TVTE May 2016 web by Future PLC

May 2016 I NAB Show Supplement

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Looking back at

Commentary

from Industry Leaders 01 TVTE May16 Cover_final.indd 1

Lighting

Buyers Guide

NAB Best Of Show Full Winners List

04/05/2016 12:16

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CONTENTS LET’S GET TO WORK 4K, of course. IP, definitely. VR, yep. There weren’t a lot of big surprises at this year’s NAB Show. For once, Las Vegas seemed to eschew glamorous tech wonderments and far horizongazing and focus instead on the hard graft of slow, gradual technological implementation. A bold vision for the future is always exciting, but sooner or later you’ve got to roll up your sleeves and do the hard work of getting there. One thing that had people buzzing at the show was the petitioning of the FCC (Federal Communications Commission) by American broadcasters to approve the new ATSC 3.0 transmission standard. FCC chairman Tom Wheeler immediately gave it his stamp of approval by putting the proposal out for comment. Adoption of ATSC 3.0 would enable interactivity, UHD, advanced emergency alerts, more channels, mobile broadcast, and datacasting for US TV transmission. But will it be enough to keep traditional US broadcasters on their feet? In the following pages, you’ll get to read what some of industry leaders think about where we’ve been and where we’re headed. In this NAB look-back we also feature a buyers guide to the lighting products debuting at NAB (think flatpanels), and a full list of NAB Best Of Show Award winners, bestowed by our sister publication TV Technology North America. I also invite you to compare this year’s NAB Supplement with last year’s, to see how right/wrong our industry leaders have been. You can read it at our online archive: http://www.tvtechnologyeurope. com/digital-edition n

Neal Romanek Editor nromanek@nbmedia.com www.tvtechnologyeurope.com

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LIGHTING UP NAB

Our buyers guide to the lighting gear on display at the NAB Show

DOES NAB CARE ABOUT AUDIO ANYMORE? Peter Poers of Jünger Audio asks the question

IN A HURRY FOR REAL IP Joop Janssen is impatient with the industry’s progress toward a truly IP landscape 3

DEEP STORAGE

How to store your data for the next billion years

NAB BEST OF SHOW

The full list of TV Technology North America’s Best of Show winners

May 2016 TVTechnology

04/05/2016 16:35

NAB REVIEW

It’s here, it’s happening This was the NAB show when 4K became a reality and the industry started to roll up its sleeves and make the IP switch, observes Rainer Kampe, CTO of German systems integrator Broadcast Solutions GmbH

or Broadcast Solutions, being a hardware independent system integrator and acting on a global scale, NAB is as it is for most in the business - our most important show, besides IBC. This year our company visited the show in order grab the latest news on technology, but also to meet our suppliers and customers. Although the company did not have its own booth, we set up shop at the booth of our partner, slomo.tv, to have a base for our activities. Of course the topics people (still) were talking about at NAB were the transition to IP, 4K and HDR, as well as hard/software and how to cope with a future that demands both cost savings and streamlined productions. In my mind, to make the transition to IP as smooth as possible, it’s clear that there’s a need for standards that most members of the industry can adhere to. In order to be part of this process Broadcast Solutions signed a membership contract with the Alliance for IP Media Solutions (AIMS) trade organisation. AIMS, which made its NAB debut this year, promotes the adoption, standardisation, development and refinement of open protocols

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for media over IP. The association focuses on IP standards in the broadcast industry that have been developed using a collaborative, nonproprietary approach, such as SMPTE 2022-6, VSF TR-03 and VSF TR-04. For us, it is of paramount importance to offer future-proof solutions to our customers.

“To make the transition to IP as smooth as possible, it’s clear that there’s a need for standards that most members in the industry can adhere to” Promoting open standards in accordance with major broadcast organisations, such as SMPTE, VSF or AES, we are very much looking forward to contributing to the goals of AIMS for the benefit of all members in the broadcast business. In our ongoing projects, we integrate the hardware and technology of a multitude of manufacturers. Interconnectivity and seamless collaboration is very important to delivering successful and working solutions.

4K IS ALREADY HERE To say that 4K is on the rise is a bit of an understatement - it is already here. Nearly all important camera manufacturers at NAB presented 4K/8K or HDR camera models, such as GrassValley’s LDX 86N or Sony’s HDC-4800. With several new products on the signal processing and the production side as well, a complete 4K production workflow can be easily achieved. Being a specialist in building OB vehicles, we already presented a 4K OB van at last year’s IBC show and are currently working on several OBs that are fully 4K capable. The full 4K slow-motion and replay server by slomo.tv caught our interest. The company’s Red Arrow server offers four channels recording, four channels search and two channels playback with six 4K physical video ports – all in 4K 50p in a single 2RU enclosure, outmatching most other slow-motion solutions, and we look forward to offering this game-changer to our customers. FUNDAMENTAL TECHNOLOGY SHIFT The move to IP, including the use of COTS (commercial off-the-shelf) computing hardware, we think is a fundamental technology shift and www.tvtechnologyeurope.com

04/05/2016 12:11

a lot of manufacturers are trying to develop solutions working on an IP-basis thus meeting the requirements of the broadcasters. For us, production solutions that are IP-ready or can be utilised in remote productions are common in our daily work. We think that the shift to IP will be a slow process, and some of the major manufacturers will address this shift by developing solutions that work in an IP environment as well as connect with legacy SDI equipment. For instance Riedel now offers its media distribution network devices, MicroN and MediorNet, in combination with the MetroN core router to serve as a decentralised matrix which includes clean video switching and nonblocking broadcast. The MicroN units feature MADI connections, and all I/O in the network include synchronisation, embedding and de-embedding options. Multi-viewing capabilities and SMPTE2022-6 support are on the roadmap. The same approach is followed by Lawo, which offers an IP core routing environment that is on the one hand in accordance with open standards mentioned above, offers clean switching, works

www.tvtechnologyeurope.com

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Broadcast Solutions became a member the Alliance for IP Media Solutions (AIMS)

with an SDN and sophisticated control solutions and on the other hand uses a special hardware approach to ensure interconnectivity to legacy equipment. Other solutions include systems like Imagine Communicationsâ&#x20AC;&#x2122; Platinum IP3 router. The IP3 is being used by NEP in the recent upgrade to its fleet in order to path the way to 4K and IP, since the routers work in hybrid SDI-IP environments.

It will be interesting to see how these new products and developments will be adopted by broadcasters. Later this year, at the IBC Show in Amsterdam, we think recent efforts in standardisation will be more visible to the industry. In Amsterdam we will present complete projects that incorporate all these different technological approaches to offer future-proof solutions to our customers. n

May 2016 TVTechnology

04/05/2016 12:12

NAB REVIEW

Sign of the times Jeff Rosica, SVP, chief sales and marketing Officer, believes Avid’s MediaCentral Platform is more open, integrated and flexible than anything else at NAB.

hat Avid and our extended family of customers and partners have achieved with Avid Everywhere over the past three years has been nothing short of a revolution in the media industry. It began as a concept and is now the industry’s most open, integrated, and comprehensive media platform. We see it making a real difference to our customers’ businesses and livelihoods in every corner of the world. Developments to the MediaCentral Platform have allowed us to move toward a world where everything is connected. We believe the platform is much more open, integrated, and flexible than anything else at NAB. And the response tells us it’s working: over 32,000 MediaCentral Platform users (a 54% increase since this time last year), 400% growth in subscriptions, 200,000 first product line registrations, and around 2,100 asset management installations. During the opening session of the third annual Avid Connect event just before NAB, Avid Chairman, President, and CEO Louis Hernandez, Jr. revealed our latest innovations and revolutionary announcements to a sell-out crowd of over 1,200 - a record attendance for the event - and ushered in the next phase of Avid Everywhere. We also heard from media organisations and developers who shared the stories of their business transformations with the Avid MediaCentral Platform, and talked about what the unprecedented openness and integration of the platform has allowed them to achieve. CHANGING WITH THE TIMES Like the industry, it’s essential we change with the times, and at this year’s NAB, Avid unveiled a revolutionary new product family, NEXIS, that was a big talking point of the show. We believe the future is a fully virtualised collaborative system that connects people around an integrated shared storage platform. Faced with increasing competition for a share of consumers’ wallets and viewership, broadcasters must build their brands and embrace new technologies to stand out from the crowd. Avid’s new graphics production toolsets are now fully part of the platform and deliver rich video and graphics capabilities,

TVTechnology May 2016

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This year’s Avid Connect event ushered in the next phase of Avid Everywhere

integrated 4K workflows, and powerful broadcast enhancements for news and sports production. NBC Olympics will benefit from these powerful solutions with the announcement of their ninth partnership with Avid to provide content creation and media management workflows for their production of the Games taking place in Rio de Janeiro, Brazil this year.

“Fragmented technology is a major challenge in the industry, and our customers are wasting valuable time and financial resources on integration efforts” SETTING THE IP STANDARD This year, we’ve seen an emerging trend of largescale media organisations moving away from purpose-built technologies like SDI and coaxial cabling for transporting the large payloads of audio and video data. Instead, they’re passing these over standard IP networks, and an eventual industry-wide adoption will transition the industry to format-agnostic infrastructure while easing the migration to emerging image formats, including UHD and HDR. To future proof customers’ workflows, we’ve extended the MediaCentral Platform to support emerging open technology standards for the

delivery of professional audio and video streams over standard IP networks. By integrating filebased workflows with live signal-based workflows, Avid aims to complete the digitisation of the entire media value chain, enabling new workflows while unlocking new levels of efficiency. Future updates to the platform will enable Avid customers to orchestrate automated content flows that span all facets of media content creation and distribution, incorporating Avid tools and infrastructure as well as partner solutions from its growing ecosystem. PLATFORM FOR EVERYONE Fragmented technology is a major challenge in the industry, and our customers are wasting valuable time and financial resources on integration efforts. Broadcast and media organisations currently face a highly fragmented vendor landscape, and many are spending up to 25 per cent of their IT budgets on integrating disparate systems. Through the openness of the Avid MediaCentral Platform, we’re bringing together the industry’s best solution developers to make media workflow integration easier for customers. At Avid, we’re continuing to build a fully open, global ecosystem where everyone works together, not only with Avid products, but for every product in the workflow – creation, audio, video, management, storage and distribution – as part of one cohesive process. n www.tvtechnologyeurope.com

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3/10/2016 10:00:04 AM 3/8/16 4:17 PM

BUYERS GUIDE: LIGHTING

The bright stuff: Soft panel lights shine at NAB LEDs and softpanels took the spotlight at NAB 2016. David Fox illuminates us on the best of lighting tech on display

lthough there were a few traditional tungsten and HMI lights at NAB, almost all of the new lights were LEDs - one exception being a particularly powerful Plasma light. One of the most interesting introductions was a Kickstarter project from Videolights. The Softpanels LED lights have a built-in colour meter in each light, allowing them to match the colour temperature of the room (and the Kelvin output of the light, from 2700-6500K, is promised to be accurately matched to the reading on the control panel). They also have a Skin Tone Enhance button, to give slightly warmer, more flattering skin tones. The lights cost from $1,195 to $4,295. They offer 100 to 1 per cent flicker-free dimming and come in three sizes. The 600W 3x4ft unit can plug into a household power outlet, while the 300W 2x3ft and 100W 1x2ft can both be run off camera batteries. They come with a honeycomb grid, gel frame, and soft case, and can be mounted vertically or horizontally. Indeed, soft panel lights were the big theme at the show. SHINING HIGHLIGHTS Photon Beard’s new Highlight LED range of remote phosphor studio soft lights come in 3200K and 5600K, using a semi-tubular polycarbonate phosphor panels that take about 30 seconds to replace. Future phosphors are

likely, such as green for green screen work, and 4000K. The lights range from 90W to 360W, have DMX and local dimming and passive cooling. They are designed to directly replace Photon Beard’s popular studio fluorescent Highlight range, using the same range of accessories, but require slightly less power (90W compared to 110W for fluorescent), while being slightly brighter. The lights come with a five-year warranty for both quantity and quality of light, and the TLCI should be about 97 as it uses the same technology as its Photon Beam 80 LED. Kino Flo’s new Select and Diva-Lite LED lights are colour tuneable (2700-6500K). Users can also add full green or full magenta to match even poor lighting in an office. If you add a bias, it will follow the curve through any Kelvin adjustment. They can dim to 2 per cent, with wireless DMX I/O (using Lumen Radio), have four user memories and can run off a battery. The Diva-Lite LED (expected August) has built-on ballast, while the DMX Select 30 and 20 LED allow users to easily take off the ballast to reduce weight. Rosco previewed its new Silk 110 soft light LED luminaire, which offers precise colour quality and powerful output in an ergonomic form factor. It is tuneable from 2800-6500K, with a TLCI rating of 97 at 3200K. The portable (4.2kg) fixture operates under mains power as well as Anton/Bauer or V-lock batteries, and outputs 1700 lux at 1m at 5600K, with DMX and local control. Zylight’s new Pro-Panel variable colour

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SOFT AND GENTLE The new Litepanels Astra Soft is the same as the full power Astra, but with a softer look - with no need to fit a soft box. The flicker-free 110W bi-colour 1x1 unit goes from 2700K (TLCI 99) to 6000K (TLCI 96). It is a little deeper than the Astra to take the diffuser away from the LEDs - to eliminate the risk of multiple shadows. It is 0 to 100 per cent dimmable and takes Gold mount or V-mount batteries and any Astra accessories. DMG Lumière’s new 85W Mini Switch LED light has a TLCI of 90-94, and comes in 5600K, 3200K or bicolour versions. It weighs 1.8kg, and compliments DMG Lumière’s existing 3kg soft light, the SL1 Smart Light. Cineo Lighting’s new HSX, colour-tuneable (2700-6000K) LED soft source, is a compact, 25,000-lumen LED fixture that is claimed will remain consistent throughout the life of the fixture with no colour shift or need for calibration. There is also no colour shift over the full dimming range. The 400W light weighs 11.3kg and costs $3,995. Lowel has extended its range of Prime LED studio lights with three new Studio LED BiColor

Flash bulb: Hive Lighting’s 1000W Plasma is equivalent to a 2.5kW HMI

Cineo Lighting’s HSX compact colourtuneable 25,000-lumen fixture TVTechnology May 2016

temperature (2700-6500K) LED soft light also made its debut in Las Vegas. It is available in 1x2 and 2x2 configurations, and is fully dimmable with a wide, 110 degree beam angle. The rear panel includes colour and dimming control knobs, plus two custom preset buttons.

www.tvtechnologyeurope.com

04/05/2016 12:19

Light & Motion’s waterproof Sidekick lights can go anywhere a GoPro can go

Prime models. The units retain the Prime’s wide 50 degree-beam angle, and are fully DMX addressable, dimmable and controllable. They are: the 85W PRM-200-BI; the 135W PRM-400-BI; and the 210W PRM-800-BI, all of which are tuneable between 2900-6300K and support 90-240v at 50/60Hz. ROCK ON The Exalux Rock (from $1,600) is a new square LED light that is tuneable (2700-6500K), waterresistant (IP54), and includes a V-lock bracket. It offers long battery life on tiny BP-U batteries (up to one hour, 20 minutes on the 50Whr fixture), outputting 1700lux at 1m, 98 TLCI at any colour temperature. Both DMX 512 and Bluetooth 4.0 control are supported. It is compatible with the Exalux X.Lite wireless control app for Android. The bright new Ikan Rayden LED light panels come in either bi-colour or daylight versions and have more than 600 LEDs in the 1/2x1 and 1100+ LED’s in the 1x1, with 45º lenses. They come in pro battery or DMX512 versions, with barn doors. Also new is the Ikan’s Lyra LED Soft Light, in daylight or bi-colour versions, in 1/2x1 and 1x1 models, with a 110º beam. Both Anton/Bauer and V-mount battery plates are included. Arri has expanded the capabilities of its SkyPanel lights with free firmware. This adds: emulation of Rosco and Lee gel libraries; a Low End Mode for more accurate colour at very low light levels; Tungsten Mode, to mimic the

High flier: Litepanels’ bi-colour Astra Soft

dimming curve and strike on-and-off effect of traditional tungsten lamps; DMX fan control; four Dimming Curves for greater control; both Remote Device Management and Art-Net implementation; the ability to save error logs to USB; and save/load presets or settings via USB. Chimera Lighting also introduced Tech Lightbanks for Arri’s SkyPanels, with one for the S30 and two versions for the S60. FX LIGHTS The new Rotolight Anova Pro LED studio/location light weighs 10 per cent less than the previous version, has a new Flash Sync Trigger input, redesigned electronics and 25 percent more LEDs, making it up to 43 per cent brighter than the V2 Anova, with the ability to flash at up to 300 per cent brightness. It includes CineSFX (for customisable lighting effects), Flash Sync, True Aperture Dimming (which calculates and displays the correct aperture for your subject at a given distance), and Designer Fade (custom fades up and down), and costs from £999, shipping in June. WiFi operation will use an optional Anova Air module. FRESNEL LENSES Zylight launched the new F8-300 LED Fresnel at NAB and has just started shipping its more portable F8-200. The new LED lights are more powerful versions of its F8 collapsible light. The passively cooled 300W F8-300 is claimed

Fresnel refresh: The brighter new Litepanels Sola 6C LED www.tvtechnologyeurope.com

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to be brighter than a 575W HMI Fresnel or a 2kW tungsten fixture, and comes in 3200K or 5600K versions, with adjustable beam spread (16-70º) for spot and flood. It can be controlled via DMX or via the built-in ZyLink wireless link. Also new is the $129 ZyLink Bridge, a lightweight, wireless fob, which allows users to control multiple Zylights from an iPhone or iPad via a free app. It includes four effects (crossfade, strobe, police, and flame) and presets to save lighting assignments. Kinotechnik’s new Practilite 602 is claimed to be the world’s smallest bi-colour (3000-6000K), variable beam smart LED light that is smartphonecontrolled (iOS and Android) to adjust brightness and colour temperature. This allows multiple lights to be set up and controlled very quickly without having to leave the camera. The $967 Fresnel lens design can work on V-mount batteries, and up to six fixtures can be controlled via Bluetooth at a 10m range. Also new is the daylight Litepanels Sola 6C LED Fresnel, which offers better colour and is brighter than the original Sola 6 (comparable to a traditional 200W HMI). The 104W 6in Fresnel lens promises an even light source that can be focused and controlled, and dimming from 100 per cent to 0. It has focus control from 67° to 15° beam via on-fixture dial or DMX and a TLCI of 95. Lowel had two new Fresnel models - one with a 5.5in/13.75cm lens at 146W, the other with a DMX motorised 7in/17.5cm lens at 185W, in both

Primed and ready: Lowel’s new Studio LED BiColor Prime panels 9

May 2016 TVTechnology

04/05/2016 12:19

BUYERS GUIDE: LIGHTING DMG Lumière’s lightweight new 85W Mini Switch LED lights

daylight (5600K) or tungsten (3200K) versions, with 12-50 degree adjustable beam angles. SPOT ON Dedolight’s new 90W DLed 7 (tungsten, daylight or bi-colour 2700-6500K) is twice as bright as the previous DLed 4, which uses the same housing - a very quiet active cooling system enables the use of higher wattage LED light sources. It will cost about £1,000 for the bi-colour unit, or about £700 for a single colour light. They offer a very wide angle for flood and are claimed to be flat from edge to edge (with no hot spots). A new wheelie case kit will cost about £3,500 for a three-light bi-colour version, including stands, barn doors. There will also be battery versions. They work with any accessory that can be used with a traditional Dedolight. ON CAMERA For on-camera use, Manfrotto has a new range of dimmable LED lights powered by Litepanels, with four compact fixtures. They range from the 650lux Spectra 2 – a low-priced daylight unit – and two 900-lux lights – the daylight-only Micropro 2 can be used with AA or Sony L-series batteries, while the tuneable (3100 to 5600K) Croma 2 adds D-Tap and AC power. The new 1500-lux Lykos half-panel light is

Special FX Pro: Rotolight has brightened up the new Anova Pro

similar to Litepanels’ Astra family, and has the same output as the old Litepanels 1x1 in half the size (daylight or bi-colour). WATERPROOF Light & Motion has added to its three 100m waterproof Stella lights with a new 7000lumen Stella Pro. The light has an integrated rechargeable battery that allows it to run 90 minutes on high or up to 12 hours at a lower output. These compact lights should withstand a 1m drop onto concrete, and the 5000K LEDs have a TLCI of 90+. For drone use, there is the new 70W Stella 5000d Drone LED Light. The 5000-lumen light can be fully controlled from the drone controller including on/off, dimming, and a power-saving strobe mode for photography. It weighs 750g, is 88mm tall, with a native 120 degree beam and a TLCI of 93. Light & Motion’s small new Sidekick lights are waterproof to 60m and can be used with a GoPro mount or a cold shoe. The $150 Sidekick Duo offers spot and flood, while the $130 Sidekick is flood only. They are ideal for GoPros or other small cameras, are light (123g), and run for 60 minutes at full power (600 lumen) or 240 minutes at 150 lumen from the built-in battery.

PLASMA ARC Hive Lighting’s new 1000W Plasma bulb is five times brighter than the current 250W Plasma bulbs, producing the equivalent output of a 2.5kW HMI or 10kW Tungsten incandescent. It is claimed to be “the highest output light you can plug into a wall” and “the highest quality artificial daylight ever produced”. The single point source arc lamp promises 50,000 hours bulb life and colour adjustment between 4600K and 6500K. The Wasp 1000 Par and Bee 1000 Flood will be available in June. It also launched an affordable pocket colour meter, the Hive Antenna, which is operated by a single button and can be charged with a phone charger. AAdyn Technology showed three upgraded models from its JAB series – the JAB V2 Variable, JAB Daylight and JAB Hurricane. The lights deliver 30% more foot candles than previous versions. AAdyn also introduced a new version of its Punch Plus fixture that is 50 per cent brighter. The Punch Plus Variable is a variable colour temperature LED fixture with a Kelvin range from 2950K to 6200K and delivers an impressive 6000 foot-candles at 10 feet. Dimming, along with lightning and strobe effects, can be controlled via a built-in user interface, remote user interface or DMX/RDM control. n

A light touch: ZyLink Bridge controls multiple Zylights via a free iOS app

DMG Lumière’s lightweight new 85W Mini Switch LED lights TVTechnology May 2016

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www.tvtechnologyeurope.com

04/05/2016 12:19

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3/30/2016 10:53:32 AM 09/02/2016 17:43

NAB REVIEW - AUDIO

Is NAB interested in audio anymore? Peter Poers, CEO of Jünger Audio, gives an honest take on a changing show in a changing industry

his year’s NAB visitors interested in sound had to do a lot of walking. Audio companies were spread out everywhere – from North Hall to South Hall – and this made them difficult to find. In my view, it was better when audio companies were concentrated in one hall. The fact that they were so spread out begs the question: Is NAB (and its delegates) really interested in audio anymore? It could be that audio companies are creating this problem for themselves because they want to forge closer links with other technologies. There are still some old-fashioned audio companies - microphone manufacturers, a few mixing desk manufacturers – but they feel like a niche market, because so many audio-focused companies are moving into other technologies, such as audio over IP. This may be because technology is changing and there are better business opportunities in these en vogue areas, but it will be interesting to see who will survive. Maybe those who concentrate on a niche market will do better in the end. I understand that NAB 2016 generated new records in terms of numbers - exhibitors, visitors, conference topics. It didn’t feel that busy to us, although we did notice more Chinese companies exhibiting and many more Asian visitors. There were fewer European visitors on our booth this year, which may reflect the general economic tightening of belts. I also spoke to some Americans from the East Coast who said they had to fight to get NAB accepted as a business trip because of the cost and distance involved, similar to flying from far western to far eastern Europe. FOLLOWING THE TRENDS In terms of new trends, there were some, but none that were significantly improving the content being delivered. Moving away from dedicated hardware to server-based solutions is definitely a trend, as is higher resolution pictures. 4K was a buzzword. Immersive audio and UHDTV were also hot topics as people explore the idea of personalised audio for audiences. Object-based audio is likely to become the

TVTechnology May 2016

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“There were fewer European visitors on our booth this year, which may reflect the general economic tightening of belts”

next challenge for audio production, and we are already getting requests for products to address this, which we are working on. For audio content, the advent of Next Generation Audio (NGA)

“I think the industry should standardise on formats before we start discussing codec system technologies and specs” formats means changing production methods, which will improve the audio content as well. STANDARDS FIRST Personally, I think the industry should standardise on formats before we start discussing codec

technologies and specs, but it seems as though the industry is working the other way around with codec technology vendors forcing certain audio formats to create a need for new codec technology. They really ought to be consulting the audio companies first. IP was also under discussion at NAB. In my view, it could work for audio but won’t work so well for video – and not at all if real 4K is the next target. Even for audio there are too many different protocols, including AES67 which promises interoperability between previously competing audio-over-IP systems and long-term network interoperation. Although IP, standards and formats were being discussed everywhere, we still don’t yet know which protocol will perform most universally for audio and video. n www.tvtechnologyeurope.com

04/05/2016 16:02

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A strategic roadmap for the future of broadcast KEY SUBJECTS FOR DISCUSSION INCLUDE: • Do we need broadcasters in an internet enabled future? • Who are the content stakeholders in an all IP World? • Broadcasting in a software defined age • Does UHD provide the complete picture? • Demystifying HDR Last year’s delegate list included senior representatives from the BBC, ITV, Netflix, Sky, ITN, Rovi, BT Sport, Channel 4, Viacom, CNBC Europe, Al Jazeera, Fox International, NBC Universal, Discovery, Reuters TV, Modern Times Group, Bloomberg, BT Media and Broadcast, PwC, Ernst and Young, SNL Kagan, KPMG, and more…

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FEATURE

DEEP Storage

Above: Group 47 has written software that converts a digital file into a visual representation of the data. This is a test example of writing data 256 pixels wide, versus. commercial units that will be 10,000 pixels. This is how the media appears when viewed under polarised light

Thanks to breakthroughs in data archiving, audiences 1000’s of years from now may still get to watch Keeping Up with the Kardashians. Adrian Pennington reports

New storage solutions are always on display at NAB and cloud storage is the tech of the hour. But how will be preserve our data for the longer term? The next decade. Or the next century. Or beyond. In 196 BC, someone carved an honours list in three languages onto a slab of granodiorite. The text was rediscovered in 1799 and finally decrypted to provide a key to the understanding of ancient Egyptian civilisation. The Rosetta Stone is the perfect database. It has physically lasted for centuries and its information can be read without any new technology. If only the quest to find an archive solution for digital media were as simple. Our world is overflowing with digital data, and the digital universe is doubling every two years according to IDC. A share of this digital universe has long-term value, so what are the options? In the digital age, tape has proved surprisingly durable. Most people will know how easy it is to put a magnet next to tape and erase its contents. Tape is subject to degradation and bit drop out over time, and while industry standard LTO gets around this by recording data without the revolving head drum used on video tape, the system needs manual intervention every few years in order to migrate the data stored on it to the latest generation. But the new generation of LTO-7 tape, manufactured by Fujifjlm, is composed of Barium Ferrite, a medium with magnetic properties which means the tape does not deteriorate, and

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it gives tape headends a longer lifespan. Plus, the capacity has jumped from 2.5TB to 6TB. “Its like a whole new format,” says Fuji’s commercial manager Richard Alderson. “Nothing has been done like this in the past and we are the only manufacturer who can provide gen-7 tape.” This is increasingly important given the move to UHD. “A single movie at 4K can need over a petabyte, and as the data sets get bigger, customers are realising that tape is far safer and more reliable than disc as a storage medium,” explains David McKenzie, storage and archive specialist, Oracle. Oracle’s StorageTek division is readying a new enterprise version of its tape drive called T10K for release in early 2017. It will have capacity for 10-15TB. In addition Oracle is working with the team and the Diva technology from Front Porch, which it acquired in September 2014. Meanwhile LTO-8 with a projected 12.8TB capacity and 427MBps speed is expected in three years. “Tape is far from dead. In fact, it is a lot cheaper than disc. It is more environmentally friendly and most important it is far less corruptible. It’s the reason why broadcasters like the BBC and Sky archive their programme catalogues on it.” 30 YEAR OPTICAL DISC The main alternative to LTO is optical disc, which as McKenzie alludes to can drain power in order to keep the mechanism cool. Earlier this year, Sony and Panasonic launched new optical disc-

based storage systems for data centres. Sony’s Everspan can store 181 Petabytes for 100 years. Four systems can be ganged together to offer 724PB of total storage. To grasp that, if you were to envision one bit of data as the equivalent to one second, then 1PB would equal 285 million years. Sony says Everspan is able to transfer 18GB of data per second, “outpacing the best performance of tape libraries and archival drive platforms. Because of the durability of optical discs, unlike other storage media, users are expected to never need to migrate data.” The initiative is led by Frank Frankovsky whose start-up company Optical Archive was acquired by Sony last year. Previously, Frankovsky led a project for Facebook to store the social network’s burgeoning data and helped Panasonic develop something along similar lines called freeze-ray. It seems that Facebook is hedging its bets by deploying both Sony and Panasonic variants of Frankovsky’s system. Frankovsky says the goal is to make it possible for customers to store everything for as long as they wish in a low-touch, low-cost optical library. “We’re finally bringing a product to market that will make tape obsolete technology,” he says. The Everspan media developed by Panasonic and Sony is the same as used in Sony’s next version of its Optical Disc Archive (ODA), unveiled at NAB. A single cartridge has doubled in capacity to 3.3 TB. ODA is designed for use in near-line applications, deep archive storage or disaster www.tvtechnologyeurope.com

04/05/2016 11:23

recovery systems. Hardware configurations range from stand-alone to large, scalable robotic archive systems. The main components of ODA Generation 2 include: a stand-alone USB drive unit (ODS-D280U), an 8GB fibre channel library drive unit (ODS-D280F), for use in robotic systems, and the Optical Disc Archive media cartridge (ODC3300R). 100 YEAR METAL ALLOY TAPE While LTO tape has a lifespan of 30 years, DOTS (Digital Optical Technology System) stores digital data onto metal alloy tape and is claimed to be archival for 100 years. Originated by Kodak and developed since 2008 by Group 47, the technology’s software converts a digital file into a visual representation of the data. With sufficient magnification, one can actually see the digital information. Its specification – the ‘Rosetta Leader’ - calls for microfiche-scale human readable text at the beginning of each tape with instructions on how the data is encoded and instructions on how to actually construct a reader (it even resembles the Rosetta Stone – see image left). Because the information is visible, as long as cameras and imaging devices are available, the information will always be recoverable, the company says. 500 YEAR FILM However, the only technology which has proven it can last a century is film. What’s more it has the valuable benefit of easy reading simply by shining a light through the negative. Yet celluloid is fragile, some types are notoriously flammable, and it’s expensive despite the fact that most of the film stock made by Kodak is now for the archive market. With Fraunhofer and Norner, Norway’s Piql has devised a way to use the preservation qualities of photosensitive film combined with the accessibility of a standard IT infrastructure. Its turnkey solution includes all equipment and processes needed for writing, storing and retrieving files and is claimed to last 500 years. A high-precision piqlWriter records digital files and related metadata onto photosensitive film. Checksums are applied to verify the integrity of the data. Forward Error Correction is used for controlling errors, making it possible to fully retrieve even damaged or corrupted data. “Both digital and visual storage of data is possible,” says to the company. “This means users can select between storing data in computer readable digital format (binary codes), or as text or images. It can even combine the two, allowing users to get visual previews of the data. It provides a self-documenting preservation master containing all information needed for www.tvtechnologyeurope.com

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The Piql Reader and Writer unit with (below) the PiqlBox and film storage package, rated to last 500 years

decoding and understanding the preserved data. The source code of the decoding software is open and written in text format on the reel. A BILLION YEARS AND MORE But scientists at the University of Southampton have gone even further. Using glass, the university’s Optoelectronics Research Centre has developed the recording and retrieval processes

Pulses of light ﬁred at 280 quadrillionths of a second onto self-assembled nanostructures created in discs of fused quartz of five dimensional (5D) data which is calculated to survive for billions of years. The glass isn’t the common double-glazed variety. The data is recorded via an unbelievably fast laser, with pulses of light fired at 280 quadrillionths of a second onto self-assembled nanostructures created in discs of fused quartz.

A file is written in three layers of nanostructured dots separated by five micrometres (one millionth of a metre) and in five dimensions: the size and orientation in addition to the three dimensional position of these nanostructures. It sounds like science fiction and has already been christened the ‘Superman memory crystal’, yet Hitachi also announced a similar etched glass data storage solution in 2012. Cultural heritage documents like the Bible and Magna Carta have already been fused in 5D and the team are looking for partners to commercialise the technology. The medium permits thermal stability up to 1000°C and virtually unlimited lifetime at room temperature. It can be read by combination of optical microscope and a polariser, similar to that found in Polaroid sunglasses. Just don’t drop it! n

University of Southampton has developed technology which it claims will preserve data for billions of years 15

May 2016 TVTechnology

04/05/2016 11:23

NAB REVIEW

Putting IP on hold? 4K will certainly play a part in the broadcast industry’s future, but how the IP transition will develop is up for grabs, says Axon Digital Design CTO Peter Schut

AB2016 was very busy for Axon Digital Design, with a good flow of people visiting the booth we shared with our US partner, Utah Scientific. The relationship between our two companies is already making it a lot easier for customers to access our wide portfolios of broadcast solutions, and it is also helping us develop next generation solutions together, such as the integration of Utah’s S2022 IP router with Axon’s Cerebrum control and monitoring. Indeed, the subject of IP proved to be a big talking point at the show and these conversations made it apparent that there is still a lot of confusion amongst broadcasters and manufacturers on where the industry is heading. Although everyone is convinced that video over Ethernet will eventually happen, the debate on which standard to use remains vibrant. It is positive to see that there are initiatives, like AIMS (Alliance for IP Media Solutions), that are trying to ensure our industry adopts a single standard. AIMS is dedicated to an open standards

TVTechnology May 2016

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approach and the creation of products and solutions that support these standards in the realworld environment. Axon shares that philosophy and is collaborating with various industry bodies such as the EBU, SMPTE and IEEE to develop next generation standards. We have already delivered a proof-of-concept demonstration showcasing

“There is still a lot of confusion amongst broadcasters and manufacturers on where the industry is heading” development work on AVB and S2022-6, with both standards working effectively in live production environments. The fact that Evertz and Sony have announced their participation in AIMS is an interesting development, but whether that means TR-03 via TR04 (which AIMS is backing) is the obvious way forward remains to be seen. One could question

whether their participation is to actually support the TR-03 initiative, or if their motives are of a different nature. We spoke to a number of customers during NAB who expressed their concern about the various standards and the fact that we, as an industry, are not able to agree on just one. Some customers even indicated that their plans to move to IP were on hold because of the confusion and that further investments in SDI were imminent. In fact, the popularity of AIMS stops customers from buying 2022 now! Whatever standard our industry decides to embrace, Axon will make sure that its signal processing equipment can support it. We foresee another standard change before the end of the year and we are already prepared to support whatever is chosen. Apart from IP, another major topic of conversation at NAB was 4K/UHD. Unlike the hype around 3D, 4K is fast becoming a standard that TV audiences are prepared to back. Their demand for 4K content will inevitably force www.tvtechnologyeurope.com

04/05/2016 12:29

Some delegates said IP plans were on hold because of standards uncertainty and further investments in SDI were imminent. Pic far right: Peter Schut Axon CTO

broadcasters to start broadcasting in 4K. As a result, many of the questions we faced at NAB related to transmitting 4x3Gb/s over a single 12G link. There were also lots of conversations about the next step for 4K, which involves higher dynamic range and the inclusion of the REC. 2020 Colour Gamut.

“Some customers even indicated that their plans to move to IP were on hold because of the confusion” Companies like Axon will have to enable these changes in coming months, and we are already working towards that end. Earlier this year we launched a range of 4K Synapse signal procession products and production tools, which were on show at NAB 2016. We know they are what the industry needs because they were developed in close cooperation with BT Sport to help the broadcaster deal with the challenges of this new format. Our products are now integral

to the success of Timeline Television’s bespoke OB vehicle, which delivers content to BT Sport Ultra HD (Europe’s first live sports Ultra HD/4K channel). In our opinion 4K is now accepted by the industry and clearly here to stay. Having the opportunity to discuss this technology – and many other topics - with our customers was incredibly valuable – and let’s face it, Las Vegas isn’t the worst place you can go to gather customer feedback! n

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May 2016 TVTechnology

04/05/2016 12:29

NAB REVIEW

Rise of the

ROBOTS

As specialists in camera robotics, Telemetrics is used to riding the waves of technological change. Telemetrics’ head of UK & Benelux sales, Colin Clarke, assesses our current inflexion point

sk anyone who has spent a few years in this industry what they see as the biggest change in the world of broadcast, and they may be hard-pressed to put a finger on a single area of development. The truth is that the last several years have seen an explosion of new technologies that has left many breathless. SD-SDI was the seed of the digital revolution, and it germinated faster than anyone expected. No sooner had that change come about when HD-SDI began to sprout, along with 4K UHD and more. Is all of this new technology actually good for the industry? That is a subjective question. If you’re an editor, camera operator or producer, the answer is an unequivocally yes. Now it’s possible to achieve greater clarity, new perspectives, easier editing and more effects, which all combine to improve storytelling. For the technician who has the job of learning how all this new technology works and where it fits into the workflow the answer may be a bit more measured. Because technicians are typically the people who recommend and help

Clarke: “It is important for manufacturers to make integration and maintenance as simple as possible”

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decide what is to be purchased, it is important for manufacturers to make integration and maintenance as simple as possible and part of the overall products development package. For example, building in web servers and including convenient features like dedicated remote log-in software and simple SSD card changes can make a real difference.

“Is all of this new technology actually good for the industry? That is a subjective question” At one time, some technicians did not welcome the advent of camera robotics. Though they may have originally feared it would take jobs from camera operators, in reality, as the capabilities and low relative cost against investment curves have emerged, it is evident that robotics created new channels, and the best robotics operators have been those who were previously standing behind the cameras. As a robotics company of long standing, for Telemetrics the HD revolution has been fruitful. Developments in computer processing, memory and communications speeds have driven huge advancements beyond the old serial 232/422 type systems. New digital cameras, lenses and servo systems have worked together to produce greater accuracy, integrated control and improved

dynamic production values, long sought after by customers. The launch of our new LP-S5 PT head at the NAB show 2016 is a perfect example. This product was engineered to meet and exceed customers’ expectations and needs. Faster and more accurate, delivering higher load capacity and better power management, and offering easy installation and low maintenance, this is a product that breaks new ground in robotic camera studio systems. While we may not have insight into all the new technologies that will be introduced in the years to come, you can be sure they are already in development now.n

www.tvtechnologyeurope.com

04/05/2016 15:33

The global resource portal for media technology content

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12/01/2016 12:41

NAB REVIEW

On the right road, but miles to go This year’s NAB shunned paradigm-changing announcements and dazzling tech in favour of hard-nosed problem solving, observed Tom Lattie, VP of video products market management & development at Harmonic

MEDIA FACTORY OF TOMORROW The industry has been waiting for technology providers to take a fresh look at what it takes to build and operate the media factory of tomorrow, and then start from the ground up to build cloud-native solutions that innovate both the technology aspects of an operation and the commercial schemes they enable. The drive for cloud is not for technology’s sake; it is for infrastructure flexibility that delivers both technical and commercial value. While the move to software-based appliances and the ability to virtualise those appliances are productive steps in the industry’s transition, they do not come close to the desired end state. Only truly reimagined solutions can solve both the broadcast industry’s technical and commercial agility challenges. We didn’t see enough of truly cloud-native applications at the NAB Show, though it is clear that broadcasters see the shift of core infrastructure to the cloud as a key enabler of their future success.

he broadcast industry has seen the launch of several significant initiatives over the past few years, including Ultra HD, media over IP, software-based virtualised infrastructure, virtual reality (VR), and ATSC 3.0. With so many irons already in the fire, the 2016 NAB Show was characterised more by a display of meaningful progress on efforts already underway than by the launch of bold new initiatives. Previous NAB Shows had big and exciting announcements around the transition from SDI to IP; this year’s show demonstrated the tangible outcome of the hard work required to deliver meaningful solutions. Demonstrations of multi-vendor IP-based workflows showcased the benefits of an open and standards-based IP architecture as championed by the AIMS Alliance.

“We didn’t see enough of truly cloud-native applications at the NAB Show” The move to IP is not just about simplified cabling. Done properly, the use of IP infrastructures should drive cost efficiencies and increase operational flexibility by riding the cost and function innovation curve of the IT industry. For broadcasters to realise these goals, it is imperative that they can leverage “off the shelf” technologies while mixing and matching functional components from any technology company at any spot in the workflow. There is still much work to do as the industry migrates to IP, but we are heading in the right direction. Similarly, demonstrations and announcements at NAB 2016 show the industry continues to work hard on the migration to cloud-based solutions, but there is still a way to go. VIRTUALISATION, THE DIRTY WORD Even the most dyed-in-the-wool broadcast engineers have come to accept virtualisation

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and the cloud as part of their future, and they understand that the appliance phase is a transitional element in a fairly rapid move towards a virtualised cloud environment. Given this broad acceptance, it is no surprise that cloudbased solutions were a key component in the messaging from many vendors. Unfortunately, closer inspection revealed many of these cloud solutions to be repackaged versions of vendors’ existing software appliances into a virtual machine, shown running in Microsoft Azure or the AWS Cloud. This trend has made the term “virtualisation” something of a dirty word, with several media company CTOs stating on panels and in interviews that they want cloud-native solutions, not virtualised offerings.

HDR ON THE HORIZON Another area where the rubber has yet to fully hit the road is in the area of high dynamic range (HDR). Consumers and broadcasters alike, particularly following CES, are enthusiastic about the potential of HDR. While HDR experiences are trickling into consumers’ homes via targeted solutions such as Ultra HD Blu-ray and various streaming platforms, the industry must now focus on the nitty gritty details, particularly in the consumer’s living room, to make ubiquitous HDR media consumption possible. Broadcasters are looking to HDR and the quantifiable benefits it offers because they are struggling to move forward with services based on resolution alone, particularly at the distribution bitrates that are available, and to differentiate it from today’s HD services. The Ultra HD Forum made an important first step with the release of industry guidelines for end-to-end workflows involved in the creation and delivery of live www.tvtechnologyeurope.com

04/05/2016 16:46

and prerecorded UHD programming with both SDR and HDR content. But even the forum acknowledged that there is still a lot of hard work ahead, declaring the scope of the guidelines to cover UHD services in 2016 and promising revised and expanded guidelines in 2017. Thanks to bold statements about HDR at CES, the demand for HDR already exists. What’s more, the broadcast industry has an established track record of making new television experiences available to all consumers. Now the industry and display manufacturers need to get to work in making it interoperable and viable in the consumer realm. Although this year’s NAB Show did not contain any grand revelations, it did showcase meaningful progress around many of the industry’s major initiatives. The energy of all at the show was very high, and it served as a reinvigoration of the resolve required to move efforts forward. It seems inevitable that by next April, we will see many of these solutions far better prepared to support the workflows and operational flexibility that broadcasters and media companies require to be successful. n

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“Broadcasters are looking to HDR and the quantifiable benefits it offers “

May 2016 TVTechnology

04/05/2016 16:46

NAB REVIEW

In a hurry for real IP Aperi’s vision is to put data and cloud technologies at the centre of broadcast infrastructure. No wonder Aperi board member Joop Janssen is impatient with the industry’s progress

alking around NAB this year, it was great to see the majority of vendors offering robust and interoperable IP-connected products for most, if not all, of the broadcast/ media chain. I’m also happy to see more and more facility-wide IP connected projects being installed as we speak. This is good news for the industry, which has been planning the IP migration for some years. IP’s advantages are clear, especially for greenfield implementations. But what surprised me is that most vendors I saw, and especially the big ones, are still not offering true open, native-IP products. These are the solutions that will not only benefit from volume COTS hardware and open-source software but also from the huge advantages of truly virtualised media functions. More on this later, but first the good news: We seem to have arrived at a consensus regarding IP protocol standards with the AIMS initiative and the evolution from SMPTE 20221, -2, 5,-6, -7 to VSF TR03/04. This transition should nicely leverage the flexibility, efficiency and performance of the datacomm world. Interoperability tests between vendors, on display at the show, showed tremendous progress. And orchestration systems are maturing to be able to handle the migration to a full IP-centric architecture very well. INFECTED BY SDI While these forward strides are important, I didn’t see vendors moving beyond solutions based on an IP connector on an SDI box. Too many products labeled ‘IP solutions’ still have an SDI architecture at their core. In fact, they’re not COTS at all. They require extra translation steps. They are fixed–function and rigid – and will likely be obsolete when network and video standards evolve, which they certainly will. The critical point to remember is that most of the advantages brought about by moving to IP architectures will not be realised if we don’t first virtualise media and network processing functions. At its core, the challenge is to figure out how to turn what has traditionally been hardware into software and to apply today’s best data

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“Content providers need to be able to spin up new channels in a matter of minutes, not months”

centre principles. By loading all the functionality needed for live production as software via a microserver inside the IP switch you can achieve virtualisation. Virtualisation seems like a catchall phrase today. But the key to virtualisation is really

“Too many products labeled ‘IP solutions’ still have an SDI architecture at their core” microservers and microservices – like assigning a piece of resource in a data centre to perform a specific function. I like to use the example of cell phones. We no longer need a separate camera, calculator or GPS. These functions are virtualised aggregations available when we need them. The same can be done for media processing functions but only by taking a fresh approach. THE NEED FOR SPEED Traditional servers are power-sucking and heat-generating – and also slow. GPU-based infrastructure is costly and not powerful enough for live processing. FPGA technology provides the speed necessary and is the best way to achieve the low latencies required in the high-quality live production market. FPGA technology is, however, difficult to use and program. But by extracting its

complexity, packaging it creatively, and applying converging technologies of the last few years, it’s possible to flexibly configure an FPGA-based computing platform, just like a CPU. With this you can create open, IP-native and fully switcherbased solutions and move traditional hardware functions to software available through apps. This type of approach also provides the speed required to respond to today’s media consumption patterns. Content providers need to be able to spin up new channels in a matter of minutes, not months. This environment also requires a shift in thinking, taking time to consider what apps are needed to get you up and running. DON’T SIT IDLE Consider live broadcasting, where only 20-30% of expensive processing equipment is used at any time, the rest of the time it sits idle – not the most efficient or cost-effective operating model. In the software environment, you only pay for what you need, paving the way for new use models. IP is ready for the most mission-critical live broadcast, and it was great to see new companies at NAB thinking differently. With solutions like a working, native-IP and fully software-based system with a COTS foundation, customers don’t have to compromise with transitional ‘IP-pimped SDI’ products any more. n www.tvtechnologyeurope.com

04/05/2016 12:53

TVTech Europe

THE TECHNICAL RESOURCE FOR THE BROADCAST MEDIA PROFESSIONAL

February 2015 I Issue 1 I Volume 33

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TV Technology Europe is the leading technical resource for the media industry professional. With its independent coverage of the latest equipment and technology releases and exclusive opinion and analysis, TVTE offers unrivalled coverage of all aspects of technology and engineering in the broadcast media sector.

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In search of a modern definition for channel in a box

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Product reviews Camera lenses, audio repair

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• Ad close: May 16 • Distribution: May 26

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• Ad close: Aug 15 • Distribution: Aug 26

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www.tvtechnologyeurope.com 10/02/2016 11:24

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NAB BEST OF SHOW

TV Technology announces NAB Best Of Show winners

he NewBay NAB Best of Show Awards are annually bestowed at the NAB Show by NewBay Media’s US-based media publications, including our sister magazine, TV Technology North America. The Best of Show Awards are judged by a panel of engineers and industry experts according to innovation, feature set, cost efficiency and performance. Of the hundreds of new products in competition, only a small number were selected to receive a Best of Show Award. In addition to TV Technology, NewBay Media brands ProSound News, Digital Video, Sound & Video Contractor, Radio, RadioWorld, VideoEdge and Government Video, each make their own selections for the NAB Best of Show awards. “We are enormously proud of our Best of Show recipients,” said NewBay Media broadcast & video group VP and group publisher Eric Trabb. “Recognition with an award at the NAB Show from NewBay Media’s broadcast & video group is a strong vote of confidence and admiration from www.tvtechnologyeurope.com

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“Of the hundreds of new products in competition, only a small number were selected to receive a Best of Show Award” 25

our leading industry publications.” TV Technology North America’s winning companies, with the names of the winning products, are shown on the next page. Our congratulations to all the winners on their ground-breaking TV technologies!

May 2016 TVTechnology

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NAB BEST OF SHOW Accelerated Media Technologies — ENGenesis LTE IP-Based 2/7GHz ENG BAS Band System Accelerated Media Technologies — CID-Passport Akamai — Broadcast Operations Control Center and Services Aspera - FASPstream Software for Live and Near-live Video Streaming Avid — Avid NEXIS Intelligent Storage Platform Bitcentral — 24/7 Automated Digital News Channel Solution Black Box — DKM FX 4K60 Interface Cards Blackmagic Design — Blackmagic URSA Studio Viewfinder Bridge Technologies — Timeline Data Analysis Canon — COMPACT-SERVO 18-80mm T4.4L Zoom Lens Canon — ME200S—SH Multi-Purpose Camera ChyronHego — ChyronHego LyricX Clear-Com — Freespeak II-Base Wireless Intercom System Cobalt Digital — Cobalt Digital 9922-2FS for openGear Datavideo — KMU-100 DekTec — DTU-315 Embrionix — emSFP-GATEWAY SDI/IP Conversion Module ENCO — MOM-Media Operations Manager Evertz — evEDGE Software Defined Compute/Routing Platform Fujiﬁlm/Fujinon — UA107x8.4 4K Ultra HD Field Lens Fusion Broadcast — ORD-55 : OLED 4K Reference Display System GatesAir — Maxiva High-Power UHF Air-Cooled Transmitters GatesAir — Maxiva XTE Multiformat Exciter for TV Transmitters Grass Valley — iTX On-Demand Grass Valley — GV Korona K-Frame S-series Production Switcher Hitachi Kokusai Electric Comark — PARALLAX Liquid Cooled Solid-State Transmitter IHSE USA — Draco ultra DisplayPort 4K Extender for KVM IHSE USA — Draco UNI matrix switch for KVM, USB & SDI formats Ikegami — UHK-430 4K/HD Portable Camera System Ikegami — HDL-F3000 Ultra Low-Light Multi-Purpose Compact Camera Imagine Communications — xG Schedule Cloud-Based Planning and Scheduling iZotope — RX 5 Audio Editor Advanced JVCKenwood — GY-HM200SP Sports Production Streaming Camcorder Lawo — V__matrix LiveU — LiveU MultiPoint IP-Based Distribution Workﬂow Matrox — Matrox Monarch LCS Lecture Capture Appliance Miller Camera Support — arrowX Fluid Head Series NeoGroupe — NBS Assets Tracking Solution Net Insight AB — Sye NewTek — Network Device Interface (NDI)

NicePeopleAtWork (NPAW) — YOUBORA Business Intelligence/Video Analytics Platform ONEtastic — ONETASTIC Spectrum Restorer Paywizard — Expanded Paywizard Agile feature set Pebble Beach Systems — Orca, Virtualized Channel-in-a-Box Planar, A Leyard Company — Leyard TW Series LED Video Wall Pliant Technologies — CrewCom Professional Wireless Intercom Pronology — Pronology mRes Multi-resolution Encoder Ross Video — ACID Camera RTS Intercom Systems — New Software for KP-Series Intercom Keypanels ScheduALL — ScheduALL Portal Semtech — UHDTV Application Specific Integrated Circuit Sennheiser — EK 6042 Two—channel Camera Receiver Sixty — Ease Live-Interactive, clickable on-air graphics SmallHD — SmallHD HDR Production Monitors Sony — HDC-4800 4K 8x High-Speed Camera System SoftPanels — Softpanels LED Lights with Autocolor Teamcast — Stream4Cast ATSC3.0 Modulation & IP Streaming Solution Telemetrics — State of the Art Robotic Pan/Tilt Head Teradek — Teradek Sphere The Weather Company — Max Connect Timecode Systems Limited — SyncBac Pro Triveni Digital — GuideBuilder XM Signaling & Announcement System for ATSC 3.0 TSL Products — PAM-IP TSL Products — MPA Audio Monitoring Family TVU Networks — TVU RPS Live Multi-Camera Remote Production System Visionsmith — LED ReLamp for Halogen Fresnels Vizrt — Viz Story V-Nova — Sky in Italy’s HD IPTV Platform, powered by Perseus Wheatstone — LXE Digital Audio TV Master Control Console Yospace — yospaceCDS: Dynamic Ad Insertion for Live Simulcast

CONTACTS EDITORIAL +44 (0) 20 7354 6002 | SALES +44 (0)207 354 6000 EDITORIAL

EXECUTIVE EDITOR James McKeown jmckeown@nbmedia.com EDITOR Neal Romanek nromanek@nbmedia.com CONTRIBUTORS David Fox, Adrian Pennington, Barrie Smith, Ann-Marie Corvin, David Davies.

NEWBAY MEDIA LLC CORPORATE PRESIDENT AND CEO Steve Palm

CHIEF FINANCIAL OFFICER Paul Mastronardi CONTROLLER Jack Liedke

TVTechnology May 2016

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GROUP CIRCULATION DIRECTOR Denise Robbins

U.S. SOUTHEAST AND MID-ATLANTIC, US CLASSIFIEDS & PRODUCT SHOWCASE Michele Inderrieden minderrieden@nbmedia.com

VICE PRESIDENT OF WEB DEVELOPMENT Joe Ferrick

HONG KONG, CHINA, ASIA/PACIFIC Wengong Wang wwg@imaschina.com

ADVERTISING

SALES MANAGER Ben Ewles bewles@nbmedia.com

ITALY Raffaella Calabrese rcalabrese@broadcast.it

SALES EXECUTIVE Nicola Pett npett@nbmedia.com

LATIN AMERICA Susana Saibene susana.saibene@gmail.com

U.S. MIDWEST, NEW ENGLAND & CANADA Vytas Urbonas vurbonas@nbmedia.com

TV Technology Europe ISSN 2053-6674 (Print) ISSN 2053-6682 (Online) is published four times annually by NewBay Media. ©2016 by NewBay Media. All rights reserved. Suncourt House, 18-26 Essex Road, London, N18LN, England Free subscriptions are available to professional broadcasting and audio visual equipment users. Unsolicited manuscripts are welcome for review – send to Neal Romanek at nromanek@nbmedia.com.

PRODUCTION

HEAD OF DESIGN, HERTFORD Kelly Sambridge ksambridge@nbmedia.com

U.S. WEST Pete Sembler psembler@nbmedia.com

PRODUCTION EXECUTIVE Jason Dowie jdowie@nbmedia.com

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