BVE Daily, Thursday 26 February 2015 by Future PLC

The Official Newspaper

Thursday 26 February, 2015

THEBVEDAILY BROADCAST & PRODUCTION: FROM CREATION TO CONSUMPTION

VARICAM 35 WINS SHOOTOUT FOR NEW UK TV DRAMA Panasonic Stand: K40 By David Fox A new UK-based TV drama will be the first to be shot with Panasonic’s new VariCam 35. It goes into production next week, for broadcast in the autumn. Rental company 24-7 Drama bought four VariCams for the drama following a shootout against the Red Epic Dragon and Arri’s Amira. “They liked the images they were getting from the VariCam,” particularly the colour handling and skin tones, said Nigel Wilkes, Panasonic’s group manager, broadcast and IT systems.

Imperial ambassador: Panasonic used forceful measures to deliver its messaging this week “We worked very closely with Panasonic to ensure the client achieved the results they were looking for,” said Graham Hawkins, MD of 24-7 Drama, “along with the cameras we will

be supplying a large range of lenses and Arriflex accessories.” A key feature was the VariCam 35’s dual native ISO (800 and 5000). Where most cameras get really noisy at

higher ISOs, at ISO5000 on the VariCam “all of the noise disappears, to give very clean night shots,” claimed Wilkes. It also shoots multiple formats at once: 4K 4:4:4, HD and a proxy, “which allows them to have a master and a daily.” As the camera is modular it will be useful for fitting in cars, as the camera head can be up to 30m from the recorder, which is also ideal for crane shots. Visual Impact sold the four cameras to 24-7 Drama and has ordered two more. “This is a great 4K camera from Panasonic and offers our customers a true alternative to the current large sensor cameras we stock,“ said Visual Impact director Tim Sparrock.

ENCODER ROYALTY Matrox Video Stand: J19 By Michael Burns The Monarch HD video encoder is drawing great interest from live production customers of all levels at BVE. The £699 device is designed for video producers who need to stream a live event as well as record a mastering-quality version for post-event editing. It generates H.264-encoded streams and simultaneously

records high-quality MP4 or MOV file to an SD card, a USB drive, or network drive. Paul Mothershill, sales account manager for Matrox, explained: “Recording quality and upload bandwidth are independent of each other. You can go to 10Mbps on the stream and 20Mbps on the record. It’s a really powerful little box.” As well as live music producers, Mothershill said Matrox had many houses of worship customers expressing interest in the Monarch HD at BVE. “They’re like minibroadcasters in their own right.”

STAR AWARDS - EPISODE IV The hotly anticipated 2015 BVE Star Awards were announced at the exhibitors’ drinks reception

last night. The awards, sponsored by Bubble & Squeak and now in their fourth year, recognise those

WWW.BVEXPO.COM

INSIDE BVE SHOW DAILY SPONSORED BY

Groovy live broadcasts engage Facebook fans Groovy Gecko seeks to revolutionise live broadcasts with live interactive social p3 streaming Making a scene in London American film director Catherine Hardwicke spoke about the challenges and rewards of filming Miss You Already p4 Versatility key to OB design The latest OB truck from WTS has been built with p29 flexibility in mind Taking stability to another plane The ShadowCam S-5 rig can dampen movement p30

who’ve gone above and beyond with their stands, and the promotion of their wares at the show. The winners of this year’s awards, chosen by an independent panel of judges, were as follows: O Best Shell Scheme: CueScript Ltd, Stand P11 O Best Space Only Stand: WTS Broadcast, Stand J50 O Best Product Launch at Show: DedLeg Ltd, Stand C45. All of which means there are no prizes for Panasonic’s impressive efforts to tempt Darth Vader out of retirement, but they do get the privilege of gracing our front cover in any case.

Future proof your facility with advanced 4K SD, HD and Ultra HD mini converters! Blackmagic Design’s new high performance mini converters switch instantly between all SD, HD and Ultra HD video formats so they’re ready for Ultra HD when you are! Mini Converters are available in regular or heavy duty models that are machined from solid aluminum so they look beautiful and are super tough! Choose from models with 6G-SDI, HDMI,

6G-SDI Technology Mini Converters include multi rate 6G-SDI so you’re always future proofed! 6G-SDI is fully compatible with all your existing SD and HD SDI equipment and will automatically switch when you need to run Ultra HD!

analog, optical ﬁber connections and more. Broadcast Quality

Auto Switching SD, HD and Ultra HD Mini Converters instantly switch between Ultra HD and all SD or HD formats, including NTSC, PAL, 1080PsF23.98, 1080PsF24, 1080PsF25, 1080i50, 1080i59.94, 1080i60, 720p50, 720p59.94 and 720p60. Updates can be loaded via USB. Redundant SDI Input Mini Converters feature a redundant input and loop through SDI output. Connect a redundant SDI cable to the second input, and if the main SDI input is lost, Mini Converters will automatically switch over in an instant. That’s great for mission critical tasks such as live events. Pro Analog and AES/EBU Audio Standard 1/4 inch jacks are included for professional balanced audio that switches between AES/EBU or analog. Unlike other converters you don’t need expensive custom audio cables so you’ll save thousands of dollars!

www.blackmagicdesign.com/uk *SRP is Exclusive of VAT

Designed with Ultra HD technology, Mini Converters give you even better performance when used with SD and HD! You get low jitter, the longest SDI cable lengths and the highest quality broadcast video and audio performance available.

Mini Converters

Mini Converter SDI to HDMI 4K ........... £199* Mini Converter HDMI to SDI 4K ........... £199* Mini Converter SDI to Analog 4K ......... £199* Mini Converter Analog to SDI .............. £199* Mini Converter SDI to Audio 4K ........... £199* Mini Converter Audio to SDI 4K ........... £199* Mini Converter Optical Fiber 4K .......... £335* Mini Converter SDI Multiplex 4K .......... £335* Mini Converter SDI Distribution 4K...... £199* Mini Converter Sync Generator............ £209*

THEBVEDAILY

GROOVY LIVE BROADCASTS ENGAGE FACEBOOK FANS

Jake Ward: “We have found that for an average 30-minute Facebook live programme, we have more than 60 per cent viewing time which is brilliant when compared to TV”

Groovy Gecko Stand: S39 By Heather McLean Live interactive social streaming is being demonstrated on the Groovy Gecko stand as the streaming media company seeks to revolutionise live broadcasts as we know it. In March 2014, Groovy Gecko launched its live interactive social streaming service, which has taken off as TV broadcasters have come to realise the massive potential of

Quad 4.3”

engaging fans on Facebook. From football teams such as Chelsea FC, to dance competitions including Got to Dance, the announcement of Blur’s new album launch and long running drama EastEnders, the company has brought live interaction with stars to social networking. Jake Ward, business development director at Groovy Gecko, stated: “We have developed technology that enables you to put a live interactive programme on your Facebook news feed. For instance, at the end of Richard Blackwood’s debut on EastEnders last week

Dual 7”

at 20:00 around the credits, people were told to go to EastEnders’ Facebook page to meet the new star. By 20:02 questions were being posted by fans on the Facebook page for Richard. These were sorted as they arrived by a moderator and those selected were sent live to Richard on a tablet.” Viewing figures are high for Facebook live programmes, Ward added. This is because a live production appeals to a programme or brand’s fan base of people that have already ‘liked’ their page. He explained: “We have found that for an average 30-minute Facebook live programme, we have more than 60 per cent viewing time which is brilliant when compared to TV. We’ve also found we’re getting viewers in an interesting way; the audience doesn’t peak until about 30 per cent into a given programme, as in the 15 minutes before the show and at the beginning of the programme, people are still sharing the link. We are getting thousands of shares, likes and questions; our record number of questions for a 30-minute programme so far was 4,500 for Chelsea FC.” Groovy Gecko is set to roll out the same service on Twitter by the end of March.

Sadie Groom (left): “My mission is to inspire women, and promote women in this industry”

WOMEN: WORK HARD, HAVE FUN, MAKE A DIFFERENCE Production Theatre By Holly Ashford The gender imbalance in the broadcast industry was examined in a panel discussion hosted by Sadie Groom, MD of Bubble and Squeak, and board member of Women in Film and TV (WFTV). Joining her were Inga Ruehl, account director, sports and news, Sky; Nicki Fisher, sales director EMEA, Clear-Com; and Delyth Thomas, director and board member, Directors UK. Groom opened light-heartedly by acknowledging the low female footfall at BVE: “There’s no queue for the toilets here and you’ll get into all the parties!” but continued: “My mission is to inspire women, and promote women in this industry.” So what are the reasons for this gender imbalance?

Thomas puts it down to employment law not meeting employment practice. In big corporations, she said: “You’ve got a really good forward thinking policy”, however, these policies are not always acted upon and there is no monitoring on the ground. Groom highlighted women’s lack of confidence as a major problem, and all the women agreed that gaining knowledge about both the industry and oneself is the best way to overcome this. Seeking the help of other women was also championed. Groom raised WFTV’s mentor scheme as being particularly popular; Thomas advised to “talk to others, talk to your peers”, and Fisher agreed: “Having a mentor is really important”, before she summed up, “work hard, have fun and make a difference”.

Dual 9”

THEBVEDAILY 03

THEBVEDAILY

INBRIEF Breaking down barriers to ingest

Field dock, jointly developed with dock10’s partner Limecraft, is a remote ingest service for productions on location. The digital media service provider said it would enable a speedier and more economical option in the shoot to edit process by facilitating location-based media management and file ingest over IP. The laptop-based solution offers back-up of camera card media to portable hard drives, viewing of popular camera formats, internet speed connection testing and a choice of workflows to send native or a choice of proxy formats to dock10’s private cloud platform at MediaCityUK. Once content has been received, clients are able to use dock10’s remote production tools, such as Avid Central UX to view, log and edit, and the full range of dock10 post production services to complete their workflow. There’s also the option to download rushes to continue the workflow elsewhere using the new ‘Click and Collect’ service; a web portal allowing content to be sent through various network providers to a nominated external party. Emma Riley, head of Business Development at dock10, said: “We think the ingest process has long been overlooked by innovation and is key to speeding up the non-creative process of programme production.” Riley continued: “Field dock takes ingest into the 21st century and was developed to solve a problem we see our clients face every day, namely how to start their programme edit as soon as the shoot finishes.” VIP and Speakers Lounge

04 THEBVEDAILY

For the latest show news and updates follow @BVExpo

SHOGUN FIRST TO RECORD 4K IN AVID DNXHR Atomos Stand: H30 By David Fox The Atomos Shogun is the first recorder to implement Avid’s new DNxHR 4K recording format. It will be part of AtomOS 6.2, which will be available to download for free on Friday. The 4K £1,299 Shogun has been phenomenally successful, with more than 10,000 sold in just two months. “That was my six-month forecast. 4K is really taking off,” said CEO, Jeromy Young. It is mainly selling to users of Sony’s new FS7 (who can record 10-bit over both HDMI and SDI), the low-light Sony A7s DSLR, and Panasonic’s GH4. “They are the

Bringing 4K to the masses: Jeromy Young with updated Shogun on a Sony FS7

MAKING A SCENE IN LONDON 4K Theatre By Holly Ashford American film director Catherine Hardwicke provided a vibrant ending to the first day of BVE 2015, enthusing about the challenges and rewards of filming her latest project, Miss You Already, in London and the UK. During her presentation, Hardwicke shared an extensive library of pre-shoot and on-set photos with the audience, along with ‘lookbooks’ and diagrams, which helped inspire and consolidate her vision for the film. “I made lookbooks of what the movie will look like, and emailed

them to Drew [Barrymore], hoping she’d say yes. Suddenly she seems to be interested in the movie, so I get on the plane, and head to London!” The first thing after stepping off the plane was “massive research”. The film required numerous different locations, so at first Hardwicke considered a studio facility like Pinewood, before deciding it wasn’t quite right for her project. The drawback of filming in a lot of different locations in London though, said Hardwicke, was “a ton of traffic” meaning “every scene would take time”. She was then directed to the perfect location, Bricket Wood in Hertfordshire, and in the area Hardwicke found a number of

main three cameras really driving 4K at the moment,” he said. Some Shogun users had wondered why Atomos was being so slow to add DNxHD recording to the Shogun, but the delay was due to working on the 4K version, which he believes will have a big impact as so many 4K/Ultra HD cameras are coming out. AtomOS 6.2 will also include 3D look-up tables, which can be uploaded from editing packages. These can be used just on the Shogun’s screen, or on both screen and output (for monitoring), or can be burned-in (for recording), a flexible implementation that he said “wasn’t easy. It required a lot of research.” There will also be down conversion to high-quality HD on output (both for loop out during recording and playback), as most infrastructure is still HD.

“London was super inspiring to me” – Catherine Hardwicke

spaces all ideal for the film, which allowed for “economic and efficient” filming. Hardwicke trained as an architect before becoming a production designer. “The architecture in London was super inspiring to me. It gave me a lot of energy.” It is evident from Hardwicke’s delivery and photographic evidence that London and the UK provided a bounty of filming locations, but how was her experience working with UK talent?

She praises Barrymore’s British co-stars Paddy Considine and Dominic Cooper, though said of English work ethic: “We work 12 hour days in America and go into overtime. That does not happen here. You guys like your time off!” Even without first-class facilities like Pinewood, the value of the UK as a production hub is huge and its talent “super creative”. Hardwicke seemed enamoured by her visit, and summed up: “Everyone kicked ass here…for the ten working hours!”

THEBVEDAILY

BUDGET MICS SOUND GOOD VALUE Boya/Ianiro International Stand: D12 By David Fox Boya’s range of professional microphones cost a lot less than buyers are used to, but are claimed to meet the needs of videographers, event video producers and webcasters. They are already popular in the US and Asia, but are only now available in Europe. The range includes lavalier, condenser, shotgun and compact stereo models, as well as wireless systems. “None of these mics cross the £50 mark. But don’t be mistaken, the sound and build are of a very high quality. Not only that, the cameramounted devices come with

windscreens included, while the shotgun mic is supplied with a noise dampening shock mount. It’s simply terrific value,” claimed Nick Allen-Miles of European distributor Ianiro International. He believes the pick of the product line-up is the BY-WM5 wireless microphone pack with two-way communication. The familiar looking pocket-sized transmitter and receiver can be used to capture audio wirelessly from up to 50 metres. Both the talent and recording technician can monitor the audio using supplied earpieces, with adjustable volume levels. A lapel microphone is also included. “While cameras have come down dramatically in price, professional wireless mic systems have remained stubbornly expensive. At only £75 Boya’s new system will change the sound landscape forever,” he claimed.

Going the distance: Boya’s new £75 BY-WM5 wireless microphone system

Munich’s Audi Dome, home of FC Bayern Basketball, where the new electronic ticketing solution has been installed

FC BAYERN BASKETBALL GETS NEW TICKET-SCANNING ELECTRONICS Riedel Stand: F24 By Heather McLean DECA Card Engineering with Riedel have completed the installation of new ticketscanning electronics at Munich’s Audi Dome, home to current German champions FC Bayern Basketball, which Riedel is showcasing here at BVE. Working in partnership with Ticketmaster, Riedel/ DECA implemented an access control system that simplifies and speeds guest entry into the arena. The concept offers

not only fan security but also efficient visitor management for the club. Within just 90 days, the company integrated Ticketmaster technology into scanning terminals that were delivered and installed in time for the start of the basketball season. Benedikt Peine, head of ticketing and merchandising at FC Bayern München Basketball, said: “We have observed the market for a long time and have opted for the well known quality of Riedel/DECA and Ticketmaster. In a remarkably short timeframe, they provided us with a robust, cleverly integrated solution featuring the latest in access control

technology. The speed of the installation and the efficiency of the ticket-scanning systems allowed us to start the new basketball season with a more secure entry system that has eliminated lines and streamlined entry for fans.” In this joint project with Ticketmaster, Riedel/DECA quickly provided ticket-scanning terminals that ensure optimum security, validating tickets with bright LED indicators that prevent ticket misuse or counterfeiting, and increasing the rate at which guests can enter the arena. The installed solution supports guest management for more than 6,000 attendees per event.

THEBVEDAILY 05

THEBVEDAILY

For the latest show news and updates follow @BVExpo

THEBVEDAILY © 2015 NewBay Media. No part of this publication may be reproduced in any form by any means without prior permission of the copyright owners. Published by NewBay Media on behalf of Integrated Systems Europe. NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England

For thematic channels, Pixel Factory can package every part of the output

MEETING AT THE FACTORY GATE Pixel Power Stand: M43 By Philip Stevens Pixel Power is using BVE 2015 as an opportunity to discuss the future of graphics across the whole of the broadcast world. Alongside demonstrations of a range of the creative solutions based on its Clarity platform, Pixel Power staff will be on hand to talk about how automated content

packaging is transforming channel branding and collapsing the cost of playout. Pixel Factory incorporates the best of breed graphics from the Clarity Graphics engine with the Pixel Power Gallium workflow management system, which provides work order processing and asset management. As well as allowing broadcasters to create many more trailers and promos with a lower budget while retaining a consistent and distinctive on-air identity, it also

offers a radical new approach to channel playout. For thematic channels, Pixel Factory can package every part of the output: programmes, commercial breaks, promos, and audience retention tricks like squeezebacks and voiceovers. That means the entire channel can be played or distributed from simple video servers, channel in a box systems or IP streaming solutions without the need for a dedicated graphics device. Pixel Factory also provides a

packaging solution for VoD and OTT services where its output can be sent directly to the CDN portal in the required formats. “We have some pretty bold ideas on how we can transform the broadcast landscape through automated content packaging coupled to our graphics excellence. BVE is a great opportunity to talk through these ideas with broadcasters and media companies, as well as showing what the systems can do,” reported CEO, James Gilbert.

SOUND DEVELOPMENTS Calrec Stand: D20 By Philip Stevens Calrec is featuring its Dante interface, which works in conjunction with Hydra2 across the entire range of Calrec Bluefin2 consoles. The development gives Dante connectivity to every client on a Hydra2 network via a simple, single-width 3U interface card. This provides 64 audio input and 64 audio output channels, with connectivity via dual-redundant RJ45 Ethernet connectors on the card’s front panel. Dante is a proprietary networking technology developed by Audinate and is currently

06 THEBVEDAILY

deployed across the globe to connect many different kinds of pro-audio equipment. Also on display are the Apollo and Summa consoles networked using Hydra2 technology. Hydra2 offers more than just a signal transport system. It is also a powerful management tool that provides increased network-wide control of many parameters. Broadcasters can remotely configure mic gain, phantom power, patching, port protection, alias files, virtual patchbays, and access rights. This added benefit not only streamlines the workflow to make set-up configuration quicker and more efficient, but also allows the broadcaster to maximise productivity and gain

maximum return in today’s fast-paced environment. “BVE gives us the opportunity to demonstrate new technology and features to some of our longest-standing customers,” reported Jim Green, UK sales manager. “Not only can we show them what we have developed but it is a forum for us to listen to our customers’ thoughts in order to provide the market with products that meet the changing needs of live broadcasters.”

EXECUTIVE EDITOR James McKeown +44 20 7354 6002 jmckeown@nbmedia.com MANAGING EDITOR Melanie Dayasena-Lowe +44 20 7354 6002 mdayasena-lowe@nbmedia.com CONFERENCE REPORTER Holly Ashford +44 20 7354 6002 hashford@nbmedia.com SHOW REPORTERS Michael Burns, David Fox, Heather McLean, Philip Stevens, PHOTOGRAPHER James Cumpsty HEAD OF DESIGN Jat Garcha +44 20 7354 6003 jgarcha@nbmedia.com EDITORIAL PRODUCTION MANAGER Dawn Boultwood +44 20 7354 6003 dboultwood@nbmedia.com PRODUCTION MANAGER Alistair Taylor +44 20 7354 6001 ataylor@nbmedia.com

The Calrec Apollo audio console

SALES MANAGER Ben Ewles +44 20 7354 6000 bewles@nbmedia.com ACCOUNT MANAGER Richard Carr +44 20 7354 6000 rcarr@nbmedia.com SALES EXECUTIVE Nicola Pett +44 20 7354 6000 npett@nbmedia.com US SALES Michael Mitchell +1 (631) 673 0072 mjmitchell@broadcast-media.tv PUBLISHER Steve Connolly +44 20 7354 6000 sconnolly@nbmedia.com MANAGING DIRECTOR Mark Burton PRINTED BY Headley Brothers

www.asperasoft.com moving the worldâ&#x20AC;&#x2122;s data at maximum speed

THEBVEDAILY

For the latest show news and updates follow @BVExpo

SMART MOVE FROM AXON Axon Stand: K19 By Philip Stevens Broadcast infrastructure specialist Axon Digital Design is demonstrating its latest range of customisable monitoring and master control solutions and has unveiled SMART DVB, its new platform for live MPEG-2 and DVB transport stream reporting. This suite of tools enables owners and operators to ensure health, conformity and quality across the digital distribution chain and to drive performance at the highest level. Axon’s Cerebrum combines software for both the control and monitoring of broadcast devices. It delivers an interface for a wide range of devices

Axon Digital Design shows its range of customisable monitoring and master control solutions, including the new SMART DVB platform for live MPEG-2 and DVB transport stream reporting

PRO TOOLS 12 FOR CLOUD COLLABORATION

Multiple Pro Tools 12 users can work on the same cloud-based session at the same time

Avid Stand: F60 By Michael Burns Pro Tools 12, a new generation of the digital audio software featuring new flexible licensing options, is on show at BVE. Avid is also announcing

08 THEBVEDAILY

new innovations to support artist collaboration and content distribution with Avid Cloud Collaboration. Pro Tools 12 allows customers to either subscribe per month or annually, or to still buy the digital audio suite outright with a perpetual licence. Avid said the subscription options allow users to stay current with

future software updates and innovations as soon as they are released via the cloud, at no additional charge. Avid Cloud Collaboration, initially to be accessed by Pro Tools users with others to follow, will enable artists to compose, record, edit, and mix sessions working with other Pro Tools users in the cloud, as if they are all together in the same studio. Built-in communication tools allow users to engage with collaborators through text or video chat directly from within Pro Tools. Users can invite other artists to collaborate on a session, or find new collaborators through the new Avid Marketplace Artist Community. Other key benefits include the ability to post sessions to your own cloud storage space and invite others to collaborate, as well as share audio and MIDI tracks, edits, mix changes, automation. Users can keep track of all contributors and version changes with automatic and fully customisable metadata tagging.

from different manufacturers (including routers, production switchers, servers, receiver decoders, multiviewers and waveform monitors) using either SNMP (Simple Network Management Protocol) or third-party protocols. Axon is also showcasing its new live video production mixer SynLive. Based on Axon’s Synapse range of products, SynLive has been designed for small, live production environments to provide broadcasters with a cost-effective and turnkey offering. It offers the flexibility to scale and expand infrastructures over time and can be configured to add more features, all the way up to a 4Wire 4K compatible system. Combined with the SynLive product line, Axon is demonstrating its Synapse-based Master Control solution SynMC. The system provides the ability to scale Master Control operations as and when is needed, which is crucial in today’s rapidly evolving media landscape.

CERBERUS LAUNCHES PRO VIDEO BROADCASTER Cerberus Satellite Services Stand: P44 By Heather McLean Cerberus Satcom has announced the product launch of its Pro Video Broadcaster, which it is demonstrating at this year’s show. This new broadcast service powered by Zixi will revolutionise the way the company can deliver studio quality video over the internet or on private networks. This technology allows content producers to deliver their video over unmanaged IP networks to multiple destinations without any loss in quality, saving on expensive satellite bandwidth or leased lines. Latency, jitter and packet loss are the three fundamental

issues linked to trying to send quality IP video streams over unmanaged networks, noted Cerberus. The company stated that its Pro Video Broadcaster eliminates these headaches by utilising a Zixi quality of service layer on top of the internet or other unmanaged IP networks. This layer guarantees the delivery of video no matter how large the distance between two end points or how little latency is required. As Zixi’s UK-based sales and integration partner, Cerberus Broadcast Services operates cloud-hosted Pro Video Broadcaster to provide dedicated capacity or to allow OU contribution streams from content owners, producers and camera operators. Cerberus supplies pre-built, pre-configured Zixi Endpoint Servers to enable IP streams immediately.

THEBVEDAILY

For the latest show news and updates follow @BVExpo

OPINION

BE FIXATED WITH HD

The ﬁxed rig has matured as a production tool and as a technology solution, according to Chris Daniels, managing director, Holdan Stand: K30 The rise of the fixed rig (based around pan, tilt, zoom – PTZ – HD cameras) has had a huge impact on television, with whole evening schedules seemingly given over to observational documentary. The industry has arrived at a point where the fixed rig has matured as a production tool and as a technology solution. BVE visitors should spare some time away from the UltraHD hubbub to take a look at this crucial development in programme making.

You can follow Holdan on Twitter @HoldanBlog

Why fixed rig? Importantly, the cost of rigs is significantly lower than sending out a fully-equipped camera crew. PTZ units are far more affordable than most shoulder-mount broadcast cameras, deliver great pictures

but are small enough to be installed discretely in any location, with no need for hotel accommodation or coffee breaks. In our experience, they also deliver a new level of naturalism to the screen. What’s new at BVE 2015 Across the showfloor, visitors will see the whole production chain, from cameras and control to capture and storage, with a number of key innovations launching at BVE. Panasonic is launching PTZ cameras at the show. The HE40 has a full HD sensor, 30x optical zoom and, for the first time, support for power over Ethernet. At well under £3,000, it’s lower priced than its predecessor but offers far greater flexibility. Similarly, the HE130 with its fan-less design is full of innovation: it features power over Ethernet, HD

streaming over IP, night mode and an optical image stabiliser. Recording multiple streams of HD video on location has always been an issue. With production companies focused on saving costs and improving workflows, the multi-channel recording workstation has become highly sought after. This removes the need for a bank of VTRs, stacks of tape and hours spent ingesting material onto servers, all of which are endless and thankless tasks. One of the hits of last year’s show, Quadrus Ingest Machine, has been developing strongly over the last 12 months. We are now able to show live AAF and XML creation using a video switcher for enhanced workflows with Avid, Adobe and Apple NLEs. It also offers editing during capture and even system control over IP for truly remote production.

WEST END SHOWCASES HUMAN DUNE HD SET TOP BOX INTERACTIVE PROJECT Garland

Stand: L16

West End Stand: D46 By Heather McLean West End is showcasing its end-to-end range of services and production facilities, including its Human Interactive Project, here at BVE. The Human Interactive Project was created by West End to demonstrate the breadth of its skills and services

10 THEBVEDAILY

for a medical congress. From concept to scripting to final software development, West End created a giant interactive touchscreen experience for congress visitors to see and hear the stories of patients. This innovative concept has brought patient perspectives to life for many different therapy areas, West End claimed. The project was shot in West End’s own studio using a 4K Blackmagic camera, with all post production carried

out at its high-end in-house edit suite. West End media director, Mark Bird, explained: “Human Interactive is a great example of all West End’s media production cogs working together; check it out and you’ll experience the range of possibilities it opens up. This type of interactive experience is applicable to a wealth of industries and an endless number of applications, and West End is able to produce whatever is required in-house, to order.”

By Heather McLean Broadcasters can save bandwidth with a cost effective set top box to support HEVC, being showcased at BVE by Garland. Billed as the world’s first cost effective, fully featured set top box to support HEVC, the HD TV-204 from Dune HD, the award-winning manufacturer of full HD media players and connected set top boxes, will be available from Garland.

“Don’t let the affordable price fool you,” said Lorna Garrett, director of Garland, Dune HD’s UK partner. “This attractively designed unit is an extremely high performer. It lets operators save bandwidth by letting them deliver their content with up to a 50 per cent better compression ratio than H.264/ AVC streams. It supports all of the latest streaming technologies, modern audio and video codecs, security frameworks, CAS, and DRM.” The HD TV-204 supports 4K UHD video with HEVC and 3D MVC codecs, and is equipped with HDMI 1.4a.

THEBVEDAILY

INBRIEF Testor in the ﬁeld

LYNX Technik is unveiling its new Testor | lite 3G, a cost-effective, compact, handheld touchscreen multi-format test signal generator to the UK market.

This mobile tool is an ideal trouble-shooting device for technicians and engineers working in the field, studio applications and post. It supports SD/HD/3G 4:2:2 and dual-link video formats and generates two simultaneous outputs. It produces a 3D test pattern either as two separate signal outputs (left eye, right eye) or one 3G-SDI 1080P dual-stream signal. Stand: A02

The LEM-250C OLED monitor features a considerable range of video processing and colour calibration technology

POST FUTURE BRIGHTER WITH NEW MONITOR Pyser-SGI Stand: D30 By Michael Burns Making its show debut at BVE 2015 is the OLED LEM250C monitor from TV Logic, a lower cost version of the established LEM-250A. TV Logic’s UK distributor Pyser-SGI said the LEM250C provides most of the important features of its sibling, but with faster access to important functions with programmable short-cut keys. A range of safe area markers (and others) are integrated, together with features such as audio deembedding, audio level displays, dynamic UMD, CC decoding, timecode display and more. Supporting 3G/ HD-SDI output, the 24.5in AMOLED panel offers 1920x1080 native HD resolution with 1:1 pixel mapping modes for SD and HD. It supports TV Logic’s automatic colour calibration system, which permits accurate alignment to recommended standards. The monitor can be battery or mains powered, as well as sporting internal speakers, making it also attractive as an on-set monitor for film productions. Also in the TV Logic range from Pyser-SGI is the 56in LUM-560W, a quad HD or 4K resolution monitor with a 56in native 3840x2160 10-bit LCD panel. It can display full screen 4K video or four individual 1920x1080 images. The 4K LUM range also includes the 55in LUM550W and the 31in LUM-300W. All three monitors have been designed for high-end 4K cinema post, being able to display four inputs at a time or scale one input to the full screen. TV Logic monitors all feature easy to use on-screenmenus for adjustment of all standard parameters such as aspect ratio, brightness and contrast. Pyser-SGI provides full technical service for all of the products sold.

THEBVEDAILY 11

THEBVEDAILY

For the latest show news and updates follow @BVExpo

SPEAKING OF INTERCOMS Clear-Com

Stand: C20 By Philip Stevens Clear-Com is presenting industry-leading IP capabilities and a new wireless intercoms system for the first time in the UK. The LQ Series, a new family of Intercom Connectivity (ICON) devices, is making its UK debut. LQ is a fast and simple solution to extend existing intercom systems to remote locations or link multiple intercom or audio devices together, over

secure IP network (LAN, WAN, internet). LQ devices come in a 2-wire (LQ-2W2) or 4-wire (LQ4W2) option. Clear-Com will also present the new IP capabilities offered by the software update in EHX v8.0 configuration software for the Eclipse HX digital matrix intercom systems. The update enables standard IP-connected V-Series panels to operate both as fully functional intercom keypanels and as multichannel audio gateways with no requirement for additional hardware or software licenses. This feature extends the Eclipse HX’s existing capability

to provide remote matrix intercom connectivity over diverse IP infrastructure at no additional cost, making audio and intercom connectivity for applications such as OBs and live events more cost-effective. In addition, Clear-Com will showcase the FreeSpeak II wireless intercom system. With the new digital beltpack and active antenna, the enhanced FreeSpeak II delivers improved roaming capability for reliable wireless connections, superior digital ‘Clear-Com Sound’ for clear intelligibility and audio comfort,

THE ONE STOP SHOP A.C. Entertainment Technologies Stand: E20 By Melanie Dayasena-Lowe AC-ET is featuring new lighting solutions from Chroma-Q, Mole-Richardson and Fiilex, grip equipment from Manfrotto, and video innovations from Green Hippo and Prolights. The company offers a comprehensive one-stop inventory of equipment solutions for film, television, and studio or location broadcast applications. This service covers products through to complete lighting

(Left to right) - Manfrotto wind up stand, Mole-Richardson Studio JuniorLED Fresnel, Chroma-Q Studio Force Phosphor LED softlight, Fiilex P360EX indoor and outdoor LED light, Prolights Ultra 3+ high-performance video panel, Green Hippo Hippotizer V4 Boreal media server

STREAMING TO THE CLOUD AVIWEST Stand: M16 By Melanie Dayasena-Lowe

12 THEBVEDAILY

Exhibiting with Sematron, AVIWEST is presenting the latest enhancements to its Digital Mobile News Gathering (DMNG) system, including cloud capabilities, designed to optimise the delivery of

breaking news and live events for broadcast applications. Using the advanced live video contribution platform, broadcasters can capture and broadcast live HD or SD video over multiple networks, including

The LQ Series, a new family of Intercom Connectivity (ICON) devices, is making its UK debut and innovative intercom features that make it a high performance wireless option. FreeSpeak II

operates in multiple licence-free DECT bands from 1.8971.933GHz.

and video systems, from supply through to installation. The Chroma-Q Studio Force premium performance soft light range provides a soft, even light source in a choice of daylight, tungsten and variable white LED models which are comparable to traditional lighting technologies – and produce a massive output for their size. The Mole-Richardson lighting range includes the new LED based Spacelite, an energyefficient fixture with similar performance to its incandescent counterpart, and LED Fresnel models with comparable output to 650Watt, 1KW and 2KW tungsten sources, while consuming 80 per cent less power. The Fiilex LED lighting range provides a high quality colour tunable light output. Models incorporate multiple colours within their LED sources, to

provide a fuller spectrum than from single colour LED lamps – which produces exceptional colour rendition on camera. A selection of products from Manfrotto’s range of lighting support and grip equipment solutions for the broadcast industry are also on display. The stand showcases the Hippotizer Boreal from Green Hippo’s latest media servers range, and the new Hippotizer V4 next generation media control software version. Content output from the Boreal server is displayed on a video wall using the highperformance, Prolights Ultra 3+ 3.9mm pitch video panel. Also being presented is ACET’s Cable Express service, which provides fast delivery on specialised and custom cable accessories such as Powerlock, BAC, Socapex and Head to Ballast extension cables.

bonded 3G/4G cellular wireless, Wi-Fi, Ethernet, and satellite. Other key product introductions and demos at the show include a new version of its DMNG Studio server. It is designed to receive incoming streams from DMNG video uplink systems, IP cameras, and other equipment through a variety of formats such as RTP, RTSP, TS over UDP, and RTMP.

By allowing broadcasters to use the DMNG Studio as a central video hub and interface rather than just a receiver, the new DMNG Studio system opens up the possibility of inputting video signals from the studio mixer and streaming to the cloud. AVIWEST is also demonstrating new cloudbased capabilities for the DMNG Manager.

THEBVEDAILY

DEEP INTO ARCHIVES Disk Archive Corporation Stand: M20 By James McKeown BVE 2015 has seen Disk Archive Corporation bring three new upgrades, with support for 8TB Archive Disk Drives; Hybrid Cloud Storage Solution; and EX-60 Storage Expansion Chassis. Support for a new generation of Archive Specific 8TB disk drives is set to “transform the economics of Deep Archive storage on the ALTO Offline platform.” The new Disk Drive technology is optimised for long retention times and low throughput characteristically required for Deep Archives and Preservation. With up to four Petabytes per rack cabinet, the company is

championing the smaller footprint in comparison to other archive solutions and that being disk-based, “the environmental specifications are more relaxed than tape-based solutions bringing direct and indirect cost savings to the ALTO system, which already features the industry’s lowest total lifetime cost of ownership.” The company is also presenting a new hybrid cloud storage concept, which seeks to overturn the traditional economic barriers that have made cloud storage unaffordable for long form broadcast content in native resolution. In addition, it is showcasing the EX-60 Storage Expansion Chassis for the ALTO Archive and Content Library. The EX-60 is designed to meet the growing demand for larger capacity and more densely packed media storage.

Disk Archive Corporation brings three new upgrades to BVE

On the turn: The Q3 does a full 360º turn in just four seconds

REMOTE CAMERAS ON THE BALL IN Q3 Camera Corps Stand: H12 By David Fox Camera Corps has three new miniature cameras at BVE: the unobtrusive Q3 pan/tilt/ zoom/focus model; the tiny MeerCat; and version 3 of its Cricket Stump Cam. The robotic Q3 is fully IP45 rated for outdoor use, while its compact spherical housing can perform an unlimited number of 360º lateral rotations. It has a 1/3-inch 1920x1080 RGB CMOS sensor with 20x optical zoom lens, and an enhanced motor

drive is claimed to match the precise acceleration and deceleration of much larger robotic heads when tracking moving performers. Pan and tilt speed are adjustable from 360º in 90 minutes to 90º per second, and it can store motion control sequences of up to 25 seconds duration. The MeerCat is small enough (30x30mm, 93mm high) to be used as a wearable camera, yet has full control facilities, including manual iris with adjustable electronic exposure. It can deliver 1080p, 1080i or 720p video at 50, 59.94 or 60Hz via HD-SDI – convertible to an optical feed using Camera Corps’ fibre interface. The power supply and interface can

be up to 30m from the camera head, and control signals can be delivered over a standard audio line. Six cameras can be controlled from a single remote panel. The latest version of the Stump Cam is its most compact yet and can be completely housed inside a regulation-gauge cricket stump. Each camera can have 50º, 100º or 128º lenses. There are four cameras: two for each wicket, so one might have a tight-angle lens facing the bowler, while the second, with a super wide lens, could capture the wicket keeper. All four zzzzzfeeds are multiplexed onto single-mode fibre. The system can withstand direct strikes from a ball.

THEBVEDAILY 13

THEBVEDAILY

For the latest show news and updates follow @BVExpo

INBRIEF 4KCAM CAMCORDER PRODUCT LINE LAUNCHED OB link up

Bluebell Opticom is launching the Caddie-LB 4K, specifically designed for outside broadcast (OB) and deployable applications. Caddie-LB 4K provides a single cable link between cameras and ENG/OB units. Features include four 3G/HD/SD-SDI video paths from the camera’s on-air audio, intercom, and control data. Based on field-proven technology, the units offer a range of signals to the operator including programme video, audio, comms, data, and genlock for camera control and synchronisation. All signals are multiplexed onto two fibres to ensure easy and quick system rigging. Units have already been successfully deployed at the 2014 Commonwealth Games and at prestigious concert venues for high-profile UHD tests. “We aim to make our customers’ jobs simpler by designing innovative, reliable products. We’ve hit the mark again with the latest entries to our product line, which we are demonstrating at BVE,” remarked Paul McCann, managing director, Bluebell Opticom. Also on show is the BC364 compact, rack-based multiformat converter for use with a wide range of broadcast video and audio signals and the BN366, which is designed for the cost-effective transport of 4K UHD signals over fibre. Plus, the BN623 is the latest addition to the Bluebell BlueNano range of compact fibre optic interfaces providing bidirectional analogue audio and serial control data over fibre. The robust design allows the unit to be deployed in OB or flypack applications. Stand: M50

14 THEBVEDAILY

JVC Professional

Fancy a new GY-HM200 handheld camcorder?

Stand: E16 By Heather McLean Here at BVE, JVC Professional is showcasing its recently launched new 4KCAM camcorder product line, comprising of three new handheld camcorders and a remote head camera system. The new JVC GY-HM170 and GY-HM200 handheld camcorders feature a 1/2.3” CMOS sensor with a 12x optical/24x dynamic zoom lens, recording 4K Ultra HD and full HD files (H.264 4:2:2) at up to 50Mbps to

readily-available memory cards. Other features include built-in ND filters, stereo microphone and 3.5mm audio input, with live 4K UHD output through a

built-in HDMI connector. The GY-HM200 adds dual XLR audio inputs via an integrated handle with hot shoe and microphone mount, and is also

WIN A £6,000 LIVE PRODUCTION SUITE! NewTek

The TriCaster Mini is a complete and compact multimedia studio

Stand: G20 By James McKeown In addition to bringing its range of multi-camera video production systems to BVE 2015, NewTek is also giving someone the chance to win a live production suite worth £6,000. The company has been showcasing the latest versions of TriCaster and 3Play over the last two days, as well as the ultra-portable TriCaster Mini, and TalkShow VS-100, the video calling production system announced at IBC2014 which is designed specifically for television studios and live video producers. In addition, NewTek has launched a competition offering one lucky winner a complete yet compact portable live production system, comprising a TriCaster Mini system and two JVC GC-XA2BEU Action Cameras – a package worth around £6,000. Entry is via the NewTek EMEA Facebook page at https://www.facebook.

JVC’s most affordable live streaming camcorder, streaming instantly to Ustream. Meanwhile, the GY-LS300CHE handheld camcorder and GWSP100E remote head camera system (comprising camera head, a recording/playback device with foldable/detachable 7-inch HD LCD monitor and a wired camera remote control panel) each uses JVC’s new 4K Super 35mm CMOS sensor combined with an industrystandard MFT lens mount. They record to non-proprietary SDHC and SDXC media cards in a variety of image formats, including 4K Ultra HD, full HD with 4:2:2 sampling, SD and web-friendly proxy formats.

ROBUST COMPANIONS Miller Fluid Heads (Europe) Stand: J26 By Melanie Dayasena-Lowe

com/newtekemea, but hopeful entrants will have to be quick, as the prize draw takes place at 16:00 today. The TriCaster Mini is a complete and compact multimedia studio that, according to the company, “allows anyone who doesn’t speak or understand the technical language of video production or broadcasting to transform an ordinary presentation into engaging multimedia content that looks

like network-style TV in a matter of minutes.” Also on show this year is TalkShow – the 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 – the latest version of the flagship TriCaster 8000 multi-camera video production system, and the 3Play 425 sports production solutions.

Miller Fluid Heads (Europe) is displaying its robust Cineline 70 Fluid Head and Air Tripod System. Constructed of corrosionresistant 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 TV commercial productions that require heavy payload, frequent re-rigging and a diverse range of lenses and cameras. It is set to accommodate industryleading camera mountings, including Arri, Sony, RED and Canon, and it features an Arri-compatible sideloading camera platform, with an optional, easy-to-fit 1225 Mitchell Base Adaptor to suit traditional Mitchell Flat Base tripods.

Stand K30

Expanded Power ĞĂƵƟ ĨƵůůǇ ĨŽƌŵĞĚ ĂŶĚ ƵŶĐĂŶŶŝůǇ ƉŽǁĞƌĨƵů͕ DĂĐ WƌŽ ŝƐ Ă ĨĂŶƚĂƐƟ Đ ǁŽƌŬƐƚĂƟ ŽŶ͘ ,ŽǁĞǀĞƌ͕ ŝƚ ĐĂŶ ďĞ Ěŝĸ ĐƵůƚ ƚŽ ŝŶƚĞŐƌĂƚĞ ŝŶƚŽ ĐƌĞĂƟ ǀĞ ǁŽƌŬŇ ŽǁƐ ďĞĐĂƵƐĞ ŽĨ ŝƚƐ ůĂĐŬ ŽĨ W / ƐůŽƚƐ ĂŶĚ ϭϬ'ď ƚŚĞƌŶĞƚ ĐŽŶŶĞĐƟ ǀŝƚǇ͘ ^ŽŶŶĞƚ ŚĂƐ ƚŚĞ ƐŽůƵƟ ŽŶ͘͘͘

Datavideo HS-2200 ƌŝĞĨĐĂƐĞͲƐƚǇůĞ , ƐǁŝƚĐŚĞƌ ĨŽƌ ƵƐĞ ŽŶ ƚŚĞ ĚĞƐŬƚŽƉ Žƌ ŽŶ ƚŚĞ ŵŽǀĞ͘ /ƚ͛Ɛ Ăůů ǇŽƵ ŶĞĞĚ ƚŽ ƐǁŝƚĐŚ ĂŶĚ ŵŝǆ ŵƵůƟ ƉůĞ , ƐŽƵƌĐĞƐ ŝŶ ĂŶǇ ůŽĐĂƟ ŽŶ͘ Ͳ ϲ , Ͳ^ / ͬ Ϯ , D/ ŝŶƉƵƚƐ Ͳ ƵŝůƚͲŝŶ ϭϳ͟ ŵŽŶŝƚŽƌ Ͳ ƵŝůƚͲŝŶ ' ƐǇƐƚĞŵ Ͳ /ŶƚĞƌĐŽŵ ƐǇƐƚĞŵ ͬ ϰ ďĞůƚ ƉĂĐŬƐ

xMac Pro Server 3x PCIE Slot Expansion Enclosure For the New Mac Pro Available with an integrated high-speed LTO-6 ĚƌŝǀĞ Žƌ Z / ĂƌƌĂǇ͘ ĚĚ ŽƉƟ ŽŶĂů W /Ğ ĐĂƌĚƐ ĨŽƌ ƉƌŽĨĞƐƐŝŽŶĂů ƐŽƵŶĚ͕ ϰ< ŝŶŐĞƐƚ͕ ϭϬ'ď ƚŚĞƌŶĞƚ͘͘͘ WƌŽ ƵĚŝŽ

Ultra Fast SSD

WƌŽ sŝĚĞŽ

Networking

Stand K30

Datavideo HRS-30 >ĂƉƚŽƉͲƐƚǇůĞ , ƌĞĐŽƌĚĞƌ ĨŽƌ ƵƐĞ on the desktop or on the move. Ͳ ĂƩ ĞƌǇ Žƌ ŵĂŝŶƐͲƉŽǁĞƌĞĚ Ͳ ƵŝůƚͲŝŶ ϭϬ͟ ŵŽŶŝƚŽƌ Ͳ ϰ͗Ϯ͗Ϯ Dy&ͬYƵŝĐŬdŝŵĞ ĐĂƉƚƵƌĞ Ͳ ZĞĐŽƌĚ ƚŽ Ϯ͘ϱ͟ , ͬ^^ ĚƌŝǀĞƐ

Visit holdan.co.uk for details

February 2015 I Issue 1 I Volume 33

Europe

www.tvtechnologyeurope.com

THE TECHNICAL RESOURCE FOR THE BROADCAST MEDIA PROFESSIONAL

TV Technology Europe is the leading product and technical resource for the broadcast media professional. Providing independent coverage of the latest equipment and technology releases, and offering exclusive insight, opinion and analysis from the industry’s leading experts and commentators, TV Technology Europe offers unrivalled coverage of all aspects of product technology and engineering in the broadcast media sector.

Thinking outside

the box

In search of a modern definition for channel in a box

Buyers’ guides

Drones, transcoders, encoders

4,650 PRINT READERSHIP

19,000 RECIPIENTS OF

DIGITAL EDITION

CIRCULATION HAS ONLY A 1.2% CROSS OVER WITH TVB EUROPE

New focus

New digital platforms

New frequency

New technologyVSHFLÀF VXSSOHPHQWV

Product reviews Camera lenses, audio repair

BVE preview edition

D E H C N U A L RE 2015 R O F EDITORIAL PLANNER 2015 Edition

ISSUE 1

Trade Show Distribution

• BVE 2015 • CABSAT

ISSUE 2

• NAB 2015

ISSUE 3

• Broadcast Asia • ANGACOM

ISSUE 4

• IBC2015

Event Coverage

Features

Product Reviews

Buyers’ Guides

Publication Dates

• BVE 2015 Product Preview

• Channel-in-a-Box • Feature interviews • Expert commentaries • Sharpshooter series • Audio for broadcast • User reports

• Audio

• Trasnscoding/Encoding

• Ad close: Feb 3 • Distribution: Feb 13

• NAB 2015 Product Preview

• Multiplatform delivery • Feature interviews • Expert commentaries • Sharpshooter series • Audio for broadcast • User reports

• Storage and recording

• Affordable 4K hand-held cameras

• Ad close: March 18 • Distribution: March 30

• NAB Best of Show 2015 Winners

• MAM and archiving • Feature interviews • Expert commentaries • Sharpshooter series • Audio for broadcast • User reports

• Acquisition

• Transmitters, antennas and RF

• Ad close: May 12 • Distribution: May 22

• IBC2015 Product Preview

• Broadcast over IP • Feature interviews • Expert commentaries • Sharpshooter series • Audio for broadcast • User reports

• Fibre, cable and connectors

• Audio consoles and equipment/accessories

• Ad close: Aug 18 • Distribution: Aug 28

For more information contact: SALES

EDITORIAL

Ben Ewles

Nicola Pett

James McKeown

Sales Manager Tel: +44 (0) 207 354 6000 Email: bewles@nbmedia.com

Sales Executive Tel: +44 (0) 207 354 6000 Email: npett@nbmedia.com

Executive Editor Tel: +44 (0) 20 7354 6002 Email: jmckeown@nbmedia.com

www.tvtechnologyeurope.com

THEBVEDAILY

For the latest show news and updates follow @BVExpo

OPINION

IS 4K/UHD FOR LIVE PRODUCTION REALLY WITH US? Stuart Chaston, European sales manager, IO Industries, tackles the subject of 4K for live production

Park in Berlin to NBA in London and future plans for UEFA to fit-out football stadiums with 4K. There are a few areas that need to catch up and from the average viewer stance this is clearly, “how does this 4K get to my large screen mounted to the wall?” Does the

Stand: N28 During IBC2014, it was clear that 4K production was the new HD – there are many discussions about HDR, HFR, 8K (and even higher) resolution but it seems that the next step up from High Definition is 4K. 4K for mastering is entirely possible and the complete workflow allows for this but 4K for live is another matter. Yes, there had been a few trial transmissions streamed via IP by some industry leading technology companies but in reality, “will 4K transmissions become the normal standard for live events?” Well it seems that the time between IBC and BVE has suggested a resounding ‘Yes’. Recent news has highlighted a number of events that have been ‘streamed’ live in 4K (or was it UHD?) from Linkin

You can follow IO Industries on Twitter @IOINDUSTRIES

‘Does the emergence of 4K technology increase the demise of linear broadcasting or are we waiting for broadcasters to again invest in new infrastructure?’

emergence of 4K technology increase the demise of linear broadcasting or are we waiting for broadcasters to again invest in new infrastructure? Is linear broadcasting doomed by rate of change with video technology and not by the way we interact with broadcasts? What I do know is that production end-toend workflow in 4K is already here and there are a number of choices for anyone wanting to master in 4K. It seems that there are more options than when HD was this new and certainly more choices of cameras, such as the IO Industries Flare 4KSDI, one camera among many; even if the others are not minicams like the 4KSDI, most are designed to be portable.

CHYRONHEGO BRINGS THE WEATHER TO BVE ChyronHego Stand: L11 By James McKeown There is plenty on display at ChyronHego’s stand this year, as the broadcast graphics creation company showcases its latest innovations in streamlining weather graphics creation; creating and placing virtual graphics; creating feature-rich interactive touchscreen presentations; and tools for sports production analysis and player tracking.

18 THEBVEDAILY

The professional weather graphics platform, Metacast, serves as a standalone system within a broadcasting operation or as a production tool in an integrated 24/7 newsroom environment, and provides users with a complete graphics toolset for weatherdriven news stories. The Metacast platform extends clients’ weather production needs and offers a multi-platform solution for the creation of digital weather and news map content. Also being showcased is the Lyric PRO 8.8 Graphics Creation Software, which provides a single

solution for graphics creation and playout, designed to shorten cycle time to air for highly compelling broadcast graphics. The latest innovations here include new scene and application parameters for data visualisation; Advance Data Object, offering a multitude of external data sources that enable access to any data, anywhere; a new Data Processor tool for efficiently evaluating and modifying data, such as a live weather feed, before it is rendered graphically; a new Connection Manager allowing control over any external

The Metacast platform offers a multi-platform solution for the creation of digital weather and news map content device through network or serial communications; and a new Intelligent Interface Manager

that allows unlimited serial or network connections in a multitude of encodings.

THEBVEDAILY

TAKING CAMERAS TO A HIGHER LEVEL Vinten Radamec Stand: H12 By David Fox Two new elevation units for camera pedestals, or height drives, have been introduced by Vinten Radamec for on air use in both large, fully-automated and small production studios. The Fusion FE-165 can take heavy heads (like Vinten

Radamec’s Fusion FHR-145) for large studio cameras and payloads (up to 55kg), while its FE-55 can take up to 25kg, and matches the FHR-35 head. The high-rising FE-165 goes up to 2m (plus head), while the FE-55 rises to 1.8m. Both models have a small base diameter, allowing them to fit through a standard door opening. They use standard IP for control via Ethernet, and are virtual reality ready, outputting

full tracking data (pan, tilt, zoom, focus and elevation). There are two configurations of the FE-165: the FE-165 Light with the FHR-145 robotic head; or the FE-165 Elite for manual control, as it can be operated using a pan bar-mounted height controller and combined with the FH-145 head. “The FE-55, on the other hand, has been designed to support smaller camera

RUGGED RAID IS TOUGH MOBILE HARD DRIVE LaCie Stand: M49 By Heather McLean LaCie is demonstrating the Rugged RAID mobile hard drive at BVE. The latest product to join its line of Rugged mobile hard drives, LaCie Rugged RAID features 4TB capacity. It is also the only product in its class to feature hardware RAID 0 and 1, which lets professionals optimise the product for speed

or data security according to their workflow and use it on any Mac or PC. The LaCie Rugged features Thunderbolt and USB 3.0 along with two internal hard drives that are preconfigured in hardware RAID 0 for sustained performance of up to 240 Mbps. With this speed, users can transfer 64GB of content in less than five minutes, and even start to edit photos in the field with Adobe Lightroom. This time saving is key for field-based professionals who collect and move tons of data onto external storage.

The LaCie Rugged features RAID 1 (mirrored mode), which is where the data is duplicated across the two drives. So, even if a single drive fails in the field, the data remains accessible from the other drive. For added data protection, the LaCie Rugged is resistant to shock, dust and water. It is tested to withstand drops of up to 1.5m (5ft) and one ton of pressure. With its cap in place, the LaCie Rugged is IP 54-rated for superior resistance to dust and water splashing, even during operation.

packages while still offering the same performance, but at a more competitive price. When combined with the Vinten Radamec CP4 control system, the FE-55 enables smaller studios to provide an additional axis of movement enhancing available shots,” explained Neil Gardner, product manager. Studio robotics rise to the challenge: A Fusion FE-165 with FHR-145 head

SPORTS HAVE THE LIVETOUCH Quantel and Snell Stand: G17 By Melanie Dayasena-Lowe Quantel and Snell are showcasing a selection of its innovative products at this year’s BVE show. Among the highlights include the brand new LiveTouch studio sports highlighting system, the Kahuna Maverik configurable switcher control surface, and the Vega Asymmetric router which, as well as its ability to mix video and audio routing, can now also be configured as audio only. Kahuna Maverik, dubbed as a game-changing new

production switcher control surface, allows unprecedented freedom in panel design so users can create productions exactly how they want. LiveTouch is a brand new range of studio sports highlighting systems that feature a robust, ergonomic live control panel and unique bi-directional editor integration. LiveTouch encompasses a complete range of studio highlighting applications from single operator standalone set-ups to complete, integrated production systems. Also on display are the Vega 96 and 192 port asymmetric routers. The innovative design of Snell’s Vega routers allows each port to be configured as an input or output as well as for fibre or coax.

THEBVEDAILY 19

is the leading media brand for suppliers to the European broadcast and media market and is a proven partner in delivering the very best in news, analysis and debate to the key decision makers in the broadcast industry.

Monthly print magazine

Workflow Files newsletter

Sponsored content

Weekly newsletter

Daily E-Newsletter

Round Tables

Website

Conferences

Awards

Webinars

TVBEurope includes print, digital and conference platforms for bringing suppliers and broadcasters together. TVBEurope provides education, thought leadership, branding opportunities and sales leads for the entire European broadcast industry.

Visit www.tvbeurope.com for more details

THEBVEDAILY

REMOVING COMPLEXITY FROM VIDEO MANAGEMENT Cambridge Imaging Systems

intuitive web interfaces enable easy search and retrieval and provides users with a great range of features that will enable them to play, edit, download, share and much more, according to Cambridge Imaging Systems. With support for some of the world’s major storage appliances, Imagen can be installed onpremises as part of an existing broadcast archive or production workflow, or accessed as a payas-you-grow cloud-based service with infinite storage capacity. Tom Blake, managing director, Cambridge Imaging Systems, said: “When it comes to content, there are two key

Stand: N15 By Heather McLean Cambridge Imaging Systems is presenting the latest version of its Imagen Enterprise Video Platform here at BVE 2015. The new version includes WYSIWIG interfaces that further simplify the way in which content owners can manage their vast quantities of data. Imagen v3.5 gives full control of the user experience with WYSIWG page editors and a range of handy widgets. Its

problems facing the broadcast industry today: how to centrally manage and archive the enormous amounts of video being generated by companies in the media and entertainment industry, and how to provide your audience with access to that content in a cost effective and efficient way. Imagen answers these issues, providing a long-term archive for media while simultaneously making it available to staff and customers online through a highly customisable website.” Imagen users include Endemol, IMG, the BBC, Channel 4, ITN, the Imperial War Museum and the British Library.

CELEBRATING 70 YEARS

VS4RECORDER PRO APP

Shotoku Broadcast Systems

Stand: J19

Stand: C36 By Melanie Dayasena-Lowe Shotoku Broadcast Systems starts 2015 by marking its 70th anniversary as a supplier to the broadcast industry. At this year’s BVE, the company is showing its range of manual camera supports for professional, OB and studio applications, as well as offering demonstrations of its Robotic Camera Control Systems which are used extensively in live news production, parliamentary broadcasting and 24-hour shopping channels around the world. The company is highlighting its popular and cost-effective SP Professional Tripod series, aimed at professional applications, which was received with much success at last year’s BVE. In addition, the company is showcasing its SH100 ENG Fluid head, versatile SX300 EFP pan tan tilt head, and the TP200 studio pedestal.

The SX300 supports an array of cameras, lenses and accessories, making it suitable for ﬁeld production, OB and studio use The SX300 features outstanding balance, a robust build and ergonomic design. With a high capacity 40kg (88lbs) payload and widebalance capability, the SX300 supports an array of cameras, lenses and accessories,

making it suitable for field production, OB and studio use. The ergonomically designed TP200 handles a maximum payload of more than 80kg (177lbs) and supports a wide range of camera configurations. One-step foot brake and single-action cable guard enables precise movements and control at all times for fast, easy positioning. The SH series pan and tilt fluid head’s drag controls make it easy to adjust the head from low to high torque to provide the smooth, high quality movement needed for calm, clear camera work. Designed as a multipurpose head, suitable for news, documentary, drama, and live sports work, the SH100 is one of Shotoku’s premier ENG/EFP pan and tilt heads. The SH120 extends system coverage for payloads of up to 25kg. Shotoku is also using BVE as an opportunity to offer a preview of the newest addition to its family, its lightweight pedestal system, that will be officially introduced in Q2.

Matrox Video

By Heather McLean VS4Recorder Pro, a multicamera recording and multiviewer app for use with Matrox VS4 quad HD capture cards, is being demonstrated here at BVE by Matrox Video. Launched last September, each VS4-based recording system captures up to four video and audio inputs to create files for use with popular editing apps from Adobe, Apple and Avid and for archiving. H.264 is provided in either MOV or MP4 wrappers, while AVI files can be created using the high quality Matrox MPEG 2 I-Frame codec. MOV QuickTime files can be created using DV, DVCPRO, DVCPRO50 and DVCPRO HD. VS4Recorder Pro also functions as a multiviewer, offering pristine video quality even when monitoring interlaced sources on progressive computer monitors. “Synchronised, frameaccurate, multi-channel HD capture is simpler and more affordable than ever before,”

said Wayne Andrews, product manager, Matrox Video. “With VS4 Recorder Pro, live event producers and video editors get the quality, versatility and intuitive control they want, at a fraction of the usual cost. Complete systems can be assembled for as little as $3,500 and as much storage as needed can easily be added.” Additional features of VS4Recorder Pro include: automatic input detection for quick on-site set up; event markers for Adobe Premiere CC so that while recording, users can highlight moments of interest for quicker postevent editing; settings for capture duration and file switching without frame loss; VS4Control for gang recording of an unlimited number of video sources simply by networking multiple VS4-enabled machines together in a master-slave configuration; and DirectShow filters for developers to incorporate VS4 functionality in their own applications. VS4based systems are also ideal for multi-camera live production streaming with Telestream Wirecast for Windows or StudioCoast vMix software.

THEBVEDAILY 21

THEBVEDAILY

For the latest show news and updates follow @BVExpo

INBRIEF 4K AND HIGH DEFINITION WORKFLOWS

Knowledge sharing

Pro Motion Hire is demonstrating some of its most popular cameras at BVE 2015, and inviting visitors to discuss their project requirements. Duncan Martin, director, Pro Motion Hire, said, “Our team is passionate about the latest technology, but also has an innate understanding of production requirements and budget sensitivities. Drawing on our in-house knowledge base, we’re available to discuss the pros and cons of 4K, data storage issues, shooting in hostile conditions, and any other broadcast issues that people want to talk about.” The company is also presenting its latest training schedule, which includes camera workshops, in-depth self shooting courses, equipment maintenance sessions, guides to 4K/UHD, and data management advice. As part of the company’s tenth anniversary celebrations, there is an opportunity to win an iPad Mini for recommending a friend to use Pro Motion Hire’s services, and freelancers signing up to Pro Motion’s freelance mailing list have the chance to win a Billingham bag, as well as receiving regular special offers on rates and services. Stand: C42

Leading HEVC

ATEME, a global leader in video delivery infrastructure, is exhibiting at the IABM Pavilion stand to showcase the Virtualized, Software File Transcoder used by leading studios and service providers. Its features include 10x faster than real-time transcoding speed and IMF, MXF, JPEG2000, ProRes broadcast workflows. Also on display is its Ultra Low Latency Contribution Link: Encoder-Decoder, claimed to be the only 10bit 422 DVB compliant ultralow-latency solution. Stand: G30

22 THEBVEDAILY

Sony

Stand: F50 By Philip Stevens Visitors to the Sony stand can see how the company’s latest developments in 4K technology continue to address the needs of content creators and unite its vast network of products, systems, services and expertise. This comes after a year of broadcast landmarks that have redefined what is possible in terms of 4K performance and viewing experiences. For example, the 2014 FIFA World Cup marked a major milestone in live sports production and a tipping point for the future of 4K broadcast. Sony partnered with select firms to deliver three matches in 4K, including a quarter final and the final itself, which were streamed live to digital cinema screens for the first time in Ultra High Definition. As part of its commitment to the future of broadcasting,

The BVM-X300 supports High Dynamic Range mode Sony will offer insights into the latest 4K developments in acquisition, post production and delivery through a variety of panel discussions and case study sessions in the BVE 4K theatre. This year’s BVE sees the European show debut for the 30-inch BVM-X300 4K OLED Monitor. Fitting easily into Sony’s

AN AUDIBLE FIVE Aspen Media Stand: L30 By Melanie Dayasena-Lowe Aspen Media is presenting the latest developments from five German manufacturers. Salzbrenner, a division of the Salzbrenner Stagetec Mediagroup, is showing POLARIS evolution, claimed to be the most tactile and adaptable network mixing console for broadcast, OBs, live, theatres and recording studios. The 21” multitouchscreen of View is the POLARIS evolution’s primary user interface and the Access fader module with its own

touchscreen presents a dynamic view of only those keys and settings that are relevant at that moment. Visitors can see RTW’s unique and extensive range of audio and loudness meters including the simplest, lowest cost and space saving TM3-Primus that requires just a single USB cable connection direct to your DAW or unbalanced analogue or digital audio connections. RTW’s flagship TM9 updated with the latest firmware revision 5.11, takes loudness measurement a stage further by expanding the Timecode Reader licence to include integrated (I) loudness recalculation when the programme or film is recut or edited. Also, Jünger Audio is demonstrating the D*AP4 VAP

established XDCAM and 4K workflows, this flagship monitor is ideal for content producers looking to create a full and seamless HD or UHD workflow. It is proving to be a vital tool for a wide range of applications such as colour grading and quality control in 4K. In addition, the BVM-X300 supports High Dynamic Range

EDITION voice processor, a two-channel ‘audio toolkit’ containing all the processing elements necessary for effective treatment of voice signals in recording and radio and television broadcast environments. While MADI specialist DirectOut Technologies is presenting its new ANNA-LISA, a handheld MADI analyser and signal generator. Its traffic light style LEDs display sample rate, channel format, electrical level, eye pattern, Jitter and MADI spec conformity with more detailed analysis being available via USB and Bluetooth on a PC, tablet or smartphone. DELEC is bringing its oratis compact high-performance intercom and summing audio matrix to BVE. oratis compact is just the job for small scale projects in theatre and broadcast. It offers broadcast quality audio, supports SNMP and external sync and is remotely configurable over the network.

mode and a wide colour gamut conforming meaning the black is black, and peak brightness can be reproduced more realistically with colours that are typically saturated. Sony is also demonstrating its cameras, from the flagship CineAlta PXW-F65 and PXWF55 to the PXW-FS7, the PXW-X200 and PXW-Z100.

MUX22 MAKES AN APPEARANCE BroaMan Stand: R12 By Melanie Dayasena-Lowe At BVE, BroaMan is showcasing its existing portfolio including the complete Mux22 series. In addition, the company is presenting new software that supports all different types of Mux22 and Route66 devices. The evolving series of BroaMan energy-efficient, fast-fit devices has taken a quantum leap in the last 18 months with the introduction of the Mux22 and Mux22 MADI.

THEBVEDAILY

INBRIEF

TIME TO LOOK AT OBS

Amagi makes debut

Timeline TV Stand: G60 By Philip Stevens

The OB16 truck is capable of providing presentation and commentary position coverage of sports events, or multi-camera live or recorded programmes

Timeline TV is showcasing the full breadth of its broadcast services in its ‘Garden of Timeline’ at BVE 2015. Of special interest is the appearance of OB16, a self-contained small-footprint OB truck capable of providing presentation and commentary position coverage of sports events, or multi-camera

live or recorded programmes. Up to 12 cable cameras can be accommodated. Measuring 11 metres long by 2.5 metres wide (which can be expanded to 3.5 metres) the unit includes a two tier production area providing space for seven personnel. The

FLARE

4KSDI

production area is equipped with a main stack of ten Quad 22” displays and three 26” displays. The rear desk has two Quad 22” displays. Vision mixing comes through a Sony MVS3000, while the audio console is a 32 fader Calrec Zeta. Other equipment includes

a Miranda Hybrid router and Multiviewer, Riedel talkback matrix, dual redundant Ku band satellite uplink 1.8m dish, two 400W HPAs and Mpeg4 422 encoders. The VT/edit area is equipped with two EVS XT2/3 machines and two HDCAM VT machines.

Amagi, a cloud-based TV broadcast infrastructure pioneer, is making its debut at BVE this year. Amagi offers channel playout, regionalisation, linear OTT and monetisation platforms for TV networks as a cost-effective alternative to traditional TV broadcast. Amagi holds multiple patents in this area and has more than 4,000 edge servers deployed in over 15 countries. Amagi delivers and plays out more than one million advertising seconds and thousands of hours of content for many leading broadcasters. Amagi is also unveiling STORM PLUS, its next generation hybrid Integrated Receiver-Decoder (IRD), that can receive content from both satellite and cloud. Stand: R06

Super 35 Global Shutter Camera Quad 3G/HD-SDI EF-Mount

F-Mount PL-Mount

Features: • DCI 4K and UHDTV output formats • 4:4:4, 4:2:2, and RAW • Tri-Level sync input • Handheld remote or serial control

BV EXPO Stand: N28

www.ioindustries.com/ProVideo THEBVEDAILY 23

THEBVEDAILY

For the latest show news and updates follow @BVExpo

FIVE NEW UK BRANDS LAUNCHED Prokit

The Defy G5 3-axis gimbal system can carry cameras weighing up to 2.6kg

Stand: D34 By David Fox Five brands, new to the UK, have been introduced by Prokit at BVE, taking in lights, bags, gimbals and monitors. Prokit is also hosting a dedicated Canon Experience Zone with expert talks each day. The new premium bags from Orca are based around a lightweight aluminium frame for increased protection. Shoulder camera bags, a backpack, audio bag and harnesses are included in the UK launch. Defy brushless gimbals for hand-held camera stabilisation

offer unrestricted and dynamic camera movements, with three easy-to-use models. There are talks about using the Defy gimbals with Canon cameras. The Zylight F8 LED Fresnel light collapses for very easy portability, but has all the benefits of a traditional Fresnel, with single shadow beam shaping through barn doors, continuous focusing and a smooth light field. It also includes wireless and DMX control, water-resistant IP54 rating, and very rugged construction. The new Hexolux 7D LED light offers a modular design, aluminium construction, accurate colour rendition, and low power draw. Prokit is also now distributing SmallHD monitors, designed to

ALL THE BELLS AND WHISTLES Bel Digital Group/ Aspen Media Stand: P36/L30 By Melanie Dayasena-Lowe Two new products and the debut of a new UK distributor are the highlights of Bel Digital Group’s presence at this year’s BVE.

As well as Bel Digital debuting two new four channel monitors, BVE 2015 is also the first trade show where new UK distributor, Aspen Media, is demonstrating the company’s products. On stand P36, Bel is demonstrating its existing range of monitor products, audio synchronisation delays and MADI interfaces.

Meanwhile, on stand L30, Aspen Media makes its trade show debut as a Bel Digital Group distributor and is showing a wide range of the company’s products including the new BMA1-4SHD audio and BM-AV24SHD audio/video monitors. These are the beginning of a new range that brings Bel’s four-channel monitoring range right up to date, both featuring

a variety of connections for all broadcast applications. Both units feature Bel’s intuitive front panel designs and come in a space-saving 200mm depth chassis, enabling the monitors to be easily mounted in OB vehicles. Housed in a 1U 19” rackmount unit, the BM-A14SHD features a three-speaker system. The BM-AV2-4SHD is housed in a 2U 19” rackmount

IT SOLUTIONS IN THE CLOUD-BASED ERA ERA Stand: L40 By James McKeown IT solutions provider ERA has been demonstrating cloudbased, collaborative workflows from Adobe as well as unveiling new services available through ERA Cloud, including hosted

24 THEBVEDAILY

infrastructure for Render and Transcode on-demand. The company is also showcasing Dell’s high-performance workstation technology for creativity on the go. The new Render and Transcode on-demand services available through ERA Cloud are now available to broadcasters, studios and media companies on a transactional basis to

simply and effectively scale and manage rendering and transcoding, without paying for costly and idle computing resources. The company states that ERA Cloud “provides high performance multi-core servers and open integration to meet the most demanding requirements, avoiding high latency by collocating servers and storage in their datacentres.”

The company is also demonstrating the collaborative editing capabilities of Adobe Anywhere for video and MXFserver. Adobe Anywhere for video is a collaborative workflow platform that empowers users of Adobe professional video solutions to work together, using centralised media accessed across standard networks. MXFserver is a software-

offer sophisticated capabilities at a low price. Its Canon Experience Zone, featuring the new Canon EOSC100 MkII, includes talks by adventurer and cameraman Phil Coates on shooting in remote locations, and freelance lighting cameraman Mark Moreve on cinema profiles, dynamic range, ISO, ergonomics and using the Atomos Ninja. Prokit is also a Sony Professional Specialist and is showing its new PXW-FS7, as well as offering: BB & S remote phosphor LED lights; Schneider Cine-Xenar III prime lenses; AAdynTech production LED lights; Lowel’s Pro Power LED Light; and Nila LED lights.

unit and comes with a five-inch video monitor and highly reliable 52 segment LED bargraph meters. “We are delighted to be the new distributor for the Bel Digital Group’s range of monitoring, delay and MADI products and it’s great to be handling a British brand,” said Aspen Media director Chris Collings. “Bel products are perfectly gauged for the broadcast, OB and production markets; being extremely simple to operate, robust and renowned for their fidelity and intelligibility.”

only solution that provides an optimal environment for collaborative post production. ERA’s technology partner Dell has been showcasing a range of high performance workstations and monitors including the Dell UltraSharp U3415W, a 34-inch curved monitor with a panoramic view; the Dell Precision M3800, the thinnest and lightest 15” mobile workstation on the market; and the Dell Precision T1700 SFF, featuring one of the latest Intel Xeon quad-core processors and NVIDIA Quadro graphics.

THEBVEDAILY

For the latest show news and updates follow @BVExpo

OPINION

THE DEMAND FOR 4K AND IP John Kelly, general manager, UK, Ireland, MEA and Scandinavia, JVC Professional Europe, considers the increasing demand for 4K as an acquisition format and IP connectivity for broadcast equipment Stand: E16 2014 saw the continuing recovery of the market after the economic problems in Europe, with camera volumes across the EMEA region returning to pre-recession levels. From an acquisition point of view, recent years have shown a broadening of the range and type of cameras used for production. These include DSLR-style products, as well as other specialist cameras, driven often by the demand for a shallow depth of field ‘cinestyle’ look. Key trends have been the adoption of large sensor technology, together with the increasing demand for 4K. Also apparent is the increasing market requirement for remote head cameras, for live event, sports and studio applications. 2015 will see further demand for 4K as an acquisition format. The value of shooting 4K as an archive is clear but we are still some way from a broadcast infrastructure that can be technically and commercially viable. In the meantime, affordable, high quality production equipment, capable of shooting both HD and 4K, will be the requirement from customers. At BVE 2015, JVC is introducing four new 4K

‘From an acquisition point of view, recent years have shown a broadening of the range and type of cameras used for production’

26 THEBVEDAILY

camera products, including JVC’s first large sensor cameras, based upon JVC’s own full 4K Super 35 sensor technology. This includes an ENG-style handheld model, the GY-LS300, and also a remote head camera system, the GW-SP100, both delivering full 4K performance

at an affordable price point. Also increasing in customer demand is IP connectivity for broadcast equipment. In the case of acquisition products, this means live streaming, remote camera and control and file transfer over a variety of network environments including 4G and Wi-Fi networks. JVC sees the requirement for IP connectivity as core camera functionality and this feature will be central to future camera architecture, and is therefore present in the new range of 4K camera products. You can follow JVC on Twitter @ JVCprofessional

Capture and output device Io 4K will be a beneﬁciary of the new software

AJA IN VERSION 12.1 SOFTWARE RELEASE AJA Stand: G20 By Michael Burns New v12.1 software for KONA and Io editing hardware has been released for Mac and Windows. The release is the first time AJA has produced a single unified allin-one device driver and plug-in installer for the devices. The new software supports a broad range of AJA products including KONA 4, KONA 3G, KONA LHi, KONA LHe Plus, Io 4K, Io XT, Io Express and T-TAP. The AJA v12.1 driver is compatible with Windows 7 or Windows 8.1 (64-bit) and Mac OS X 10.10 (Yosemite) and OS X 10.9.5 (Mavericks). Aside from being a unified allin-one device driver across multiple AJA products, new features add support for 4K and UltraHD resolution capture with the

Open I/O Plug-in for Avid Media Composer 8.3, along with Adobe Creative Cloud Plug-ins and the AJA Control Panel configuration and Control Room capture/ playback software. Version v12.1 also brings new Wirecast capture plug-in for support for Telestream Wirecast version 5.x and 6.x with multi-channel HD inputs or 4K/UltraHD support on both Windows and Mac OS X. AJA’s new Wirecast Plug-in replaces the previously released limited version, and now offers support for an extended range of AJA hardware products. Wirecast from Telestream is a live video streaming production tool that allows Mac and Windows users to create live or ondemand broadcasts for the web. The v12.1 software also includes a host of performance improvements, and is available today as a free download to existing AJA customers.

DUPLICATING NEEDS Primera Technology Stand: E24 By Melanie Dayasena-Lowe Primera Technology is presenting its disc publishing and disc duplicating equipment. Depending on the required disc capacity, whether Blu-ray or just CD/DVD support is requested, and whether a desktop or industry-grade solution is needed, Primera offers several models starting with the Disc Publisher SE (DP-SE), a small

20-disc capacity desktop model and ends with the DP-4102 XRP an industrial version that comes in a 18-gauge steel cabinet with locking front door, high-wattage auto-switching commercial power supply and on top of that can be rack-mounted. Primera is also introducing its brand-new Primera Trio, dubbed as the world’s smallest and lightest portable all-in-one printer. It prints, copies and scans in full-colour or black monochrome from a unit that weighs just 1.2kg and is about the size of a hardcover book.

THEBVEDAILY

LOW-COST HC-HD300 STUDIO CAMERA Ikegami Electronics Stand: F25

In the dock: Ikegami’s new HC-HD300 HD studio camera

By David Fox Ikegami’s new “aggressivelypriced” HC-HD300 HD studio camera is making its show debut. The compact, flexible dockingstyle camera can be used with a newly developed control system: the FA-300 fibre adapter and BSF-300 base station, which can provide power to camera via a hybrid fibre cable. The HC-HD300 has a 1/3-inch bayonet lens mount and employs three 1/3-inch CMOS progressive-scan 1920x1080 sensors, and offers a 58dB signal-to-noise

ratio and 2,000 lux sensitivity at F11 aperture in 1080/50i mode. Other features include

focus assist and lens aberration correction. It weighs 4.5kg including the FA-300.

Also new is Ikegami’s HDK-97 Arri large-sensor broadcast production camera with internal

HD to UHD upconversion developed with Arri. The docking-style camera includes Ikegami’s latest 3G FPGAbased DSP, for complete realtime control of all grey scale, colour, and detail functions. A new 3G transmission system transports video from camera to CCU, as well as 3G transmission from CCU to camera. For slow-motion applications, Ikegami has the NAC Hi-Motion II sports broadcast camera, jointly developed with NAC Image Technology, which can deliver images at up to 20x slowdown. The three-sensor system has a B4 lens mount, and features simultaneous record and replay (96 gigabytes), with up to 1,000fps 1920x1080 capture.

THEBVEDAILY 27

The Global Broadcast, AV and Pro Audio Resource Library

The free and easy way to stay informed Why join NewBay Connect? Stay informed with the latest industry white papers, analysis, web seminars and case studies that affect your business and your career. • Content created by industry leaders and technical specialists • Free and immediate access, sign up and instantly download • Save for reference and presentations • Increase your knowledge base and productivity • Weekly Connect newsletters tailored to your interest • Access online anywhere and on any platform • Range and depth of content continually expanded by the NewBay Connect editorial team

Publisher: Steve Connolly sconnolly@nbmedia.com +44 (0)207 354 6000

Sales: Ben Ewles bewles@nbmedia.com +44 (0)207 354 6000

Campaign Manager: Warren Kelly wkelly@nbmedia.com +44 (0)207 354 6000

THEBVEDAILY

LED LIGHT BUILT TO SURVIVE WHATEVER YOU THROW IT AT Alphatron Broadcast Electronics Stand: K30 By David Fox The new Alphatron TriStar 4 on-camera LED light is claimed to be “virtually unbreakable.” It has “fantastic build quality and resilience to kit bag life,” said Richard Payne, technical pre-sales manager with its distributor, Holdan. “It can be thrown on a concrete floor, just bounce and still work,” he claimed. It uses metal barn doors and a re-designed mount, with a metal ball joint – unusual in this price bracket. The bi-colour light, which can be tuned between 3200K to 5600K, doesn’t change

Ben Murphy in the production gallery of the new WTS truck

The light stuff: Richard Payne with the new Alphatron TriStar 4 its intensity when you change colour, and uses 96 long-life, high-brightness three-chip surface mount diodes (which effectively have three times the output of something using the same number of LEDs),

and promises 100-10 per cent dimming without noticeable colour shift. It is powered by Mini 4-Pin XLR or Sony NP-F Battery, and draws 12W. It should ship in April for a list price of less than £200.

4K MINIATURE CAMERA HEAD IO Industries Stand: N28 By David Fox The new Flare 4KSDI compact 4K camera head from IO Industries has a Super 35 global shutter sensor and quad-link 3G/HD-SDI outputs. It can shoot up to 60p in both 4K (4096x2160) and UHD (3840x2160) with either 10bit 4:2:2 or Raw output, or up to 30p with 4:4:4 RGB output. The small, lightweight camera “can be used for action and point-of-view shots and in 4K without losing any quality,” said Stuart Cheston, European sales manager. The camera will ship next week for $8,000, including a choice of lens mounts (PL, Nikon F or passive EF mount –

A Flare for 4K: The new 4KSDI camera can shoot 4K or Ultra HD active EF mount is an optional extra), plus power supplies. All camera settings can be adjusted remotely with the same hand-held remote control as IO’s existing 2KSDI camera

or it can be used with thirdparty control panels. Multiple cameras can be synchronised together with a tri-level-sync reference, for live events or multi-camera systems. It has four SDI outputs and can deliver up to 60fps in 4K (4:2:2 or Raw – there is currently no HD mode). There’s no recording inside the camera, which requires a separate 4K field recorder such as an AJA Ki Pro Quad or Convergent Design’s Odyssey7Q, but that means it is smaller (only 92x92x75mm) and weighs 600g without a lens, so that it can be used for tight PoV angles in race cars, inside small gimbals for helicopters (or drones) or in underwater housings. It also simplifies jib work, as it can be used with much lighter units, such as the Polecam.

VERSATILITY KEY TO OB DESIGN WTS Stand: J50 By Philip Stevens and Michael Burns Outside broadcasts have always been required to cover a multitude of programme genres. And that means designing vehicles that can meet every demand from a simple sporting event to the most comprehensive concert. The latest truck from Systems Integrator WTS has been built to meet the various requirements of its client, Video Europe. Measuring 11 metres long, it has double expanding sides that can be opened to a full width of 4.5 metres. “It is important to have flexibility in sizes so that the truck can be parked in confined spaces – like the streets of London, for example,” explained WTS sales director, Ben Murphy. The vehicle is built on a Mercedes chassis and is equipped with a Sony MVS-7000X vision mixer and 16 Sony HDC-2500 cameras with Canon lenses.

Audio mixer is handled by a 48 fader Calrec Omega console, communications come through an RTS/Telex system with Miranda providing routers and multiviewers. Inside its OB truck, the company is also showing its innovative MMR product, a solution to eliminate the need for DVD review copies of live recordings. Duncan Payne, sales manager for WTS Broadcast Sales Division, explained: “Say you’re covering a horse race. At the end of the race the trainer wants a copy, the stewards want a copy, the owners and the jockeys want a copy. You might have six or seven people wanting a copy – trying to dump them all onto DVDs in the OB van is a pain.” “The MMR supports ten USB keys and has four HD-SDI feeds going into it. The operator chooses the feeds that they want to record to each USB key, assigns a bit rate for each one and hits record. “The big OB companies are loving it,” said Payne. “We’re developing a new version, supporting 20 USBs. It’s completely scalable.”

THEBVEDAILY 29

THEBVEDAILY

For the latest show news and updates follow @BVExpo

RTW DEAL ADDS TO AUDIO TOOL BONANZA HHB Communications Stand: J43 By Michael Burns Distributor HHB is having a busy BVE, launching post production and broadcast audio tools from co-exhibitor Nugen Audio, as well as being named RTW’s distributor for the UK and Ireland with immediate effect. Included in the Nugen line-up is a preview of the upcoming Loudness Toolkit 2, designed to aid in meeting the EBU R128 audio loudness standards and file-based delivery environment as part of the DPP guidelines. Available in April, it offers more than 70 new features and enhancements.

RTW’s Loudness Tools Masterclass plug-in will be distributed by HHB as part of the new representation Nugen’s new technology for Stereo-to-5.1/7.1/9.1 upmixing is also being shown for the first time. Specifically designed for film and TV production, it is

capable of producing an upmix with optional dialogue isolation in the centre channel, as well as downmixcompatibility. German pro

audio manufacturer RTW offers tools for visual audio monitoring in broadcast, production, post production and quality control, notably the TouchMonitor range. One of the first fruits of the HHB deal will be the introduction of RTW’s Loudness Tools Masterclass plug-in. This new range provides RTW meters as standard-format plug-ins for Windows and Mac OS. The plug-in provides the functionality of the TM7 and TM9 basic PPM instruments in combination with its loudness licence to offer the same degree of functionality and clarity as the hardware models. Andreas Tweitmann, RTW CEO, said: “The DPP’s adoption of EBU R128 loudness

standards has made the UK a very important market for innovative audio loudness tools. HHB is the UK’s leading authority on loudness technology and we are confident in their expertise to deliver the best sales and technical support to top broadcast and post production facilities.” Martin O’Donnell, director of sales for HHB, added: “It’s very exciting to add RTW to our portfolio of leading loudness technology. They offer a range of solutions for professional workflows that we have a great deal of experience with, and their new loudness software will be very interesting to our broadcast and post production customers.”

TAKING STABILITY TO ANOTHER PLANE ShadowCam Stand: E23 By David Fox The world’s first fully customisable modular, handheld digital camera stabiliser that can also dampen movement on both the vertical and horizontal planes has launched at BVE.

The three-axis motorised S-Gimbal at the heart of the system, “can be mounted on a cross bar to create a smaller rig, or fitted with a standard shoulder rig,” explained ShadowCam director Scott Jae. The ShadowCam S-5 can be folded flat, and can be quickly and easily switched from one application to another – from being hand-held to

heli-mounted, vehicle-mounted to crane-mounted. There is also an adaptor for a Polecam, and the system can carry such cameras as a DSLR, Canon EOS C-Series, Red Epic or Blackmagic. The full S-5 kit costs £3,995, and if ordered at BVE will come with £500 worth of accessories (top handle and boom kit). The system will ship in a month.

MEGAHERTZ GOES LOCAL Megahertz Stand: C24 By Philip Stevens One of this year’s BVE conference speakers is Jamie

30 THEBVEDAILY

Conway, CEO of Made TV, the largest licensee for city television stations in the UK. Megahertz designed and built the complete production, news and ENG kits for Made TV’s five new stations, together with a centralised playout facility,

which is now on air. “Megahertz will be playing an important role in the future development and strategy of the company,” Conway said. “If we had tried to do this five years ago it would have been impossible, but with

Out of the shadows: Scott Jae demonstrates the ShadowCam S-5 rig

today’s technology and the right systems integrator we are launching services that rival any national counterpart.” Jon Flay, managing director at Megahertz, takes up the story. “Made TV is a great example of the way that the systems integration business is changing. Of course, there will still be customers who come to us for an outside broadcast truck or

an edit network, and we will be delighted to work with them. But now there are new businesses entering the broadcast and media market, like Made TV, who need a strong partner to work with them at the strategic level.” Flay said that the development of local TV in the UK presents some interesting challenges and that Megahertz is well placed to meet the demands.