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August 2013
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C A N A D A ’ S C O M M U N I C A T I O N S M A G A Z I N E
NEW BROADCAST PRODUCTS AND SERVICES
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Boosting Canadian Media Production with New TV Fest, Branding Campaign
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VIDEOLINK PRODUCT PAGE
Video Production and Streaming Specialists
TriCaster 455
• Four camera/14 channel live • production switcher • Live streaming • Post-production • Live ISO Recording
TriCaster 855
• Eight camera/24 channel live • production switcher • Live streaming • Post-production • Live ISO Recording
Live Video Streaming is the Fastest Growing Content Delivery System in Media Today!
Livestream Studio™ HD50
Livestream Studio™ HD500
Studio HD50 is perfect when you need broadcast quality live switching hardware at the most affordable price, and portable enough to take on the go. Studio HD50 is built with a Blackmagic Design DeckLink Quad as well as a Blackmagic Design DeckLink Studio to give you 5 inputs from a vast array of analog & digital sources or 4 inputs and 1 output for when you need broadcast quality output display. ON SALE FOR LIMITED TIME ONLY!
Studio HD500 is the ultimate portable live production switcher. Its built in display and unique form factor will give you flexibility and confidence on the go. Studio HD500 can even be carried on a plane in the provided Tom Bihn carry bag. Studio HD500 is built with a Blackmagic Design DeckLink Quad and a Blackmagic Design DeckLink Studio to give you 5 inputs from a vast array of analog & digital sources or 4 inputs and 1 output for when you need broadcast quality output display.
Livestream Studio™ HD900
Livestream Studio™ HD1700
Need more inputs? Studio HD900 is your go to for any control room, production truck, venue or studio where a rack mountable form factor is a must. Studio HD900 is built with 2 Blackmagic Design DeckLink Quads and a Blackmagic Design DeckLink Studio to give you 9 inputs from a vast array of analog & digital sources or 8 inputs and 1 output for when you need broadcast quality output display.
Studio HD1700 combines big switcher production capability at an affordable price. Perfect for control rooms, production trucks, venues and studios where a rack mountable form factor is a must. Studio HD1700 is built with 4 Blackmagic Design DeckLink Quads and a Blackmagic Design DeckLink Studio to give you 17 inputs from a vast array of analog & digital sources or 16 inputs and 1 output for when you need broadcast quality output display.
3 Play 425
• 6-channel live sports “sweet spot” • Network-quality production in native HD • Seamless mixing of live video with as sets from your media library • Compact, 2RU design fits perfectly in control rooms and production vehicles of all sizes • Included control surface with premium T-bar, speed presets, and jog wheel
3 Play 4800
• 6-channel live sports “sweet spot” • Network-quality production in native HD • Seamless mixing of live video with as sets from your media library • Compact, 2RU design fits perfectly in control rooms and production vehicles of all sizes • Included control surface with premium T-bar, speed presets, and jog wheel
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Book a demo nOW! www.videolink.ca 416-690-1690
canada 800-567-8481 toronto 416-690-1690 edmonton 780-554-4650 Winnipeg 204-997-5294
Learn more at Videolink.ca Live Production & Streaming Specialists Our clients include: nHl • nBA • cBc • ctV • cOrus cOGecO • rOGers • dOme PrOductiOns • deAdmAu5 YOrK uniVersitY • rYersOn uniVersitY
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August 2013 Volume 72 Number 4 Editor Lee Rickwood editor@broadcastermagazine.com Senior Publisher Advertising Sales James A. Cook (416) 510-6871 jcook@broadcastermagazine.com Creative Director Beverley Richards Print Production Manager Phyllis Wright (416) 510-5101 Production Manager Gary White (416) 510-6760 Vice-President Alex Papanou President Bruce Creighton Circulation Manager Anita Madden (416) 442-5600 ext. 3596 Customer Service Malkit Chana (416) 442-5600 ext. 3539
Photo courtesy http://www.customconsoles.co.uk/
News Service Broadcast News Limited
New Custom Consoles Module-R Desks are shown in a broadcast control room
Editorial Deadline Five weeks before publication date. Broadcaster® is published 9 times yearly, by BIG Magazines LP, a div. of Glacier BIG Holdings Company Ltd. Head Office 80 Valleybrook Drive, Toronto, Ontario M3B 2S9 Fax: (416) 510-5134 Indexed in Canada Business Index Print edition: ISSN 0008-3038 Online edition: ISSN 1923-340X
Circulation audited by Alliance for Audited Media Publications Mail Agreement 40069240.
In This Issue 4 New Products and Services Eastlink HD; White’s Digital; Sony of Canada; Videolink, Matrox, Haivision; Harris, OConnor, Digital Rapids; DVEO; JVC; IDC and more.
We acknowledge the financial support of the Government of Canada through the Canada Periodical Fund of the Department of Canadian Heritage. Subscriptions in Canada $50.95 for one year; $78.95 for two years; USA $63.95 for one year; Foreign $63.95 for one year (US and Foreign in US Funds). Single copy Canada $8.00; Single copy US $10.00; Single copy Foreign $10.00; Directory Canada $51.95; Directory US $51.95; Directory Foreign $51.95; Directory Canada Shipping & Handling $8.00; Directory US Shipping & Handling $10.00; Directory Foreign Shipping & Handling $10.00 (US and Foreign in US funds). Canadian subscribers must add HST, HST registration #R890939689. For reprints call: 416-510-6871 From time to time we make our subscription list available to select companies and organizations whose product or service may interest you. If you do not wish your contact information to be made available, please contact us via one of the following methods: Phone: 1-800-668-2374; Fax: 416-442-2191; E-Mail: privacy officer@businessinformationgroup.ca; Mail to: Privacy Officer, Business Information Group, 80 Valleybrook Drive, Toronto, Ontario M3B 2S9 Copyright © 2013 by Broadcaster® Magazine. All rights reserved. The contents of this magazine may not be reproduced in whole or in part without the permission of the Publisher.
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NEW
Clear-Com intercom systems support crew communications for Eastlink productions.
Eastlink’s New HD Truck and Control Room Eastlink has selected Clear-Com intercoms for HD-1, its new all-HD mobile that also acts as a studio control room. Eastlink is using the Eclipse-Median Digital Matrix and Tempest900 Digital Wireless intercom systems, supplied by Gerr Audio, along with the V-Series intercom panels. The HD-1 truck is key to Eastlink’s remote location sports coverage, but it is also used as a control room when it is parked in front of Eastlink’s primary production facility. The intercom system must be versatile to meet the varied communication requirements of such different productions, said Michael Smith, Vice President, Eastlink. “The systems function flawlessly and enable us to change intercom signal paths depending on specific productions, which is of great value to us. It has also been valuable to be able to speak to particular individuals on their assigned 4 Broadcaster
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channels without distracting others. Overall, the intercom solution has significantly improved our workflow and increased our production efficiency.” Employees working in HD-1 rely on the V-Series intercom panels, installed at each of the truck’s workstations, to access specific functions or channels on its multi-character display and memory bank. Tempest900’s multiple modes of operation, reliable wireless performance in RF saturated environments, are also adaptable to numerous production scenarios. Production crew can easily configure system settings via Eclipse Configuration Software (ECS) and the Tempest T-Desk management software. “Clear-Com’s Eclipse matrix and the Tempest900 wireless intercom systems are an ideal fit for Eastlink as they allow the crew members to adapt quickly to the varied production setups that are common to a mobile truck,” says Andrew Hope, Technical Sales Manager for GerrAudio. www.broadcastermagazine.com
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NEW Digital Developments Lead to New Name and Brand for CinequipWhite
Reflecting the company’s emphasis on expanded digital offerings, Paul Bronfman, Chairman/CEO of Comweb Corp. and leading equipment provider, William F. White International Inc. (WFW), has announced the creation of a new company name for CinequipWhite Inc., effective immediately. Based in Toronto, the newly-named Whites Digital Sales & Service Inc. will continue to provide professional, full-service, customized sales and technical solutions to the broadcast, theatrical and live entertainment industries across Canada, offering customized audio-visual solutions including the supply and installation of equipment, lighting fixtures, dimming, control, camera support, audio, video, rigging, fabric, gels and lamps. The company’s enhanced 2013 offerings include products from top manufacturers including Lumatech, Linear Acoustic, Viewz and AAdynTech. Larry Lavoie, who has served as CinequipWhite General Manager for over two years, will continue to manage the operation, still headquartered in its present location, with offices across the country. “The name Whites Digital Sales & Service Inc. better reflects the services we offer to keep in step with the significant changes in our industry,” Bronfman said. “It also marks the company’s continued evolution while reaffirming our unwavering commitment to uphold WFW’s reputation as Canada’s premier, multi-faceted, solutions based full-service industry leader.” “I’m extremely excited to be embarking on this new chapter,” said Lavoie. “The industry can continue to rely upon our team of experts to provide state-of-the-art solutions to the country’s top entertainment providers.” Whites Digital’s recent client list includes Bell Media, CBC, Shaw Media, Rogers, Maple Leaf Sports & Entertainment, Roy Thompson Hall, The Canadian Museum of Civilization, among others.
Whites recently entered into a $40 million financing arrangement with BMO Financial Group in order to fuel its continued growth, expansion activities and equipment acquisition. The financing involves the parent company of Comweb Group, which is Comweb Corp. including its largest wholly-owned subsidiary, William F. White Int’l Inc. along with Comweb Toronto Reality (William F. White Centre Toronto), Comweb Holdings (WFW Vancouver), and Comweb Studio Holdings Inc. (Comweb’s 20 percent investment in Pinewood Toronto Studios Inc.). The arrangement does not include Comweb Media Investments Inc. which is a significant shareholder in Astral Media Inc.
Future of Portable Live Production Sony of Canada introduced Anycast Touch, an ultra-portable and easy to use allin-one live production solution. The Anycast Touch is an affordable broadcasting/webcasting solution suitable for a wide range of educational and government institutions, corporate organizations and event management companies. The AWS-750 Anycast Touch is an evolution of Sony’s popular Anycast AWSG500, launched in 2005. Enhancing the core values of portability, flexibility and scalability, Anycast Touch offers incredible picture quality for live production. Its innovative design uses sliding double touch screens to create an intuitive interface similar to that of a tablet. Developed as an all-in-one solution, Anycast Touch eliminates the need for any of the hardware typically required for professional live streaming such as video switchers, streaming encoders, recorders, audio mixers, titlers and remote camera controllers. Capable of 10 bit processing with an output of Full-HD (1920x1080), Anycast Touch offers clearer, more detailed pictures than similar products on the market, either in SD, HD or a mix of both. Its tilt screen function enables users to use dual screens whereby video and audio controls are split. Anycast Touch also allows video sources to be conveniently stored in scene folders with settings including titles, logos and effects. Operator can recall the next video source just by touching its thumbnail picture. Content can be easily streamed live over the Internet, LAN or other dedicated lines. “Anycast Touch draws from the best of Sony’s innovation and heritage in live production and switcher technology,” said Ellen Heine, Marketing Manager, Production, Sony of Canada. “Its compact and easy to use design means it is ideal for organizations that have considered broadcasting or webcasting their events but lacked the technical expertise to do so. With its low price point, Anycast Touch can also deliver cost savings for companies that currently hire rental companies for live streaming, as only one non-technical in-house person is required.” Anycast Touch will be available in September 2013. www.broadcastermagazine.com
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Your routing wishes just came true. Imagine the ultimate router. It would integrate seamlessly within your plant. Move any signal and format without fuss. Consume minimal floor space. Configure and reconfigure in seconds. Zealously protect every signal. Eagerly expand as often as your business changes — and never disrupt airtime. Your wish is our command. Platinum™. introducing the future of routing — Platinum™ iP3.
harrisbroadcast.com/routers Take a video tour Harris Broadcast is an independent company not affiliated with Harris Corporation.
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NEW
P Matrox Maevex for Video over IP Decoding Quality Matrox Graphics is showing its new Maevex 5100 Series video over IP distribution encoders and decoders. The Maevex products extend full-HDquality 1080p60 video and audio over standard IP networks, with minimal bandwidth consumption, at a fraction of the cost of other solutions, the company reports. The Maevex encoder captures video and audio from a host PC or another media source and seamlessly extends the signals to one or more Maevex decoders via standard networking equipment— switches, routers, CATx cabling. The H.264 encode/decode platform delivers excellent-quality video extension over standard LAN connectivity at user-defined low bit rates for minimal network bandwidth consumption. Matrox PowerStream software application is used to remotely discover, manage and adjust the Maevex network and lets administrators conveniently define multiple stream parameters and balance network bandwidth consumption.
Matrox Maevex for Video over IP
Maevex solutions are used to drive dynamic digital signage in such environments as retail, restaurant, transportation, banking and healthcare. They are also used to distribute high-quality video in academic, medical, training, collaborative video wall and control room settings.
T 3x se li S us w It X T le vi ti ba as fe 2x A in ca
Sony 50p/60p Digital Triax Camera System Sony has announced its 50p/60p Digital Triax Camera System, a live production solution that enables sports broadcasters and rental houses to significantly increase their operational efficiency and produce incredible content through existing triax infrastructures. The camera system offers broadcast quality transmission at both 1080 50p/60p and 1080 100i/120i frame rates, regardless of whether the venue has pre-installed optical fibre or triax cabling. As well as delivering advances in image capture, such as slow motion, Sony’s Digital Triax Camera System allows production companies to quickly and efficiently switch from fibre to triax and back again, as they move from one venue to the next. “Sony has a strong heritage in developing innovative live production systems that enhance the viewers’ experience, especially in sports entertainment,” said Francois Gauthier, Marketing Manager, Acquisition Products, Professional Solutions Group. “From speaking to our customers we know that while the adoption of fibre optic transmission systems is growing, many existing venue infrastructures are still triax based. We believe customers should be able to generate outstanding content, regardless of what setup is in place. Our Digital Triax Camera System uses state-of-the-art technology to deliver broadcast quality content at 1080 50p/60p through traditional triax cables, with extremely low latency. The system is also extremely flexible, a key factor in sports production, making it easy to switch from triax to fibre as required.” The system comprises of four new digital triax transmission products; the HDC-2570 HD Portable Camera, HDFX-200 Digital Triax Camera Control Unit (CCU) Adaptor, HDTX-200 Digital Triax Camera Adaptor and HKC-TR27 Side Panel Digital Triax Adaptor. HDC-2570 HD Portable Camera At the heart of the Digital Triax Camera System is the HDC-2570 HD Portable Camera. The HDC-2570 has Sony’s latest 2/3-inch Power HAD CCD, coupled with the highest quality 16 bit A/D converter and advanced Digital Signal Processor (DSP). The HDC-2570 is also equipped with a digital triax transmission interface, capable of 50i/60i and 50p/60p or 1080 100i/120i, 720 100p/120p image capturing, commonly referred to as ‘2x slow motion’. HDFX-200 Digital Triax CCU Adaptor The HDFX-200 convert’s digital triax signals to SMPTE 311M optical fibre and is normally positioned in the outside broadcast truck or studio equipment room. It has a compact body which means it can be fitted inside just one 19 inch rack. An LED optical signal indicator is located on the front panel, with the triax connecter and optical fibre connecter based at the rear panel, both of which can be easily selected by remote / manual switches. HDTX-200 Digital Triax Camera Adaptor The HDTX-200 convert’s optical fibre signals to triax signals for Sony’s HDC-2000 series cameras that are located on the ground or ‘pitch side’. This is ideal for 6 Broadcaster August 2013 6 Broadcaster
sports live production, where triax cables are already installed and used on the production site. The adaptor has a robust aluminum die-cast body, ideal for outside use. HKC-TR27 Side Panel Digital Triax Adaptor The HKC-TR27 is a carbon graphite side panel adaptor designed for use with the HDC-2400/2500 series system cameras and the HDC-2550 analog triax camera. Robust and lightweight, the adaptor has been designed to be changed frequently and efficiently. Users caneasily swap the side panel transmission unit to enable digital triax transmission capability.
Sonnet Announces Thunderbolt Dock Sonnet has announced its Echo15 Thunderbolt Dock for Mac and Windows computers Sonnet's latest Thunderbolt technology product features 15 ports: four USB 3.0, one Gigabit Ethernet, one FireWire 800, one headphone, one microphone, one speaker, one audio in, one pass-through Thunderbolt (for either another Thunderbolt device or an external display), two eSATA, and two internal SATA (one port for included optical disc drive and one 6 Gb/s port for a user-installable 2.5-inch SSD or 3.5-inch hard drive). In addition, the Echo 15 Thunderbolt Dock includes an 8x DVD±RW drive, or optionally, a Blu-ray BD-ROM/8x DVD±RW drive with Blu-ray player software for OS X. The Echo 15 Thunderbolt Dock offers a simple way to restore FireWire 800, Gigabit Ethernet, eSATA, audio, and add additional USB 3.0 connectivity plus an optical drive to load software, import CDs, burn CDs and DVD-ROMs, and play DVDs and even Blu-ray movies. Peripherals are left connected to the dock using standard cables, while the dock connects to the computer with a single Thunderbolt cable. When it is time to take the computer and go, the user needs only to disconnect the Thunderbolt cable. The case may be set horizontally or vertically to save space on the desktop. Both the front and back of the enclosure include USB 3.0, audio input, and audio output connections to support the handy connection of devices such as a microphone, thumb drives, headphones, or a cell phone for synching and rapid charging. The internal drive bay supports the installation of either a 6 Gb/s SATA 2.5-inch SSD or 3.5-inch HDD, providing an ideal solution for adding storage capacity without having to connect another external drive and its power brick. Dual Thunderbolt ports enable the Echo 15 Thunderbolt Dock to support daisychaining of Thunderbolt peripherals, and to be placed anywhere in a Thunderbolt device chain. The Echo dock also supports the connection of a Thunderbolt or display port monitor, or other display interface type with an appropriate adapter.
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SONY PRODUCT PAGE PMW-400L
The PMW-400L is an affordable 3x 2/3-inch CMOS high quality sensor broadcast camcorder that, like the PMW-500, supports all SD / HD 422 broadcast workflows using .MXF and XDCAM EX workflows using .MP4 and .AVI. It is also future-proofed to support XAVC 10-bit HD422 recordings. The PMW-400L features a 2/3-inch lens mount, high resolution LCD viewfinder, 3DNR noise reduction processing and internal flash band reducer for news operations, as standard. The camcorder also features built-in WiFi remote and 2x SD/HD-SDI parallel outputs. An optional CBK-CE01 50-pin interface converts the shoulder camcorder.
PVM-X300
The PVM-X300 has a 30-inch 4K LCD panel (4096 x 2160) capable of displaying over four times Full HD resolution in a single screen. The professional LCD monitor incorporates Sony’s exclusive TRIMASTER™ technology architecture, achieving excellent colour and picture quality reproduction, which makes this monitor ideal for 4K cinema production (onset monitoring, dailies and editing), 4K live production (camera control, program preview) and real-time 4K presentation. The PVM-X300 is designed to be high performance and versatile in terms of the interfaces, controls and
compatibility with production cameras and memory media. Furthermore, the PVM-X300 can incorporate an innovative and optional 4K SxS player which offers unprecedented ease of handling 4K content.
PMW-F55 CineAlta 4K, The Future Ahead of Schedule. MVS-3000
The new MVS-3000 mid-range switcher inherits several characteristics and features from the well established MVS Series. This production switcher is ideally suited for production studios, stadiums, houses of worship, and OB vehicles requiring multiple inputs in a limited space. It comes with sophisticated capabilities such as two mix effects (M/Es), four keyers per M/E, each with the MVS high-performance chromakey, 2.5D resizers, colour correction and more. With the standard multi viewer output, you save space on additional monitoring, enabling a reduction in your total system cost. The control panel incorporates an attractive black design. It incorporates OLED mnemonic displays for optimal visibility and, of course, the intuitive operability that Sony users love. The self-contained 4RU processor offers simple configuration, and is a logical choice for small production facilities that have limited installation space but refuse to compromise on quality.
Super-sampling Even if you’re not planning on 4K production, the 11.6 total megapixels of Sony’s 4K image sensor enable you to shoot gorgeous, super-sampled HD now.
Extreme Versatility
Enjoy the most flexible camera you have ever owned. Shoot simultaneously in HD and 4K, make the choice later.
The Future is Built in. Why not try your hand at our new XAVC codec. Based on new toolset, it is scalable from SD to 4K, removes the 60 frames limitations, and is widely accepted by NLE vendors.
www.sonybiz.ca ©2013 Sony of Canada Ltd. All rights reserved. ® Sony and Cinealta logos are registered trademarks of Sony Corporation. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice.
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NEW Haivision Announces New Network Video Recording & Media Management Platform with Calypso
Calypso Cluster
Calypso drives mission-critical decision making and collaboration with scalable recording and multi-source, real-time capabilities Haivision’s new Calypso is a media capture and management platform for viewing, recording and sharing live video content to empower mission-critical decision making, collaboration and assessment. Ideally suited to simulation, skills assessment and training applications, Calypso enables users to quickly turn live activities and events into media assets by capturing and sharing live and ondemand content in real-time. With Calypso, subject matter experts can monitor multiple sessions, choose to record any or all of the contributing streams, assign metadata to sessions or events in real-time, and elect to share or remove viewing privileges at any time. Calypso’s scalable platform provides high performance H.264 recording performance, with up to 50 HD streams simultaneously recorded on a single server appliance. Calypso combines extensive multi-source capabilities with real-time metadata
(HotMarks) to give organizations an effective way to make assessments based on understanding aggregated information. Designed for mission-critical content requirements, Calypso provides simplified record and review workflows, allowing users to quickly share, authorize and de-authorize live and on-demand media assets instantly. “Our vision is to help organizations leverage the power of media,” said Peter Maag, chief marketing officer at Haivision. “Haivision’s Calypso combines recording power and media management, low latency video distribution, and simple, effective workflows to get real-time information to audiences that need it most.” As a high power network video recorder, Calypso leverages the extreme low latency and high quality encoding characteristics of Haivision’s Makito X2 and Makito high performance HD H.264 encoders. The new Makito X2 has set industry benchmarks for low bitrate quality and encoding density with up to 12 1080p60 HD channels in one rack unit.
Sony Develops Professional 4K OLED Monitor Sony has developed a new 4K OLED monitor for professional use. As part of its continuous efforts to advance display technologies for the broadcasting and content creation fields, Sony has developed 4K OLED monitors that can reproduce video signals with the highest degree of accuracy that professionals require. To demonstrate this R&D achievement, Sony will be showcasing a 30-inch prototype (4096 x 2160) and a 56-inch (3840 x 2160) prototype at the 2013 NAB Show in Las Vegas, Nevada. To accelerate 4K production in the industry, Sony’s internally-developed 30-inch 4K OLED monitor is expected to be launched in the market in the year of 2014. Sony also announced the latest “A” Series of its renowned TRIMASTER™ EL OLED professional monitors that have set global standards for critical picture evaluation. Sony’s OLED displays provide a superior visual experience to CRT and LCD monitors, reproducing accurate blacks/colours and featuring exceptional dynamic range and outstanding motion response that enables the most accurate picture evaluation in the industry. Sony's TRIMASTER EL monitors have been well received by critical users who demand professional-quality picture performance, resulting in total global shipments of over 20,000 units to date. The new “A” Series models feature significantly improved viewing angles reducing the colour shift by half* when compared with their predecessor models. In fact, the new “A” Series models offer the highest rank of wide viewing angles in the whole professional flat panel market. This enables group monitoring by video engineers or colourists which improves overall productivity and workflow efficiency. The new “A” Series include the BVM-E250A and BVM-E170A master monitors for high-end cinema and broadcast applications, the BVM-F250A and BVM-F170A master monitors optimized for TV productions and broadcasting, plus the versatile PVM-2541A and PVM-1741A picture monitors which suit a wide range of monitoring applications. 8 Broadcaster
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Current A Series *Off Axis, colour shifted to blue “We’ve learnt from 38 years of professional monitor development, continually reformulating our display line-up to meet the high expectations of customers from the broadcast and content creation fields,” said Rick Perkins, Marketing Manager, Broadcast Monitors, Professional Solutions Group, Sony of Canada. “In developing the new ‘A’ Series, we’ve once again introduced innovative and advanced display technology that brings the highest quality picture performance in the market.” The new “A” series will replace** Sony’s existing monitors: BVM-E250/BVME170/BVMF250/ BVM-F170/PVM-2541/PVM-1741. New “A” Series OLED Master Monitors • BVM-E250A • BVM-E170A • BVM-F250A • BVM-F170A New “A” Series OLED Picture Monitors • PVM-2541A • PVM-1741A Sony’s new “A” Series OLED monitors will be on display at the 2013 NAB Show, Central Hall, C-5, Sony’s booth #C11001, Las Vegas Convention Center. The monitors will be available from May 2013 onwards. * Based on Sony’s measurements. Results may differ between monitors. ** As of end of March 2013. www.broadcastermagazine.com
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NEW Sony Boosts XDCAM Range with PMW-400 Shoulder Camcorder The latest addition to Sony’s widely-used XDCAM HD422 line-up, the PMW-400 incorporates a 2/3-inch Exmor Full HD 3CMOS sensor for capturing beautiful images with high sensitivity1 and low noise. It has been designed with a host of features that make it a great fit for applications like ENG or live production. “The PMW-400 reflects Sony’s continued commitment in bringing quality imaging solutions to the market, with products that are at the top of their game,” said Francois Gauthier, Marketing Manager, Acquisition Systems, Professional Solutions Group. “We’ve designed the PMW-400 to acquire high quality, clean images especially in low-light environments. It’s very ergonomicallybalanced, easy to operate and includes features that make it fit seamlessly into various types of productions and workflow. This really opens up a window of creative possibilities and flexible shooting to achieve the desired results.” Higher Picture Quality with HD422 Codec Capable of MPEG HD422 50Mbps recording, the PMW-400 is unique among the field of 2/3-type camcorders thanks to its noise reduction capabilities and rich selection of formats that it can handle. Its 3 Dimensional Noise Reducer (3DNR) accurately detects and processes images to reduce noise, achieving a Signal-to-Noise (S/N) ratio of 60dB which is outstanding among 2/3-type camcorders. A wide variety of formats are supported by the PMW-400, including MPEG2 HD422@50Mbps, HD420@35Mbps/25Mbps, MPEG IMX@50Mbps, and DVCAM. The PMW-400 will also offer future XAVC support for HD2 so users can be well-placed to meet the ever-increasing demands for high quality image capture. Improved Viewfinder The supplied viewfinder features improved panel resolution of quarter HD 960(H) x 540(V) compared to previous models that had a resolution of VGA 640(H) x 480(V). In addition, contrast, and viewing angles are considerably better in the new viewfinder. Flash Band Compensation via Internal Processing The PMW-400 incorporates a valuable new feature – an internal Flash Band Reducer3 based on a processing circuit installed inside the camcorder. In addition to current flash band reducing processes via content browser after recording, the camcorder also employs a special algorithm to detect and process flash banding inside the camcorder before recording. This provides greater flexibility in reducing flash banding across different shooting environments. Operational Flexibility To enhance convenience and flexibility during program production, the PMW-400 is built with 2 SDI connections that enable, for example, the director and cameraman to concurrently check contents shot via two different monitors. An optional CBK-CE01 50-pin interface lets the PMW-400 connect to two camera adapters for greater creative possibilities through multicamera operation. By connecting to the CA-FB70 optical fibre and CA-TX70 digital triax camera adapters, the PMW400 can be used as a studio camera in live productions and transmit signals over long distances while maintaining high picture quality. R&D Prototype : Wireless Adapter for 3G/4G/LTE and Wi-Fi Connections For easy transmission by network and efficient on-site operation using Wi-Fi, a wireless adapter is under development. The adaptor is directly connectable to the PMW-400 to enable proxy files generated on the microSD to be transmitted via 3G/4G/LTE/Wi-Fi. Due to this easy transmission of proxy files from the shooting location to a broadcast station via network connections, ENG workflows can be accelerated tremendously. Using Wi-Fi transmission, the adapter is also controllable through the www.broadcastermagazine.com
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Sony PMW-400
mobile application (installed on devices such as tablet PCs and smartphones). Additionally, to drastically improve on-site operation, a range of features is under planning including file browsing management, proxy file preview, stream viewing for camera signal, file transfer of proxy and high-resolution video files, as well as metadata input and remote camera control. The PMW-400 will be available from August 2013 onwards. 1 Sensitivity of F12 for 1080/60i, 720/60p. Sensitivity of F13 for 1080/50i, 720/50p. 2 XAVC support for HD up to 30p/25p is supported. 4K is not supported. XAVC support for HD will be available via a firmware upgrade (optional) planned on or after April 2014. 3 This feature will be available via a free firmware upgrade on or after November 2013. Flash Band Reducer doesn’t guaranteed to detect/correct all the flash band
www.aja.com
Maximum Conversion, Minimum Size.
Dual-channel frame synchronization and conversion in 1RU AJA’s FS2 delivers dual-channel conversion and frame synchronizing power and flexibility in a slim 1RU space. With two independent video and audio processors, FS2 can do the work of two separate devices or combine both processors together for maximum flexibility.
Plenty of I/O FS2 provides 3G/HD/SD-SDI inputs and outputs, HDMI, component/composite analog, AES/EBU and analog audio I/O and direct fiber connections.
High Quality up/down/ cross conversion FS2 utilizes high-quality conversion with two video processors for independent conversions between SD, 720 HD and 1080 HD.
Automation External GPI’s can trigger many functions on FS2 like freezing an input or switching between presets, allowing easy integration into your existing automation.
Find out more at www.aja.com and visit us at Booth #7.F11
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NEW
Premier PL 4K+ Cine and Cabrio cine/ENG-Style Lenses
Harris Broadcast Introduces Low-Power VHF Transmitter Harris Broadcast has introduced its Platinum VAX Compact Class range of VHF transmitters, adapting the company’s compact, power-efficient transmission philosophy to low-power VHF applications for ATSC and worldwide terrestrial standards. The company will also introduce new transmitter plug-in modules, including an ISDB-Tb remux solution and off-air digital receivers that save cost and space at transmission sites. The Platinum VAX Compact Class series is the latest addition to the company’s transmitter portfolio, ensuring a solution for virtually any VHF analog or digital power requirements. The new series is most suited for low-power transmitting stations and gap filler applications, and is especially useful for covering specific regions in extended markets or difficult terrains.
The new Premier PL 4K+ Series features the fastest T speeds available in a family of zooms, the manufacturer describes, with unprecedented colour matched 4K and beyond optical performance. The Premier PL lenses are available in 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400 mm T2.8T3.8. All four PL Mount zooms are similar in size and weight, and uniform gear placement and front barrel diameters (136mm). Focus, zoom, and iris gears are all in the same position—which speeds up lens changes, since follow focus accessories and lens motors can stay in the same position on the rods. Focus barrel rotation is a uniform 280 degrees on all four zooms.
Technology and Engineering Emmy for HD-SDI Standard
Harris DTT Off-Air Receiver Module
Platinum VAX Compact Class transmitters cover low-power VHF transmissions in a 2RU chassis design, with rack savings of up to 50 percent compared to previous-generation transmitters of equivalent power levels. As with all Harris Broadcast TV transmitters, the new series integrates Harris Broadcast Apex M2X exciters to enable simple modulation changes and analog-to-digital upgrades, supporting ATSC, DVB-T/T2 and ISDB-Tb among other standards — including DAB radio. Harris Broadcast is also introducing a new ISDB-Tb internal remux module to allow broadcasters to insert local broadcast information, including electronic program guide (EPG) data, while using their existing distribution systems. The ISDB-Tb module is integrated within the Apex M2X exciter to reduce energy use and avoid impact on the physical footprint of the transmitter system. Additionally, the company will unveil transmitter-integrated DVB-T and ISDB-Tb digital terrestrial tuners to monitor off-air signals; and demodulate RF signals and generate ASI transport streams for re-broadcast.
W E ST E R N A SSO CI AT I O N B ROA D C A ST E N G I N EE R S
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Please visit our new web site for details on our 2013 convention, WABE’s Educational Initiatives and to download copies of our 2012 papers: www.wabe.ca Mark your calendar for Vancouver, B.C. for our 63rd Annual Convention at the Sheraton Wall Centre
November 3rd – 5th, 2013 For information please contact: Kathy Watson, WABE Office Manager, info@wabe.ca. Or call 403-630-4907 10 Broadcaster
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The Society of Motion Picture and Television Engineers (SMPTE) will be presented with a 2013 Emmy Award for Technology and Engineering by the National Academy of Television Arts & Sciences. The honour is bestowed on SMPTE in recognition of its work on development, standardization, and commercialization of the High-Definition Serial Digital Interface (HD-SDI) standard. The Technology and Engineering Emmy recognizes the work behind the SMPTE 292 standard for high-definition digital video transmission. The SMPTE 292 standard is the foundation for the family of serial digital interface (SDI) standards for transmitting uncompressed HD video signals. The SMPTE 292 standard has proven to be robust and versatile, and a large number of additional standards have been created based on SMPTE’s original work. The derivative standards address higher data-rate versions and the use of multiple interfaces for advanced applications such as D-Cinema connectivity. These derivative standards have also provided for packaging and identification of many additional signal types, making the HD-SDI standard the workhorse of high-speed synchronous communication. The HD-SDI interface standard is one of more than 650 engineering documents that have been published by SMPTE. The Technology and Engineering Emmy Awards will be presented Jan. 9, 2014, in conjunction with the International Consumer Electronics Show (CES) in Las Vegas.
IDC Targeted Ad Insertion Platform
International Datacasting (IDC) is introducing the second generation of its LASER Targeted Ad Insertion Platform, saying it will help broadcasters and service providers address the licensing, regulatory, and copyright issues that cost them millions of dollars in ad revenues. IDC says its new platform allows television networks and content distributors to maximize ad revenues by providing targeted local ad insertion, blackout management, and satellite video reception in one cost-effective platform. Regional or local content can be inserted using LASER at the edge of the network depending upon considerations such as: geographic location, time zone, ethnicity, language, and regulatory issues – significantly increasing the resulting revenue. Broadcasters are no longer constrained by licensing issues which prevent specific content from being shown in a part of the viewing area. IDC STAR Pro Audio Solution provides radio networks with localized ad insertion as well, helping them to boost revenue and lower operating costs. Its ad and program insertion capability allows operators to send selected ads to specific regions or receivers. Stored audio files can be inserted seamlessly into live or recorded programming. Cost savings can also be realized through shared hub support, which enables multiple radio networks to share one multi-channel receiver instead of deploying several single-channel receivers. Now in its second generation, the STAR platform features time-shifting functionality, which allows broadcasters to play the right content at the ideal time. It also requires just 120 kHz space segment for a high quality stereo broadcast, as opposed to 400 kHz for legacy systems. www.broadcastermagazine.com
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NEW Digital Rapids New Transcode Manager Digital Rapids announced availability of version 2.0 of the Digital Rapids Transcode Manager automated media processing software, powered by the groundbreaking Kayak dynamic workflow platform. The enterprise-class Transcode Manager 2.0 software goes far beyond transcoding and workflow orchestration, seamlessly blending media file transformation and workflow processes while offering unparalleled efficiency and agility for applica-
Digital Rapids Transcode Manager
Digital Rapids Transcode Manager is deployed in a distributed architecture, with dynamic allocation ensuring that the right workflows are available at the right scale to match job requirements and volumes at any given time. A Transcode Manager Server manages and deploys customized tasks across processing Engines on multiple computing resources, optimizing resource utilization and bringing the scalability, flexibility, and transparency of the cloud to on-premises operations. Transcode Manager Server 2.0 can manage both new Kayak Engines and earlier-generation Transcode Engines, providing a smooth transition for existing Transcode Manager users. "Digital Rapids Transcode Manager 2.0 has been our most anticipated new release to date, and we're thrilled to be putting its power into the hands of our customers," said Darren Gallipeau, Product Manager at Digital Rapids. "Transcode Manager 2.0's logic-driven automation and flexible process design capabilities give users unmatched control of their media transformation workflows while maximizing their efficiency. Meanwhile, its catalogue-based, modular architecture and dynamic deployment model enable users to rapidly integrate new capabilities, scale seamlessly and adapt quickly to new opportunities and market trends."
Datavideo Adds HD Video Streaming Server
tions from post production and archive to multi-screen distribution. Building on the unique benefits of the Kayak platform, version 2.0 of Transcode Manager combines its robust management tools and hallmarks of superior output quality and format flexibility with powerful new advances including adaptive, logic-driven workflow automation with rich metadata support; intuitive, visual workflow design tools; dynamic deployment; fast, easy integration of new and emerging technologies; and a deep ecosystem of third-party technology partners.
Oconnor Accessorizes F5 and F55 4K Cameras Addressing the needs of 4K shooters working with the latest Sony F5 and F55 cameras, Oconnor reports its 1030D and 1030Ds fluid heads are well suited for minimal camera configurations, such as a simple prime lens and viewfinder. When camera crews utilize the Sony cameras’ modular designs in other configurations, the two heads can quickly be adjusted by counterbalance to account for the addition of optional viewfinders, recorders and batteries, with payload range to spare. When the F5 and F55 are fully built-up with large zoom lenses and full-size cine-style accessories, OConnor’s 2575D fluid head, counterbalance as well as pan and tilt, with its maximum payload of 90 pounds (40.8kg) can take over. OConnor’s CFF -1 (Cine Follow Focus) can act as a double-sided studio unit, with its follow focus for large diameter lenses, and integration with other accessories 2013 OConnor Accessories for the Sony F55 like whips, gears and cranks. For smaller cine setups, OConnor’s O-Focus Dual Mini (DM) cine follow-focus can be used with both of these Sonys. This compact, double-sided direct drive follow focus unit comes in a Cine Set configuration that uses the premium CFF-1 Studio Handwheel for a transmission ratio well suited for cine lenses with an expanded focus scale. Operators can also add the O-Box WM 2-stage mattebox, and use O-Grip handles, with the new Sony cameras. www.broadcastermagazine.com
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The NVS-20, a broadcast quality H.264 HD Video Streaming Server/Encoder, is one of Datavideo Corporation’s latest live production accessories. NVS-20 video inputs include HD/SD-SDI, CVBS, and HDMI. Other features include support for multiple streaming protocols, MPEG transport stream over IP (UDP), RTP, RTSP, RTP over HTTP and Flash. Compatible with Apple or Windowsbased servers, the NVS-20 also supports instant live streaming to the internet or over local networks. The unit supports H.264/AVC standards up to High Profile Level 4.0, 1920x1080 @ 30 fps, and it has configurable bitrates up to 6Mbps The unit is remotely controlled using any computer or mobile device with a web browser. Users can view real-time video with audio data through the web UI.
Get Digitized. Get Organized. Powerful features for a file based world. Compatible with a wide range of digital cameras and video sources, Sound Devices PIX 260i Video Recorder seamlessly replaces tape-based video decks in production and post-production environments. Simultaneously record Apple ProRes, Avid DNxHD, and WAV file on up to 4 drives, create ready-for-editing files directly from the recorder and take advantage of extensive capabilities including 32 tracks of audio over analog, AES digital, embedded audio over SDI and HDMI, or Ethernet-based Dante. Best of all, the 260i Video Recorder is rack-mountable, meaning it can be easily integrated into any existing environment.
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NEW
JVC Ships Pro 4K 60P Monitors JVC Professional Products Company is shipping its new PS-840UD Professional Series ProVérité and RS-840UD Reference Series 4K 84-inch LCD monitors. Both models offer native screen resolution of 3840 x 2160, as well as 60p input and display capability. The monitors feature an IPS LCD panel with 120Hz refresh rate and 10 bit colour depth. Housed in a slim bezel with a 178 degree viewing angle, the edgelit LED Illuminated monitors produce images from a variety of HD and 4K input sources, including HDMI 1.4a (single cable 4K up to 30p) and HDMI 1.3 (four cable 4K up to 60p). Other features include audio I/O for the built-in 15W speaker and a table base.
Eye On Canada – New Campaign to Promote Canadian Content Social media will be critical to promoting Canadian media content of all types, as a new branding campaign rolls out in order to open eyes to Canada’s television, film and digital media production capabilities. Many of the country’s top media creation, production and distribution companies have joined in the campaign, headed up by the Canada Media Fund, Telefilm and the Canadian Media Production Association. Together, they have unveiled the new Eye On Canada brand to promote Canadian audiovisual content; it’s one of several initiatives being undertaken, including a proposed content library, open set visits and event promotions here and abroad. Valerie Creighton, President and CEO of the Canada Media Fund (CMF), Carolle Brabant, Executive Director of Telefilm Canada and Michael Hennessy, President and CEO of the Canadian Media Production Association (CMPA) presented an update of a National Promotion Strategy and released a new brand to promote Canadian audiovisual content during the Banff World Media Festival. As a result of a Symposium on the Promotion of Canadian Films and Television Programs in Canada and Internationally held in Ottawa last October, the described, a Working Group was created to focus attention on developing partnerships with various industry leaders.
The Association of Central Canada Broadcast Engineers, Technologists and Technicians Inc. September 26 - 29, 2013
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Its mandate is to determine ways to increase awareness of, and interest in, the success of Canadian content with targeted audiences and the general public. IThentic Canada, the online video distribution enterprise, is working with Telefilm and the CMF to identify an extensive selection of back catalogue Canadian titles that could form a library of Canadian content and determine the best options to provide public access to this library. The CMF and Telefilm will partner with film festivals in Calgary and St. John’s to undertake red carpet screenings designed to engage municipal, provincial, federal, corporate citizens and the public to focus their attention on the success and high quality of Canadian-produced entertainment. Internationally, following the record-breaking success, in terms of media coverage, of presenting Canada as the Country of Honour at MIPCOM 2012, Canadian talent and content was featured at MIPTV 2013 and plans are underway to continue developing this strategy in the fall for MIPCOM 2013. With films and television shows being filmed in various locations across the country throughout the year, initial plans are also being considered to develop coordinated set visits for the public. This project will foster pride in Canadian productions, promote filming locations and build public awareness of the contribution the sector makes to the Canadian economy. Partnerships are currently being explored for this innovative program. To pull all of these initiatives together, a new brand was announced to rally the industry around the promotion of Canadian content. Eye on Canada (Vue sur le Canada in French) was developed to unite all initiatives surrounding the promotion of Canadian content and to resonate with various audiences at home and internationally. The social media committee stemming from the Working Group has started work on a strategy to create and engage online communities about Canadian television, feature film and digital media production. A Twitter hashtag has been created to group related posts on the topic: #eyeoncanada (#vuesurlecanada in French). Here the industry hopes to foster a buzz fans can join in on to talk about the television shows, feature films, webisodes and digital media they love. A growing number of industry leaders and organizations are involved in supporting the National Promotion Strategy, and are contributing to one or more of ongoing initiatives. www.broadcastermagazine.com
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NEW IP-based Archiving for SD, HD
DVEO is introducing a remotely manageable recorder and professional archiving system for IP streams, the Stream Bucket IP/IP. It can also be used to repurpose streams at a later date. The Stream Bucket IP/IP simultaneously records up to ten 1080i/p HD or 50 SD streams, with manual or scheduled inputs. Capture protocols are HLS, UDP, RTP, RTSP, HTTP, RTMP (Open Flash – pull only), or MMS. The Stream Bucket IP/IP creates files with specified identities that can be readily accessed via other devices over the Internet. It supports H.264, MPEG-2, or VC-1 file recording in native format, or customers can alter the resolutions, bit rates, or codecs. The system can create and store files with multiple bit rates and resolutions. Supported input file types are H.264 or MPEG-2 transport streams, or MP4. The Stream Bucket stores streams in specified folders with specified naming conventions. It can be remotely configured and managed via a web-based GUI. The system ships standard with an Intel solid state drive. The Stream Bucket is also available for most video formats, including SDI, HDMI, 8VSB, Analog, DVB-S/S2, DVB-T/T2, and DVB-ASI. It supports 1080i, 1080p, 720p, 480i, 480p, CIF, QCIF, qHD, H.264up and many others, and custom resolutions.
Sound Devices Sees New Features in 4:4:4 Sound Devices has announced its latest major upgrade to the PIX 240 and PIX 240i Production Video Recorders. This new update, available for all PIX customers free of charge, offers Apple ProRes 4444 recording from video sources over 3G-SDI (4:4:4 RGB or YCbCr). Recording 4:4:4 offers productions superior color precision for applications in chroma-keying, color-grading and multi-generational editing. PIX 240 and 240i users now have the ability to record into Apple ProRes 4444, which offers impressive quality with 4:4:4 sources and workflows involving alpha channel transparency. With its 12-bit, 4:4:4 capability, the PIX 240 and 240i can record 330-Mbps Apple ProRes 4444 files that are perceptually indistinguishable from the original source material. Popular cameras with 4:4:4 capable outputs include the ARRI ALEXA, Canon C500 and Sony F3. Additional features available in this latest v3.0 firmware update include timecode and recording status displays on the SDI and HDMI outputs, up to 500 ms of audio delay to compensate for multi-device picture delay, and selectable 4:4:4 or 4:2:2 video output independent from the source material. Users can connect PIX 240 and 240i to cameras with HD-SDI, 3G-SDI, or HDMI and record directly to QuickTime using a range of different Apple ProRes or Avid DNxHD codecs, including Apple ProRes 4444. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making for simpler, faster workflows. The PIX 240i’s high-performance five-inch, IPS-based LCD display is an accurate field monitor, providing users with immediate confirmation of framing, exposure, focus, audio metering, and setup menu selections. It offers excellent color accuracy and contrast, great off-axis visibility, and accurate motion tracking. The built-in hardware scaler and frame rate converter allows PIX to output and record material at different resolutions and frame rates than supported by the camera. Conversion between HD and SD, with and without anamorphic conversion, is available. The audio circuitry of the PIX recorders is based on Sound Devices’ awardwinning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), highheadroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power. The HDMI-only PIX 220 and PIX 220i video recorders also gain new features available in the new version 3.0 update, including Apple ProRes 4444 recording, time-code and recording status displays on HDMI outputs, and up to 500 ms of audio delay to compensate for multi-device picture delay.
Canadian International Television Festival Invites Media Creators, Consumers It’s being called ‘the first television showcase festival in Canada’ and it’s among and get Canadians excited about the quality and success of our industry.” the first event to strategically unite media content creators and consumers. Michael Hennessy, President and CEO of the CMPA added that the CITF The not-for-profit Canadian International Television Festival (CITF) says it will group also supports an initiative spearprovide a familiar platform for the public, journalists, broadcasting students, headed by the CMF and Telefilm called advertisers, and the industry to discover and enjoy new and returning English and Eye on Canada, a promotional and French-language Canadian programs. awareness campaign for Canadian CITF launches this November, and both content creators and media media that is using social media conconsumers are invited. nectivity on Twitter and Facebook in On the big screen at the TIFF Bell Lightbox in Toronto, the CITF will exhibit full its activities. Many of the country’s top episodes and retrospectives, as well as previews and other short-form content; media creation, production and while on-stage and on the red-carpet, fans will see cast reunions, Q&As, script distribution companies have joined in readings, and other live events. the campaign. Bell Media, the Canada Media Fund (CMF) and the Canadian Media Production Additional details about the CITF, Association (CMPA) are key supporters of the CITF. including information about events, “Content made for television has become even more important to the multi-plat- schedule, tickets, social networking form media world,” remarked David Heath and John Galway of the CITF’s Board activities and more will be made “Keep retail dollars in your market where you of Directors. “The CITF will become an annual event for creators to directly interact available in the months to come, CITF can control them” with consumers in a dynamic and supportive environment. Social TV does not get organizers added. any more social than at a public festival.” “Television has never been more engaging, relevant, and transformative,” said Kevin Crull, President, Bell Media. “We can’t think of a better way to mark this golden age of television than by supporting a public festival that invites viewers and creators to celebrate TV.” “Still the best turn-key “The festival model has been a great retail sales promotion for marketing tool for other cultural products Radio, TV, Shopping Centres, in Canada, and this festival will enable Big Box Retailers” Canadians to appreciate our home-grown productions in a whole new setting,” noted Details and video CMF President and CEO Valerie Creighton. www.dickdrew.com “Our partnership with the CITF will support our objective to rally the industry around the Drew Marketing & Productions Ltd. promotion of Canadian audiovisual content The tiff Bell Lightbox in Toronto will host the country’s first television showcase this fall.
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NEW Harris Boosts Channel-in-a-Box Harris Broadcast recently introduced its Versio integrated playout solution and it’s now demonstrating new HD/SD simulcast, playlist control, and graphics management features to bolster channel-in-a-box impact and efficiency for broadcasters. New features include HD/SD simulcast, allowing customers to drive a second channel using content from the primary Versio output — without additional hardware requirements or playlist management. Versio enables distinct on-air looks for HD and SD, with unique graphics for each output driven from a single list. A single playlist control allows Versio or external Harris Broadcast AD or D-Series automation to playout HD/SD content derived from one playlist, with appropriate graphics to match.
At its core, Harris describes, Versio combines baseband video, channel branding and graphics, and automated workflow capabilities in an easy-to-deploy, software-based, 1RU solution. Flexible software-based configurations allow customers to use on-board graphics, master control and server capabilities combined with their choice of internal or external automation and media control, with options to leverage external Harris Broadcast and third-party components to suit unique workflow needs. Versio offers integration with production, traffic and billing, scheduling, asset management, content playout and master control functions, so broadcasters can accelerate channel launch times, reducing months of preparation to weeks or days by slashing resources required for traditional channel launches.
Sachtler Support for Sony 4K Sachtler is positioning its Video 18 S1, Video 20 S1, Cine 7+7 HD and Cine 30 HD camera supports for Sony F5 and F55 shooters. According to the payload requirement of their set-ups, F5 and F55 filmmakers can choose either the Video 18 S1 (4-40 lbs /2-18 kg) or the Video 20 S1 (4-55 lbs /2-25 kg). This gives users enough leeway to equip cameras minimally (9-11 lbs /4-5 kg) or elaborately with heavy lenses, handgrips, a matte box, monitors, and other accessories. With a 16-step counterbalance, the camera set-up can be balanced precisely and instantly. In order to align even extremely front or back heavy camera configurations so that the C.O.G. is directly above the pivot point of the head, Sachtler has developed the 150mm long C.O.G. Plate (Order Code 1063) which can be used with the Video 18 S1 as well as the Video 20 S1. Together with Speedbalance technology, the Boost Button, and the 16-step counterbalance, the practical sideload mechanism of the Sachtler Cine 7+7 HD fluid head and long 150mm sliding range of the camera plate guarantees optimal counterbalancing of camera set-ups of up to 22 kg (48 lbs). For all of the even heavier set-ups, the 150mm Cine 30 HD fluid head is available with sideload and ARRI dovetail compatibility (payload of up to 35 kg/77 lbs with a 125mm C.O.G.). All four fluid heads offer seven horizontal and seven vertical grades of drag (+0). Features such as the phosphorescent touch bubble and the parking position for spare screws are the finishing touches on the perfect camera support package. The Video 18 S1 as well as the Video 20 S1 and the Cine 7+7 HD can each be combined with the robust and quickly mountable Sachtler tripods from the 100mm range. The 100/150 adapter expands the range of selection to include the even more stable Cine 30 HD 150 mm tripods.
Sachtler supports 4K shooting with Sony
New HD Field Monitor Adorama has introduced a new and improved LED field monitor. The Flashpoint 7” features 1280x800 pixel resolution, enabling extra-precise focusing and framing. It offers a native 16:9 widescreen aspect ratio ideal for shooting in HD or full HD, with instant switching between black-bordered and full-screen display; it can be set to bordered 4:3 when necessary. The field monitor also features full HDMI input and output and 1:1 pixel mapping, which displays a magnified view at the camera’s actual pixel resolution. 14 Broadcaster
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Other features include 400 cd/m2 brightness and 800:1 contrast ratio; a wide viewing-angle (178 degrees horizontally and 178 degrees vertically); eight LED-illuminated buttons, including four [F1-F2] with assignable functions, enable one-touch operation and intuitive onscreen menu navigation, as well as a headphone jack, a small mono speaker, a three-way power switch, and three 1/4-inch accessory/tripod bushings.
www.broadcastermagazine.com
13-08-12 2:16 PM
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