The Official Newspaper
Tuesday 24 February, 2015
THEBVEDAILY BROADCAST & PRODUCTION: FROM CREATION TO CONSUMPTION
HOLLYWOOD GLITTERATI HIT BVE The BVE 2015 seminar programme is set to spark interesting debate with a host of high profile speakers gracing the showfloor at London’s ExCeL over the next three days. Among the big names this year are The IT Crowd’s Richard Ayoade, Twilight director Catherine Hardwicke and Harry Potter supervising sound editor James Mather. Today at 17:15 in a session named ‘Director’s cut – finding inspiration in Britain’ American director Catherine Hardwicke reflects on the growing multinational nature Catherine Hardwicke of British cinema. She also shares her experiences of Richard Ayoade’. In this live filming her upcoming feature, interview – conducted by writer and performer Adam Buxton – Richard Miss You Already, in the UK, Ayoade, best known for his role in and her journey in the film and TV industry as a strong The IT Crowd and as director of female figure. films Submarine and The Double, Tomorrow at 17:00 is the talks about his journey into TV and session ‘In conversation with his career in film so far.
Richard Ayoade And on Thursday there’s an opportunity to attend exclusive audio seminars including an interview with the supervising sound editor on Harry Potter and the Deathly Hallows, a case study on the hit BBC drama Sherlock and a
discussion on recording sound in extreme conditions. James Mather, the Emmyaward winning and BAFTA nominated supervising sound editor, chats about his work on Cinderella, Harry Potter and the Deathly Hallows and Sherlock Holmes. The BBC’s Sherlock also gets the BVE treatment as BAFTA Craft award winners Doug Sinclair, the owner and cofounder of Bang Post Production, and dubbing mixer Howard Bargroff explore the audio technology and techniques used on the hit drama. Pete Lee, sound recordist and engineer (Bear Grylls: Escape from Hell, Man vs. Wild), joins the panel considering ‘The challenges and solutions of extreme shooting’, while the Institute of Professional Sound (IPS) provides an essential guide to getting good sound on a budget.
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INSIDE BVE SHOW DAILY SPONSORED BY
Ultra HD gallery in the news Celebro Studios’ new 4K news gallery is based around a UHD/4K live workflow using Blackmagic Design equipment p4 Drones take to the air AerialWorx has been awarded BBC approved supplier status p19 Underwater ultra slow motion Polecam’s fully submersible FishFace was used for underwater shots in Doha for the World Swimming Championships p27 Hero4 goes live GoPro and Vislink have teamed up to produce a transmitter that can be worn to provide a new take on live events p30
EYEING UP A ROBOTIC CAMERA Telemetrics Stand: P25 By Philip Stevens
RoboEye provides out of the box operation for on-air and augmented reality systems
Telemetrics is showing its RoboEye integrated HD camera/robotic PTZ here at BVE 2015. “RoboEye allows video systems to be designed and expanded with a professional HD camera robotics solution that delivers exceptional
performance at a very competitive price point,” explained Anthony Cuomo, president, Telemetrics, Inc. “It provides out of the box operation for on-air and augmented reality systems.” RoboEye, which features a Sony Exmor 2.18-megapixel CMOS image sensor to capture HD images, is equipped with a 30x zoom lens for extraordinary focal range. A S/N ratio of 50dB and a sensitivity level of F8 at 2,000 lux helps ensure high quality image output. RoboEye
provides native 1,920 x 1,080 HD-SDI and HDMI outputs, as well as SD composite video outputs in NTSC and PAL formats. For added versatility, its HD and video outputs can be used simultaneously and multiple cameras can be genlocked. For operator convenience, gain set-up is automatic with a manual override and up to 1,000 presets can be stored. RoboEye’s advanced electronic interface includes a web-server enabling users
to access video and control using a web-enabled device. Alternatively, the camera can be remotely controlled over an Ethernet connection or via RS-232C/422. A USB port is also included. The integrated pan/tilt unit has a velocity of 0.01 - 90°/ second, a stop accuracy of 0.03° and a feedback accuracy of 0.000375°. The precise specifications also make RoboEye perfect for use in virtual systems to provide virtual augmented images.
Introducing the world’s most advanced SD, HD and Ultra HD live production switchers with 6G-SDI technology! Smash quality barriers with the world’s most advanced Ultra HD live production switchers! ATEM 2 M/E Production Studio 4K lets you connect up to 20 SD, HD or Ultra HD video cameras, disk recorders and computers. You get all the features you expect from a professional switcher including chroma key, transitions, SuperSource, media pool, downstream keyers, built in audio mixer, DVE, 2 multi views, 6 aux outputs with front panel aux switching and advanced 6G-SDI and HDMI 4K video connections! Live Creative Power ATEM 2 M/E Production Studio 4K is a true professional M/E style switcher, perfect for live music, sporting events, theatre productions, program production, conferences and more! You get the most creative solution for live switching with cut, mix, wipe, dip and more! You can even load graphics directly from Adobe Photoshop CC into the 2 built in media players for live keying!
More Connections ATEM Production Studio 4K can be switched between SD, HD and Ultra HD so it connects to a wide range of HDMI and SDI cameras! You get 20 x 6G-SDI and input 1 is switchable to HDMI 4K for up to 20 simultaneous live inputs. All inputs feature re-sync so you can plug in anything! Also included are 2 balanced XLR audio inputs and HiFi audio inputs for connecting audio sources! Professional Broadcast Control ATEM uses a familiar M/E style of operation so you get an instantly familiar workow that’s fast and easy to use. ATEM includes a software based control panel for Mac and Windows! If you need a hardware control panel then simply add the ATEM 1 M/E Broadcast Panel for a true broadcast solution. Thousands of ATEM switchers are used today for live broadcast events such as sports, music festivals, drama, reality TV and much more!
Incredible Features ATEM includes upstream chroma key for green and blue screen shooting. You also get pattern, shaped and linear keying, 2 downstream keyers, SuperSource, 2 built in media players, DVE and more! The 2 built in multi views allow all camera’s, preview and program to be viewed on regular HDMI TVs or HD-SDI monitors, so ATEM is perfect for portable location use! Now you can cover any live event, anywhere!
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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
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 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
OPINION
WELCOME TO BVE 2015 By event director Alison Willis When live theatrical events are being broadcast to cinemas in 4K, and the AV world is converging with ‘traditional’ broadcast, the very term ‘broadcast’ becomes something much wider than before. As the UK’s largest event for content creation professionals, encompassing TV, film, corporate, live events, theatre, social media and other broadcast media, we have quite a responsibility to ensure that we offer as valuable an experience as possible for all of our visitors across these creative sectors. We are confident that this year’s BVE is the best yet, covering all these bases and more in our diverse free seminar programme, across the rapidly growing exhibition and in our Skills & Networking Zone. In order to reflect this changing face of ‘broadcast’, we have worked with new partners like EVCOM and the ABTT, and collaborated more closely with others like Raindance and the IABM – which is hosting a Member’s Pavilion for the first time. Our seminar programme offers universally relevant information and advice, and speakers that have acres of experience to draw from and share. You will have the opportunity to find out about the latest trends from content consumption to technological developments, and what effects these things will have at a production level. You will hear from top level executives about strategy, as well as people at the coal face who are out there making exciting content. And you will be able to see, hear, touch and test all the latest equipment that will help to make your content even better and your working life easier.
BVE also provides a valuable opportunity to celebrate the vibrancy, creativity and incredible talent that we have in the UK media industry, a topic that is highlighted by the award-winning director Catherine Hardwicke in her keynote presentation this afternoon. As always the BVE team will be on hand to hear your thoughts about the show – we’d love to know what you think we do well and what we could do better.
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INBRIEF AmberFin 10.5 transcoder debuts
Dalet AmberFin 10.5 is being shown publicly for the first time at BVE 2015. The major update to the platform marks the debut of Dalet AmberFin Dark enterprise transcode, Cinnafilm Tachyon GPU-accelerated frame-rate conversion, XAVC support, ARD-ZDF MXF Profiles and other significant features. Dalet AmberFin is a highquality scalable transcoding platform with fully integrated ingest, mastering, QC and review functionality. The inclusion of Tachyon within the (AT)3 toolbox gives users the ability to perform faster standards conversion while maintaining high quality pictures. Dalet said the AmberFin Dark transcoder efficiently turns the content that owners have into the content their customers want. With all components running as Windows services, users can build transcode farms on commodity IT hardware as appliances, so minimising downtime, reducing maintenance costs and enabling complete lights-out operation. XAVC (HD) support for transcode-in and playback increases codec support for the platform in the area of camera acquisition. Ben Davenport, Dalet’s director of marketing, said: “This significant release confirms Dalet’s investment and commitment to the AmberFin platform. Dalet AmberFin Dark is completely scalable, enabling businesses to start small and expand to an enterprise-grade solution. Meanwhile, unlike other vendors, who may only provide a single technology option for temporal conversions, the inclusion of Tachyon as a tool in the (AT)3 toolbox allows users to choose the best solution for their businesses or even a combination of different technologies.” Stand: D31
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ULTRA HD GALLERY IN THE NEWS Blackmagic Design
Celebro Studios’ 4K news gallery in central London
Stand: K20 By David Fox If you are building a new studio, even for news, it might as well be ready for Ultra HD. This is the reasoning behind Celebro Studios’ pioneering new 4K news gallery in central London. “Live news is definitely one of the more demanding live television environments and we saw an opportunity for a 4K ready news gallery in the centre of London,” explained Wesley Dodd, founder of Celebro Studios. The dry hire studio is based around a UHD/4K live workflow using Blackmagic Design equipment, with fully automated playout server, audio control and camera robotics. “We paired three Blackmagic Studio Camera 4Ks with the Mark Roberts Motion Control, which for us has really unlocked the true potential of Blackmagic’s studio cameras, giving us a facility that rivals that of even the big broadcasters, but at a fraction of the cost.”
The cameras can also be operated manually. It has an optical fibre/SDI backbone, with video and audio distribution via Blackmagic’s 20x20 Smart Videohub router. “All of our inputs and outputs are virtual so we can very quickly route any source, sometimes multiple times, to any output, and it automatically recognises the incoming source and destination so we don’t have to worry about up or downscaling any video,” he said.
All acquisition, monitoring and recording is in UHD until transmission, where it down converts to HD. The three studio cameras and a single ceiling mounted PTZ are patched via the router into the switcher, where a simple 4K cut is made and then recorded on a HyperDeck Studio Pro broadcast deck or transmitted live. A second switcher is used for virtual studio applications. Choosing the ATEM switcher and camera combination means
it can rack the cameras without a complex CCU chain. “We are using Tokina’s new 4K cine lenses, which are fully manual, and so the robotics provide us with full control over zoom, iris and focus, while the ATEM Camera Control gives us full primary colour correction.” The company has production contracts with BBC Worldwide and MTV in London and in Moscow, where it has built a similar UHD-ready studio that is currently HD.
VISION MIXERS DELIVER LIVE TITLING Holdan/Datavideo
The HS-2200 is available with an integrated built-in 17” multi-viewer monitor
Stand: K30 By Philip Stevens BVE sees the launch of two new low-cost Datavideo HD production switchers that give producers the ability to deliver live graphics and titles straight from a laptop. The SE-2200 and HS-2200 switchers give users the option to connect any Windows laptop with an HDMI output and use cost-effective Datavideo CG software to generate and play out real-time motion titles. Featuring a built-in overlay board, the switchers can deliver
broadcast-level graphics with no need for an SDI interface card and high specification workstation. “These switchers are designed to be portable, ready
for use on location,” explained Allan Leonhardsen, director of Holdan, the UK Datavideo distributor. “With the new 2200 range, users can use a laptop to make and amend titles on the
fly, giving the audience real-time information, whether it’s live scores or breaking news.” The new lightweight switchers are available either as a vision mixer with traditional console (SE-2200) or with an integrated built-in 17” multiviewer monitor (HS-2200). Each model is based on a 6 HD-SDI input design, complete with HDMI connectivity. They include a full range of wipes, effects and transition, multi-viewer monitoring, 4 HD outputs and balanced XLR inputs for connecting to external audio mixers. They are designed to support intercom and tally systems, with belt packs being supplied with the HS-2200.
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4K CION GOES WITH THE (WORK)FLOW AJA Video Systems Stand: G20 By David Fox AJA Video Systems’ new Cion camera has recently started shipping and is claimed to offer the easiest 4K workflow yet. The ergonomic, lightweight Cion can shoot 4K, Ultra HD, 2K and HD, recording Apple’s ProRes codecs, including 12-bit ProRes 444, directly to cost-effective AJA Pak SSD media at up to 4K/60p. It also outputs AJA Raw HFR at up to 4K/120p. It is claimed to offer more simultaneous on-set monitoring outputs than any other camera in its class, alongside a built-in confidence monitor and LAN browser video tap. Users can choose a combination of 2x 4K/ UltraHD and 3x 2K/HD or 8x 2K/HD, check each camera feed in multicam setups through an integrated LAN connection, and monitor remaining recording time all in tandem. Multiple Cions can be set up and controlled via a web browser. “Cion is the culmination of years of R&D, technical ingenuity and passion,” said Nick Rashby, president, AJA Video Systems. “It not only
Sony’s PXW-FS7 equipped with Arri’s new professional camera accessories
Ergonomic controls: Adjusting a focus wheel on AJA’s new Cion delivers an extraordinary film-like image quality and accuracy, but offers a unique feature set that facilitates a level of flexibility and control in production environments unlike anything else before regardless of resolution.” The sub-£7,000 camera feaures: a 4K APS-C sized CMOS sensor with an electronic global shutter; 12-stops of dynamic range; PL lens mount; multiple 3G-SDI/HD-SDI outputs; HDMI outputs; 2x mic/ line/48v XLR audio inputs; 2x LANC control ports; LTC input; USB; Ethernet; and a Thunderbolt connector.
UPDATED XDCAM IN DEMAND Sony Stand: F50 By David Fox Sony is showing its newly improved XDCAM range of cameras, including the recently shipping PXW-FS7, PXW-X200 and PXW-X70 models. The FS7, in particular, has attracted “massive interest,” according to Robbie Fleming, product marketing manager, Sony Professional Solutions. “It’s been amazing. We have a lot of back orders.” The X200 is also much in
demand. “We can’t make enough of them.” The Super35 sensor FS7 is now available with the new 28-135mm lens (as a package the FS7K). “It comes across as a really good, all-round camera for freelance work, because it’s very versatile. It can give a cinematic look or run and gun,” said Fleming. Being connected is also a key attraction. “All our cameras are now wireless,” he added, but they aren’t all yet 4K, as there is still a large market for HD. “The 4K ability is only one part of the attraction of the FS7. It also records 180fps slow motion on board,” at up to 600Mbps, and
its lightweight shoulder-mounted form factor is also appealing. The X200 has three 1/2inch Exmor CMOS sensors, 17x zoom lens, MPEG HD422 (50Mbps) recording, two SxS media slots for simultaneous recording, a versatile new MultiInterface (MI) Shoe and GPS data recording. The 4K-ready X70 is the smallest XDCAM professional camcorder, using a mid-size 1-inch type Exmor R sensor, recording 10-bit 4:2:2 HD in XAVC Long GOP, at 50Mbps. Also new is the ENG-style PXW-X500, with its three 2/3inch CCD sensors, which can deliver 1080p at up to 120fps.
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FUTURE PROOFING DYVI represents the next generation of vision mixing technology
EVS Stand: K06 By Philip Stevens Advanced solutions for recording in new formats, quick and easy file exchange with post production, multiplatform
content distribution, and speeding up and simplifying the configuration of multiple EVS devices in OB vans all feature on the EVS Stand K06. With the introduction of its new range of XT3 and XS servers, EVS is delivering considerable flexibility in just one box. Both servers provide extended format support and
capabilities including 4K, 1080p and proxy, as well as new 10 Gigabit Ethernet connectivity and up to 12 HD/ SD live recording channels. This allows customers to transition readily to the next generation of industry standards and workflows. The latest generation of IPDirector is designed for live
BEST OF BOTH WORLDS ARRI Stand: F25 By Philip Stevens Showing on the Ikegami stand F25 is the HDK-97 ARRI camera. Jointly developed by Ikegami and ARRI, this is a pioneering new broadcaststyle production camera with digital cinema characteristics. The HDK-97 ARRI makes it possible to employ a large format sensor in a multiple The HDK-97 ARRI makes it possible to employ a large format sensor in a multiple camera operation
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camera operation. The result is a best-of-both-worlds image acquisition system ideal for use in multi-camera studio and field applications, including conventional broadcast camera operation and classic video operator control of multiple cameras. Centred on ARRI’s Super 35mm CMOS sensor with its associated support circuitry, the system provides cinematic qualities such as natural colour rendering, very wide dynamic range and progressive frame rates such as 23.98p.
Ikegami’s broadcast-grade distribution allows fibre transmission via up to 2km of SMPTE hybrid fibre/copper camera cable. The HDK-97 ARRI has a docking style camera head from the Unicam HD camera series plus Ikegami’s latest 3G FPGAbased DSP. Its features include realtime control of all grey scale, colour, and detail functions. A new 3G transmission system transports video from camera head to CCU, as well as 3G transmission from CCU to camera head.
and fast turnaround production, and offers new capabilities and modules, including web-based remote browsing and content exchange, automated clip management, archive import/ export and seamless integration with EVS’ XStore scalable storage solution. IPDirector guarantees advanced interoperability between production and post production with the new EXPORT feature from IPLink for Adobe and the support of growing files in FCP-X. Editors can now access media directly from their editing stations, create advanced edits, which can be pushed back to the EVS environment for playout. EVS’ C-Cast technology extends the live content experience beyond the television screen by providing
owners, rights holders and broadcasters with the ability to reach and engage more diverse audiences with high-quality and targeted content as an event unfolds. C-Cast connects on-site production infrastructure to a cloudbased platform, allowing the aggregation of multi-angle video and statistics for instant delivery to any platform. Truck Manager is a new software application that detects all EVS devices in an OB van and enables the engineer to configure them from a laptop to meet the production needs. Finally, DYVI brings the next generation of vision mixer technology to the broadcast industry. This IT-based live production platform gives directors full control of all key switcher functionalities no matter where they’re located.
MIRROR PORTABLE HARD DRIVE SHOWCASED LaCie Stand: M49 By Heather McLean Premium brand from Seagate Technology, LaCie, has unveiled the LaCie Mirror portable hard drive, which is encased in scratch resistant Corning Gorilla Glass. The LaCie Mirror hard drive will adorn any desktop as it sits in its base made of a single piece of ebony wood. This new signature piece for has been designed in collaboration with the French designer, Pauline Deltour. “You have to look twice to discover the LaCie Mirror’s true ambition,” said Deltour. “Covered by mirrored glass, it’s first an elegant and functional object, and only on second glance is it revealed to be a slim
The glass-coated LaCie Mirror portable hard drive makes memory beautiful high performance hard drive.” To make it more durable, LaCie used Corning Gorilla Glass 3 with Native Damage Resistance (NDR). The glass is chemically strengthened and atomically configured to better survive the real world events that most commonly cause glass breakage. This glass enables improved damage resistance and toughness by helping to prevent deep chips/scratches.
www.asperasoft.com moving the world’s data at maximum speed
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At the core
E.P.I.C. DISPLAY
Stand: D20
Stand: H12
Calrec
Autoscript
A 4U console core with a new look is used for the Summa consoles
By Philip Stevens
By Philip Stevens
Two new developments from Calrec Audio are debuting at the show. The first is a 4U console core with a new look, and is used for the Summa and Artemis Light consoles. The second features a new single-slot modular MADI card with SRC. The new core provides many benefits over its predecessor, including improved green credentials. Not only does it have faster and more efficient processors, it now operates with 5 per cent lower power
Autoscript is unveiling its E.P.I.C. 19, a 19-inch Enhanced Prompting Information Centre. Based on the 17-inch E.P.I.C., the first
consumption and fewer fans which, in turn, are more easily accessible for maintenance. The new fans also have automatic speed control and ambient temperature-sensing, which enable them to run 8 decibels quieter at 25 degrees Celsius. The new rack’s cleaner design has clearer status LEDs and labelling, with the added
functionality of the Control Processor LAN sockets being independently configurable via the user interface. This provides simpler configuration of thirdparty controllers such as the Calrec Assist. Also being announced is a single-slot modular MADI card that fits into the 3U modular Hydra2 box. Not only does the new card offer 64 bidirectional
channels, but it also includes a sample-rate converter. “Calrec continues to design and develop new products that meet the changing needs of broadcasters,” said Jim Green, Calrec’s UK sales manager. “We have made these improvements to our console core and designed the MADI card to meet the high standards of quality and innovation that our customers expect from us.”
A HOST OF GOODIES IN THE PLAYBOX PlayBox Stand: F12 By Philip Stevens “PlayBox Technology is the world’s number one ‘TV-channel-in-a-box’ manufacturer, powering over 15,000 playout and branding channels around the globe,” commented PlayBox Technology UK managing director Don Ash. “Our systems deliver full broadcast performance at IT prices. Fully modular, they are easy to install, configure, operate and expand. We are providing one-to-one demonstrations on Stand F12 of our latest developments.” Ash went on to explain each of those developments in turn. ProductionAirBox provides content playout for news, live broadcasts, virtual-studio screens and video walls. Four independent players are accommodated in a single
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The PlayBox Technology CaptureBox Pro control interface server with built-in aspect ratio and resolution conversion as well as integral support of a wide variety of compressions. Content can thus be played without transcoding. TimeShiftBox DUO provides simultaneous programme delay for more than one SD/HD channel, allowing broadcasters to re-transmit content across multiple time zones. Included are all the resources needed to
perform accurate time offsets for any duration ranging from 10 seconds to more than one month. EdgeBox enables fully redundant automatic remote playout anywhere in the world via the internet. It makes delivering a TV station complete with local branding and content to anywhere in the world an economic reality, even for small audiences. New for 2015, CaptureBox Pro allows multiple channels
of HD or SD content to be captured from SDI digital feeds, analogue sources and MPEG transport streams. Four video sources can be monitored on a single screen and controlled via a new streamlined user interface. Audio levels can be monitored as loudness/truepeak displays and adjusted when required. Also new for this year is SocialMediaBox. This enables comments from multiple social networking feeds to be incorporated quickly and efficiently into a single readyfor-broadcast stream. Finally, AdBox enables content owners to maximise their business potential by targeting advertisements for specific audiences. It can be installed locally or remotely at the head-end, then monitored and controlled via the internet. If required, many hundreds of hours of ad insertion and Digital Programme Insertion (DPI) can be scheduled.
The E.P.I.C. 19 has been developed for use in large studios fully integrated prompting and on-air system, the E.P.I.C. 19 has been developed for use in large studios that have a requirement for a smart system to display prompter text and transmission images to talent. The centre features dual SDI inputs as standard, one for the prompter monitor and the other for the talent monitor, and an integrated tally light. “The E.P.I.C. integrated solution brings added versatility and functionality to studio operations,” said Robin Brown, Autoscript’s product manager. “In addition, the system is energy efficient due to the high-bright LEDs, and the long life of the prompting screen ensures durability and long term cost savings.” “We are also showcasing the TallyPlus-E at the show. It displays the camera number and tally state, and clips into place on the front of both the 17 and 19-inch E.P.I.C. models. It requires no external power or cabling, taking all its data internally via the E.P.I.C., to simplify the prompting system.
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OPINION CONNECTING WITH AUDIENCES IN MORE POWERFUL, EFFICIENT, COLLABORATIVE, AND PROFITABLE WAYS Tom Cordiner, vice president Sales International at Avid, discusses the challenges facing customers in the digital era Stand: F60 Like everyone in the broadcasting industry, our customers are facing unprecedented challenges that have been accelerating with the continuing digitisation of our worlds, growing consumer influence over content, and as always, the relentless pressure for operational efficiency. Ultimately, media organisations need to structure their operations to take advantage of a world that demands content anywhere, anytime, and on any device. The distribution chain has never been more challenging. The number of channels, devices, and markets have multiplied exponentially, and the processes associated with repurposing assets and rights management are infinitely more complex. It’s just not like it used to be. Media professionals have
SPEAKING OF COMMUNICATION Riedel Stand: F24 By Philip Stevens Attention on the Riedel stand will be focused on three new products. For starters, the Tango TNG200 is Riedel’s first networkbased platform supporting RAVENNA/AES67 and AVB standards. The unit is equipped with a high-resolution, full-colour TFT display and is app-based
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to facilitate a myriad of uses. Along with powerful processing capabilities, Tango features two Riedel digital party lines, two RAVENNA/AES67 and AVBcompatible ports, two Ethernet ports, one option slot, and redundant power supplies. The dedicated intercom application turns Tango into a 40 x 80 matrix intercom system that users can tailor to their needs. Next, the RSP-2318 Smartpanel includes three highresolution, multi-touch TFT
displays, stereo audio, multilingual character set and 18 keys in just 1RU. Smartpanel can also be expanded through the use of apps, the first being an innovative intercom panel. Ravenna/ AES67 and AVB connectivity are standard, with AES3 over CAT/
to be more efficient than ever while creating incredible content and coordinating top talent and workflows around the world. But efficient and smooth collaboration is not easy with teams distributed literally everywhere. Content creators also have to worry about the safety and security of the assets they’re moving around as their teams collaborate. And they need to get more value from each asset: by tagging it, protecting it, optimising it and distributing it to wider and wider audiences, but at lower cost. These challenges have driven the need for essentially one interconnected platform that fuses content creation with distribution and monetisation, and brings media organisations much closer to the people who enjoy their content. This is at the heart of Avid Everywhere - our strategic vision for the future of the media and entertainment industry.
coax optional. Additional features include exchangeable headset connectors, integrated power supply, individual volume controls, two USB, two Ethernet, GPIO, audio I/O, removable gooseneck, SD card slot, and HDMI output. Finally, the STX-200 professional broadcast-grade interface brings any Skype user into the professional broadcast environment. Licensed by Microsoft, STX-200 is a
The RSP-2318 Smartpanel includes three high-resolution, multi-touch TFT displays
When we unveiled our vision, we stated that Avid Everywhere would deliver the most fluid end-to-end distributed media production environment in the industry, a comprehensive ecosystem that encompasses every aspect of the new digital media value chain. At NAB 2014, we introduced the first phase of Avid Everywhere with the introduction of the Avid MediaCentral Platform and a set of modular application suites that together represent the most open, integrated, and flexible media production and distribution environment in the industry. At BVE 2015, we’ll be continuing to demonstrate now how we help creative professionals and media organisations connect with their audiences in more powerful, efficient, collaborative, and profitable ways. You can follow Avid on Twitter @Avid
single-box solution that delivers contributions from reporters and viewers into live programming — while avoiding problems such as consumer PCs running common Skype clients, external scan and HDMI-to-SDI converters, or audio dropouts and menu pop-ups on the live feed. The 1RU box offers broadcast-quality HD-SDI and balanced XLR audio I/Os and is packaged with professional Microsoft Skype TX software.
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INBRIEF AT THE VANTAGE POINT
New exhibitor hits BVE
Sat-Comm Broadcast, one of the UK’s major satellite and broadcast systems integrators, is a first time exhibitor at BVE. The company is demonstrating
the ways in which its Ka-band solutions can deliver live content over satellite reliably and affordably. Its show highlights include the launch of the Mk II Karbon-75 NewsSpotter flyaway. With an improved RF performance, greater wind stability and a lighter weight, the latest version sets new standards on the challenge of lightweight newsgathering. Stand: KO2
Vantage was one of the first products to achieve DPP/AMWA certification in September 2014
Telestream/Boxer Systems Stand: P16 By Philip Stevens Telestream is using BVE 2015 to showcase its latest developments in Digital Production Partnership (DPP) workflow solutions. The company has teamed up with its channel partner, Boxer Systems, to provide an insight to its strategic development focus on this UK-based broadcast industry initiative. Live on the showfloor, Telestream is demonstrating how its Vantage transcoding and workflow automation system provides UK broadcasters and facilities with a competitive advantage in developing their DPP enterprise operations. The latest version (6.3) of Vantage adds several new capabilities for assembling and encoding DPP AS-11 MXF files. The Vantage DPP Workflow Portal allows entry of DPP metadata and the creation of multi-part DPP packages from one or more media files. Vantage Post Producer automatically assembles the DPP timeline, including bars, tones, slates and correct multi-part spacing. The entire DPP solution is completely unified and includes full encoding, timeline rendering and metadata assembly without requiring editing personnel or XML programmers. Vantage was one of the first products to achieve DPP/AMWA certification in September 2014 as part of the Digital Production Partnership’s new Compliance Program. UK-based broadcaster, ITV, one of the leading partners in the Digital Production Partnership, has already announced that it has placed the Telestream Vantage platform at the heart of its new Content Delivery Modernisation (CDM) project. “Being one of the first vendors to achieve DPP/ AMWA certification was vital for our many UK customers and serves as an important milestone for the rest of the world,” stated Paul Turner, VP of enterprise product management at Telestream.
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For the latest show news and updates follow @BVExpo
SPOTTING CAMERA ACQUISITION TRENDS JVC Professional Stand: E16 By Heather McLean Cameras being chosen for production are increasing in range and type, according to JVC Professional, with key trends being a desire for large sensor technology and 4K. Stated John Kelly, general manager for the UK, Ireland, MEA and Scandinavia at JVC Professional Europe, 2014 saw the continuing recovery of the market after the economic problems in Europe, with camera volumes across the
EMEA region recovering to pre-recession levels. He noted: “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 ‘cine-style’ 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,” he said.
2015 will see further demand for 4K as an acquisition format, stated Kelly. He said: “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 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
John Kelly
a remote head camera system, the GW-SP100, both delivering full 4K performance at an affordable price point. Concluding, Kelly said: “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.”
UNIQUE KEYING SOLUTION Crystal Vision Stand: E01 Views of Tower Bridge from the Trickbox TV studio
By Philip Stevens
TOWER OF STRENGTH
At BVE visitors will find Crystal Vision’s latest products, including the award-winning LKEY-SQZ, a unique keying solution providing an exceptionally smooth squeeze back functionality, two distribution amplifiers for MADI audio, and a choice of two new control options: the VisionWeb web browser software and the VisionPanel hardware control panel. LKEY-SQZ is designed for applications such as squeezing the end credits to preview the next programme, or reducing an image of a presenter to allow room for additional graphic material. It can smoothly resize and move the main video and allow graphics or text around it. Timeline control can be used to perform a sequence of operations relative to a start signal. The LKEY-SQZ keyer removes the need to use a full vision mixer to provide a squeeze back, and is
Trickbox TV Stand: D49 By Philip Stevens Video production and broadcast services provider, Trickbox TV will give BVE visitors a stunning view of the River Thames from Stand D49, as a means of highlighting the spectacular backdrop and state-of-the-art HD broadcast facility on offer at its Tower Bridge TV Studios. This selfcontained studio, situated on the sixth floor of 2 More London Riverside, provides an ideal location for broadcast, corporate or commercial productions that demand a London-centric backdrop,
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as well as high quality HD production services. Trickbox TV also offers broadcast quality HD and SD bespoke flyaway solutions for any project or production, providing multi-camera workflows from two to 12 cameras, with a choice of CCU or ENG camera units. Its PPUs (Portable Production Units) are all designed and built inhouse, offering a bespoke gallery and studio solution packaged into small and compact flight cases. “We’re excited to be exhibiting at BVE 2015,” stated Liam Laminman, managing director of Trickbox TV. “The event provides an ideal opportunity to present our various services to production professionals, as well as catching up with existing clients and finding out about the latest technology on offer.”
The LKEY-SQZ keying solution squeezes the end credits to preview the next programme also useful for those who have a mixer which does not include this squeeze back functionality. The MADDA105 and MADDA111 MADI distribution amplifiers are designed for applications where the user needs to transport a large amount of audio as a block. Up to 11 copies of a MADI data stream containing up to 64 audio channels can be handled. The amplifiers also include both LED and GPI output indication of the presence of a MADI input. VisionWeb Control is a freeof-charge way of operating
Crystal Vision’s full product range from a web browser, using an XML control interface. To access the control menus, the operator types the IP address of the frame into a web browser running on any device that is connected to the same network. VisionPanel is a 3U Ethernet Control Panel that can operate any Crystal Vision boards which have an XML control file. Its designed for operators who prefer control from a physical panel rather than a PC, and uses soft buttons on the touchscreen.
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LIGHTWEIGHT LENS EXTENDS REACH Fujinon/Pyser-SGI Stand: H49/D30 Forscene’s interface adds professionally designed graphics and an elegant colour scheme
By David Fox
NEW FACE FOR FORSCENE
Fujinon’s “most interesting new lens” at BVE is the A21x7.8 BERM/BERD, which “is a top quality, lightweight telephoto zoom,” said Stefan Czich of Fujinon distributor Pyser-SGI. “This new lens is in the same size and weight category as a standard 17/18:1 lens. This means that you can use smaller filters. The lens is around 1.5cm shorter and 400g lighter than traditional 22/23:1 lenses.” He believes it is “ideally suited to news gathering or sports production where the combination of a long reach and lightweight body make for an easier working day.” Its focal length is 7.8-164mm (plus a 2x extender), with a maximum aperture of f1.8 (7.8-109mm) to f2.7 (at 164mm), and minimum object distance of 85cm. The four different versions (depending on servo drive unit) weigh from 1.61kg to 1.74kg. Also new is the 1.97kg HA18x5.5 2/3-inch lens, which covers 5.5mm to 100mm and uses high-
Forbidden Technologies Stand: E34 By Michael Burns A revamped version of the Forscene cloud-based video post production platform is being showcased at BVE, combining redesigned graphics with a new colour scheme and updated functionality. Users are now able to upload both low and high-resolution proxies of their media to the Forscene cloud and swap between them dynamically while working. They can use the lowresolution proxy for full functionality over slower connections, and then swap to view the high-resolution version
when they need greater clarity or more detail. Forscene’s new workflow management function offers the ability to make edits available for both review and approval/rejection from within the interface. Tasks are communicated via email with MPEG attachments, so reviewers don’t have to be Forscene users to be able to participate in the process. Forscene users with a synced tablet account are able to review, comment, approve, or reject edits in the Forscene app while offline - with the app synching automatically when an internet connection becomes available. Forbidden has also given Forscene a productivity boost by adding a media asset management (MAM) system. Capabilities include full media
access control, the ability to search and review material, the ability to move media around the world, control of ingest servers, and configuration of Forscene accounts. Other new Forscene features include the ability to publish with burnt-in timecode or other metadata, expanded multicam logging to support up to 18 cameras simultaneously and increased support for different formats, which enables functions such as editing MXF files during ingest. Stephen Streater, CEO of Forbidden Technologies, said: “This is our first exhibition since the new Forscene went live, so we’re excited to show it off! We invite everyone to visit our stand and experience the new Forscene interface and Forscene MAM together for the first time as a complete product.”
Shorter, but longer: Fujinon’s new A21x7.8 zoom lens precision large-diameter aspheric elements, designed with Fujifilm’s proprietary optical simulation technology, which is claimed to achieve sharpness at the centre as well as all corners for edge-to-edge image quality. The lens has a close focus distance of 40cm, and its 2x extender brings the focal length to 200mm. “With the combination of wide angle performance and telephoto reach this could be the ultimate news lens,” said Czich. Fujinon’s latest PL-mount Cabrio lens is the ZK12x25, covering the most frequently used 25mm wide angle to 300mm, with three movingzoom lens groups to minimise aberration fluctuation during zooming, control image distortion across the zoom range, and deliver edge-toedge sharpness. Its Macro function focuses as close as 59cm.
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INBRIEF All-round offerings
ATG Danmon is promoting its all-embracing range of systems planning, design, installation, configuration, commissioning and post-installation support capabilities. “We have over 20 years of experience in designing, producing and maintaining systems that deliver the highest possible return on investment,” commented Christoffer Kay. “We offer the security of fully co-ordinated support from project commencement to completion, plus postinstallation maintenance for the entire system. This centres on making optimal use of modern technology to combine the best hardware, software and networking infrastructures within budget and on time.” Kay said that being part of the Dan Technologies Systems Integration Division ensures that the company has the full resources needed to meet clients’ current and future demands. “Beyond our solid and deep routed capabilities in baseband signals and realtime workflows, we work with leading manufacturers to offer file-based and IT/IP products that complement each other and are ahead of the curve in performance and future suitability.” Stand: M35
Monitoring made easy
Systembase is demonstrating the new EasyMon – Codec Network Monitor Tool, which enables a single browser window to simultaneously display the status of multiple C500 Codecs in a tiled format. The EasyMon Tool simplifies the task of monitoring the status of a large number of units and was used extensively during the London’s New Years Eve Fireworks extravaganza. The EasyMon Tool is available for free download from the Systembase website www.systembase.com, and is designed to work with C500 Codecs running the latest firmware release. Stand: N24
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FLEXIBLE ARRAY CONTROL Hi Tech Systems
Array allows a control surface to be ‘built’ to suit a particular workflow or operator’s requirements
Stand: G30 By Philip Stevens Hi Tech Systems is exhibiting for the first time at BVE and is unveiling its new generation of production control systems at the show. Array is the latest generation of video server control systems that also integrates routers, character generators and switchers into a highly customisable range of software applications and hardware panels. Designed to be robust, easy to use and highly flexible, Array allows a control surface to be ‘built’ to suit a particular workflow or operator’s requirements using modular control panels and a suite of software applications. The Avita production control software can form part of an Array system
using Array’s touchscreen or configurable button panels for the human interface. “Array brings multiple control functions that would normally be controlled by multiple keyboards and panels into one clear user interface thus saving desk space and improving operator
efficiency,” explained Tom Favell, MD of Hi Tech Systems. “The system will also control set ups of peripheral equipment such as glue products or asset management systems by utilising Array’s software to ‘build’ a control surface to access only the functions required. Array
eliminates the danger of mouseclicking on the wrong button in a live environment and simplifies the choices presented to an operator by only providing the functions required together on one control surface. As we say at Hi Tech ‘You create, we control’”.
VARICAM HEADS NEW CAMERA LINE UP Panasonic Stand: K40 Panasonic is showing its modular new VariCam, marking its return to high-end cinematography, as well as two remote cameras making their European show debuts. The large-sensor VariCam 35 can shoot 4K and uses a recorder, developed with Codex, that can simultaneously record Raw, up to 12fps, plus 4K compressed using AVC Ultra onto Express P2 cards, and 2K and 1K proxies on to the same microP2 card, while the 2/3inch chip VariCam HS version can record up to 240fps in HD and is being aimed mainly at natural history. “The take up since we launched the camera in
Panasonic’s new VariCam comes in large sensor and high-speed versions September has been highly impressive and we’ve had lots of positive feedback regarding the camera’s colour reproduction and workflow capabilities,” said Nigel Wilkes, group manager, Panasonic ProAV UK. The new AW-HE130 pan-tilt-zoom camera is the successor to the popular
AW-HE120. It has optical image stabilisation, three MOS sensors, IP streaming, and can be used for everything from lecture broadcasting to reality TV and documentary production; while the smaller, user-friendly single-sensor AW-HE40, with 30x optical zoom, is aimed at the lecture, conference and leisure market.
Both can be powered via a LAN cable, controlled remotely from a PC, Mac, tablet or smartphone, and have night mode for low light. The new AJ-PX800 is the lightest (2.8kg) three-chip 2/3-inch shoulder-mount camcorder and offers full networking with the ability to stream from the camera at high quality with latency of less than one second, to do a two-way interview over a 4G network. The lightweight new HCX1000 camcorder can record UHD 60p/50p on an SD card, plus Cinema 4K. It has a compact optically-stabilised Leica 20x lens, with 40x intelligent zoom for HD, plus: three manual zoom, iris and focus rings; two-channel XLR audio; ND filters; and dual SD card slots.
February 2015 I Issue 1 I Volume 33
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BIG LIGHTING FOR SMALL SPACES LCA UK Stand: A12 By David Fox
ContentAgent transcoding is filling many roles for 3sixtymedia and ITV
CONTENTAGENT ADDS INSERT EDIT CAPABILITIES FOR DPP DELIVERABLES Root6 Stand: J16 By Michael Burns Workflow management and automation tool ContentAgent has some new features on show, aiming to streamline the AS-11 UK DPP deliverables workflow with Insert Edit and Metadata Update facilities. Root6 Technology said these enhancements would provide valuable time savings, enabling users to make last minute changes without the need to re-transcode or re-wrap the entire file. CardAgent, a new tool for multi-user ingest environments such as news and reality shows, is also being demonstrated at BVE.
Root6 has also announced that 3sixtymedia, ITV’s production facility at MediaCityUK, has standardised on the ContentAgent system for its expanded transcoding farm. The facility now deploys two ContentAgents running on HP Z820 workstations with a further two JobAgents, affordable render nodes, utilising SuperMicro blade servers. The broadcaster’s production facility had sought to increase the capacity of its transcode farm and workflow orchestration tools so technical manager Taig McNab chose ContentAgent, a system he’d previously worked with. McNab explained: “In addition to increasing transcoding throughput that would see us into the foreseeable future, we were keen to automate some of our
standard processes either side of the edit. We’ve also been doing a great deal of work on creating an efficient DPP AS-11 workflow for our broadcast deliverables. Overall we were looking for flexibility in the sense that future workflows could be integrated into our existing infrastructure with minimum fuss. “It was extremely important for us to be working with a product and vendor that was committed to address the AS-11 deliverables solution, and one that was prepared to take our ideas on board,” he added. “Working closely with post facilities over the years, Root6 has a good understanding of the demands of the real world and consequently we now have a workflow automation and delivery system that exactly meets our requirements.”
LOOKING AT A MULTIVIEWER Sierra Video Stand: L26 By Philip Stevens Sierra Video is showing a selection of its key broadcast products on the Kramer Electronics UK stand,
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The SP-14 is a real game changing product for OB manufacturers, broadcasters and post production studios alike
Lights Camera Action is showing the new Cinetile by Inteca, Cineo Lighting’s new portable Matchbox, and LiteGear’s new LiteRibbon and LiteMat. The 13W Matchbox is a lightweight, versatile remote phosphor light that is small enough to be used on camera, but sophisticated enough to cope with many different applications. It has a 160º beam spread, its 0-100 per cent flicker-free dimming works with DMX or remote dimmers, and it can work off battery, D-Tap or AC power. It will cost about £350 and comes with 3200K and 5600K phosphor panels, with 2700K, 4300K and 6500K panels available as options. LiteGear’s new VHO Pro LED LiteRibbon is as minimal as its name suggests, but that simplicity took years of development. It uses new fullspectrum, white light LEDs that render skin tones and colours naturally, and comes in 24 variations: daylight, tungsten and hybrid (bicolour), plus four widths and two densities (for hard or soft light); takes AC or DC power; and comes in multiple kits. including the UK debut of the new fully featured Broadcast-Centric SMP-xx compact Multiviewer. It provides up to 16 HDMI or HD-SDI inputs with dual independent HDMI/HD-SDI outputs with resolutions up to 4K/30Hz on the HDMI outputs and a five year warranty. The company is also showing the new Sierra SP-14 Frame Rate and Standards Converter with Motion Estimation and Motion Compensation technology. The
Similarly, by providing evenly spaced, colour-correct (daylight, tungsten and hybrid) LEDs spread out over a large area, LiteMat creates soft light without requiring diffusion. This soft-through-pixelisation method allows it to achieve bright light levels while remaining under 2.5cm thick and just 1kg in weight. Cinetile is a high-end 2700K – 6500K light with a CPUdriven controller. TLMP (The Light Management Processor) is designed to achieve maximum efficiency and quality in LED lighting and takes care of colour analysis and temperature sensors to control the visible colour spectrum (and ensure that there is no change over time), DMX control and communication, and protection against overheating. The light is flicker free up to 1000Hz. The Cinetile also uses sophisticated geometry to avoid mulitple shadows.
Small, but versatile: The new Cineo Matchbox SP-14 delivers the same MEMC conversion performance as the industry leading competitors, but at a fifth of the price. This, says the company, makes it a real game changing product for OB manufacturers, broadcasters and post production studios alike. But it’s not all Video! Sierra Video is also showing the new Kramer Dolev two-way, biamplified Studio-Grade speakers which provide superior Clarity for studio applications.
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DRONES TAKE TO THE AIR AerialWorx Stand: C40 By David Fox There is a big buzz around drones, or UAVs, at BVE this year. One aerial specialist, AerialWorx, is running a free raffle to win a first prize of two days aerial filming, a second prize of one day aerial filming and a third prize of a Quadcopter fully built, tested and ready to fly.
Based in North Wales and the North West of England, it offers aerial filming services for promotional, film, broadcast and commercial projects throughout the UK and abroad, with clients including the BBC, ITV, Channel 4, Sky, and independent production companies. It has recently been awarded BBC approved supplier status, which “will certainly broaden the horizons for us in the future,” said AerialWorx’s co-founder and drone pilot, Stefanie Williams, and it recently filmed the Rickshaw Challenge with
Pudsey Bear for BBC’s The One Show. Aerialworx uses a variety of drones equipped with Ultra HD, 4K or 1080p cameras with live HD 1080p down links. “We have highly experienced pilots and crew capable of flying in all situations from indoors to extreme conditions,” she added. “We film using the Panasonic Lumix GH4 4K camera, but also have a Blackmagic Pocket Cinema Camera and Canon 5D. We also use the state-of-the-art MoVI and also Zenmuse gimbals to ensure the steadiest shots.
LISTEN UP FOR AN AUDIO BONANZA Source Distribution
A range of mics and speakers from RØDE and Genelec launch together with the RØDELink Wireless system at BVE
Stand: J49 By Michael Burns A raft of products from RØDE and Genelec are being launched at BVE 2015. The new RØDELink Wireless system uses 2.4GHz technology to provide a high resolution 24-bit/44.1kHz digital audio signal at a range of up to 100m. The system consists of a number of receiver and transmitter options, and is available in a number of kits targeting film, news
gathering, presentation and stage use. The first such kit available is the Filmmaker Kit, which consists of a beltpack
transmitter, an on-camera or beltpack receiver and RØDE’s broadcast-quality Lavalier microphone.
Giving UAVs her best shot: AerialWorx’s director, Stefanie Williams Our MoVI gimbal is also capable of lifting client-specific cameras if required.” Williams is speaking today at 11:55 as part of a panel on ‘Location, location, location – the challenges and solutions
RØDE’s new NTG4 and NTG4+ shotgun microphones feature a new capsule design for lower noise and higher sensitivity. On-board digital switching controls a 75Hz high pass filter, 10dB pad and high frequency boost controls on the mics. The NTG4+ additionally comes equipped with an internal rechargeable lithium battery, providing up to 150 hours of operating time. Also from RØDE, the NTR ribbon mic is built around a precision 1.8 micron fine aluminium ribbon element, completely de-coupled from the microphone body for greater transparency and minimum resonance. The ribbon element feeds a high gain, low noise output transformer which will feed a
of extreme shooting’ in the Production Theatre. The panel will discuss temperature temperaments, essential tools for your kit, acclimatising gear and the key lessons learnt.
wide range of preamps without the need for excessive gain. The Genelec 8300 family of Smart Active Monitors (SAM) is also making its UK debut. The 8320 and 8330 models are 2-way die-cast aluminium designs based around Genelec’s Minimum Diffraction Enclosure and Directivity Control Waveguide. The 8351 is a 3-way design which combines Genelec’s Acoustically Concealed Woofers technology together with its Minimum Diffraction Coaxial driver and Maximised Directivity Control Waveguide to produce controlled directivity over a very wide bandwidth. Also on show are the PreSonus RM-series of compact, recallable rack mounting digital mixers.
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THE ART OF THE SELF-SHOOTER By David Fox Camera, sound, lighting, interviewing, even editing - the self-shooter usually has to do them all. Indeed, with the role of shooting AP now the backbone of the industry, “doing your own camera work, having the right kit, and getting the right training is essential for virtually everyone,” according to broadcast trainer Christina Fox, UrbanFox.TV, who is giving a seminar on ‘The art of the self-shooter.’ “Whatever medium you’re shooting for, from the web to
broadcast, it will probably be on a limited budget, and will certainly be with minimal kit, as that’s all you can carry, and even though you are by yourself, you are still expected to do everything in the same amount of time a larger crew might have.” She is going to cover the essential components of a streamlined and reliable self-shooting package, and what skills are required as a self-shooter. “There is so much kit to choose from – there are hundreds of cameras,
microphones and lights. How do you choose? What kit do you really need to get the job done? What will make a good investment? Then, once you buy your kit, how can you make sure you get the most from it? I’ll look at the best kit to take on a shoot and show how to get good results – whatever the budget,” she added. ‘The art of the self-shooter’ is the last session of the day (16:00-16:45) in the Cinematography and Lighting Theatre today and tomorrow.
LISTEN OUT FOR LOUDNESS STANDARDS HHB Communications Stand: J43 By Michael Burns A number of the latest loudness tools, audio networking technology and Pro Tools systems can be found gathered on one stand at BVE. Located on the central aisle with supplier HHB and Soho audio post specialist Scrub, Nugen Audio is highlighting several new additions to its family of post production and broadcast audio tools. Key new technologies developed to meet the latest loudness standards are on TC Electronic’s new LC6n Loudness show, said the company, Correction plug-in and app is on show including a Loudness Toolkit and LMB Processor Update for EBU control surfaces alongside Avid TouchMonitor metering platform developments and the new Pro Tools with its latest plugR128 S1 Compliance, an MXF LC6n loudness correction ins. The newest Dante Audio extension update for DPP ASover IP developments including plug-in and app. 11, and the DynAptT solution Martin O’Donnell, director of RedNet from Focusrite are for intelligent repurposing of sales for HHB, said: “The BVE also on show. audio for TV and streaming at show grows from strength New adaptive loudness faster than realtime speeds. to strength each year and is processing from TC Electronic With the aid of Scrub, quickly becoming the UK’s is also being demonstrated, HHB is demonstrating the full best professional audio event.” features of the Avid S6 and S3 as well as the latest
v3.2 of Flow adds 4K codec support to the MAM platform
GEEVS SERVES TO GO WITH FLOW EditShare Stand: J12 By Michael Burns The new Geevs v7 video server for post, broadcast and sports is having its first showing at BVE 2015. It shares stand space with the latest version of the company’s EditShare shared storage platform, which is integrated with new Flow 3.2 media asset management and the latest version of the Ark archive and backup system offering scalable nearline disk and LTO archives. Also on display is the portable EditShare Field 2 shared storage system featuring highperformance solid state drives. Included across all EditShare storage solutions, the company said its latest EditShare v7 application maximises media sharing capabilities for NLE workgroups. It offers advanced project sharing and stream counts for major NLEs like Media Composer, Premiere Pro, Final Cut Pro, and Lightworks. EditShare v7 intelligently reserves bandwidth for high-priority activities, such as real-time capture or playout, and limits the bandwidth of low-priority activities.
The latest Flow v3.2 MAM platform adds support for 4K codecs, offers file upload/download capabilities that expand remote collaboration, as well as new, fully-automated transcoding and delivery options. Geevs has had a long history within a wide range of demanding workflows, including complex newsroom integration, live sports with instant replay, and multicamera studio ingest. The Geevs v7 release includes a raft of feature updates, including single client control of multi-server playback and recording, and Flow MAM platform integration. This release also includes dedicated tools for Geevs Sports, Geevs Studio MC and Geevs Live, providing functionality to fine-tune broadcast or production workflows. The portable shared storage system Field 2 now supports SSDs, offering users up to six-times the performance of enterprise-class 7200 RPM drives. Intended for on-location shoots, ENG trucks and remote offices, the turnkey Field 2 platform features Flow media asset management and file ingest, advanced project sharing and bin locking, as well as archiving capabilities, in an allin-one rugged chassis.
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OPINION
UNLEASHING THE POWER OF THE CLOUD FOR LIVE EVENTS By unleashing the power and scale of cloud video processing, live events can be broadcast in radically new ways, explains Jay Migliaccio, director of cloud services, Aspera, an IBM company formats and bit rates through a scale-out cloud video platform. These can then be delivered to broadcasters, who can live stream multiple feeds as well as offer video-ondemand coverage from up to 24 camera angles. With major sporting events generating hundreds of live streams per game or match, amounting to millions of minutes of encoded streams, high-speed file transfer technology including cloud storage transfer capability is critical to delivering consistent transfer of the live feeds – particularly in the face of
Stand: J15 As consumers have embraced new technology and devices that have influenced their viewing habits, broadcasters and content owners are looking to stay ahead of their growing demand to view content anytime, anywhere and on any device. Live event broadcasting is evolving in strides with breakthrough technologies and IT infrastructures that enable both new viewing experiences for consumers as well as new monetisation opportunities for broadcasters and content owners. With growing numbers of viewers expecting to watch live event coverage online, and recent international sporting events breaking live video streaming viewing records, broadcasters and technology vendors have come together to create a revolutionary cloudbased content delivery workflow that enables viewers to consume live HD media in ways they never have before.
A revolutionary, large-scale system for high-resolution, end-to-end live streaming in the cloud enables viewers to consume live HD media from their connected devices. Live video feeds from up to 24 cameras can be
transferred in real-time using high-performance WAN transport from international venues to a cloud platform in Europe for real-time processing into multiple
“High-speed file transfer technology including cloud storage transfer capability is critical to delivering consistent transfer of the live feeds”
heavy round-trip latency and packet loss. Instead of having to settle for one live TV feed, consumers can now enjoy live and nearlive coverage of their favourite sports and other live events from any laptop or mobile device with optimised viewing, and from multiple camera angles. And rather than having to rely on just one live stream from an event’s central production site, broadcasters can access all the live camera feeds, giving them far greater freedom in what online live streaming and edited content they can distribute. By unleashing the power and scale of cloud video processing, live events can be broadcast in radically new ways, satisfying both consumer demands, and broadcasters’ and content owners’ desires for new revenue opportunities. You can follow Aspera on Twitter @asperasoft
DANTE’S INFERNO RAGES ON Glensound Stand: N30 By Melanie Dayasena-Lowe Glensound’s all new commentary box for Dante audio networks, the Inferno,
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makes an appearance at this year’s BVE. The new Inferno, Glensound’s 28th commentary offering, is a single user commentary box that can be used on its own, or networked in multiples for a multi-user system. It is a highly resilient unit offering network connections
on CAT5 (with a main and redundant), on fibre (with a main and redundant), and powering via mains AC, external DC, or via the CAT5 connection via PoE. Glensound’s sales and marketing manager Marc Wilson said: “When we decided to develop a network-based commentary system on the Dante platform, we
thought it would be well received. We had no idea quite how ready the broadcast world was to start embracing this new audio technology.” The new Inferno is a single user commentary box that can be used on its own, or networked in multiples for a multi-user system
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MAKING THE SWITCH Ross Stand: E12
consultation with customers, partners and prospective users to determine the ideal ergonomics and perfect feature set. Innovative manufacturing techniques were used to construct control surfaces that considerably enhance overall operation and ease of use — and, says Ross, take production switchers to a whole new level. Ross Video is also highlighting its DashBoard system and is showing how it can sit at the
FLARE
4KSDI
NETIA Stand: G30
The Acuity vision mixer was used last year at the ATP Tennis Tour Finals at the O2
By Melanie Dayasena-Lowe
heart of even the most complex of workflows to simplify control. DashBoard is a free application, available for download from the Ross Video website that provides Control and Monitoring for the openGear terminal equipment and DashBoard Connect devices such as video servers. It eliminates the need to upload vendor specific GUIs or install proprietary software.
NETIA is displaying its new Media Assist software suite and demonstrating how the new suite enables content owners and content producers from radio broadcasters and TV stations to organisations maintaining media archives to access, retrieve, and share or distribute their digital assets or media to any platform. Users can manage all types of content, in any format, on any platform, anywhere, at any time. The software suite also makes it easier for users to move media among sites. The Media Assist software suite provides both a rich-client platform and a web-based
By Philip Stevens BVE is the first UK showing at an exhibition of the flagship Acuity vision mixer from Ross Video, although it was used last year at the ATP Tennis Tour Finals at the O2 to deliver live 4K productions throughout the tournament. Described as a breakthrough in modern production switcher technology, the mixer is the culmination of 40 years’ production switcher design experience. Acuity’s control panel, which is fully modular and can be custom configured to suit operator needs, was designed from the ground up after considerable
ASSISTING WITH ASSETS Media Assist allows users to access, retrieve, and share or distribute their digital assets or media to any platform interface that can be displayed within an internet browser. Media Assist is based on a service-oriented architecture, offering all of the additional advantages of a client-server computing model. Key benefits to operations include increased modularity, optimal scalability through the improvement or addition of services, thirdparty connectivity through a web services API, and costeffective maintenance.
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
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OPINION
FORWARD-LOOKING MONITORING Carl Dempsey, CEO of Wohler Technologies Inc, explains how the company’s products are becoming mission critical systems rather than peripheral devices Stand: L01 Times continue to change for broadcasters, including the customer base long served by Wohler, and chief among these changes is the fact that there are new and increasingly diverse ways to deliver content to a wider range of audiences. While diverse outlets and platforms for content delivery yield valuable new opportunities for broadcasters to monetise content in new ways, the rise of multiplatform distribution also makes it imperative that broadcasters have the means to differentiate their services through better quality and faster time-to-delivery. At Wohler we have recognised the need to adapt not only our approach to developing products, but also the way we engage with customers. To remain relevant and competitive, we have focused on producing groundbreaking products not only for the baseband market, traditionally our wheelhouse, but also for the stream and file domains. These products must be characterised by outstanding quality and longstanding relevance, and our customers also demand that they offer versatility, adaptability, and scalability: the very same requirements that govern our customers’ businesses. Wohler products are becoming mission critical systems rather than peripheral
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Steve Warner: “As part of this globalisation strategy, the Training Academy will also be delivering its courses to a worldwide audience through the new virtual facility”
TRAINING GOES VIRTUAL IABM Stand: G30 By Philip Stevens devices. As a company, we are progressively entering new markets and attracting new customers working in diverse applications. “Yesterday’s Wohler” simply would not have been mentioned in the same breath as the terms “new markets” and “diverse applications,” but the products we’ll show at BVE 2015 will offer proof of Wohler’s slingshot advance into provision of forward-looking monitoring and media processing solutions. BVE 2015 is sure to feature an enormous array of solutions targeting the requirements of multiformat media delivery, and we will exhibit award-winning Wohler solutions that address these demands. We look forward
to highlighting the refined capabilities of our MPEG Series monitors, as well as the improved feature set of our flagship AMP2E16V audio/video monitor, now available with an AVB option: just one example of how we’ve combined our popular proven technologies with leading-edge capabilities. Likewise, the range of RadiantGrid file-based solutions and the Tachyon Wormhole automated file-based retiming solution demonstrate our commitment to providing smart, practical solutions for the pressing demands of an evolving media marketplace. You can follow Wohler Technologies on Twitter @Wohler
IABM Training Academy is building on the success of its highly rated classroom-based courses by introducing a virtual curriculum online. The virtual classroom, which is expected to be launched via IABM’s website in late spring, will include online versions of the existing courses, and brand new material that is being developed specifically for the programme. “The focus this year is on expansion and regionalisation and the entire website is being developed to provide configurable and customisable interfaces with more local content,” stated Steve Warner, training manager, IABM. “As part of this globalisation strategy, the Training Academy will also be delivering its
courses to a worldwide audience through the new virtual facility.” IABM Training Academy currently offers 17 different classroom-based courses looking at a range of areas, from the protocols of streaming video across IP networks, to broadcast technology workflows. Last year also saw the announcement of three new partnerships, with Zoom Training, RealCom Broadcast and the Technology Academy, which have further increased the extensive educational portfolio. New courses include more broadcast specific training, broader technology courses and a range of non-technical courses to meet the demands of the sector. In addition to the new virtual classroom, further enhancements to the training schedule in 2015 will see the launch of a new workshop on HEVC and the introduction of shorter sessions.
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UK DEBUT FOR LIVEU’S NEW LU200 Garland Stand: L16 By Heather McLean At BVE 2015 Garland is presenting the recently launched LU200 from portable live video acquisition, contribution and management solution provider, LiveU, for the first time in the UK. As the exclusive UK distributor for LiveU, Garland stated that the LU200 offers an attractive price, performance and form-factor for live video transmission, expanding
LiveU’s product portfolio. The LU200 opens new live coverage opportunities, enabling every field camera to be equipped with a bonding uplink unit. Weighing just over 500g, the LU200 is available in a pouch or camera-mount configuration, providing two built-in modems with powerful integrated antennas in a bonded solution suitable for any video professional. The flexible LU200 can also serve as a standalone video encoder with satellite integration functionality, or be used as a LiveU DataBridge mobile hotspot for all IP applications in the field.
LiveU’s LU200 hits the UK via BVE The LU200 supports two 4G LTE/3G modems together with Wi-Fi and LAN connections and includes LiveU’s proprietary antenna modules for extra resiliency.
MULTI-CAMERA LINKS BY WI-FI IDX Technology Europe Stand: L20 By David Fox A Wi-Fi-based camera link for cable-free multi-camera production is being released by IDX. The CW-F25 uses standard 802.11n technology to keep costs down, but to deliver the quality needed to mix seamlessly with wired camera
systems it uses 4x4 MIMO channels with OFDM/64QAM modulation, for a maximum data rate of 300Mbps. It supports H264/25Mbps high profile video with four channels of embedded audio and timecode data, plus a second video stream over the link from an IP camera or the Gigabit Ethernet connector on the receiver, which can be used to route the main feed into an IP server or network. IDX sales manager Neil Marflitt believes that “most
suppliers will struggle to show wireless products within the congested 5Ghz band” but expects to see “a very high quality and reliable link” with the CW-F25 as it uses beam forming technology, with the added advantage of increasing its wireless range to a maximum of 400m using the standard antennas. Optional external patch antennas give a range of up to 2km where the delay is six frames. Return video, intercom, tally and RS-422 remote control are supported.
Garland is also showcasing LiveU’s LU400 and the LU500, which provides a combination of high performance and portability for cellular uplinking. They benefit from a small form-factor
Also new is the CW-7 short-range HD wireless link, an upgrade to IDX’s CW-5HD, with the same form factor and ease of use, but adding many improvements at a lower price, notably an increase in transmitter power across all four selectable channels doubling picture bandwidth and range (up to 100m). IDX has also introduced three new Endura Cue batteries boasting enhanced reliability with lower cost; all featuring D-Tap DC output to power peripherals. IDX’s new CW-F25TX is designed for cable free broadcast production
SACHTLER LAUNCHES PREMIUM BAGS RANGE Vitec Videocom
Putting a premium on storage: Some of Sachtler’s new Premium Bags
Stand: H12 By David Fox Sachtler has introduced a new range of Premium Bags, initially of 37 models, in line with the phase out of sister company Petrol Bags. “We have simplified the product range to ensure it meets all of
the key needs of the industry - whether it is for the camera, lighting, audio or camera support equipment. The new
Sachtler Video Bags will take the DNA of Petrol Bags and combine it with those attributes that have become
combined with exceptional functionality, Garland claimed. Weighing approximately 1kg, the unit is powered by LiveU’s new multi-processor, video encoding engine and fourth-generation patented bonding algorithms, with up 13 network connections. Also on display is LiveU Central, LiveU’s central management system. This powerful tool means that fleets of units can be centrally controlled using geo-location capabilities alongside a host of other management options. Footage can be effortlessly introduced to a back end broadcast environment creating a powerful content network.
synonymous with the Sachtler brand, fast, high quality and robust durability,” said James Wilson, product manager,
Sachtler Bags.“There will be very few changes to the bags themselves, reflecting the quality of the existing products. The design, features and functions remain the same and any changes will be minor, and mainly cosmetic, to incorporate the Sachtler logo, a new interior design and other minor enhancements such as improved zippers and comfort fit straps.” The new range includes premium shoulder, backpack and trolley bags for video, film and broadcast applications.
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FUTURE-READY LIVE PRODUCTION Grass Valley Stand: P06 By Philip Stevens Grass Valley is showcasing its large portfolio of future-ready live production and playout solutions, many of which have already been successfully deployed in the UK and across Europe, Middle East and Africa. For example, the Karrera production switcher shows how a modular approach to production switchers can deliver more creativity to create compelling and engaging content with multiformat support including 1080p and 4K.
The Karrera production switcher shows how a modular approach to production switchers can deliver more creativity
The LDX Series cameras provide the ability to upgrade as production and business needs change. GV’s K2 Dyno replay system features a highly intuitive touchscreen interface, shuttle knob and Grass Valley T-bar, that allows smooth playback at any speed and is based on the K2 media server infrastructure for increased content/metadata integration. The iTX integrated playout platform provides IT-based, automated playout for multiformat content delivery. GV STRATUS helps users better manage entertainment, onair operations and news production media workflows by leveraging task-driven tools that operate in a
variety of environments and can be specifically tailored for each user’s job function. The Kaleido multiviewer is designed to expand and interoperate seamlessly into any workflow with common control systems, display layout tools and extensive router integration. Other solutions on display in Grass Valley’s stand include NVISON routers, the CopperHead 3430AP fiber optic camera transceiver with integrated power, compact utility routers, Vertigo XG advanced HD/SD graphics processor, iMC master control panel system for live and specialty channels, iControl monitoring system, 3RU Densité 3 Frame and a full range of Belden cables.
MULTI-CHANNEL LIVE STREAMING OPT FOR IP ONLY Matrox Video
Hamlet Video International
Stand: J19
Stand: P50
By Heather McLean
By Philip Stevens
Here at BVE Matrox Video is showcasing its support for Telestream Wirecast 6.0 for Windows with the Matrox VS4 quad HD capture card. In a single PCIe slot, Matrox VS4 provides up to four independent HDSDI inputs with up to eight embedded audio channels per SDI source and automatic input detection. Matrox VS4 not only sends the video feeds to Wirecast for streaming, it simultaneously provides high quality ISO recording of all the original video and audio feeds to NLE-friendly codecs, ready for post event editing. Wirecast 6.0 adds powerful new production capabilities including the creation of playlists on the fly, easy replay of important moments and easy social media integration with Twitter messages overlaid directly onto the broadcast.
Hamlet Enterprise (exhibiting with its Middle East and Indian distributor Argosy) is the world’s first portable real-time analyser of HEVC, H.264 and MPEG-2 over IP, ASI, OTT and RF DVB streaming services. That makes it ideal for in-house applications, when installing new systems, day to day operations checks in broadcast and enterprise organisations. “For the OB, van and truck engineers the killer facility is the RF transmission option,” said
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Matrox VS4 quad HD capture card now with support for Telestream Wirecast 6.0 “Wirecast provides a cost effective solution for the creation and streaming of professional-quality live video productions to online audiences,” said Tom Prehn, Wirecast product manager at Telestream. “The integration between Wirecast 6 and Matrox VS4 provide users powerful live streaming production with 64-bit technology, virtually unlimited memory, improved stability and performance as well as powerful ISO recording of their live streams.” Wayne Andrews, product manager at Matrox, added:
“With full turnkey, multichannel HD streaming and recording systems based on VS4 and Wirecast available from some certified systems builders starting under $5,000, virtually anyone can create professional-looking live web shows. Users can stream multiple live cameras while dynamically mixing in other media such as movies, images and sounds, and adding production features such as transitions, built-in titles, chroma key, virtual sets and live scoreboards.”
Stephen Nunney, managing director, Hamlet Video International. “Users can go for ‘IP only’ or include ASI and/or RF operation as well all in one neat package. The ASI and RF hardware options can be added as and when they are required.” The operating and measurement criteria is the TR 101.290 specification. The pass and fail of Priority levels 1 and 2 plus transport stream with user adjustable min and max levels are defined on screen or can be recorded for later analysis. Applications include Packet Inspector, Hex analysis, Pid Tree, Bitrate Graph, Audio bar graphs, a high resolution video display and audio decoder, Record, Player, Web browser and it can handle multiple transport streams.
Hamlet Enterprise is the world’s first portable real-time analyser of HEVC, H.264 and MPEG-2 over IP, ASI, OTT and RF DVB streaming services
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UNDERWATER ULTRA-SLOW MOTION INBRIEF Polecam Stand: C12 By David Fox Polecam is making a splash with three new products at BVE. Firstly, the new underwater housing for the Ultra-Motion camera, the Antelope Pico, which can shoot at up to 350 frames per second, with instant replay and a live output at the same time. This system was recently used in Doha for the World Swimming Championships, and when attached to a Polecam with the fully submersible FishFace 360º Pan and Tilt unit gave unique footage of the turns. “Not only amazing pictures, but footage that Hewitt readies his Polecam, Pico and allows viewers and commentators FishFace for underwater shots in Doha
alike to see what they have never been able to see before in a live situation,” claimed Polecam founder, Steffan Hewitt. The FishFace can be used down to 4m when fitted to a Polecam, although as a standalone housing unit, it can be used at depths of 100m, and accommodates Toshiba and Iconix remote head cameras. Polecam is also showing the new Toshiba IK-4KH (3840x2160) minicam (the smallest available three-chip C-mount package) with the new Ultra HD 4mm lens from Fujinon. “The Toshiba cameras have always enjoyed a great reputation, but this new camera/ lens combination takes minicam acquisition to a whole new level in such a tiny box,” said Hewitt.
On-location data connectivity arrives
Cerberus Satellite Services is now offering a true enterprise solution to the film and TV production industry for onlocation data connectivity, including broadband connection, Wi-Fi and network infrastructure. All the equipment Cerberus uses ensures a speedy set-up to enable companies access to all the usual amenities that they would receive from a studio, it is claimed. When shooting on location, large scale TV and film productions may have upwards of 300 personnel on-site all requiring connectivity for email, VoIP, VPN, file transfer, video streaming and general internet access. Stand: P44
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RACKING UP AN INNOVATIVE SUCCESS Phabrix Stand: P39 By Philip Stevens Phabrix is revealing the latest software release for its innovative Rx rack mount range. The Rx is available in three chassis types, the 2U Rx 2000 with dual integrated screens and the 1U Rx 1000 and the half rack 1U Rx 500. Each chassis displays instruments via SDI or by HDMI at 1920 x 1080 resolution.
It can display up to 20 instruments simultaneously on each of the four channel inputs. The unique ability to link each of the Rx’s via simple KVM allows the hardware to stay in the engineering bay with each Rx routed by keyboard and mouse to multiple engineers. Dolby decode and metadata reporting has been enhanced to include Dolby E, Dolby D and Dolby D plus. The new audio mix down instrument is available to quickly identify audio routing from embedded, AES and Dolby sources. The user can select L and R channel sources or mute
channels if required to identify audio at any time. The video analysis and generator toolsets have also seen significant additions. The on-board generator now provides direct system timing adjustment, while Frame grab has been included which can be both manual and fault triggered to disk for analysis. At any time the video frames saved can be recalled and used via the generator. The picture view has new on screen display of AFD, V chip indication, closed caption 608/708, OP47 and WST teletext.
LITE TOUCH PRODUCTION Gearhouse Broadcast Stand: B12 By Philip Stevens Gearhouse Broadcast is demonstrating its OBLite, game-changing fullyequipped, live production HD trailer that can readily house a seven- to eight-person production and operation crew. It’s easy to up- or down-spec as required and offers low power
The OBLite live production HD trailer can readily house a seven- to eight-person production and operation crew
CELEB 400Q TURNS HEADS Kino Flo/Cirro Lite (Europe) Stand: F39 By David Fox The Celeb 400Q DMX softlight is the latest in Kino Flo’s Celeb DMX LED lighting range, joining
the Celeb 400C and Celeb 200. The slimline LED lights are claimed to offer “the only stable, colour-variable LED to ride the spectral sensitivity curves of digital cinema cameras,” and are designed to offer peak lumen output without sacrificing Kino Flo’s signature True Match (CRI 95)
colour and soft light aesthetic. Special thermal dynamics (no fans or metal fins) are claimed to ensure the colour temperature will remain stable for 50,000 hours and output won’t fade. Users can dial in variable Kelvin temperature from 2700K to 5500K (saveable as five presets) without affecting
The Rx is available in three chassis types
consumption, ergonomic design, while featuring a production gallery, audio workstations and engineering control area. South African broadcast services provider, Vision View bought the first OBLite trailer in July 2014 to provide coverage for rubgy, football and basketball. It is kitted out with eight Hitachi cameras channels, including seven SK-HD1200 cameras and a SK-HD1500 slow motion camera, a Ross Carbonite vision mixer, Studer Vista audio mixer, an EVS XT2 six channel server and Marshall video monitors, along with full talkback capabilities. The trailer’s production workflow has been designed using
the light output, while dimming (100-0 per cent) won’t change the colour temperature settings. The 65x65cm Celeb 400Q produces a soft, flattering key and fill source that matches the light output of a 1,000+ Watt tungsten softlight, but uses only 1.8A of power. It comes with: Gel frame, 90º honeycomb louver, yoke mount or pole operated yoke mount, and corner accessory mounts, plus 16 adjustable accessory mount points on
Ross Video’s new innovative openTruck blueprint, ensuring increased efficiency, video quality, and the ability to quickly reconfigure the trailer for different events. Also on display will be the Hitachi SK-UHD4000 4K camera. This is a broadcast 4K ultra-HDTV camera system which can take the 2/3-inch B4 mount lenses used in conventional HD broadcast cameras. It outputs HD and 4K video signals separately, which means that it can be used in the current HD environment while capturing archive or test material in 4K. When demand for a UHD broadcast arises, the SK-UHD4000 is ready to slide into new 4K workflows.
Beauty light: Kino Flo’s Celeb 400Q DMX LED softlight the frame for securing barn doors, yoke mounts and rigging plate accessory.
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HERO4 GOES LIVE FOR BROADCAST GoPro/Vislink Stand: H20/M36 By David Fox GoPro Hero4 cameras can now be used for live events with what is claimed to be “the smallest, lightest and lowest power professional broadcast wireless transmitter”, developed by Vislink, prototypes of which have been used on last month’s Winter X Games 2015 in Aspen, AMA Monster Energy Supercross motorbike racing and other live events. The two companies have worked together to produce a transmitter that is small enough to be worn to provide new
Back in Black: The GoPro Hero4 Black has double the power of its predecessor perspectives on live sports and events. GoPro cameras are already used extensively during televised events but, so far,
required post production with memory cards taken back to the OB truck. The Vislink system is the first time official
COMPLETE CONTROL
GoPro products have been used to transmit the action in HD, for integration into a live broadcast. The system
is expected to go into production soon. “Our partnership with Vislink brings a new level of excitement to live broadcast and we can’t wait to see what players, broadcasters and fans do with this new innovative solution,” said GoPro president, Tony Bates The latest Hero4 Black has twice the processor power, with 2x faster video frame rates, than its previous range topper. It now offers full 4K (and 12MP stills) at 30p, 2.7K (at 50p) and 1080p at up to 12fps, plus a redesigned audio system with twice the dynamic range of previous models, improved image quality, better low-light performance, highlight tagging, improved user interface and faster Wi-Fi.
CORE MANAGEMENT Cantemo
Vizrt Stand: D40 Stand: L06 By Philip Stevens By Philip Stevens Among the solutions that Vizrt is showcasing is Viz Opus, its new complete control room solution, Viz One media asset management system and Viz Multiplay, the multiscreen studio control system. Viz Opus offers broadcasters a quickly deployable, easy to use, fully integrated, compact control room in one system. It combines high-quality video and graphics playout, automation system control, and an audio mixing, a seamless integrated solution. Viz Opus is easy to implement, use and repurpose. The system only needs camera or external inputs, graphics and video content to be ready to start producing. Vizrt’s MAM solution, Viz One manages content in
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Vizrt is showcasing Viz Opus, Viz One and Viz Multiplay a central repository. Staff can produce video files for broadcast, mobile, and web in one seamless workflow – with access from their normal PC or Mac desktops. Viz One is available in several pre-configured packages that allow you to quickly get up and running. Each package targets a specific type of production and can be bundled for a single system that handles many different productions.
Viz Multiplay controls a variable number of screens from a single interface. With studio productions becoming more complex as broadcasters add extra screens to provide more storytelling options a flexible, easy-to-use system is required. Viz Multiplay allows different content to be distributed to various screens and in different configurations. Viz Multiplay controls an individual screen or triggers content to multiple screens simultaneously.
Swedish software company Cantemo is demonstrating the new major release of its core media asset management software, Cantemo Portal and Cantemo Apps. Cantemo Portal 2.0 was officially launched at the end of 2014 and was unveiled at a User Group Meeting held at the ITV building in London. Cantemo Portal gives its customers a simple overview of all assets, with easy search and indexing capabilities. This new version, Cantemo Portal 2.0 has been launched to better address the huge variety of needs of the modern media producer. It includes a number of enhanced media management capabilities, as well as making it even easier to integrate with third party software, enabling users to add additional modules and build
Cantemo is showing the new release of its MAM software the perfect system. “We originally launched Cantemo Portal, because we saw a need to change and modernise MAM systems to cope with a drastically changing media environment,” revealed Parham Azimi, Cantemo’s CEO. “By further extending the integration layer in this release, we are able to futureproof for users who can add functionalities and integration points as required.” Cantemo Portal 2.0 also enables better sharing and reviewing capabilities, something which is becoming increasingly important, especially where production teams are working from different locations.