA VIDEO SYSTEMS

AJA Raw CION Camera Format Supported in Adobe Premiere Pro CC AJA Video Systems announced that AJA Raw CION camera format will soon be supported in Adobe® Premiere® Pro CC. Adobe previewed several new developments and updates to Adobe Premiere Pro CC at the IBC 2014 conference in Amsterdam. AJA Raw support is enabled through the Cinema DNG format and allows for a familiar and powerful workflow when the utmost flexibility is required for color work for VFX, feature and complex lighting and location pipelines.

FS1-X Frame Synchronizer and Converter v1.1 Update Adds Host of Features Responding to User Feedback The v1.1 update extends the capabilities of FS1-X with several new features to support stereo mixdown of 5.1 and 7.1 sources, additional MADI audio support and reverse telecine cadence detection; allowing source material that has previously been converted from Cine rates to standard video rates using the 2:3:2:3 or 2:2:3:3 cadence to be automatically detected, and recreate the original frame when being converted back to Cine rate.

Tapping AJA’s industry-leading conversion algorithms, FS1-X supports up-, down-and cross-conversion betwe-

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en SD and HD signals ensuring the highest quality output possible. Featuring a flexible architecture, FS1-X simultaneously works with 3G-SDI, analog, and SDIFiber 10-bit video and incorporates a massive number of embedded audio, AES, MADI and analog audio channels.FS1-X is also available with a Frame Rate Converter (FRC) option. FS1-X’s high quality motion adaptive linear FRC offers smooth motion conversion between a wide range of frame rates, including 1080p 50 to 59.94.

AJA Announces KONA 4 Support for Adobe Creative Cloud At IBC 2014, AJA Video Systems announced that its KONA 4professional desktop video and audio I/O card now supports the latest versions of Adobe’s flagship video applications in Adobe® Creative Cloud®. Device driver and plug-in software is available as a free download from AJA’s website, allowing users of Adobe video applications, including Adobe Premiere® Pro CC, Adobe After Effects® CC and Adobe SpeedGrade® CC, to take advantage of KONA 4’s unparalleled featuresformanaging4K, Ultra HD, 2K, and HD pipelines. Adobe Creative Cloud includes the most up-to-date versions of favorite Adobe desktop apps such as Adobe Premiere Pro, Photoshop®, After Effects, Illustrator®, and more.

KONA 4 was previously only available through AJA’s channel for thirdparty developers, but is now available as a retail product with drivers for Windows 7 and Windows 8.

Additionally, a new update for the free AJA Control Room software for ingest, playback and output on Windows now supports KONA 4.

CION Support from Top Camera Accessory Manufacturers AJA Video Systems announced that top third-party camera accessory developers are on board with support for the CION camera. CION features an ergonomic design and is capable of shooting at 4K/UltraHD and 2K/HD resolutions. AJA pioneered lens-to-post Apple ProRes work-

flows with the introduction of the KiPro product line in 2009; CION builds on this achievement by offering in-camera recording directly to proven AJA Pak SSD media in the Apple ProRes family of codecs including 12-bit 444 - for pristine image capture.

Alphatron’s electronic viewfinder (EVF-035W-3G) will work with CION’s standard connectors, along with their full line of accessories including matte boxes, follow focusses, camera plates and a pedestal.

Additionally, through Alphatron’s cam Rade division, the company is developing a rain cover and camera bag custom fit to CION’s specifications.

Leveraging CION’s removable lens mount, MTF has announced a

host of new lens adapters already in production including Nikon/G to CION, Canon EF to CION, Canon EF (electric) to CION, Canon FD to CION, ARRI Bayonet to CION and an optical B4 to CION package.

Wooden Camera is also developing several alternate lens mounts for CION. Vocas develops an array of standard camera accessories that work with CION including matte boxes, focus controllers, cheese plates and much more.

Zacuto’s newest EVF the Gratical HD announced at NAB 2014, along with their entire line of standard camera accessories will also be ideal complements to CION shooters.

AVT AVT increases its DAB product portfolio with the MAGIC TBR – a tunnel break-in rebroadcast system for DAB+. By default the MAGIC TBR works as repeater to ensure the provisioning within the tunnel. However, it also allows tunnel operators to replace audio programmes with announcements to provide information and

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instructions in case of an emergency. This is a highly important feature since it is requested by the EU Tunnel Directive 2004/54/EC and will become mandatory for tunnels exceeding a certain length. The MAGIC TBR is developed in co-operation with the Ingenieurbüro Mulka and will be available in the first quarter of 2015.

BLACKMAGIC DESIGN

eyeon Blackmagic Design today announced its acquisition of eyeon Software, Inc., a leading developer of high end digital compositing, visual effects and motion graphics software for the feature film, commercial, television and broadcast industries. eyeon, headquartered in Toronto, Canada, is now a wholly owned subsidiary of Blackmagic Design. eyeon’s Fusion 7 will be demonstrated on the Blackmagic Design IBC 2014 booth in Hall 7, Stand H20.

Fusion 7 is one of Hollywood’s leading visual effects compositing and motion graphics tools and has been used on thousands of feature film and television projects. Most recently, Fusion 7 has been used on feature films like Maleficent, Edge of Tomorrow, Sin City: A Dame to Kill For, The Amazing Spiderman 2, Captain America, Gravity and more.

Fusion 7 combines the best in motion graphics and high end visual effects compositing into a single

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application. In addition to its advanced compositing tools, Fusion 7 also includes comprehensive paint, rotoscope, keying, layering and titling tools, along with an amazing particle generator system. It can import geometry from other applications as well as create its own elements, like text and particles, from scratch. Elements can be composited together and quickly output using Fusion’s GPU accelerated render engine. Multiple renders can be combined in one project to render different aspects of the same scene. Fusion 7 goes beyond just compositing layers and has a full set of creation tools for building objects and scene elements in a 3D system that can handle millions of polygons with complex shading.

Multiview Blackmagic MultiView 16 outputs both 1080p HD and native Ultra HD over SDI and HDMI monitors, making it possible to use professional broadcast monitors or the new

massive Ultra HD consumer televisions for incredibly sharp, high resolution multi view monitoring that is twice the resolution of traditional HD multi viewers. Customers can choose layouts from 2x2 for 4 sources, 3x3 for 9 sources and 4x4 for 16 sources. Blackmagic MultiView 16 includes sixteen multi rate 6G-SDI inputs with separate loop thru that are compatible with existing SD, HD and Ultra HD equipment. All 16 inputs feature automatic frame resynchronization, so each view is like an independent video monitor, regardless of the input standard.

That means customers can mix and match up to 16 different video standards all at the same time!

Blackmagic MultiView 16 is the perfect solution when there are lots of video feeds to monitor and limited space. Customers no longer have to connect multiple monitors, dozens of cables or run extra power. Simply plug in cameras, decks, switchers, routers and feeds into the SDI connections on Blackmagic MultiView 16 and they can see everything with

amazing clarity and detail on a single Ultra HD display. Because it works natively in Ultra HD, customers get four times the number of pixels in each view so the video looks sharper and clearer than ever before. Blackmagic MultiView 16 delivers an incredible 4 full resolution 1920 x 1080 HD video sources when running in 2x2 layout, or 16 half resolution 1080 HD videos sources at an amazing 960 x 540 resolution when running in 4x4 layout!

Blackmagic MultiView 16 is easy to use and includes an elegant machined metal front panel with dedicated buttons for quickly selecting any source. Video can be routed to any position on the grid at the push of a button or with the spin knob control, so it works just like a video router.

MultiView 16 can also be controlled remotely over a network using the included Mac and Windows software, as well as from Videohub hardware control panels installed throughout a facility. There is also an SDK for custom broadcast integrations.

Videohub The new Blackmagic Videohub 6.0 update includes 2 new software applications for both Mac OS X and Windows computers.

The Blackmagic Videohub Control features a new user interface that includes elegantly designed buttons that allow users to customize and control

their Videohub routing from their desktop. Blackmagic Videohub Control is perfect when customers are working on editing, color correction or other computer based workstations and want to change routing in their facility.

Blackmagic Videohub is simple and easy to use and supports the latest technologies such as high resolution “Retina� displays that use paper resolution screen displays. Blackmagic Videohub Control can be installed on multiple computers in a post production facility or broadcaster so all users can quickly launch the software and change route cross points with the press of a button. For configuring and installing Blackmagic Videohub routers, the administration software, Blackmagic Videohub Setup, has been designed to make it extremely fast to install and label router inputs and outputs and to change other settings on Videohub routers. It automatically finds all Videohub routers on the users network, or any routers connected locally via USB and then lets the administrator or broadcast engineer simply select the router and change its settings.

Da Vinci Resolve Editing enhancements in the new DaVinci Resolve 11.1 are designed to help editors work even faster than before. Resolve 11.1 includes improved asymmetric trimming, a

new Swap Edit command, the ability to trim gaps in the timeline, editable in/out points in the source viewer, graphical fade sliders for video opacity, action and title safe overlays, independent track heights, a full screen timeline option, the ability to add transitions to multiple clips at the same time, and more. DaVinci Resolve 11.1 also features dramatically improved integration with Final Cut Pro X that allows colorists to spend more time grading and finishing projects, and less time recreating elements from editorial. There is improved support for Multicam clips, Synchronized clips, and mixed frame rate Compound clips. Speed changes with Bezier curves are now imported from Final Cut Pro X, along with settings for frame blending and optical flow retiming. In addition, Compound clips can be broken apart and renamed in the Resolve timeline. Colorists get support for object tracking and stabilization of compound clips, second layer input support for OpenFX plugins, the ability to pick colors in the viewer for OFX plugins, and new group menu options to load, delete and rename groups. DaVinci Resolve 11.1 also includes support for visually lossless compressed DNG RAW clips, Panasonic Varicam vRAW and AVCI, improved color decoding for Phantom CINE RAW files, new Phantom Cine Log gamma selection in the camera raw settings, VFX I/O LUTs for Gamma 2.2 and Gamma 2.4, and more. Linux customers also get OpenCL support for AMD GPUs.

DeckLink 12G The new DeckLink 4K Extreme 12G is the ultimate digital cinema capture card featuring two full frame DCI 4K inputs and outputs! The multi rate 12G-SDI connections work with SD, HD and Ultra HD all the way up to full frame DCI 4K at 4096 x 2160 resolution at 60 frames per second. DeckLink 4K Extreme 12G supports 10-bit YUV and 8-bit, 10-bit and 12-bit RGB as well as 3D up to DCI 4K at 4096 x 2160 resolution at 60 frames per second. The new DeckLink 4K Extreme 12G

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includes a new mezzanine card design that adds HDMI in and out on a second daughter card along with sockets for adding 2 optical fiber modules for Dual Link optical fiber SDI in and out. SMPTE compatible optical modules can be added up to 12G-SDI speeds, allowing customers to choose to connect equipment using optical fiber connections instead of regular BNC copper cables for dramatically longer cable length, even at the faster 12 Gb/s speeds.

4K Mini converters New 4K Mini Converters are the perfect solution for broadcast and post production engineers who need to install equipment that’s Ultra HD ready, as each converter operates as a normal SD or HD converter and then will automatically switch to Ultra HD when a 6G-SDI input is connected. Live production customers will love the ability to use these new Mini Converters in all kinds of situations when doing Ultra HD live production work. Even connecting to old SD televisions from an Ultra HD program feed is possible, so customers don’t have to worry about what kind of equipment they might find at a venue they are integrating with. Mini Converter Heavy Duty models feature an aluminum design that is super tough yet compact and lightweight, making them perfect for use on location. All models include the latest 6G-SDI technology, auto switching between SD, HD and Ultra HD formats, redundant SDI inputs, loop through SDI, balanced analog and AES/EBU switchable audio, standard 1/4” jack audio connections and an international power supply.

PL lens mount models of Blackmagic Production Camera 4K and Blackmagic Cinema Camera The new PL lens mount options for the classic Blackmagic Cinema Camera design now provides customers with an extremely small and extremely strong design. The

strength comes from the chassis which is machined out of a solid block of aluminum. With the combination of the PL lens mount, the whole camera design has enough strength to hold an extremely heavy PL mount lens. This means cinematographers now have a professional PL mount digital film camera that’s so small, the camera body is only a little larger than the lens mount itself.

Customers then get a design that can fit into the tightest locations while still allowing decades of classic professional film lenses to be used. With these 2 new PL mount models, Blackmagic Design customers can now choose from 5 separate variations of this small, tough design. With a combination of 2 different sensor types as well as 3 different lens mounts, customers can now simply select the features they need based on the work they do.

The Blackmagic Production Camera 4K PL gives you a high resolution Super 35mm size sensor with global shutter and a more creative depth of field. Customers get incredible Ultra HD images with 12 stops of dynamic range and a large sensor with minimal crop factor so they can capture amazing wide angle, feature film quality shots. When working in HD, customers can use the high resolution images to reframe and zoom into shots without any quality loss.

The Blackmagic Cinema Camera PL has a 2.5K sensor with a super wide 13 stops of dynamic range that

delivers truly cinematic quality images. Both cameras have dramatically wider dynamic range than traditional video cameras that preserves more detail in the blacks and whites of an image. For example, customers can shoot indoors with the correct exposure and still get full detail through windows outside.

Every detail captured by the cameras’ sensors is preserved in the RAW files and can be edited and grade natively using the included DaVinci Resolve software for the highest possible quality output.

The Blackmagic Production Camera 4K PL and Cinema Camera PL have been designed with portability and durability in mind. They include standard connections so customers do not need to hunt for custom cables, an internal battery, a high resolution 5” LCD touchscreen viewfinder that can be used for entering metadata and that shows settings such as shutter speed, color temperature, timecode and more.

Both cameras feature professional SDI connections, built-in Thunderbolt, 1/4” audio jacks for mic/line inputs, 12V to 30V DC input, a 3.5mm headphone socket and LANC for remote control.

Blackmagic Cinema Cameras are true digital film cameras that you can hold in your hand, but with the strength to be rigged on cranes, used on Steadycams, in crash cars and more.

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BRAINSTORM MULTIMEDIA Brainstorm Multimedia unveiled at IBC the full production version of Infinity Set, the virtual set solution featuring TrackFree, a new and patented technology which allows the combination of tracking and trackless productions for maximum flexibility, creativity and visual impact. Also first at IBC Infinity Set will display yet another new technology named 4K PTZ Virtual Head. This feature is capable of emulating a PTZ (Pan, Tilt, Zoom) head by extracting an anamorphic area of a 4K signal, allowing to zoom and then pan and tilt virtually into any area of a 4K movie or a static or tracked 4K camera. The camera operation is controlled smoothly by a PC or a WiFi connected device such as an iPad™, tablet or a smartphone.

Infinity Set is the first product featuring TrackFree, a revolutionary approach to virtual set production developed by Brainstorm. TrackFree is a camera-tracking independent technology, which combines in a single virtual camera the precision and higher quality of the most

complex camera tracking system with the flexibility, freedom and ease of use of modern trackless systems like EasySet 3D. TrackFree can use both internal chroma keying software and external chroma key hardware even in the same production. Infinity Set can generate a true 3D representation of the live character from a video feed, generating a real-time 3D volume that is continuously regenerated, repositioned and remapped based on the camera parameters. This patented technology also allows the character to cast real shadows over virtual 3D elements while interacting with any element in the scene. Infinity Set also allows the integration of external post-production tracking hardware and software data along with real-time tracking data, combining both with any object or set in the scene. Also, external tracking data coming from real cameras or third-party tracking software can be included as metadata in live feeds or pre-recorded videos, and immediately be transferred and applied to the virtual camera’s parameters.

CALREC

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New Summa with 128 channels

familiar, with a straightfor-

At IBC 2014 Calrec introduced a brand new variant on the Summa console.The Summa console offers broadcast-focused facilities presented via a straightforward and intuitive control surface.

Allowing broadcasters to scale resources to their requirements Summa is now available with 128 or 180 channels.

established finger gestu-

Summa with 128 channels has been conceivedas an alternative for broadcasters who do not require the larger channel count of the original Summa console.

The Summa control surface has a highly-intuitive GUI, making it suitable for a broad range of operator levels. Control is via a 17inch multi-touch screen inspired by tablet-technology which is immediately

creating mix-minus feeds

ward interface which uses res. Summa 128 has been designed for live broadcast applications with a clear focus on ease of operation, allowing fast and easy access to controls to make it easy to create engrossing broadcast audio. On Summa 128 even complex workflow tasks such as are simplified. The console uses Calrec’s award-winning Bluefin2 technology at its core and the same integral Hydra2 router technology as all Bluefin2 consoles, technologies which are in use 24-hours a day at hundreds

of

across the globe.

facilities

CHYRONHEGO Metacast Weather Graphics Solution Selected by Broadcasters Worldwide ChyronHego announced at IBC multiple customer wins based upon the company’s cutting-edge Metacast® weather graphics presentation system and services.

Metacast, a comprehensive solution that includes a high performance, live-to-air weather graphics and broadcast production system, as well as a complete weather and climate data managing service, continues to successfully support broadcasters around the globe.

Recent wins include: Al Jazeera Based in Doha, Qatar, Al Jazeera has upgraded to the latest Metacast system for its English network, in addition to renewing its commitment for extended service provisions for the Metacast system and data for on air, online and mobile platforms.

Foreca Based in Helsinki, Finland, private weather service provider Foreca has contracted ChyronHego for the production facilities of multiple broadcasters including VGTRK in Archangels Russia, in addition to various local facilities for on air and mobile content provision.

NHK BS Based in Tokyo, Japan, National Broadcaster NHK BS has upgraded to the latest Metacast system and expanded its content provision. This contract, established through ChyronHego partner Weatherzone° in Sydney and Tokyo, reaffirms NHK’s commitment to ChyronHego solutions.

Finnish Meteorological Institute (FMI) Based in Helsinki, Finland, the Finnish Meteorological Institute recently established a broadcast, online and mobile content produc-

tion facility based around Metacast technology. FMI is a long term ChyronHego data and forecasting partner that is now moving into the segment of active graphics content provision for the Finnish market.

People°sWeather Based in Johannesburg, South Africa, People°sWeather has contracted ChyronHego for an expansion of the current production of weather content with the Metacast system as its core graphics generator. Metacast offers efficient graphics content delivery to this highly optimized production facility, allowing People°sWeather to continue to add unique value to forecasting and broadcasting content.

Newsfirst Based in Colombo, Sri Lanka, Newsfirst has chosen Metacast’s content service for its new weather segment provision to include a data and graphics provision from ChyronHego.

CNN Based in Atlanta, Georgia in the U.S., broadcaster CNN has extended its Metacast service and data contract. As a customer of 17 years, CNN continues to utilise ChyronHego’s unique data product offerings, adding value to its on air and portable platform content services. “Metacast continues to help broadcasters worldwide tell their story with fast-moving, instantly cre-

ated, sophisticated weather content,” said Karl Eggestad, sales director of weather solutions at ChyronHego. “We are delighted to announce these recent wins, which demonstrate Metacast’s flexible approach to weather data and highvalue graphics that keep viewers well informed and prepared for any weather scenario.”

ChyronHego completed the acquisition of WeatherOne AS and its Metacast technology in July 2014.

WeatherOne is now fully rebranded as ChyronHego Norway and will continue to operate from its Oslo offices.

ZXY Transponder-Based Player Tracking and Analysis Offering Gains Further ChyronHego announced four major player tracking deals based upon its ZXY Sport Tracking solution. The Japanese National Institute of Fitness and Sports; Danish professional football team FC Midtjylland in conjunction with the University of Aarhus; Norweigan professional football team Tromsö Idrettslag in cooperation with University of Tromsö, as well as Norway’s Sogndal Football Club together with Sogn og Fjordane University College, have all chosen to implement the industry-leading ZXY transponder-based player tracking technology.

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COBALT DIGITAL New OpenGear® CARDS 9970-QS 3G/HD/SD-SDI/CVBS Quint-Split Multi-Image Display Processor Cobalt Digital debuts the 9970-QS 3G/HD/SD-SDI/CVBS Quint-Split Multi-Image Display Processor. A single processor is capable of auto-detecting and displaying up to five independent 3G/HD/SD/Composite inputs.

Multiple cards can be cascaded to provide expanded PiPmuxing. An Ethernet-based GUI control enables intuitive set-up of video windows and advanced on-screen graphics, and a simultaneous display output over SDI and HDMI supports flexible system design and easy integration.

The 9970-QS is ideal for outside broadcast vehicles and production control rooms.

9902-DC-4K UHDTV HighQuality Down Converter Cobalt’s reputation for high-quality down-converters grows with the introduction of its Quad 3G-SDI 1080p 50/60Hz (UHDTV) to HD 50/60Hz or SD 50/60Hz. The card makes copies of the down converted output TO 3G/SDI/ HDMI, and features a timecode burn-in window and user defined character insertion.

9950-EMDEANCEmbedder/DeEmbedder The new 9950-EMDE Embedder/De-Embedder provides multiple serial RS-232/422 and

GPIO to/from ancillary data insertion and extraction. An IP (RJ-45) I/O option is also available.

at a low-cost. The series’ expansion includes numerous new models, Including:

9910DA-4Q-3G-RCK 3G/HD/SD/ASI Partitionable Multirate Reclocking Distribution Amplifier

BBG-1002-DC-4K UHDTV Downconverter

This single DA card can be configured as 1x16, 2x8, 4x4, or 1x8 and 2x4. Designed for 4K applications and high-density base band or ASI distribution, the 9910DA-4Q-RCK is capable of receiving 3G input signals up to 120m on 1694A cable. As a safety feature it will automatically perform a switch over from any of the four inputs, upon loss of signal.

Amazing configurability, and loss of signal source switching for peace of mind.

9990-TRX-MPEG Multi-standard Broadcast Transcoders Cobalt’s new 9990-TRX-MPEG multi-standard broadcast transcoders target MPEG-2 to MPEG-4 AVC and MPEG-4 AVC to MPEG-2, and media conversion to and from ASI and IP.Up to 40x channels of real time transcoding can be accomplished in a 2RU openGear frame. The card offersMPEG-1 Layer II, AAC, and AC-3 audio support

BBG-1000 SERIES Cobalt’s user-friendly Blue Box Group™ offers peak performance from compact conversion modules

A standalone high-quality UHDTV down converter from the Blue Box Group, the BBG-1002-DC-4K Quad 3G-SDI converts 1080p 50/60 (UHDTV) to HD 50/60Hz or SD 50/60Hz and offers simultaneous SDI and HDMI ouputs for extended capabilities. The unit can be rackmounted for 3x paths of down conversion in 1RU.

BBG-1070-QS 3G/HD/SDSDI/CVBS Standalone Quint-Split Multi-Image Display Processor Also new to the global market is the standalone version(1/3 Rack Width) of the quint-split multi-image display processor. The BBG-1070QS 3G/HD/SD-SDI/CVBS can autodetect and display up to 5x independent 3G/HD/SD/composite inputs on one unit. An Ethernet based GUI control facilitates intuitive set-up of video windows and advanced onscreen graphics. A simultaneous display output over SDI and HDMI allows flexible system design and easy infrastructure integration.

Three rack-mounted units can be cascaded for up to 13x Inputs in 1RU.

BBG-1090-TRX-MPEG Standalone Multistandard Broadcast Transcoders The new BBG-1090 TRX-MPEG converts MPEG-2 to MPEG4 AVC and MPEG-4 AVC to MPEG-2, and media conversion to and from ASI and IP. Three units can be rackmounted for up to twelve channels of real time transcoding in 1RU. The modules support MPEG-1 Layer II, AAC, and AC-3 audio.

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EVS

New Xstore EVS has introduced XStore at IBC. The XStore range of shared storage products is designed to intelligently address the challenges that come with managing video content and related data storage in sports, news, entertainment and media production workflows. Three XStore platforms – XStore Production, XStore Archive and XStore HE – provide broadcasters and production companies with fast and secure access to content. Each system delivers guaranteed optimal level of speed and capacity at lower cost, working seamlessly with EVS production and content management tools. The new shared storage platform supports all the ultimate file system protocols offering ultimate level of content access for thirdparty systems. Its advanced fault tolerant system with high availability and data reliability makes it perfectly

suitable for demanding broadcast workflows.

Epsio family expands with added live graphic tool EVS has developed the latest product to enable LSM operators to seamlessly insert live graphics to an action replay – including spotlights, player names, lines and arrows.

Developed in partnership with ChyronHego, the new Epsio Paint software offers LSM operators an extended range of graphic tools from the ChyronHego graphic pallet, which is made available immediately on the live first replay.

The software works in three simple steps: the operator cues the replay, adds one or several graphical tools to be placed on the pitch, and then re-cues it. Graphics can be added live or prepared ahead of time for post-game analysis. The tool is simple and fully integrated

into an LSM environment removing the need for a dedicated telestration operator to draw a freehand sketch over a video image on a live production. Epsio Paint enables an LSM operator to simultaneously prepare a sequence for a second or third instant replay and add graphical tools to illustrate the action.

The software is fully customisable to match each production’s graphics standards and Chromakey allows the operator to virtually draw on a pitch. Epsio Paint slots into a standard LSM workflow so there is no requirement for extra outputs from the server. This embedded technology initiative is the first step in what both companies hope will be a broader future partnership. Leveraging each other’s strengths in creation, management and distribution of live video, live graphics and live data, means opportunities for further collaboration.

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GATESAIR New Maxiva Compact HighEfficiency Digital TV Solutions At IBC GatesAir has introduced two low-power TV platforms that address two distinct needs. The Maxiva™ Ultra-Compact series offers standalone low-power translator and gap filler solutions for UHF and VHF networks across four power levels (30, 50, 80 and 130 watts). The new solution slashes the rack space requirements of its predecessor by half, delivering a broadband 1RU solution with exceptional gains in performance and efficiency. The Maxiva Multi-Compact series comprises high-density, 4RU 19-inch rack-mounted UHF and VHF transmission systems available in several configurations, including N+1, N+2, or N+1+M+1 redundancy.

The innovative Multi-Compact series provides a single chassis to house up to eight separate transmitters or gap fillers, and exceeds competitors in compact design, redundancy options and maximum power output per unit. Both solutions share performance and efficiency attributes with market-leading medium-tohigh power Maxiva transmitters, balancing exceptional over-the-air quality with a green, cost-reducing architecture that slashes energy consumption, power bills and maintenance requirements. Collectively, the Maxiva brand provides a full line, single-source family of transmission products to support DTV networks of any size and scale.

On the performance side, cuttingedge echo cancellation and optimized modulation error ratio (MER) technologies far outperform competitive solutions, drastically reducing reception problems across DTV networks. The MER performance is especially important for low power and gap filler performance, eliminating imperfections tied to signal noise and distortion. Together, the two technologies result in a cleaner overall broadcast signal for viewers,

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providing better reception in the countryside, mountains or other regions with difficult terrain.

Maxiva UltraCompact and MultiCompact series’ are shipping and available for multiple DTV standards, including DVB-T/T2, ISDB-T/Tb and ATSC, with many input interfaces to ensure complete, interoperable solutions for any DTV network.

DTV and LTE convergence solution Developed by the Technical University of Braunschweig’s Institute for Communications Technology, the emerging innovation leverages the traditional broadcast model’s efficient use of wireless spectrum for one-to-many delivery, supplementing the mobile network bandwidth and congestion challenges of deploying live TV and other video contentacross multiple peerto-peer connections. Broadcasters benefit from a new way to increase viewership and monetize spectrum given the rapidly growing number of consumer mobile devices in use worldwide. In addition to overcoming previous barriers to HD video delivery over mobile devices, LTE Mobile Offload allows broadcasters to reach a highly nomadic viewing audience with existing standards and technology, while creating synergistic, revenue-generating partnerships with mobile network operators through spectrum leasing and other opportunities. Mobile network operators benefit by offloading video content to High Tower High Power (HTHP) transmitters from GatesAir, ensuring a seamless user experience for consumers through optimal spectrum utilization. Since TV and video content is delivered “out of band,” network congestion is eliminated and services are optimized—without the costs of securing spectrum and building out new networks. This creates the dual benefit

of satisfying consumers while saving costs and generating revenue, since the content is still technically delivered to subscribers over the mobile operator’s network.

Importantly, the groundbreaking initiative is developing at a time when UHF spectrum is in high demand for wireless broadband use worldwide. Once commercialized, broadcast network operators could leverage their existing spectrum to simultaneously deliver fixed and mobile services overtheair.

GatesAir is working with the Technical University of Braunschweig to commercialize the technology. LTE Mobile Offload is proven to work using the DVB-T2 broadcast standard today. DVB-T2 includes Future Extension Frames (FEFs), which support the delivery of non-DVB-T2 signals inside the data stream. This opens a lane inside the DVB-T2 standard to deliver the signal type (LTE-A+) that 3GPPcapable mobile devices can receive and play outas video. Similar possibilities exist for incorporation into ATSC 3.0 and other digital TV standards.

The GatesAir solution modulates the DVB-T2 and LTE-A+ signals, using a hybrid exciter platform and over-the-air transmitters to deliver simultaneous digital TV and LTE content to all devices from a broadcast tower.

GENELEC Genelec Launches New Compact Additions to its Smart Active Monitoring Range at IBC 2014 Genelec has released a new generation of SAM systems by introducing two new compact two-way monitors, the 8320 and 8330, and a new subwoofer, the 7350, along with an entirely new and highly intuitive Genelec Loudspeaker Manager software, GLM™ 2.0, complemented with a new measurement microphone and network adapter unit.

The 8320 and 8330 monitors feature Genelec’s Minimum Diffraction Enclosure (MDE™), made of recy-

cled die-cast aluminium as well as the advanced Directivity Control Waveguide (DCW™) technology.

While the 8320 and 8330 monitors and the 7350 subwoofer are small in stature, they are outstanding in performance and are part of the highly integrated software and hardware solutions developed by Genelec R&D team. With their floating point digital signal processing engines and Genelec-designed Class D amplifiers, these SAM systems will make you appreciate the forward thinking that makes Genelec the leading benchmark in audio monitoring for broadcast, post-production, and music facilities.

Genelec’s SAM technology is an

indispensable tool when dealing with the challenging reality of small room acoustics. SAM technology automatically optimises and aligns each monitor and subwoofer for relative levels, time of flight, subwoofer crossover phase as well as individual room response compensations. So, even if the monitors or the production projects move between rooms, you can expect that SAM technology will achieve the highest consistency in monitoring by always providing a neutral sound stage imaging with low distortion.

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GRASS VALLEY New Products at IBC 2014 The new CopperHead 3430AP integrates the existing CopperHead 3400 fiber transceiver with the PowerPlus 3000 power adapter to provide a single, ergonomically enhanced, multifunction solution. By supporting cutting-edge 3D and dual-link operation, this new unit reduces size, bulk, and external cabling associated with the existing system. It also improves mechanical stability, lowers cost, reduces case temperature, and improves the product’s overall aesthetics.

Transmitting all signals digitally and optically, the CopperHead 3430AP assures the highest transport quality—free from interference, grounding problems or drifting due to temperature variations. The entire system requires only two interconnections—a tactical fiber from Base Station to HDX+, and an SMPTE hybrid fiber cable from HDX+ to the CopperHead 3430AP, which provides signal communication and power to the camera rig. iControl-VM, a new version of the popular facility monitoring solution, is designed for customers looking to virtualize their infrastructure—particularly those customers with large iControl installations who want to save on space and power. With this new software, customers are more easily able to integrate iControl with other products in one piece of compatible hardware (i.e., one server). A single server now can run multiple iControl VMs, which reduces the number of RUs and the associated power consumption.

EDIUS multiformat nonlinear editing software, one of the fastest editing solutions for professional and broadcast environments, offers advanced real-time editing capabilities and the ability to mix formats on the same timeline. Now, with the release of EDIUS 7.4, editing professionals have even more functionality at their fingertips, enabling them to edit anything, anywhere,

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with no rendering required. Version 7.4 is a free upgrade for all users of EDIUS 7.X. EDIUS Pro 7.4 adds support for AJA Video Systems’ KONA 3G hardware, GenArts’ Sapphire plugin and Red Giant’s PluralEyes. Two new software options—for Avid DNxHD and Dolby Digital Pro/Plus—will also be released. For EDIUS Elite, Avid DNxHD and Dolby Digital functionality is included as standard, and in addition the GV STRATUS workflow has been improved with the ability to launch from GV STRATUS settings or standalone. A new scavenge encoder creates proxy files when importing

non-GV STRATUS clips, and EDIUS Elite now has the ability to export different formats to different destinations in a GV STRATUS ecosystem.

New "Sport" packages will be shown for the Karrera K-Frame systems. A newly developed compact video frame with internal power supplies can be configured utilizing both a new controller board with ImageStore and multiviewer capability and new triple mix/effects boards. This flexible cost-effective solution provides easy setup, streamlined workflows, and high-quality content to support next-generation formats and technologies.

IMAGINE COMMUNICATIONS End-to-End, Turnkey Services Portfolio Imagine Communications unveiled an end-to-end, turnkey professional services portfolio for today and tomorrow’s IP-enabled, software-defined and cloud-virtualized world. Designed to provide successful and effective solution deployments, MyImagine Services offers customers and channel partners network design, commission, proactive monitoring, project management and concierge client services.

By leveraging the capabilities of the company’s on-premises, IP-based Magellan™ NMS network management system, MyImagine Watch provides proactive 24/7 monitoring of the network uplink facilities. A team of specialists in network operations centers sends immediate notifications to customers regarding service availability and critical events, while working simultaneously to troubleshoot and resolve any issues.

Nexio Ingest Suite Nexio Ingest Suite is a set of flexible software tools for managing content ingest and storage. When integrated with Imagine Communications’ innovative Nexio Studio Suite and market-leading Nexio video servers, the application enables users to more easily manage video assets that have been ingested and utilize them for live and studio-based production environments.

Media companies want to simplify their operations by ingesting video content into their facilities in a consistent and easy manner, but this often requires multiple systems to perform basic ingest and review tasks. Nexio Ingest Suite provides compelling tools to enable simplified baseband and file-based ingest as well as uploading material from XDCAM/P2 products, all from a single user interface. Based on standard IT architectures, customers can run the program on existing hardware, avoiding expensive technology investments.

Providing improved interoperability in live production environments, Nexio Ingest Suite and Nexio Studio Suite address workflow challenges with a common and easy to deploy combined toolset that transparently integrates with Nexio servers. These toolsets are compelling for customers looking to add file-based ingest to an existing system, or to expand their existing baseband toolsets with more advanced features.

VersioCloud This solution allows media companies to manage video operations and channel playout from the cloud, enabling them to accelerate new channel launches and extend their brands and content with more freedom, visibility, and control than ever before. With VersioCloud, all of the traditional integrated channel playout functions are now cloud-enabled, including branding, graphics, automation, and server capabilities.

Also available as part of the cloud playout solution, Imagine Commu-

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nications’ newly announced Magellan™ SDN Orchestrator software control system and Selenio™ processing and compression solutions allow the transparent management of hybrid SDI, ASI, and IP content,providinga seamless on-ramp and off-ramp between IP and legacy baseband transport to advance the transition to IP. Playout in the Cloud, enabled by VersioCloud, profoundly improves the interactions between content providers, distributors and networks, affiliates, and video consumers by redefining the technology required to originate, store, deliver and monetize video content. The combination of cloud-based playout and hybrid transport enhancesall parts of the broadcast business including improved visibility to optimize advertising playout, efficient methods of disaster recovery, fast channel creation to accommodate seasonal or one-time events, the expansion of brands and content into new markets and new geographies without requiring expensive brick-and-mortar facilities, and a pay-as-you-go Platform as a Service (PaaS) model to greatly lower the cost and time barrier to traditional methods of establishing linear and OTT channels.

By integrating VersioCloud with Imagine Communications’ Zenium™ workflow manager, media companies can easily design Playout in the Cloud workflows to suit their particular needs.

Nexio Channel brand with Animation Builder Nexio Channelbrand is the first Imagine Communications offering to feature cross-platform animation builder capabilities, which enable an integrated approach to graphics template creation and allow for simplified and streamlined workflows from creation to air. Nexio Channelbrand provides multichannel branding from a single platform that can be deployed as a standalone solution, connected to a larger Nexio playout solution, or integrated with third-party control and automation systems. Available in two tiers of

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performance and channel density, the two-channel configuration offers advanced branding capabilities such as multiple live input switching, digital video effects (DVEs) and a virtually unlimited number of layers.

The four-channel configuration model provides classic branding with a limited number of layers, and both models leverage full Nexio clip record/playback capability from either internal or external SAN-based storage. Nexio Channel brand also seamlessly integrates with Imagine Communications’ Landmark™ media software to enable the scheduling and selling of secondary graphical events such as bugs and crawls, potentially unlocking untapped revenue opportunity from advertisements. Supporting both Nexio video server and Versio integrated channel playout solutions, the newly introduced animation builder module brings an integrated approach to graphics template creation. By leveraging native Adobe After Effects rendering, templates created by graphics professionals using Imagine Communications’ animation builder tools enable rapid customization without conversion prior to rendering —enabling streamlined workflows and minimizing interventions from creation to air.

Magellan SDN Orchestrator for Managing Hybrid Baseband and IP Facilities An anchor component of Imagine Communications’ Software-Defined Networking (SDN) portfolio, the Magellan SDN Orchestrator enables seamless integration of baseband and IP networks, protecting customers’ existing technology investments while providing a clear path to an open, interoperable and IP-based future.

The Magellan SDN Orchestrator is one more example of Imagine Communications’ focus on cutting edge innovation, taking full advantage of the flexibility, scalability and efficiency that next-generation IP-based architectures can offer while dramatically improving the way video is managed through broadcast facilities. It utilizes dynamic

signal-flow connections, managing signal mappings, addressing, and translations between legacy protocols and IP. Due to this tight alignment across protocols and signals, the Magellan SDN Orchestrator understands the available resources, whether legacy or IP, and turns the “sea of equipment” into a set of defined, managed workflows that support the concurrent coexistence of IP streams, files, and baseband signals. Media companies can now maximize their investments in highquality video processing done in baseband/SDI/ASI technologies using familiar controls, while also managing on-ramps and off-ramps for baseband over IP via the software control layer. The Magellan SDN Orchestrator instantiates pre-defined workflows through commercial off-the-shelf (COTS) IP switches, providing professional broadcast performance for all connections. By leveraging the continued evolution of data center-grade COTS switching technology, the Magellan SDN Orchestrator enables media companies to use the latest generations of IP switches to ride the ever-improving cost/performance curve of the IT industry.

JOECO New BLACKBOX BBR1MP RECORDER JoeCo releases the latest addition to its award-winning BlackBox family of live multi-channel audio recorders and players - the new flagship BlackBox BBR1MP Recorder. The 24-channel, stand-alone, live audio acquisition solution delivers all the standard BlackBox functionality, while featuring 24 high-quality inhouse developed microphone preamps, operating at up to 24bit/96kHz, which are integrated into the recorder’s tiny 1U housing.

Primarily designed with the broadcast engineer and sound location recordist in mind, the BBR1MP Recorder offers a range of connec-

tion options including individually switchable mic/line inputs, balanced outputs, video sync, timecode and word clock inputs. User installable Dante™ and MADI interface cards are also available as options, adding 24 channels of Dante or MADI I/O to the BBR1MP unit. Microphones can either be connected to the unit via tails from the rear D-Sub connectors, or via an optional 2U breakout panel with XLR connectors. System components are available individually or as part of a bundle.

Audio is recorded direct to external USB2/3 drive in Broadcast WAV format for instant ingest into post production.

Alongside the BBR1MP’smulti-channel recording

capabilities, provision is included for creating a simultaneous stereo mixdown. Full support for iXML data is also provided. The BBR1MPwill run off a 12V power source. Unused channels and features can be disabled in order to preserve battery life on location.

The unit is fully controllable via JoeCoRemote for iPad. This includes the facility to set up individual mic pre channel parameters - level, mic/line, phantom power, hi-pass filter, soft limiter and phase reverse.

Levels are shown on high-resolution meters and the monitor mix can be adjusted using expandable channel strips with graphic faders, pan, solo, mute and other parameter controls.

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JÜNGER AUDIO New Voice Processor Jünger Audio showcased its D*AP4 VAP Voice Processor. What makes this processor so special is the inclusion of Jünger Audio's proprietary Spectral Signature™ dynamic EQ – a totally new creative tool that offers automatic and dynamic EQ control to balance spectral differences in real-time. By analyzing incoming audio and comparing its spectrum with individually predetermined voice 'fingerprints', this clever unit can automatically apply dynamic EQ corrections to give a consistent sound. For people working in TV voice over and feature film ADR, this facility it allows them to deal with any changes in a performer's voice.

For example, if a performer has a

sore throat on day three of a recording session and therefore sounds a bit different, this clever unit will look at the tonal characteristics of the actor's voice on day one and automatically adjusts the frequency until both voices match. This ability to deliver consistent sound means that producers save money and time because they don’t have to cancel voice over or ADR sessions while they wait for an actor's voice to return to normal. D*AP4 VAP Voice Processor is equally interesting to radio broadcasters who want to create an aural identity for their radio stations. By using similar spectral sound management principles, the unit measures the running program and uses the station master sound fingerprint as a reference. The

Spectral Signature algorithm matches all different program elements to this reference signature, thus creating a dedicated 'station sound'.

Jünger Audio has also provided a dedicated voice leveler combined with an auto-mixer circuit to help mixed voice programs into loudness-based broadcasting on the fly.

Using the optional SDI I/O card automated voice over for SDI embedded audio becomes an attractive feature of the D*AP4 VAP. Connected as either an insert into a mixing desk or as a stand-alone unit, D*AP4 VAP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

New D*AP8 Codec Edition This new Digital Audio Processor allows broadcasters to check Dolby Digital encoded audio prior to transmission. This device has a vital role to play in today's broadcast environment because it is the only combination of broadcast audio codec and processor on the market that can carry out real-time metadata emulation. The D*AP8 Codec Edition features a built-in Dolby® Metadata generator and Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3). By incorporating SDI I/O with 3G/HD/SD auto detection, the D*AP8 Codec gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. It is also possible to send further embedded programs to D*AP8 MAP's AES outputs to feed a third party instrument for analyzing and/or display.

The D*AP8 Codec SDI board also acts as an embedder and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync before encoding in QA suites or control rooms.

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LAWO AG IBC world premiere: Lawo mc²36 RAVENNA mixing console World premiere for the Lawo mc²36: Lawo has chosen this year’s IBC as the launch platform for the mc²36 audio console – an all-in-one mixing desk, with a comprehensive feature set that covers broadcast, theater, house of worship, live and install applications. Along with uncompromised sound quality and Lawo-grade mic preamps, it offers unprecedented value for money.

The compact size of the console belies its power. A powerful DSP micro-core with internal 512x512 port audio matrix, and integrated I/O make it ideally suited to permanent installations with limited space, as well as to rental companies looking to optimize transportation. As it is natively equipped with RAVENNA/AES67 technology, the mc²36 integrates seamlessly into IP infrastructures. And for operational security, the console not only has redundant power-supplies but also DSP redundancy.

The Lawo mc²36 was designed as a truly “universal” console, with its focus on ease-of-use. The console geometry combines with tightly integrated displays and controls to meet the demands of a variety of applications. Its 21.5-inch full HD touch screens work with touch-sensitive color-illuminated rotary encoders to provide intuitive operation – e.g. the dynamics window will automatically pop-up when touching the dynamics encoders, and after adjusting the parameters the auto-close function will close the window without additional user action to restore the full overview.

In terms of connectivity, the console’s interfaces include 32 mic/line inputs, 32 line outputs, eight digital AES3 inputs, eight digital AES3 outputs, eight GPIO ports, one MADI (SFP) port, three RAVENNA/AES67 channels, and a headphone jack. In

addition to the onboard I/O, a MADI tie-line connection and three RAVENNA/AES67 Audio-over-IP ports provide future-proof connectivity for up to 384 external inputs and outputs, offering a total capacity of 496 physical inputs and outputs.

And if plenty is not enough, the mc² Compact I/O is a convenient and cost-efficient wayto expand the mc2 36’s connectivity and to provide a distantstagebox solution in addition to the On-board I/O. Connected viaCAT5 or fiber (optional), the ruggedized 5RU stagebox provides32 Mic/Line inputs, 32 Line outputs, 8 digital AES3 inputs,8 digital AES3 outputs, 8 GPIO and a MADI (SFP) port. Themc² 36 allows for connecting up to three mc² Compact I/O. The mc²36 is also fully prepared for intelligent networking with other mc²36/mc²56/mc²66 consoles, and can be operated in combination with Lawo Nova audio routers, giving instant access to thousands of audio channels. Lawo mc² consoles provide intelligent mechanisms (including user-rights management) to allow input sharing between consoles.

Even though the mc²36 is readyto-go on delivery, it is not limited to a fixed configuration. Any aspect of the console can be adapted to meet specific users’ needs. All production data can be saved on a USB stick and transferred to another console – a facility that is particularly valuable in rental applications.

Alongside the mc²36’s onboard Loudness Metering, which was origi-

nally requested for broadcast applications, Lawo has developed loudness metering into a tool that is useful in live, theater and house of worship applications. The feature provides full loudness control in accordance with ITU 1770(EBU/R128 or ATSC/A85) and features peak and loudness metering either separately or in combination. Lawo Loudness Metering can also measure individual channels for fast and convenient “visual” mixing,e.g. of background singers or multi-microphone setups for brass sections, strings and choirs.

Further functionality includes Listen Sense (for offline modification of channel parameters like EQ or dynamics with pre-listen of settings before switching them online); Audio-follow-Video (allowing automated fades from one camera to another with associated audio channels);Upmix/Downmix (from stereo to surround and back);Automix (automatic adjustment of the Ievels of active and inactive microphones, while maintaining a constant ambient level); Remote Desktop (for seamless integration of multiple external PCs with third-party solutions into the console’s user interface);mxGUI (allowing complete offline configuration and advance show preparation); full channel strip customization (allowing users to arrange the order of all DSP modules, including channel direct outputs, meter point, fader and aux sends); and Reveal (automatic input sorting of VCAs).

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Lawo presents V__pro8video processor now with Dolby E Encoding/Decoding By integrating Dolby E Encoding and Decoding into its V__pro8 video processor, Lawo answers to a still growing demand for this feature for surround production.

Lawo thus provides its V__pro8 customers with an additional smart and cost-efficient solution in one tool that makes surround sound production a breeze. Lawo has developed the V__pro8 for displaying video power on a small footprint, the perfect tool to connect signals of different video formats as well as between audio and video.

High quality cross format conversion, color correction as well as embedding and de-embedding makes the V__pro 8 a compact and powerful video processor.

Modern high density audio connections such as RAVENNA and MADI provide video-to-audio bridges within the studio infrastructure. The V__pro8 works as a flexible matrix system: thanks to a 8 x 8 video matrix and a 384 x 384 audio matrix it is possible to switch any signal to any other signal. A modern GUI based on HTML5 is the interface for easy handling in day-to-day work. The V__pro8 combines a number of different tasks in one tool, thus guaranteeing maximum efficiency and greatest operating safety at significant reduced cost.

LIVEU New LU200 Ultra-Small Newsgathering Bonding Device with Unmatched Performance The LU200 offers a very attractive price, performance and form-factor for live video transmission, expanding LiveU’s product portfolio for the broadcast market. The LU200 opens new live coverage opportunities, enabling every field camera to be equipped with a bonding uplink unit. Weighing just over 500 grams, (1 lb), the LU200 is available in a pouch or camera-mount configuration, bringing two built-in modems with integrated powerful antennas in a bonded solution for any video professional. The flexible LU200 can also serve as a stand-alone video encoder with satellite integration functionality, or be used as a LiveU DataBridge mobile hotspot for all IP applications in the field. The LU200 supports two 4G LTE/3G modems together with Wi-FI and LAN connections and includes LiveU’s pro-

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prietary antenna modules for extra resiliency. The LU200 is the latest offering within LiveU’s multi-layered live video ecosystem and can be locally or remotely managed via LiveU Central, the unified management system for LiveU’s field-units.

As the hub for video ingestion, LiveU Central allows broadcasters to acquire both live and recorded content from the field, preview it centrally or remotely, broadcast it live or in scheduled programming and distribute it to any location.

BT Sport Selects LiveU for its First Cellular Newsgathering Fleet Including LiveU’s LU500 and Xtender Technology BT Sport has worked with LiveU and Garland Partners to equip three Vauxhall Astras with the LU500 and Xtender remote antenna technology.

Each LU500 backpack unit can be connected wirelessly (up to 1,000 ft/300 meters) or via Ethernet to the

Xtender that sits on top of each vehicle. The combined power and signal robustness achieved, even in congested areas like sports stadiums, is unrivalled in the market and gives the broadcaster absolute confidence. The units can be accessed and controlled remotely via LiveU Central, the company’s management platform that allows full control and monitoring of the LiveU units and content via any browser-supported computer or tablet, from anywhere around the world.

LiveU’s LU500 has taken the cellular bonding market by storm with its next-generation technical strength and outright performance in the field. Weighing around 1 kg (2.2 lbs), this small-sized unit is powered

by LiveU’s new multi-processor video encoding engine and fourthgeneration patented bonding algorithms providing previously unseen levels of signal robustness in an easy-to-carry unit.

MILLER FLUID HEADS By 1958, Miller was exporting the heads worldwide, which included sending the first tripod to Hollywood, forever changing the landscape of cinematography. Today, Miller continues to stay true to its roots with the Cineline 70 Fluid Head, one of the company’s latest camera support solutions that is purpose-built for film and digital production cinematographers who desire a new dimension in professional camera support.

Constructed of corrosion-resistant alloy, the robust Cineline 70 Fluid Head is a feature-rich, cost-effective solution that is ideal for use on feature films, documentaries and high-end television commercial productions that require heavy payload, frequent re-rigging and a diverse range of lenses and cameras.

For easy setup changes, its eight-position counterbalance system, with “all-in-one location” rear-mounted controls, easily allow users to capture the big picture. The fluid head also features an extended sliding range to promote quick and seamless rebalancing of the rig when changes in lenses and accessories result in weight distribution shifts. It is set to accommodate industry-leading camera mountings, including Arri, Sony, RED and Canon, and it features an Arri-compatible side-loading camera platform, with an optional, easy-to-fit 1225 Mitchell Base Adaptor to suit traditional Mitchell Flat Base tripods.

Additionally, the fluid head offers dual side mounts for monitors and accessories.

MOG TECHNOLOGIES New quality check feature for mxfSPEEDRAIL The Quality Check feature enables users to carry out quality analy-

sis during the ingest process, in order to catch issues early and save time in post-production. The mxfSPEEDRAIL is a file-based ingest solution for post-production, playback and file archiving as it integrates the essential components of the creation process into a single and unified platform, saving costs and reducing production creation time. This new add-on feature provides a metadata file with time code information to indicate where the analysis has detected any pre-defined metrics. It also provides integration with the IRT analyzer to presentMXF file analysis with regard to conformance to the MXF SMPTE standard and to conformance to certain application parameters, such as operational pattern, essence container constraints or payload formats.

New modular mobile studio Based onmxfSPEEDRAIL Xpress, the modular nature of this mobile studio solution allows customers to choose between capture, playback, file conversion and transcoding services, all within the same compact rack system. As all these services are provided in one solution that just requires power it is an ideal product for Outside Broadcast, live events, reality shows and rental houses.

The unit also fits the editing suites (Adobe Premiere, Final Cut Pro and Avid Media Composer), the support for user’s file-based devices and a compact, high bandwidth performance online storage that allows real time storage, such as edit-inplace, transcoding and on-the-fly transmission.

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MUXLAB 3G-SDI & 6G-SDI Extenders with 4K Over UTP The 6G-SDI Extender is a unique new solution from Muxlab for extending SDI cameras or other SDI sources up to 4K resolution with the added benefit of extending the Hi Resolution signal up to 500 feet (150m). The Extender supports HDSDI using two or four coax cables, 3G-SDI using single or two coax cables, 6G-SDI using a single coax

cable. MuxLab’s line of 3G-SDI Extenders include the popular LongReach 3G-SDI Extender Kit and the 3G-SDI to HDMI Extender Kit which converts 3G-SDI to HDMI and then transmits it up to 330 ft (100m) via Cat5e/6 cable. MuxLab not only provides its SDI lines to the broadcast market but also brings a variety of other products ideal for use by integrators, installers, and broadcasting companies including HDMI Over IP Solutions, CATV

Distribution Solutions, Digital A/V Matrix Switches, HDMI 4K Splitters, Pro A/V Extension Solutions, and more. MuxLab’s HDMI over IP solution allows an HDMI source to be connected via any Ethernet LAN allowing A/V broadcasts to be set up and managed without the need to install a dedicated cabling system.

This system has its own Management Software which is supplied free to MuxLab customers.

users to move media among sites.

To enable convenient use across a facility or organization, the Media Assist software suite provides both a rich-client platform and a Webbased interface that can be displayed on a simple Internet browser.

Both GUIs have been designed to assure effective ergonomics. The option of working through a browserbased interface allows journalists and reporters to go fully mobile while maintaining their ability to access, search, edit, and repurpose content.

In fact, NETIA has already released Media Assist modules engineered

for smart phones and tablets, and the company will provide demonstrations of the modules’ functionality throughout the show.

NETIA New Media Assist Software Suite The NETIA Media Assist software suite unites the unique functionality of NETIA’s proven radio broadcast automation and media management products with a SQL database to provide a robust multimedia asset management system with a full complement of production tools. With this powerful new solution, users can manage all types of content, in any format, on any platform, from anywhere and at any time. The software suite also makes it easier for

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Media Assist is based on a service-oriented architecture (SOA), so it offers all of the additional advantages of a client-server model of computing. Key benefits to operations include increased modularity, optimal scalability through the improvement or addition of services, thirdparty connectivity through a Web services API, and straightforward and cost-effective maintenance.

NEWTEK – 3D STORM TalkShow: Make, Receive, Monitor and Adjust Skype Video Calls TalkShow is the only production system for live video calls that enables broadcasters to manage all aspects of a live Skype video call in the control room like any other video source—and adjust the visual and audio quality of each call. The low cost, integrated hardware and software solution is broadcast ready, offering dual channel Ethernet connectivity, two channels (1 in, 1 out) of HD-SDI I/O that includes reference signal, professional XLR audio support, Tally support and more. The 1RU system allows producers to easily incorporate TalkShow into any live production or studio environment and: 3D Storm, distributor of NewTek products in EMEA and LiveXpert worldwide has extended NewTek presence at IBC with LiveXpert solutions, line of third party products.

LiveXpert is designed to complement NewTek TriCaster and 3Play instant replay system: LiveCG Broadcast for TriCaster LiveCG Broadcast is a stand-alone 1RU device that gives the ability to display all graphics needed for a high-end professional television production, including fixed and animated titles and logos, crawled or rolled tickers, clocks, countdown, dynamic datas and bitmap sequences. In addition, with the Social Hub software module, LiveCG Broadcast can be connected to social networks account such as Facebook®, Twitter®, Flickr®, or WhatsApp® to broadcast messages including SMS, in real time.

LiveCG Broadcast SDI - The SDI version of LiveCG Broadcast can be flawlessly integrated in all production workflow. In addition to all the features in LiveCG Broadcast including TriCaster Network input support, LiveCG Broadcast SDI offers fill and Key out connectors and the

Social Hub option that comes as standard. It is compatible with all video switchers.

LiveCG Football - LiveCG Football is a professional statistics and scoring management application for NewTek TriCaster and 3Play, dedicated to Football games production.

LiveCG Football runs from a remote

computer or laptop connected to the TriCaster or 3Play through Ethernet using iVGA protocol, for live broadcasting and for displaying figures and graphics in real-time on large screens in football stadiums.

LiveCG Scores - LiveCG Scores is a multi-sports graphic and scoring application for NewTek TriCaster

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and 3Play. It provides the necessary tools to easily display teams and players' presentation and live scoring for Tennis, Basketball and Ice Hockey. LiveCG Scores runs from a remote PC connected to the TriCaster or 3Play through Ethernet using iVGA protocol.

LiveMixer - LiveMixer is an exclusive add-on that provides the ability to connect a Berhinger BCF2000 or a Yamaha 01V96i to any TriCaster HD model, in order to remotely control the audio mixer functions of the TriCaster.

LiveMixer Remote - LiveMixer Remote gives the ability to deport TriCaster audio Mixer Graphic Interface on a dedicated workstation. The Exclusive "DB Switch" function gives the ability to automate multi-camera productions by triggering actions on the TriCaster based on audio levels and rules.

LiveTally Air - LiveTally Air is the simplest wireless Tally lights solution you could imagine for fitting to your video cameras with Tally lights.

There are no cables to run, just fit a LiveTally. Air receiver to each came-

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ra, power up, and they will be automatically recognized by the transmitter connected to your mixer. For TriCaster and others video mixers LiveTally Remote - LiveTally Remote is a Tally lights solution using Ethernet cable for TriCaster and other video mixers, robust LiveTally remote is easy to use with self-powered tally lights over the Ethernet cable.

LiveTally Converter - LiveTally Converter is a small interface to plug into the Tally connector of TriCaster to provide close contacts instead of 5v power, to be used with cameras with built-in tally light and CCU. LiveControl Box - LiveControl Box is the mandatory interface for TriCaster for sending and receiving GPI (General Purpose Interface) to and from any kind of devices supporting GPI. LiveControl Box simplifies long distance cabling by using IP addressable, point-to-point architecture to send control messages over existing 10/100 BASE-T wiring.

LiveControl Box works with TriCaster 410, 460, 860 and 8000 to control devices across a LAN, WAN

and over Internet: VCR’s, DDR’s, video routers, switchers, projectors….

FingerWorks 5 for TriCaster Telestrators - FingerWorks is an intuitive telestration tool for real-time news and sports programs. Based on a touchscreen user interface, FingerWorks 5 is used to draw a freehand sketch over a video image while journalists and commentators are analyzing it in live. FingerWorks 5 offers high-end capabilities to TriCaster and 3Play users at an amazing price level : Foreground / Background Separation for placing graphics and animations under players, 3D Tools / Drawings / Animations / Particle Effects…

NewsCaster- NewsCaster is a Newsroom Automation product that integrates Broadcast Newsroom Computer Systems with the TriCaster product line.

The TriCaster operator no longer needs to manually set up the show and drop what they are doing to make adjustments while on-air. Playout sequencing will all be done under the control of the Newsroom Computer System.

NORWIA miniHUB™ solution for 4K/UHD 12G-SDI Fiber distribution Norwia announced at IBC the latest addition to its AutoSFPTM family of products, its unique 4K/12G UHD-SDI solution. Norwia will launch and demonstrate the solution, which solves distribution challenges for higher bandwidth signals. The company has moved quickly to provide the 4K/UHD 12GSDI solution for next generation standards that has already benefitted operators through flexibility and ongoing reductions in cost. The AutoSFP functionality automatically configures the card instantly when the SFP’s are inserted. Just by swopping the SFP’s to Ethernet, AutoSFPTM automatically changes

this product from a 1Gbit Ethernet link to optical transport in a matter of seconds. This eliminates the need for the user to maintain an extra card for Ethernet, reducing cost and increasing hardware ROI.

providing a greater return on investment in studio equipment.

miniHUB™ optical solution takes remote production to new heights

• The contribution of pristine video and audio quality

The miniHUB remote production platform enables broadcasters to utilize all capabilities of in house production equipment and staff for outside broadcasting.

With miniHUB, a broadcaster removes the requirement for location equipment for production of live events. It enables broadcasters to contribute video, audio and control signals from the OB site to the studio, slashing location production cost and

miniHUB has been designed to ensure it meets the three main requirements of broadcasters looking to move to remote production:

• The control of the cameras and lighting is not affected by the distance between the studio and the Production location • Production staff can communicate efficiently so that the program can be made just as well when the audio engineers, lighting controllers, technical directors and vision directors are kilometers rather than meters from the cameramen and the live action.

OCTOPUS MEDIA Octopus Newsroom has launched a feature-rich, interactive app at IBC 2014 which for the first time recognizes the full potential of today’s tablet devices. Mobile apps for journalists working in the field are not new.

However, until now they have been very limited in their scope, restricted to little more than remote viewers.

The new Octopus app is a true extension of the desktop-based client, allowing users not just to review stories, but to both create and edit reports using a standard mobile device.

The Octopus system already leads the way in its versatility, running in Windows, Mac or Linux environments and supporting teams of local and remote users concurrently.

The app delivers even greater flexibility to users who can now use cost-effective tablets and smartphones to access the power of the central newsroom system.

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QUANTEL sQ Fileflow 2 Quantel launched sQ Fileflow 2 at IBC, adding a raft of new file handling capabilities for Quantel Enterprise sQ news and sports production system users. sQ Fileflow 2 delivers more flexibility, easier IT integration, faster workflows and increased productivity.

LiveTouch studio sports highlighting system LiveTouch is a scalable system capable of supporting productions in several studios to maximise ROI. Uniquely, LiveTouch offers bidirectional editor integration making it faster and easier to integrate editing and highlights operations.

LiveTouch comprises three major new components: a dedicated control panel, a control application and the new LiveTouch sQ Server.

Scalability and resilience is addressed through a mid-tier layer, separating control surfaces from the servers. LiveTouch can grow to meet the needs of any size event – from a single server with six inputs to a multi-server system with more than 40 record ports. The LiveTouch architecture means any control panel can access any clip on any server and play out highlights instantly via a new inter-server streaming mechanism. The LiveTouch panel is purpose-designed to make highlights selection sure, simple and robust. It has a mix of dedicated and soft-programmed buttons with a jog/shuttle wheel for fast and accurate clip navigation and a slow motion T-bar for precision playback speed control.

New software update for Pablo Rio and Pablo PA adds file format support and enhances workflows At IBC 2014, Quantel demonstrated the latest new software update for its Pablo Rio color and finishing systems. The new software includes:

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Flow Motion motion-estimated speed changing - using advanced optical flow image motion analysis to produce brilliant slow and fastmotion results.

Long GOP XAVC import and softmount support up to 4K resolution – enabling Pablo Rio and Pablo PA to work with media from the latest generation of XAVC acquisition devices.

Apple ProRes4444 XQ support import and soft-mount support for this new ProRes format, which provides an extra level of quality during extreme color grading, especially with High Dynamic Range material like Log C.

2.0x anamorphic lenses, Alexa monochrome, and various upscale formats including Quad HD and 4K. Export of fast-start QuickTime files – streamable files that enable viewing to commence before the export is completed.

Re-softmount of localised media – provides maximum flexibility by enabling operators to go right ack to the source even on material that has been localised into Pablo Rio’s workspace.

Support for the latest Sony digital capture SDK – enabling Pablo Rio to work with S-log3 and S-Gamut3 color spaces and profiles.

AS-11/DPP Support – enabling Pablo Rio and Pablo PA to export AS-11 files for delivery in accordance with the UK DPP standardized delivery format for broadcast; AS-11 is also gaining favour with other broadcasters around the world, so this development will be of benefit to many Pablo Rio users.

Support for new ARRI SDK – including support for Open Gate formats, new color spaces, 1.3x and

Support for UHD/4K on software Pablo Rio systems using the AJA Kona 3G card.

QUANTUM Quantum’s IBC2014 exhibition news included: StorNext® Connect, a recently announced tool set designed for StorNext 5 appliances that simplifies the installation, discovery, management and monitoring of StorNext environments. StorNext Connect makes it easy to install and upgrade StorNext software, see all StorNext resources in a unified view, monitor key performance and usage characteristics and review detailed information about individual components to speed troubleshooting of performance bottlenecks.

StorNext Pro Workgroup, a new addition to the StorNext Pro Solutions line. StorNext Pro Solutions offer postproduction and broadcast professionals fully integrated, easy-to-deploy, high-perfor-

mance shared storage for refreshing aging Xsan environments, meeting new 4K workflow demands and supporting end-to-end content production and archive. StorNext Pro Workgroup provides ingest, production, review and delivery in one system, along with the option of using an existing archive or implementing a much more customised archive solution as operations demand. This customised archive solution can incorporate tape technology for long-term content preservation or — in the case of Quantum’s Lattus system — object storage technology that enables self-protecting, extended online workflow operations for seamless collaboration, with no impact on performance. In addition, StorNext Pro Workgroup provides IP client support for Windows/Linux clients, proxy viewers and transcode

servers, making it easy to scale the system for high-volume media processing workflows.

StorNext deployed as a cloud workflow solution. Building on Quantum’s leadership in moving media workflows to the cloud and its extensive partner ecosystem of top media management and production automation vendors, StorNext cloud solutions enable wide-scale collaboration on content stored in the cloud without disrupting users’ existing workflows. These solutions also leverage Quantum’s Lattus system for: sharing content in real time over multiple, geographically dispersed locations; maintaining a single, highly durable asset repository; and replicating assets among multiple sites for resiliency and faster access.

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RIEDEL COMMUNICATIONS New Tango Networked and Expandable Platform With Its Own Intercom Application Riedel Communications announced at IBC the release of Tango TNG-200, the company’s first fully networked platform based on the AES67 and AVB standards. With its own dedicated intercom application, the platform can be turned into a flexible, cutting-edge solution for a variety of communications scenarios. Riedel’s Tango TNG-200 is an efficient solution equipped with a high-resolution, full-color thin-filmtransistor display that ensures perfect readability at all times. The unit’s intuitive front-panel controls simplify the recall of presets and adjustment of audio levels.

Along with powerful processing capabilities, the Tango TNG-200 features two integrated Riedel Digital Partylines, two AES67 and AVB-compatible ports, two Ethernet ports, one option slot, and redundant power supplies. The system is 1.5 RU high and features a shallow mounting depth and low-noise design. It is fully compatible with all of Riedel current and legacy intercom panels, including the company’s new RSP-2318 Smartpanel.

Riedel’s powerful intercom application, TNG-200, turns the Tango platform into an efficient intercom system that users can tailor according to their needs, including choice of matrix size starting with 40 x 80. The asymmetric 40 x 80 matrix size is another Riedel innovation allowing for standard premium-quality stereo audio connection to Riedel panels.

Riedel’s new Pulse software enables configuration of the Tango TNG-200 platform. The software allows users to access, set up, and control any aspect and function of the platform and its installed applications, including Riedel’s intercom application. Programming is easy, thanks to convenient drag-and-drop

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functionality and 3D views.

Riedel’s STX-200 Brings Skype® Capabilities to Live Broadcast and Production Workflows The STX-200 broadcast-grade professional interface brings any Skype® user worldwide into the professional broadcast environment.

The new Riedel product meets broadcasters’ increasing need for a

reliable single-box solution that enables them to engage both reporters and viewers in live programming.

Licensed by Microsoft®, the STX200 is more than a stand-alone broadcast-grade solution that leverages Skype to bring live content directly from reporters to the on-air production. Riedel’s STX-200 is also a perfect integration of Skype into Riedel’s intercom solutions providing even more powerful, flexible

applications and workflows. The unit offers broadcastquality HD-SDI and balanced XLR audio I/Os and is packaged with professional Microsoft Skype TX software. The solution’s broad feature set includes remote management and monitoring of Skype calls. The STX200 offers professional video interfaces including an SDI (SD/HD) input and SDI (SD/HD) output with a sync input. The unit’s broadcast-grade audio interfaces include a two-channel balanced analog audio XLR input and output, as well as SDI embedded audio. Within a robust housing designed for the rigors of broadcast and production, the STX-200 features a Gigabit Ethernet connection, a user-interface connection via HDMI, USB ports for accessories, and GPIs.

Riedel’s New RSP-2318 Smartpanel Provides Powerful Multifunctional Interface for Broadcast Deployments The RSP-2318 offers features and capabilities that will enrich the user experience and change the way broadcasters and AV professionals communicate. The unique feature set of the RSP-2318 Smartpanel includes three high-resolution, sunlight-readable, multitouch color displays; premium-quality stereo audio; a multilingual character set; and 18 keys in just 1 RU. These features

make Riedel’s new Smartpanel a powerful user interface that can be further expanded through the use of apps. Riedel’s first app for the RSP-2318 turns the Smartpanel into an innovative and smart intercom panel.

Offering AES67 and AVB connectivity as standard, and optionally AES3 over CAT/coax, Riedel’s RSP-2318 Smartpanel provides exchangeable headset connectors for mono or stereo applications, an integrated power supply, individual volume controls for each key, two USB ports, two Ethernet connectors, GPIO, audio I/O, an option slot, a removable gooseneck microphone, an SD card slot, and an HDMI output. A low mounting depth simplifies installation of the unit. Developed to address communications applications including intercom, the RSP-2318 Smartpanel provides an intuitive and flexible user interface that can handle multiple tasks. The RSP2318 Smartpanel can be integrated into any existing Riedel installation. Support for new and legacy systems ensures smooth interoperability among all Riedel intercom systems, including the Artist, Tango, and Performer products.

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ROSS openTruck™

Inception

gramming scripts in most cases.

openTruck™ brings innovation to mobile production by providing a standardized yet customizable way to design a new generation of costeffective remote-production vehicles that deliver the highest quality video and audio content from sports and other live events.

Inception has made a big impression since its introduction last IBC, winning major industry awards for the innovative approach it takes to creating multi-platform content.

Inception enables your operation to truly embrace social media and the web – making them equal partners alongside your linear channel in your content creation efforts.

Designed to handle the modern needs of News, Sports and Entertainment production, Inception is a must see at IBC this year.

Ross Virtual Solutions

Acuity Introduced at NAB 2014 and now fully released and shipping, the Acuity production switcher is the latest large production switcher platform. It delivers fast, efficient and error-free production for all formats including UHD (4K) and is ergonomically perfect and stunningly beautiful. The culmination of 40-years’ production switcher design experience, Acuity combines seemingly limitless production power with aesthetic beauty and unprecedented connectivity. No matter what your vision is for the future of your production facility, Acuity will help you lead the way.

Carbonite The award-winning Carbonite production switcher now has more choice and flexibility than ever before with 3G and Advanced UHD (4K) production shipping on new systems and also available to all Carbonite customers through free software upgrades. These features enable Carbonite to be switched to 3G (1080P 50 or 60 (59.94)) and open the door to the very latest production format: UHDTV (4K) – a capability used by Globosat, Brazil in the recent FIFA World Cup. Another unexpected free software upgrade to Carbonite is 2.5 ME operation, with two new 3 ME panels available to provide direct access to this additional horsepower—the 3S and 3X— bringing the total number of Carbonite control panel choices to nine.

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Inception Social Inception Social is a social media management system that can either work standalone or can be “plugged in” to an existing newsroom computer system. In addition to news environments, Inception Social has found a place in live event social media management for entertainment productions and sports where it provides a tight link between audience feedback (tweets, polls and pictures) and live on-air production graphics.

XPression XPression has added Visual Scripting, making the creation of dynamic, data-driven graphics much faster and easier. Visual Scripting complements XPressions powerful scripting capability with an intuitive drag and drop operator user interface eliminating the need to write pro-

Ross Video is the only company in the broadcast industry that’s able to offer a single-vendor turnkey AR/VS studio solution, including the equipment you need as well as design services for virtual sets, virtual set extensions, and augmented reality 3D design elements. Stop by and see a demo of what the state-of-theart studio of the future looks like.

Furio RC and Furio Robo Furio RC has a new control option that makes controlling the Furio similar to controlling a manual camera. The Furio Panbar controller has a fluid head for pan, tilt, zoom and focus, and foot pedals for dolly and lift, making it easier to get those dramatic production shots the Furio RC is famous for. A new collision avoidance option enables two Furio Robo Systems to safely share a single track, maximizing flexibility and the ability to attain the best camera shots.

OverDrive Caprica OverDrive is now shipping with a new version called OverDrive Caprica which adds support for 3rd party (non-Ross) production switchers. This allows customers with installed legacy production switchers to make the move to automation without having to replace their production switcher.

NK Series Routing Systems New in NK Series Routing includes customer definable DashBoard-based soft panels – making router control available from any computer. These CustomPanels can combine control of a variety of Ross and 3rd party equipment at the same time – streamlining user operation.

RTW

Llatest Touchmonitor updates RTW showcased two major updates to its highly regarded TouchMonitor TM7 and TM9 audio meters at the 2014 IBC Show. The meters’ Timecode Reader License SW20008 now permits recalculation during loudness metering, while their Logging Data Server License SW20014 has gained expanded chart-display functionality. Jumping back and forth in a program segment with continuous timecode, it automatically calculates loudness measurements for the complete runtime of a segment at the time the user performs corrections to the mix or sequence (wherever located in the program). Logging Data Server License SW20014, meanwhile, now offers graphs with up to four different loudness and TP values, as well as real-time relative-gate display. The TM7 and TM9 series TouchMonitors, which include the Magic LRA instrument, feature a seven- and nine-

inch touch-sensitive display, respectively, and pair unparalleled flexibility and modularity with intuitive control.

The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation.

TM7 visualizes up to 40 sources at the same time, while the TM9 visualizes up to 48. Various audio interfaces and combinations are available i.e. analog, AES3, AES3id or 3GSDI. RTW’s entire TouchMonitor range was created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, and the CALM Act.

TM3 Primus Touchmonitor now shipping worldwide This highly compact model from the award-winning TouchMonitor line provides a full set of easy-to-

read instruments for level and loudness metering in commercial and non-commercial production and broadcasting environments. Introduced to the market earlier this year at NAB, the RTW TM3-Primus is a multifunctional audio measurement desktop unit featuring unbalanced RCA type two-channel analog, digital (SPDIF) and USB interfaces. In addition, it features an advanced USB hybrid mode where a metering point in a digital audio workstation (DAW) (implemented using a specific RTW plug-in) can be visualized right on the new TouchMonitor’s screen. Also, a USB port allows for implementing an innovative USB/plug-in hybrid mode that enables metering to be performed on the DAW so that a user can process and visualize the information instantly. As a compact and low-cost member of the TouchMonitor family, the TM3-Primus is equally suited for professional use in minor or secondary workflows for broadcasting, video editing, music and other recording environments. It offers a new quality solution for non-commercial use in small radio environments or podcasting. Like other models from the award-winning TouchMonitor series, the TM3-Primus comes with a highly intuitive and user-friendly 4.3-inch touchscreen interface that simplifies system handling even for operators without a strong background in audio.

Supported loudness standards include: ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP59, AGICOM and CALM. The TM3Primus includes level and loudness display with bargraph type or numerical readout plus MagicLRA type.

Other instruments included with the meter are PPM, moving coil, correlator, RTA, vectorscope, numerical and chart.

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SCREEN Live Web Subtitling Cracked IBC 2013 marked a substantial shift in the subtitling arena with Screen Systems announcing the launch of their new development for served video playback. Their new system last year ensured that subtitles were always displayed in the position and style intended on web and OTT content, whilst allowing viewers to select from several language streams without the need to re-encode the video of host multiple copies of media. The attraction on the Screen stand this year however

was their demonstration of live web subtitling, a demonstration example being a linear broadcast simulcast on the web. In a live web video the player cannot correctly report the current play position within the video, since this differs for each viewer depending on when they ‘switched on’.

width timing information is added to the video stream and used to synchronise subtitles to the frames of video the viewer is watching. The ‘script’ at the viewer’s device can obtain the current frame's time value from the video stream and use it to determine when subtitles, should be displayed from the subtitle server.

Additionally, each viewer may choose to pause or rewind live video stream (if this feature is provided).

Screen has therefore developed a different synchronisation mechanism, while still using image based subtitles from a separate server. In Screen’s solution, some low band-

An advantage of the Screen solution is that the same general mechanism of image based subtitles held on a separate server can be used for consistent broadcast quality subtitling of both Video on Demand and live web video.

SENNHEISER 4k is the word on everyone’s lips, with 8k in the starting blocks. To ensure high-resolution television can reach its full quality potential, excellent audio production will be vital. At IBC Sennheiser has showcased solutions for “HD Audio” and “Immersive Audio”. Taking starring roles will be the Digital 9000 wireless microphone system, the Esfera 5.1 surround microphone system and a new arrival – the Dante™ network card for the Digital 9000. What we hear shapes how we feel and what we perceive. This has a dramatic effect in horror films but the principle applies almost everywhere: “Studies of viewers’ perception have shown that a very high image quality is only actually perceived as such when the audio quality is also up to scratch,” explained Sven Boetcher, Pro Audio Marketing Manager at Sennheiser. “Here the microphone, as the first link in the production chain, takes on special significance.

It’s why at IBC we are exhibiting audio solutions that make this huge difference, and help truly define high definition.” Setting the standard, the Digital 9000is Sennheiser’s best wireless microphone system.It can

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transmit HD sound without any compression or data reduction and is capable of taking on anything the most demanding professionals can throw at it. At IBC, Sennheiserwill be launching a Dante™expansion card for this system, ensuring broadcast quality wireless sound over IP networks.

Sennheiser has also showcased its analogue/digital shotgun microphones from the MKH 8000 serieswhich ensure that the sound on set is

recorded with both precision and an incredibly lifelike quality. Alongside performance, Sennheiser is committed to making the life of professionals easier. The Esfera surround microphone system epitomises fast and uncomplicated operation with the greatest possible freedom in workflow design. Just two channels are sufficient to achieve complete 5.1 sound – the conversion can take place at any point in the production workflow, whether live or in post-production.

SONY The XDCAM series has proven its flexibility through its ability to record and play a range of formats, including MPEG-2 HD 422, and its support for MXF-file-based workflows.

The technology has adapted and grown while maintaining its core benefits, with significant new developments including: new efficient wireless workflows that move footage from the field to the edit suite faster; new codecs and formats to match users’ storage, bandwidth and quality needs; continued expansion of Professional Disc based products; 4K capabilities; and enhanced audio integration.

XAVC format support In 2012, Sony introduced the XAVC format capable of handling High-Frame-Rate (HFR) HD and 4K content. In 2013, Sony added XAVC Long-GOP encoding as an alternative to the existing XAVC intra-frame codec—offering higher compression and more efficient network-based production. The new codec enables 1080/50p (up from 1080/50i) at 50 Mbps, and supports smooth migration from 25 Mbps DVCAM. Now, Sony is adding XAVC compliance across its XDCAM line, giving users more choice in selecting a format that best suits their application. The Sony XDCAM models that are XAVC-compliant include: PXW-Z100, PXW-FS7, PXWX500, PXW-X200, PMW-400, PMW300, PXW-X180, PXW-X160, PXWX70 , XDS-PD2000 , PMW-1000 , PDW-HD1550 and PMW-RX50.

Wireless workflow XDCAM camcorders support wireless workflows, including wireless control from remote devices and wireless file transfers for networked field production. Sony’s newest XDCAM models, PXW-X180, PXWX200 and PXW–X500, have built-in wireless capability, while other XDCAM models support wireless through the addition of an external

wireless adapter (model CBKWA100). Sony plans to add live streaming capabilities to these cameras starting early 2015.

XDCAM New Products PXW-FS7 XDCAM 4K camcorder The new PXW-FS7 is the first XDCAM camera to feature a 4K Super35 CMOS sensor and α Mount System with support for a variety of recording formats including XAVC Intra/Long GOP recording with 4:2:2 10-bit encoding as well as MPEG HD 4:2:2. It is capable of shooting 4K Quad Full HD in XAVC 4K and super slow-motion in Full HD also in XAVC. The PXW-FS7's ergonomic design is highlighted by its hand-grip, griparm, view finder construction and round-shape body design. The camcorder’s α Mount System supports auto exposure, auto focus and SteadyShot stabilization during shooting. A new 28-135mm FE PZ 28135mm F4 G OSS (SELP28135G) E-Mount powered zoom lens that is supplied with the PXW-FS7K featu-

res independent rings for Iris, Zoom and Focus. The PWX-FS7 camera is designed to give customers more flexibility and expanded format choices in a form factor especially suited to field shoots and documentary production.

PXW-X2001/2-inch type XDCAM handy camcorder Sony is introducing the PXW-X200 XDCAM solid state memory camcorder for videographers and broadcasters looking for outstanding operating performance. The PXW-X200 incorporates an improved 1/2-type Exmor™ 3CMOS sensor, a new 17 times zoom lens and XAVC Intra/Long GOP recording with 4:2:2 10-bit encoding as well as MPEG HD 4:2:2. The results are high quality Full HD (1920x1080) pictures, high sensitivity (F12 at 1080/59.94i, F13 at 1080/50i), low noise (S/N ratio of 58dB), and a wide dynamic range – essential for professionals shooting under challenging lighting conditions.

PXW-X500 The new PXW-X500 offers supe-

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rior picture quality with its sophisticated three-chip 2/3-inch type new CCD image sensors and multi-format recording capability in MPEG2 HD 4:2:2, XAVC Intra/Long GOP 4:2:2 and MPEG-4 SStP 4:2:2 Lite for efficient workflows. ProRes and DNxHD codecs will be able to be added as chargeable options too.

The PXW-X500 is designed to be a 1080p acquisition tool for a broad range of HD production applications such as ENG operations, sports, live productions and documentaries.

PMW-RX50 XDCAM SxS mobile recorder The PMW-RX50 recorder features a compact and lightweight design, and is capable of SxS recording and playback. It supports the XAVC Intra 4:2:2 1080/59.94p and XAVC Long 4:2:2 1080/59.94p formats, as well as traditional formats such as MPEG HD 4:2:2, 4:2:0, MPEG IMX and DVCAM. It is designed as a field deck companion for XDCAM camcorders, especially in applications like field shoots and on-site location shoots.

High-Speed ingest solutions The Sony XDCAM workflow now links shooting with recording and editing to deliver effective on-site ingest and backup. High-speed ingest solutions are now available using SxS cards capable of 3.5Gbps (440 MBps) transfers (models SBP 64C and -128C, and SBS-32G1B, 64G1B, and -128G1B) together with supporting card reader/writers (models SBAC-US30, SBACUT100). These solutions more than double the speed of current SxS cards and card reader/writer. The SBAC UT100 drive also provides two SxS card slots, and has both USB 3.0 and Thunderbolt interfaces.

The unit offers excellent connectivity with editing devices, and supports file transfers from up to six cascadeconnected SBAC-UT100.

SBAC-UT100 With sports fans globally deman-

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ding more live sports content across TV and digital platforms, Hawk-Eye in collaboration with Sony has developed a solution that intelligently streamlines the live production workflow and significantly reduces the price of live sports production without impacting on the quality of the output. Hawk-Eye’s Intelligent Production service combines automated player-tracking cameras with an IT based software platform to deliver a fully managed live production service, ideal for smaller sports events that struggle to secure broadcast coverage or larger sports events that want to cost effectively maximise their output across broadcast and digital channels.

• Tally light controls (when manned cameras are used)

All Intelligent Production servers utilise the same hardware, which can easily be integrated into any broadcast operation. The flexibility and control of the system is in the software which can be configured for any combination of functions including:

The new AV over IP interface delivers low latency and noise-free switching of HD and 4K video, audio and metadata as part of IP-based networking. The Networked Media Interface packetizes video, audio and metadata, enabling real-time transmission between video-production products via standard network infrastructures. This technology will further enhance Sony’s IP Live Production system by increasing efficiency and reducing cost for the broadcasting of live studio and sports production.

• Video capture (max of 12xHD SDI, 4xSuper Motion SDI, or 1xUltra Motion 340 fps per server) • Vision switching • Replay generation • Graphics overlay • Audio mixing • Colour balancing • SD/HD SDI output or transcode directly to the internet

• Simultaneous camera replay With a normal internet connection on-site (30MB) cameras can even be controlled from a remote location and output can be configured to deliver live HD SDI to an uplink, or transcoded directly to an internet connection. Intelligent Production has already been used by the International Cricket Council (ICC), Roland-Garros French Open, Wimbledon Championships at the All England Club and at the 2014 US Open – opening up previously unseen live content to sports fans around the world.

The new IP Live Production system has been designed to be flexible and scalable, since users have the ability to migrate to greater numbers of devices and higher video resolutions including HD to 4K over time.

STRYME Within the IBC 2014 STRYME launches its latest GENESIX generation V5.

The new GENESIX Add-ons are inspired by our long lasting customers and fit the needs of the broadcasting industry to 100%. As the GENESIX VideoServer itself, the new add-ons are broadly compatible and grant a smooth broadcasting business.

GENESIX NewsEdit is the right choice when uptime is critical. A studio play out designed to fit the spe-

cific needs of a fast and permanently changing newsroom environment. NewsEdit reasons with a user-friendly interface that is reduced to the essentials, easy handling via DRAG and DROP and minimizes time to air, due to its on "on the fly rendering" function.

GENESIX ABRoll combines and connects all individual playlist to one. With the ABRoll tool, channels and their single playlist are integrated, which simplifies the daily handling and ensures an efficient use of

the multichannel playout solution GENESIX. Furthermore ABRoll permits existing playlists to be stored while easily preserving the structure of clips when they are swapped.

GENESIX SAW is an automation module, that is built to combine primary and secondary events safely.

SAW is constructed modularly and enables you to handle all your playout components via one automation tool. It is handled easily via DRAG and DROP on a reduced and user-friendly interface.

TC ELECTRONIC aNorm - Adaptive Loudness Normalization Technology ‘aNorm’ is a new and highly innovative approach to loudness adjustment that learns the incoming program on the fly and adapts seamlessly to hit user-defined Targets for Program Loudness and Loudness Range (LRA). It delivers uncompromised audio that has not been dynamically processed unless requested. In most cases, setting the Targets is all that aNorm needs to achieve a great-sounding result that stays within the boundaries of international broadcast standards and legislation. In other words, it has never been easier to integrate setup and use intelligent loudness processing that doesn't destroy delicate balances set in production. TC Electronic also debuts a brand new Loudness Processing Meter as part of aNorm: The Butterfly MeterTM. This interface displays content pre and post loudness normalization using a graph that instantly provides an overview of how and why incoming audio is adjusted. Both the Program Loudness and Loudness Range parameters are reflected visually – not just as numeric values.

The sheer look of the meter is just as astonishing as it is intuitive and

informative. The goal for any audioconscious broadcaster is to loudness-normalize programs before transmission. Pre-normalization of all content, however, may not be achievable from the first day of a station's transition to loudness normalization. aNorm therefore allows the user to indicate whether or not a program has already been normalized. aNorm represents a revolution in streaming processing that keeps dynamic changes at a minimum by normalizing intelligently first. Only if normalization by itself is not enough to hit the Targets for Program Loudness and Loudness Range, aNorm applies dynamic loudness processing. Without proper attention to normalization, the spirit and the revolutionary improvements from EBU R128, TR-B32, ATSC A/85 etc. cannot be expected to reliably make it through to the listener leading to the risk of extensive transmission or consumer processing is simply too big. This is exactly what aNorm seeks to prevent, providing a way for broadcasters to ensure their audio is preserved as pure as humanly possible – from the earliest production stage to the speakers of the viewers and listeners.

The new aNorm algorithm and

loudness processing meter – the Butterfly Meter – are part of the new LoudnessWizard II license for TC Electronic’s DB6 Broadcast Audio Processor. DB6 comes with the original LoudnessWizard that covers loudness correction, upconversion from stereo to 5.1, downconversion from 5.1 to stereo and lip sync delay.

The new, optional LoudnessWizard II license applies the adaptive aNorm algorithm to handle loudness correction and processing metering, while still offering state-of-the-art up/down-conversion and lip sync delay.

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VITEC GROUP Anton/Bauer launched its longawaited V-Mount digital battery and charger series. The batteries were developed specifically to power today’s digital productions, including the unique needs of 4K camera setups and other digital cameras while providing top-tier levels of safety, performance and reliability.

Autoscript showcased a number of new innovations, including WinPlus Remote, an iOS-based prompting system that enables journalists in the field to obtain easy

access to the most up to date scripts using iPads. The teleprompting specialist also launched the E.P.I.C. 19, a 19 inch integrated prompting and on-air system that delivers addition versatility to the studio environment.

Litepanels showed the form and function of its new ASTRA 1x1 BiColor panel LED. The LED is the first in a new range of products set to debut later this year. The ASTRA 1x1 features increased brightness, a high CRI and user selectable active/passive cooling modes.

Litepanels will also be highlighting its Sola and Inca 9 Fresnels, as well as the high output LED Hilio 12.

Sachtler introduced its range of Ace Accessories – cost-effective and highly functional Matte Box, Follow Focus and Base Plate – as well as the Ace L tripod system. In addition, the new 75HD tripod with FSB 6 fluid head was demonstrated on stand, showcasing its versatility and user-friendliness.

VSN Amsterdam has been the stage chosen by VSN to show its Media and Business process solution’s new UI, designed to greatly improve user experience and system operability. Along with this, VSNEXPLORER´s PAM module, aimed at production environments, and VSNLIVECOM, studio playout software, have also featured for the first time at IBC, gaining a lot of attention from visitors. This year, the traditional VSN Partner Meeting reached more than 50 attendants, that got to know all about the latest features of VSN’s portfolio of solutions and the renewed marketing strategy that the company is implementing, with the announcement of a new corporative Website. Also, in this edition VSN participated in the prestigious IBC Workflow Solutions sessions that are held every year at the time of the exhibition with a conference called “MAM&BPM: How to Orchestrate and Optimize Media Workflows". Roberto Duif, International Channel Manager at VSN, and Alfredo Blanco, Head Project Manager at Telson, showed how VSN´s MAM & BPM solution helped Telson, one of the main broadcast facilities in Spain, to implement an automated platform to manage all processes related with ingest, QC, and delivery of broadcast materials as part of a playout outsourcing of four Turner International channels.

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ZEISS New ZEISS servo unit for ZEISS Compact Zoom lenses presented at IBC 2014 Equipped with an exchangeable mount (IMS), the CZ.2 lenses can be used flexibly on virtually all current and future camera models.

The full-frame cine zooms (36x24mm) are suitable for HDSLR cameras, as well as for professional HD video and cinema cameras. All lenses in the ZEISS Compact Zoom

family already correspond to 4K production standards. With the new modularly-built ZEISS Servo Unit which will be shown in Amsterdam, cinematographers can leverage all of these advantages for situations when there is no direct access to the lens, for example on a crane, on rails or a Russian Arm. The servo unit also supports the comfortable operation of the zoom when using a shoulder camera, thus allowing the ZEISS Compact Zooms to be used conveniently for reportages. The ZEISS Servo Unit was specially designed for the three ZEISS Compact Zoom CZ.2 lenses and can be flexibly used with all three of them. The user-friendly surface of the cine zooms enables them to be operated manually and, if desired, with follow-focus systems or the new ZEISS Servo Unit attached. The main unit controls aperture and zoom through powerful electric motors. A sensitive rocker switch allows for smooth zooming as well as fast changes in the image crop.

An integrated iris motor enables the automatic control of the aperture via

the camera. A manual operation of the aperture is, of course, still possible. The new ZEISS Servo Unit can be controlled directly on the hand grip, through broadcast demands, or via wireless lens control systems, as is often the case for cranes. Unique for the ZEISS Servo Unit is that no tools are needed for assembly, which can save time in critical moments. With a snap-on mechanism, the main unit can be exchanged easily, fast and without tools between the three different ZEISS Compact Zoom CZ.2 lenses. For each lens, this is done with a sleeve and installation plate. In addition, the optional focus unit can be mounted on the main unit with little effort, and adjusts quickly to the respective lens during lens changes. Electricity to the servo unit can be supplied via a PL-mount with contacts (at the zero position), through the camera interface cable, or externally. For ZEISS Compact Zoom CZ.2 lenses already available on the market, the necessary modifications for the contacts on the PL-mount

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TEST AREA

A BRIEFCASE WITH SURPRISE Test bench made by Pablo Martínez In this new issue of TMBROADCAST we will analyze one of the compact equipments that has been missed at one time or another by every one of us who work on this area (professional production or broadcast). This equipment stands out by its possibilities and especially by its portability. I present you the HS-2800 of Datavideo, the natural evolution of its younger brother the SE-2800, due to its size and portability, which follows the same signal treatment standards that are part of Datavideo products and with the same quality they always have.

This portable production switcher, let’s say it again, very portable, makes possible any production we want to make. Its use as main unit or second unit together with its size and possibilities, demonstrates we can produce with quality almost anywhere we want, without having to move our mobile unit (by its location or simply comfort). However, we have to say that each and every one of you should evaluate the real necessities of your projects and the use of “The Briefcase”, as well as all the infinite possible configurations of this equipment.

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TEST AREA

In this new issue of TMBROADCAST we will analyze one of the compact equipments that has been missed at one time or another by every one of us who work on this area (professional production or broadcast). This equipment stands out by its possibilities and especially by its portability. I present you the HS2800 of Datavideo, the natural evolution of its younger brother the SE2800, due to its size and portability, which follows the same signal treatment standards that are part of Datavideo products and with the same quality they always have.

This portable production switcher, let’s say it again, very portable, makes possible any production we want to make. Its use as main unit or second unit together with its size and possibilities, demonstrates we can produce with quality almost

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anywhere we want, without having to move our mobile unit (by its location or simply comfort). However, we have to say that each and every one of you should evaluate the real necessities of your projects and the use of “The Briefcase”, as well as all the infinite possible configurations of this equipment.

configuration is very difficult.

However, the HS-2800 fulfils 90% of the requirements with a special feature; it has four parts that I will like to differentiate: the video mixer, monitoring screen, audio management system and intercom manager.

These are its main features:

Inputs

KNOWING “THE BRIEFCASE” We have got used to the equipment miniaturizing in the past years on our sector, as well to the growing usual dependence on computer systems (I am only talking about the computer systems integrated on the segment of briefcase-like equipments) and the challenges they represent. Finding a minimalist system (of only 8.7 kg) with an intuitive

• 8 inputs, can be configurable to HD SDI, 8 SD SDI, 2 HDMI

Outputs • 2 BNC output connectors for SDI Outputs • 1 HDMI for Multi-screen (v.1.1) • RJ-45 for PC Remote controls • 2 BNC for Sync-In and Sync-Out

Video Input • HD/SDI: 1920 x 1080i/50, 1920 x

TEST AREA

1080i/60, 1920 x 1080i/59.94 • SD: PAL 720 x 576 /50Hz • SD: NTSC 720 x 480 /59.9Hz • HDMI 1920 x 1080i/50, 1920 x 1080i/59.94, 1920x1080i/60Hz, 720 x 576i/50Hz, 720x480i/60Hz • Y:Cb:Cr, 4:2:2 10 bit

Outputs • 1x HDMI output •Way 1: 8 smaller windows for inputs 1-8 with embedded audio level indication (group1, channel 1,2) •Way 2: HDMI 1 Multiscreen1- 8 smaller windows for inputs 1-8 with embedded audio level indication (group1, channel 1,2) + 2 bigger windows for Preview and Program. embedded audio level indication

for Program (group1, channel 1,2) • Resolution is 1920x1080i

Interface • Serial D-Sub 9 Pin x 1 RS232

fall time within 100 ps • Alignment jitter : Less than 0.2 UI • Timing jitter : Less than 1.0 UI • DC offset : 0 ± 0.5V

• Tally Output D-Sub 25 Pin x 8 Channel Open Collector Output

• Equalizer use 5C-FB cable support 100 meters

• Support Line mode (Analog Audio)

LCD Display

• GPI port

HD SDI signal, SMPTE 292M standard complied with: • Output return loss : More than 15 dB (270MHz), More than 10 dB (1.5 GHz) • Output level : 0.8 Vpp ± 10% • Rise time : Less than 270 ps • Fall time : Less than 270 ps • Difference between rise time and

17.3” TFT LCD

Resolution RGB 1600 x 900 pixel

Aspect Ratio 4:3 and 16:9 selectable

Brightness (Luminance) 220 cd/m²

Contrast Ratio 500:1

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TEST AREA

View Angle Top: 40 deg Bottom: 60 deg Left: 60 deg Right: 60 deg

Audio/Icom Audio Input/Out analog 4 channels XLR/ 2 channels XLR

Communication interface 8 channels 5 pin XLR With these features you can have a general idea of its functions and use and, as I said before, I have divided them in four part: I will start with the mixer which offers us the physically intuitive and easy interface of a bus. The selection of the different sources, the transition phases and the activation of the DSK are at hand and as a complement, it offers 7 internal memory banks to embed a fix image (fixed logo) and one memory bank to launch the tga’s sequence (dynamic logo). These two options can be accessed directly with a button located on the mixer board. Its functionality and ergonomics are very good. We have used a standard “Briefcase” in this test bench, that is to say, it has 2 input cards which enables us to work with up to 8 simultaneous signals, both for HD, SD and composite. If we use the HDMI inputs (1 per card), we still have 6 signals on BNC and two on HDMI at the same time, all of them

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on the format we need regardless of the input (BCN). It also offers the synchronizing function to all its input sources both internally and through the REF input. It has 2 configurable outputs to which we can send the PGM, PVW, Clean feed or auxiliary feed signals (with the selection of the source in the mixer board). The outputs are also configurable depending on our necessities of HDSDI or SD-SDI. The second part is the screen, one of the big surprises of “The Briefcase”, with its 17.3”, its resolution and vision angle provides us with all the necessary information without any kind of problem. It offers several multiple screen templates from which we can select the one we need depending on our production, as well as an output via HDMI to place an external monitor following the one of the HS-2800.

The third part is the audio management system which enables us to select the audio we will use in our project in two ways, embedded trough the cameras or via the available analogue inputs. If we want to, we can also configure the embedded audio or analogue audio in our output of PGM. Using the menu we can apply an audio delay to each input of up to 16 frames, this is not the most important part of the system, but it works perfectly. I think it’s necessary to place a sound mixer in case in the event, the organizers

don’t provide us with international audio.

TEST AREA

which used it were happy with its handling and accessibility and they offered a quality event without any kind of problems during the hours they used it.

The last, but not least, is the surprise of “The Briefcase”, the Intercom system, the forgotten part of these series of compact products by several manufacturers. This was a wise decision, a simple and configurable system which works properly: it connects the production control with the cameras. It has 4 Intercom belt packs with its wiring. I am going to add, the Intercom system includes the Tally with a small light that can be placed on the cameras. With just one cable we can install the entire Intercom and Tally systems. By default the system includes 20 metres of cable. To do this test bench I used audio multipair cables (adapted to the XLR) / video of 100 meters and the Intercom and Tally systems and it didn’t offer any problems regarding the cable distances.

This is a general vision of the possibilities of “The Briefcase”, if you want to know more I recommend you to visit its web page, were you can download the manual and you will be able to know all the functions it offers.

EVALUATING ITS POTENTIAL When I started with this test bench I was offered to broadcast one event

we usually do once a year, although this year they changed the location and it was going to be done on several passageways with difficult access, with the inevitable complication of wiring from the mobile unit to the broadcasting area. This time it was even more complicated because we had one mobile unit covering two events almost at the same time.

The organization offered us a place on the same premises to install a portable production control. For many years now, we have had a portable control in flycase format for this type of situations, which has all the necessary systems for the video and audio production for 5 camera chains on triax. Therefore, after evaluation the potential of “The Briefcase” and measuring the signals, I decided to use it as the main video control (it was a very reduced space) by configuring the Tally output and wiring each and one of the correspondent CCU. As it has a screen with the Tally markers integrated I didn’t have to double the number of Tallys to control them, I just placed a multiple screen reflection of the HS-2800 trough the HDMI output in a 50” plasma monitor. I connected the Intercom system by adapting the XLR output provided by each CCU, this way the equipment volume to move was reduced and “The Briefcase” was the heart of the production process. The operators

Afterwards, due to the complete system it has, I did as a test by recording a control session, which is normally done with several independent ENG equipments. I connected all of them to “The Briefcase” and added the Intercom and Tally systems in two distances of 100 metres and one of 50 metres. The audio came from a distributor, so the HS2800 offered a PGM signal with embedded audios that was ready to record and/or broadcast live. This test was perfect to check the system versatility and to see how easy the system can be used for multiple camera events without offering complications.

WHAT WE MISS As always, I insist on the necessity of offering a redundant power source in this type of systems. I think is very important because, as experience has taught me, is one of the weak points in all equipments and, most importantly when its use means constant changes on location.

CONCLUSION The system is very well built and assembled, the screen highlights by its definition, as well as its HDMI output for the second monitor, the synchronization between sources and the possibility of working with different input formats. We are pleased to see it has (several manufacturers don’t take it into account) the Intercom system and the Tally lights demonstrates the work equipment which has developed this product has done it for professionals of our area, bearing in mind our needs and with the quality we normally see on the Datavideo products.

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