Blackmagic ATEM Flexes ItsMuscles at Sybila Productions 52

Voice to textpresent and future 48

44Creative coveragehow camera technology haschanged what viewers see

Broadcast VideoExpo 2015 Preview

06 PAN SHOT

Editorial04

Staff

EditorJavier de Martíneditor@tmbroadcast.com

Editor in chiefJesús Carrillodirector@tmbroadcast.com

Key account managerCristina Feduchiinternational@tmbroadcast.comEva Barreraseva.barreras@tmbroadcast.com

Creative DirectionMercedes Gonzálezdesign@tmbroadcast.com

Editorial staffpress@tmbroadcast.com

AdministrationLaura de DiegoMarga Quevedoadministration@tmbroadcast.com

TM Broadcast International #18February 2015

TM Broadcast International is amagazine published by DaróMedia Group SLCentro Empresarial TartessosCalle Pollensa 2, oficina 128290 Las Rozas (Madrid), SpainPhone +34 91 640 46 43

Published in Spain

Summary

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Test: Sony PXW-X18058

Editorial

We have a first half 2015 full of interesting quotes, both globally and

locally. Obviously the focus of our market in the next months will be

NAB, Las Vegas will be as always the broadcasting centre of the

planet. But do not stop growing other fairs and exhibitions. Now in

February in Amsterdam is celebrating Integrated Systems Europe,

where ever there is a greater presence of companies in our industry,

and not only that, next year the fair will last one more day, which

gives an idea of the acceptance that is having ISE. The next one is

BVE in London, 240 companies exhibited this year meaning that is a

must for the British market. Of course we can’t forget CABSAT and

Broadcast Asia, perhaps more local than the above but no less

interesting. Our point of view is clear, all of them are interesting, both

larger and smaller. In the world of XXI century remains personal

relationships for business, and it is at these events where they are

implemented. So is showtime!

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Barix introduces IPAudio Players forfully integratedSoundScapeSolution

Barix last year introducedSoundScape, a solution to centrallymanage and distribute brandedaudio over IP networks of any size.At ISE 2015, Barix will demonstratethe complete cost-reducing,revenue-generating capabilities ofSoundScape as the companybrings the fully integrated solutionto market – including cloud-basedcontent management and livestatus monitoring via theSoundScape Portal; and newcompact, multi-format ExstreamerSoundScape IP audio players forlocation-based media playout.

SoundScape is the only “in-storeradio” solution capable of integratedaudio distribution, remote devicemanagement, dynamic contactscheduling, system-wide reportingand monitoring, and high-quality,multi-format audio playout.Essentially, SoundScape bringstogether several traditional Barixstrengths previously available asseparate applications—includingdynamic, targeted ad insertion—tosimplify, accelerate and monetizedeployments for content providersand systems integrators.SoundScape’s cloud-based,

software-as-a-service (SaaS)design also establishes a centrallyhosted model to increase networkaccessibility and availability,reducing overall operating costsand maintenance. As a result,SoundScape is more than a basicin-store radio solution: It is a fullyfunctioning, revenue-generatingmusic and entertainment systemwith hierarchical user managementfor single locations (clubs,supermarkets), large campuses(universities, corporate complexes)and multi-location networks (retailand hotel chains).

The introduction of ExstreamerSoundScape players is significantbecause it provides a highly reliableplatform for remote devicemanagement and local playout.The Linux-based players featurethe traditional benefits of BarixExstreamer device¬s—including acompact form factor, low powerconsumption, multi-format decodingand broadcast-quality audio—andadds integrated control via a simplebuilt-in, five-button keypad. Userscan navigate the menu, skip songs,and change audio settings andnetwork configurations without

connecting to the central web-based SoundScape interface. Ablue-toned backlit LED displaydetails audio program and playerinformation relevant to the location.

Exstreamer SoundScape playersalso bring greater efficiency to theplayout operation throughexceptional internal memory,minimizing network resourcesrequired for live streaming. A built-in real-time clock ensures thatplayers continue to stream contentlocally via internal content storagein the event of network downtime—and pick up exactly where theplaylist left off upon return of thenetwork.

“SoundScape is exciting as ittruly offers a wide range of usersan audio content distributionsystem for background music andmessages across commercial andpublic spaces,” said FrankFrederiksen, managing director,Barix. “No other IP audio solutionon the market offers as rich of anSaaS-enabled content and playermanagement solution that alsoincorporates targeted advertising,stream tracking and reporting, andlive status monitoring. Adding intried-and-true reliable Barix audioplayers, SoundScape bringstogether a complete hardware andsoftware solution to build newrevenue streams and reduce totalcost of ownership for branded,location-based music andentertainment.”

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"As a leading supplier of audio-over-IP solutions for all applicationsand all budgets, Digigram will bringto BES EXPO 2015 a full range ofinnovative IP audio codecs, audiosolutions, and professional soundcards particularly well-suited for theFM Radio Phase-III deployment.We look forward to demonstratingthe cost and technical efficienciesthat our IQOYA audio-over-IPsolutions bring to audio contributionand distribution, as well as theuniquely robust performance andfeature sets provided by ouracclaimed VX, LoLa, LX, andCancun series sound cards." —Philippe Delacroix, President andCEO of Digigram

Audio-Over-IP DistributionRange

IQOYA *SERV/LINKMultiple-Stereo orMultichannel Audio-Over-IPCodec for Professional IPAudio Distribution

Digigram's IQOYA *SERV/LINKincorporates multiple distributioncodec instances and thecompany's advanced FluidIP™technology on a single processinghardware platform to simplify thetransport of multiple audioprograms (mono, stereo,multichannel) over IP networks in ahigh-density format. Designed forradio broadcasting and for intercomand commentary for both radio andTV, the IQOYA *SERV/LINK codecallows users to configure multiple-stereo or multichannel solutions forlinks between studios and betweenthe studio and transmitters, DVBoperators, or content delivery

networks. In its compact 1-RUversion, the solution can handle upto eight stereo analog channels, 16stereo AES/EBU channels, 32stereo MADI channels, ormultichannel LAN IP audiointerfaces (Livewire andRAVENNA), and up to 64 codecswith multiple GPIOs and RS232ports for auxiliary data tunneling.The scalability of the system allowsusers to mix and expand thesupported audio I/Os, and a larger4-RU version provides even higherchannel density. The solutionsupports analog, AES, MADI,Livewire, or RAVENNA audioconnectivity and multiple audiocodecs (PCM, MPEG L2 and L3,AAC, apt-X), and is one of theindustry's few audio-over-IP codecsthat can simultaneously stream rawRTP, HTTP, and MPEG-TS/IPstreams.

IQOYA *LINK and IQOYA*LINK/LE Audio-Over-IPCodecs

The IQOYA *LINK and IQOYA*LINK/LE codecs are full-duplexencoding and decoding solutionsthat provide uncompromisingperformance for IP-based studio-to-studio and studio-to-transmitterlinks, as well as audio programdelivery to DVB operators.Developed in collaboration withmajor European telcos, the IQOYA*LINK/LE codec is a cost-effectiveversion of Digigram's full-featuredIQOYA *LINK codec that givesbroadcasters the benefit of 24/7reliability, audio format flexibility,ease of use, and affordability.Based on FluidIP™ technology, thesmart IP audio streaming engine

developed by Digigram, bothIQOYA *LINK and IQOYA *LINK/LEboast high, field-proven mean timebetween failures (MTBF), very lowback-to-back latency, and a host ofstate-of-the-art features thatguarantee audio quality andcontinuity.

Audio-Over-IP ContributionRange

IQOYA *CALL and IQOYA*CALL/LE Audio-Over-IPCodec for Professional IPAudio Contribution

Digigram will highlight IQOYA*CALL and IQOYA *CALL/LEcodecs, which allow users to buildreliable low-latency IP audiocontribution links while keepingcosts under control. These codecsare utilized by Digigram's MobileStudio and Ultra Mobility solutions,which bring professional quality tofull-duplex connections between aremote site and a studio.

IQOYA *CALL protects theinvestment of broadcast institutionswithin large fleets of heterogeneousACIP EBU Tech 3326-compatibleequipment managed by SIPinfrastructure. Its front panelenables simple and straightforwardusage in all outside broadcastsituations.

IQOYA *CALL/LE is a cost-effective and versatile addition tothe IQOYA range of IP codecs. Iteasily provides full-duplex IP audiosessions over the Internet andwireless connections thanks to itssmart signaling and hassle-freesymmetric RTP connection mode.

Digigram at BES EXPO 2015

Lawo announced that QVC, Inc.has taken delivery of four Lawo mc²series audio consoles and aNova73 HD central router for theirbroadcast facilities at its corporateheadquarters in West Chester, PA.The mc²56 MKII consoles are beinginstalled in three different controlrooms as well as a main theatreand will be interconnected throughredundant Lawo Nova73s toprovide a completely flexiblenetworked solution interfacing with10 studio areas. The project washandled by Lawo’s North Americanoffice in Toronto, Canada.

“As one of the world’s largestproducers of live programming, TVcontinues to be our most powerfulplatform to share with ourcustomers why we’re passionate

about our products,” said JoeMicucci, vice president, broadcastoperations at QVC. “This newsystem from Lawo enables us toseamlessly provide fun andengaging programming 24 hoursper day, 364 days per year to anaudience of 106 million viewersacross the U.S.”

"QVC came to us with a primarygoal of ensuring true 24/7 year-round operation due to their uniquestructure of addressing multipletime zones with live programming,"explains Lawo president HerbertLemcke. "They required robust andredundant operation with the abilityto quickly scale. In addition tooutstanding audio quality andproven reliability, Lawo is alsoproviding QVC a fully redundant

and integrated audio networkingsolution with flexibility to accessany I/O and drive any productionstudio from any audio controlroom.”

QVC upgrades audio technology with Lawo

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Sachtler launches Premium Bags RangeThe new Sachtler Premium Bags

will see 37 of the 47 existing bagstransition over to the brand tocomplement Sachtler’s widerproduct range. The product line willenhance the tradition of creatingthe ultimate protection in thepremium video bag market placefor professional gear, with thereassurance of the exceptionalquality associated with the Sachtlerbrand.

James Wilson, product manager,Sachtler Bags says: “We havesimplified the product range toensure it meets all of the key needsof the industry - whether it is for thecamera, lighting, audio or camerasupport equipment. The newSachtler Video Bags will take theDNA of Petrol Bags and combine itwith those attributes that have

become synonymous with theSachtler brand, fast, high qualityand robust durability. There will bevery few changes to the bagsthemselves, reflecting the quality ofthe existing products. The design,features and functions remain thesame and any changes will beminor, and mainly cosmetic, toincorporate the Sachtler logo, anew interior design and other minorenhancements such as improvedzippers and comfort fit straps.”

The 37 key products that form thenew range will include carryingsolutions of premium shoulder,backpack and trolley bags forvideo, film and broadcastapplications. The products will allbe manufactured and produced bythe existing independent supplier –who has had a strong working

relationship with the Vitec Groupbrand for the past 15 years.

Wilson continues: “Sachtler’srenowned camera support productsare consistently delivering theultimate performance for operatorsaround the globe, from our award-winning artemis stabiliser systems,to our innovative tripods and therecently released Ace Accessoriesrange. Regardless of theapplication, users rely on ourproducts to offer the ultimate inquality and reliability, and that ethoswill be carried through to the newrange of Sachtler Premium Bags.”

The new comprehensive range ofSachtler Premium Bags is availablevia Sachtler and Vitec Videocom’sextensive distribution network.

DirectOut releases updatedMADI.BRIDGE

Initially developed as a simple link between MADIdevices from any manufacturer, MADI.BRIDGE actsas a patchbay, signal distributor, signal buffer andinput selector all in one device. The latestincarnation sports a complete redesign and hasgained a number of extra features includingredundant power supplies, a USB port to enablefirmware updates for future enhancements andadditional remote control capabilities.

MADI.BRIDGE enables the connection of up to 16devices via six coaxial (BNC) MADI I/Os and twooptical multi-mode MADI I/Os. All input signals are

routed to the desired outputs in their native state,thus supporting any format regardless of channelcount, whether or not control data and/or samplerates are included, or even violations of the MADIprotocol. Highly sensitive input stages withsophisticated EQ mean that up to 100m coaxialcable runs can be supported, even betweendevices. An intuitive and easy to navigate userinterface makes for fast and straightforwardoperation.

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Mera-Tech to representBridge Technologies in MENARegion

BridgeTechnologies hasappointed MERA-TECH as itsregional businesspartner for MENA.With a new officein Dubai from2015, MERA-TECH will carryand support theentire BridgeTechnologiesproduct range.

MERA-TECH’sappointmentfollows BridgeTechnologies’involvement in one of the region’s largest initiatives,having been chosen to supply monitoring technologyfor a key player for which MERA-TECH is a systemintegrator.

“Bridge Technologies is establishing a strongerpresence in MENA, and our partners MERA-TECHwill be very instrumental in building our profile,together with Omar Hawary, our Strategic BusinessDevelopment Manager for the region,” said Simen K.Frostad, Chairman of Bridge Technologies.

Through MERA-TECH, media organizations andTelcos in the region will now be able to benefit fromBridge Technologies’ leading-edge solutions forterrestrial, satellite, cable and OTT operators, withaward-winning monitoring and analysis probes,intelligent redundancy switching systems and remotevideo wall displays.

“We are delighted to add the outstanding BridgeTechnologies’ product line to our world-classinventory including solutions from Cisco, SkylineCommunications, Newtec, Snell and others,” saidNicola Gianaroli, Business Development Manager atMERA-TECH.

“Now we can offer our customers the optimum inintelligent solutions for developing and operatinghighly profitable digital media services.”

MERA-TECH will demonstrate the BridgeTechnologies product line at CABSAT in March 2015.

Richard Waldner toStrengthen Partner Salesfor ImagineCommunications

Imagine Communications announced that it hasappointed Richard Waldner to the role of Director,Channel Sales EMEA. He will be based inMunich, and is responsible for strengtheningexisting relationships and developing new pathsto market.

Waldner has had a long career in sales in thebroadcast and IT industries, most recently withAvid where he was responsible for sales incentral and eastern Europe. Before that he spenttime as channel manager for the Apple databaseproduct FileMaker, and more than 10 years withAdobe, ending as team leader for channel sales.

“With the rapid move to software-definedarchitectures and IT-based broadcast products,there is a real need for authoritative, informativechannel management,” Waldner said. “I amlooking forward to developing sales strategiesaround the new technology landscape withImagine Communications’ existing partnernetwork. We will also focus on identifying newpotential partners who can take advantage of themove to an IT-centric environment and, above all,ensuring the rapid flow of high quality informationto the partners and through them to the end user.”

Mathias Eckert, EMEA vice president forImagine Communications, added “Richard hasenormous experience in sales channelmanagement from more than 20 years in theindustry. He brings a new strength to the partnerlandscape at Imagine Communications, ensuringthat our partner channels provide a real extensionof our sales force.”

Richard Waldner joined ImagineCommunications at the beginning of 2015.

2wcom launches Dual-Channel FM02 for FMDemodulation, Backup andFM/RDS Monitoring

2wcom has just launched its new FM02 FMReceiver Solution that combines the functionalityfor the multiple roles of demodulation, source-switching for FM backup, and FM/RDS parametermonitoring.

Encapsulating 2wcom’s expertise in FM and RDSmonitoring into a single unit, the FM02 can be usedin a variety of ways to meet a range ofbroadcasting scenarios. The dual-channelcapability allows the unit to receive one FM signalfor re-broadcasting, while monitoring a second FMsignal with the second tuner; or to receive the samesignal on both tuners with one acting as a backup.A very high-quality FM tuner is key to the FM02’sspecification, providing it with substantially betterFM performance than is typical in competingdemodulator products.

For source-switching in a backup solution, theFM02 receives an MPX signal and loops it throughdirectly to the output. In case of failure the FM02uses its tuner as a back-up solution to receive theMPX signal off the air. Robust performance isprovided by the unit’s ability to loop through thesignal even during a power failure. Extending theversatility of the unit still further, the FM02 can beused as part of a monitoring solution for both FMand RDS parameters.

Offering easy remote control via IP and snmp, theFM02 also offers remote audio quality monitoringthrough its built-in mp3 streaming capability.

“Like many of the products we have developedrecently in response to customer requests, theFM02 is a sophisticated device that can be used inso many different ways,” said Werner Drews,managing director of 2wcom. “A high degree ofversatility is very valuable to customers today,because it saves investment and operational costs,and accommodates a wide variety of networkconfigurations and strategies, and the ability tomake network changes without further cost.”

The FMC02 is a 19” unit with dual tuners anddual antenna inputs.

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ChyronHego's TRACAB™ to provide powerful player trackingtechnology for Swedish Premier Football League

Svensk Elitfotboll (SEF) haslaunched a league-wide rollout ofsophisticated player trackingtechnology driven by ChyronHego'sTRACAB™. By the start of the2015 season in March, fixedTRACAB installations will beinstalled at all arenas inAllsvenskan — giving the leaguepowerful new capabilities forcapturing ball and player positionaldata in true real time and atcentimeter-level granularity.

TRACAB is a cornerstone inSEF's "connected stadium"program to install powerful wirelessnetworks and technologies in allarenas and provide richer data tocoaches and other leaguepersonnel as well as Allsvenskanfans. TRACAB uses advancedpatented image processingtechnology to identify the positionand speed of all moving objectswithin each football arena. At 25times per second, the system

generates live, highly accurate X, Y,and Z coordinates for everyviewable object, including players,referees, and even the ball. Thedata provide valuable insight forcoaches to evaluate playerperformance and track metricssuch as distance run, speeds,stamina, team formations, andmore. In addition, the TRACABdata will be used to enhance livetelevision coverage of matches with"instant virtual replays" as well asenriching fans' experience throughsecond-screen applications andstreaming to arena video walls.

"ChyronHego's TRACAB playertracking technology is acornerstone in our objective to bethe most digital and connectedfootball league in Europe," saidLars-Christer Olsson, chairman ofSEF. "After almost a decade ofdevelopment, the TRACAB PlayerTracking system has matured tobecome the defining standard in

live sports tracking andundoubtedly the world's leadingsystem in this field."

In addition to SEF, TRACAB isinstalled in over 125 arenas and isused in more than 2,000 matchesper year by the English PremierLeague, German Bundesliga,Spanish La Liga, and many moresports federations around the world.

"SEF's investment in TRACAB isa milestone for ChyronHego andyet another strong validation of ourtechnology," said Johan Apel, CEOand president, ChyronHego."Coaches and sporting leagues inevery market are seeing the valueof real-time player tracking data forenhancing team performance andalso providing content for second-and third-screen applications. Thisis driving a real groundswell ofdemand for the type of unbiasedand accurate data and metrics thatonly TRACAB can provide."

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The MADI-MON from 4HM givesbroadcast, live sound andproduction audio engineers asimple but reliable way ofauditioning embedded MADIchannels, without the need toconnect to external routers or audioconsoles. BBC Northern Ireland(BBCNI) has recently invested in aunit, supplied by Aspen Media, inorder to facilitate monitoring of itsnew MADI audio router andcommunications systems.

As the first device to providestudio engineers with the toolsnecessary to interrogate the MADIstream in order to view the statusof embedded channels, MADI-MONis an ideal monitor for thecommissioning and maintenance ofMADI-based audio systems. It isthe only MADI monitor that makes

all of the audio signals visible andaccessible as a breakoutsimultaneously, with the status bitsof the MADI stream also availablefor diagnostic use.

BBCNI chose the MADI-MONbecause of its ease of use andfunctionality. One of the unit’s keyadvantages for broadcasters is thatif something unexpected occurswithin a MADI system, the unitmakes diagnostics - and therefore

rectification - as fast as possible.

“’Dead air’ is the biggest enemyof all broadcasters, so fast andreliable diagnostics are a vital partof the system,” says 4HM’s BarryRevels. “We are really pleased thatan organisation as prestigious asthe BBC has put its faith in theMADI-MON, which will help ensurethat its audience always enjoyscontinuous, high quality output.”

BBC Northern Ireland chooses MADI-MON

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Imagine Communications receives Technology andEngineering Emmy® Award

Imagine Communicationsannounced that it has beenrecognized with a Technology andEngineering Emmy® Award at the66th Annual Technology &Engineering Emmy Awards forbreakthroughs in “Standardizationand Productization of JPEG2000(J2K) Interoperability.” This isImagine Communications’ ninthEmmy recognition and waspresented on Jan. 8, 2015 by theNational Academy of Television Arts& Sciences (NATAS) in a jointceremony with the TelevisionAcademy during the InternationalConsumer Electronics Show (CES)in Las Vegas.

“We are thrilled that our deepcommitment and involvement increating open standards andfacilitating interoperability betweenindustry innovators has been

recognized by NATAS,” said CharlieVogt, CEO of ImagineCommunications. “These coretenets of our technology visionempower customers to maximizetheir investments in existinginfrastructure and workflows whilemigrating to an IP future based onopen standards and industryinteroperable solutions. ImagineCommunications’ early involvementin the Video Services Forum makesthis acknowledgment of our workcreating a multivendor, openstandard for JPEG2000 especiallymeaningful.”

At NAB 2014, ImagineCommunications introducedJPEG2000 to its leading Selenio™Media Convergence Platform(MCP) for best-in-classcompression over IP. The SelenioMCP is the platform of choice for

media companies needing amultipurpose convergence solutionto efficiently manage today’sbaseband and hybrid operations –allowing migration to the futurewhile protecting their currenttechnology investments.

“The National Academy’sTechnology and EngineeringAchievement Committee is pleasedto honor these technologycompanies and individuals whoseinnovation and vision havematerially affected the way theaudience views television and haveset the standard for technologicalexcellence in the industry,” saidcommittee Chairman, Robert P.Seidel, Vice President of CBSEngineering and AdvancedTechnology and Chairman,Engineering AchievementCommittee, NATAS.

Jeopardy! game show icon AlexTrebek and Yahoo Tech star DavidPogue, hosted the 66th AnnualTechnology & Engineering EmmyAwards, which honor developmentand innovation in broadcasttechnology and recognizecompanies, organizations andindividuals for breakthroughs intechnology that have a significanteffect on television engineering.This event marks the ninthconsecutive year that theTechnology and EngineeringEmmy® Awards have beenpresented during CES and the firsttime that NATAS and the TelevisionAcademy have merged theirEngineering Awards ceremonies.The reception and presentationtook place in the Bellagio Ballroomat the Bellagio in Las Vegas.

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Harmonic at Convergence India 2015

At Convergence India 2015, Harmonic will showcasean end-to-end broadcast and multiscreen workflow for4K Ultra HD services that harnesses the next-generation HEVC compression standard. The demowill be powered by Harmonic VOS™, a powerful newsolution that provides video content and serviceproviders with completely virtualized media processingfrom a single software platform, unifying the entiremedia processing chain from ingest to playout,graphics, branding, compression, packaging, anddelivery for broadcast and multiscreen applications.

Electra™ Universal Multiservice EncoderHarmonic will demonstrate the newest members of

its market-leading Electra™ encoding family. At theheart of the Electra family is Harmonic's PURECompression Engine™ technology, which utilizes

Harmonic's experience in video compressionalgorithms and associated technologies to enableunparalleled codec and format diversity while deliveringsuperior video quality at minimum bandwidth.

Harmonic ProView™ 8100 CommercialIntegrated Receiver-Decoder

Harmonic's ProView™ 8100 is a single-channelcommercial decoder and descrambler designed tooptimize primary distribution of video content oversatellite or IP delivery networks. Through an advancedfeature set and compact design, the ProView 8100increases workflow efficiencies, cost savings, andreliability for global broadcasters and service providers,simplifying the migration to an IP infrastructure andlaunch of value-added services.

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Broadpeak upgrades Cloud-PVR Solutions with new impulsiverecording capabilities

Broadpeak announced newimpulsive recording capabilities forits cloud-PVR solution. By enablingvideo content for multiple end-usersto be recorded and stored onlyonce, either on managed orunmanaged networks, Broadpeak'simpulsive recording technologysignificantly reduces operators'storage expenses.

"Time-based and impulsiverecording can be very challengingfor cloud-PVR operators, evenwhen shared copy models areallowed. While the capture can bemutualized when two users requesta recording of the same program, aspecific technology is requiredwhen the recording's start and endtimes are under the control of eachend-user in order to avoidduplicating the video chunks," saidJacques Le Mancq, CEO ofBroadpeak. "Relying on aninnovative combination of cloud-PVR recording methods, oursolution allows numerous end-usersto request the recording of anyportion of a program in an operatornetwork and to access it at

anytime. As a result, operators canreproduce traditional PVR usagewithout the cost and operationalchallenges of deploying set-topboxes with massive storagecapabilities."

As a leading provider of CDNtechnologies, Broadpeak offers a

comprehensive cloud-PVR solutionthat includes shared and privatecopy, asset-based, time-based, andimpulsive recording functionalities.Broadpeak's cloud-PVR solutionhas been successfully deployed bya number of IPTV, cable, and OTToperators in Europe, Latin America,and the Asia-Pacific region.

Czech Television upgradesto Pablo Rio for high qualitycolor and finishing

State broadcaster Czech Television, has upgradedone of its long-serving Quantel eQ finishing systemsto a turnkey Pablo Rio 4K system. Pablo Rio will beused for high quality color and finishing of CzechTelevision’s episodic TV programs and local movieproductions. The Czech Television network includeschannels, ČT 1, ČT 2, ČT 24, ČT sport, ČT :D, and ČTart.

Pablo Rio is Quantel's high quality color and finis-hing system that provides the ultimate productivepost workflow. Pablo Rio runs on high performancePC hardware and exploits NVIDIA Maximus multi-

GPU technology to deliver true interactivity andmaximum productivity, with realtime performance at4K 60p and beyond. Pablo Rio is available as soft-ware only and as a range of Quantel-backed turnkeysystems.

Czech TV Technical Director, Mr. Ivo Ferkl, said,“Pablo Rio’s advanced color and finishing toolset issecond to none, and together with its speed, perfor-mance and interactivity, it was the natural choice forus. The system will provide us with future-proof tech-nology, not just for HD services, but at 4K andbeyond.”

Quantel Sales Director, Martin Mulligan, said,“Czech TV and Quantel have had a long-standingrelationship since the mid-1990s so we are delightedthey have once again chosen to make such a signifi-cant investment in our post technology as they lookahead to a 4K future.”

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Company 3 uses DaVinci Resolve to grade Ridley Scott’s‘Exodus: Gods and Kings’

The overall look of “Exodus: Godsand Kings” is a departure from whataudiences normally associate withan epic Bible film. “The idea is thatyou’re watching these epic battlesand the seas parting, but it's not thesame kind of movie as ‘The TenCommandments’ or ‘Ben Hur.’ It'sdesigned to feel more realistic,”said Nakamura, who noted that theimages he had to work with (as isalways the case with Wolski's work)"were already beautiful."

In mastering the imagesseparately for 2D and 3D displayformats, Nakamura had to alwayskeep in mind the different displaycharacteristics of the two formats interms of the amount of light thatbounces off the screen in areas ofthe brightest highlights. While thestandard for 2D projection is 14 footlambert (fL), most 3D projection is3.5 fL, producing a significantlydimmer highlight and much lesscontrast between the brightest andthe darkest imagery that can bedisplayed.

“When you're working at 3.5 fL,you need to globally pull everythingup to get the midtones andshadows feeling like they're in theright place to look as much aspossible like the 2D version,"Nakamura explained. "But whenyou do what's necessary to get themidtones and shadows in the rightplace you can start to clip thehighlights. So then you need toisolate those areas of the framethat clip and pull them back down.This can be a time consumingprocess where you draw PowerWindows and build highlight keys orother tools to isolate the highlightsand manipulate them withoutaffecting the midtones andshadows." But this time around,Nakamura was pleasantly surprisedto find a Highlight and Shadowstool on DaVinci Resolve 11’s ColorMatch Pallet that lets him bringthose highlights into the necessary

range for 3.5 fLdisplay withouthaving tocreate theelaboratesecondaries hepreviouslyneeded.

“I use it allthe time now,especiallywhen I'mgrading formultiple displayformats, suchas on ‘Exodus.’It's prettyincredible,” he continued. “Insteadof using all the tricks I had to resortto, I can just dial down the highlightadjustment where I like it andeverything else falls into place."

A lot of "Exodus," especially as itgets more intense, was designed tobe really desaturated, with a lot ofcold tones in the color that wasthere. "It was something I couldapply over the whole image,” thecolorist said, "but there were someportions where color, especially thered in blood, was very important tothe story.

“You really want to see the colorof the blood," he noted, "but onceyou've pulled the color out of theimage, you can't just key portionsof the frame where there's bloodand pull the color back up," headded, explaining that he usedDaVinci Resolve's parallel nodefunction to solve the problem. "Icreated the desaturation in onenode, then keyed the blood in thenext node, and then used theparallel node to bypass all thedesaturation and color shifts towardblue specifically within the keyedportion of the frame, where the redblood was. Then I could dial thatcorrection up or down until I foundwhere it brought out the color in theblood without looking artificial withinthe context of the whole shot.”

Nakamura also fine tuned colorfor some of the day for nightsequences by bringing the wholelook down, pulling some of thecolor out and making everything alittle blue to indicate moonlight. Heused highlight keys to bring the skydown, along with a combination ofPower Windows and tracking tobring people, especially faces,slightly up.

“Unless a character is movingaround like crazy, you can draw ashape around whatever you want tobring up, it tracks really well andthe result is very organic looking,”Nakamura explained. “I also workedwith some digital sky replacementelements. The VFX companydelivered these as separateelements that matched the daylightsurroundings. Rather than havingthem approximate the final day fornight look, the VFX house builtskies and other elements thatmatched the daylight environment.Then I held those pieces in analpha channel so we could createthe day for night all at once in thefinishing theater."

For the colorist, "Exodus," like allhis work for Scott, was challengingand exciting. "There's no director inthe business more attuned to thepower of visual storytelling," hesummed up.

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2015

Vualto chooses THEOplayer from OpenTelly for HTML5 cross-platform streaming

Vualto announced that ithas signed an exclusive UKreseller agreement withBelgian company OpenTellyto incorporate THEOplayerinto its video deliverysolutions.

Vualto specialises inbuilding end-to-end videostreaming and DRM solutionsfor leading broadcasters andcontent owners. One of thechallenges in today’s marketis to meet the very differenttechnical requirements of thevarious viewing platforms in away that is transparent to theuser. The expectation is that,whatever the device, if youselect a video it will just play.

THEOplayer from OpenTellyis a fully HTML5 based playerthat allows a commonstreaming format, such asApple’s HLS (HTTP live streaming),to play on a wide range ofplatforms, without the need for thedevice to have a plug-in, such asFlash or Silverlight, installed tointerpret it. This means that HLSvideo and audio streams deliveredusing THEOplayer will play in allmodern browsers across a widerange of devices includingDesktops, Tablets and Mobilesrunning iOS, Android and WindowsPhone. Similar support for MPEG-DASH is coming soon.

Alongside this, THEOplayer ishosted in the cloud meaning thatsuppliers do not need to downloadand install player-specific softwareon their servers. Updates are alsorolled out automatically ensuringthat maintenance for the service-provider is almost completely‘hands-off’.

THEOplayer is as feature-rich asany of its main competitors with thevast benefits of being able todeliver a single standardised formatand not requiring users to install

third-party plug-ins ontheir devices. StylingTHEOplayer isstraightforward usingstandard CSS. Itcomes complete withsupport for WebVTTsubtitles and closedcaptions, the VASTstandard foradvertising, andcasting of HLScontent directly onChromecastconnected devices.

“We first cameacross THEOplayerwhen we were lookingfor a new plug-in freeplayer that we coulduse across a numberof our video deliverysolutions,” saidJames Burt, CTO andco-founder of Vualto.“We found the guys atOpenTelly veryresponsive and willing

to work with us to addfeatures specific to ourclients’ requirements. It isclear that OpenTelly is ahugely innovative companythat matches our aims andethos.”

Steven Tielemans, CEO ofOpenTelly adds, “We areexcited to be able to worktogether with an online videospecialist like Vualto. Thispartnership supports our go-to-market strategy to team upwith the best partners fordelivering the best solutionand customer experience. Weare looking forward to workingclosely together with Vualto tosuccessfully deliver our nextgeneration of video playbacksolutions to broadcasters andcontent owners in the UKmarket.”

James Burt, CTO and co-founder

Steven Tielemans, CEO OpenTelly

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2015

Barco Silex wins Technology &Engineering Emmy® Award forStandardization andProductization of JPEG2000Interoperability

Barco Silex announces thatit has received a Technology &Engineering Emmy® Awardfrom The National Academy ofTelevision Arts & Sciences.The award is in recognition ofthe work of Barco Silex withinthe framework of the VideoServices Forum (VSF) on theadvancement ofinteroperability for JPEG2000systems. The InternationalConsumer Electronics Show,held at the Bellagio Hotel inLas Vegas (US), was thescene for the presentationceremony of the 66th AnnualTechnology & EngineeringEmmy® Awards. With theawards, the National Academyof Television Arts & Scienceslooks to honor technologycompanies and individualswhose innovation and visionhave materially affected theway audiences view televisionand who have set thestandard for technologicalexcellence in the industry.Including industry-leadingcompanies like Netflix, HBOand Apple among this year’saward winners, Barco Silexwas in excellent company.

Advancinginteroperability

Barco Silex received aTechnology and EngineeringEmmy® Award in the“Standardization andProductization of JPEG2000Interoperability” category. Theaward honors the work ofBarco Silex and several othertechnology companies withinVSF.

The Barco Silex video team

played a key role in the VSFJ2K Activity Group,culminating in the release of aTechnical Recommendationfor “Transport of JPEG2000broadcast profile video inMPEG-2 TS over IP” last April.The document looks tofacilitate interoperabilitybetween equipment producedby different manufacturers andspecifies profiles that helpensure that signals generatedby one device are receivedand interpreted correctly byanother.

Industry recognitionBarco Silex invests a lot of

effort in a series of industry-wide initiatives that look tofoster interoperability. InMarch 2014, for instance, thecompany held the largesttechnology demonstration everfor motion JPEG2000technology during the InteropEvent organized by VSF at theVidTrans 2014 trade fair inArlington, Virginia (US).

CEO of Barco Silex, ThierryWatteyne, was proud toaccept the award in LasVegas: “This is landmarkrecognition of the competencelevel of our video team. But italso underlines the quality ofBarco Silex’ JP2K codectechnology and our TransportStream IP core for field-programmable gate arrays.Together with our SMPTE2022 based video over IPreference design, these haveproven to be fully compliantwith the VSFrecommendation.”

TeamCast adds anEDI input on its

TeamCast is releasing a new S110software version that enables the EDIinput on Green4DAB, TeamCast’shigh-end OEM Digital Radio modulatordedicated to DAB/DAB+/DMBnetworks. Green4DAB is as a verycompact and reliable OEM digitalmodulator, ready to be integratedwithin VHF Digital Transmitterdesigns. Enabling the EDI input bringsthe capability to use IP inputs toreceive the front-end contributions.This will come as a simple softwareupgrade. Green4DAB also featuresdual-stream ETI input processing, anonboard satellite demodulator, as wellas a built-in GPS receiver.

“With the EDI input, we completethe Green4DAB development to helpour customers to provide full-featuredDAB/DAB+/DMB transmitters. Wetruly believe that using IP networks todistribute signals to transmitters willstrongly help the network providers tosave CAPEX and OPEX costscompared to traditional distributionnetworks. With addition to the cutting-edge digital adaptive precorrectionalgorithm implemented intoGreen4DAB, these costs willsignificantly decrease, as aconsequence of a much bettertransmitter efficiency”, says EricPinson, Head of the TechnologyBusiness Unit at TeamCast.

“With this new release, Green4DABcan handle unicast or multicaststreams with full seamless switchingbetween EDI and ETI inputs and witherror correction capacity. As anunmatched feature, it supports theabsolute timestamps required forparticular SFN network configurations,in addition to relative timestamps.Besides the Digital Radio applications,this new Green4DAB version can alsobe used as a DVB-T/T2 compliantDigital TV modulator for the VHFband, with IP inputs” adds Eric.

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2015

Quantum's Stornext Pro Solutions win Visionary ProductAward at Storage Visions Conference

Quantum Corp. (NYSE: QTM)announced that its StorNext® ProSolutions received a VisionaryProduct Award for "EnablingCollaborative Storage Technology"at the 14th annual Storage VisionsConference in Las Vegas. TheStorage Visions Awards recognizecompanies advancing the state ofthe art in storage technologies forconsumer electronics and themedia and entertainment industries,as well as visionary products for thedigital content value chain anddigital storage users.

Powered by Quantum's StorNext5 technology, StorNext ProSolutions include five high-performance storage systemsoptimized to enable collaborativeworkflows, providing faster andmore cost-effective creation,management, processing anddelivery of content:

- StorNext Pro 4K meets thedemands of modern 4K media

workflows from ingest toproduction to delivery with flash-based metadata appliances andhighly scalable disk storage.

- StorNext Pro Studio makes iteasier to refresh or enhanceexisting Apple Xsan deploymentsby providing a high-performance,scalable and 100 percent Xsan-compatible solution.

- StorNext Pro Foundation givessmaller production workgroups ahigh-performance, attractivelypriced solution for managingcontent from ingest to delivery toarchive.

- StorNext Pro Workgroup providesingest, production, review anddelivery, with different options forpetascale content storage andaccess at any stage of theworkflow, including Quantum'sLattus™ extended online storage.

- StorNext Pro Production supportscomplete, high-performance

workflow storage spanningcontent production to contentlibrary management.

A partner program of the 2015International Computer andElectronics Show (CES), theStorage Visions Conference ispresented by the EntertainmentStorage Alliance and CoughlinAssociates.

Cires21 and OlympusatTelecom team up to developOT Streamer, an innovativeLive Encoding Solution forNorth and Latin AmericanMarkets

The OT Streamer powered by Cires21 technologywill provide Olympusat Telecom existing and newclients with a real time encoder that allows workingwith multiple input sources and output formats. Thelive encoding solution has rich feature capabilitiesthat include live event clipping and editing, constantand multiple bit rates transcoding, transmuting capa-bilities as well as UDP transport.

The OT Streamer is certified by Akamai, a leadingprovider of cloud services for delivering, optimizingand securing online content and business applica-

tions, and is designed for 24/7 live streaming conti-nuous operation environments.

“Our new OT Streamer will enhance our currentonline video and over-the-top platforms with the hig-hest market standards to deliver HD live streams ina variety of format and multiple bit rates at a veryaffordable Price,” said Carlos Ramos, VP ofEngineering at Olympusat Telecom.

For Cires21 this partnership means not only joi-ning a key global player in the Live Streamingindustry, but also setting a strategic collaboration totheir international expansion in the North and LatinAmerican Markets. “We are very pleased to opentwo key global markets together with a leading com-pany such as Olympusat Telecom and we are con-vinced that Cires21 solutions will help OlympusatTelecom to improve existing environments and towelcome new clients and markets, meaning alsotechnology growth for the solutions,” said ManuelCardenas, Business Development Director andFounder of Cires21.

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2015

Radiant Digitek NetworkPvt Ltd deploys Envivio’sConverged VideoDelivery Solution

Envivio (NASDAQ: ENVI), announced thatRadiant Digitek Network Pvt. Ltd., a majorcable MSO in the Rajasthan region in NorthIndia, has deployed Envivio’s converged videodelivery solution, connecting a master head-end to multiple remote locations, deliveringvideo content to DVB-C set-top boxes. Thesame high-quality video content will also bedelivered to connected devices throughout theregion, including mobile phones, tablets, PCs,and OTT IPTV set-top boxes.

Envivio’s Director of Sales South Asia RegionZulfakkar Ali commented, “With India moving toall-digital networks, our software solutions helpoperators, like Radiant Digitek Network Pvt.Ltd., to overcome the challenges they face inIndia, such as efficiently and cost-effectivelydelivering the same high-quality video contentto local and remote locations.”

Envivio solutions are designed to reduceOPEX by delivering high-quality video usingminimum bitrate, and to monetize video bydelivering the same content to multiple screensleveraging an Internet backbone.

Radiant Digitek Network Pvt. Ltd. DirectorLokesh Joshi commented, “We selectedEnvivio solutions keeping in mind our currentand future requirements of deploying auniversal platform to deliver premium-qualitycontent to multiple screens all over Rajasthan.Envivio made it possible for us to have aconverged platform and we are delighted withthe video quality we are achieving fromEnvivio’s head-end.”

Envivio’s highly dense, flexible and easy-to-run software-based video solutions enable any-screen personalization and monetization forvideo service providers and content ownersworldwide. These solutions are designed toprovide stunning video quality over extremelylow bitrates and to reduce the OPEX requiredfor a maximum number of channels with low-power consumption per channel and minimumrack space.

SCTE™ and ANGA Team Up, nowaccepting entries for 2015Bursary Programme

The SCTE™ has teamed up again with ANGA, theAssociation of German Cable Operators, to providebursaries to 20 individuals for the ANGA COM 2015conference and exhibition, which takes place from 9-11June in Cologne, Germany. Each winner will each receiveprepaid flight and hotel accommodation for three nightscourtesy of the SCTE and entrance to the entireconference courtesy of ANGA.

"The SCTE and ANGA are equally committed toproviding professional development opportunities tomembers of the cable television and broadband industries,"said Thomas Braun, President, ANGA. "In addition tohosting this bursary programme together, we will also bedeveloping a congress panel at the show designed toeducate attendees about a compelling topic. Stay tuned formore information about the line-up for ANGA COM 2015."

The SCTE is currently accepting entries for the ANGACOM 2015 bursary programme. SCTE members can applyby writing up to 250 words on why they would benefit fromthe bursary and emailing it to office@theSCTE.edu.Applicants should be involved in the cable television orbroadband industry in some capacity. Past bursary winnershave included individuals at Virgin Media, AbComm andIPKO. All bursary winners must be members of the SCTE.

The SCTE and ANGA have a long history of cooperation.In addition to joining forces on the bursary programme,they have worked together for many years developingconference sessions at ANGA COM, and ANGA has aregular editorial slot in the SCTE's quarterly internationalmagazine, Broadband Journal. ANGA COM, a keyinternational conference and exhibition for the broadband,cable and satellite industries, attracts thousands ofattendees and nearly 500 exhibitors, bringing togethernetwork operators, content providers and vendors from allaround the world.

The SCTE will be a visible participant at the event,networking with SCTE members and ANGA COMattendees, in addition to distributing its quarterly BroadbandJournal in all the delegate bags. The SCTE will chair asession in the ANGACOM conference andgive a presentationduring the ANGASpeaker's Cornerevent. The SCTE'sparty for all bursarywinners will be held onits booth during theevent.

Thomas Braun

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2015

ISE 2015 Preview

A wide range of events,presentations and training sessionsbeing hosted before and during ISE2015 will make next year’s showthe most compelling event so far inits 11- year history. On 9 February,at 6.00pm in the RAI Forum, on theeve of opening of the exhibition, theKeynote Address for ISE 2015 willbe given by Lars Thomsen.Thomsen is a respected andinfluential futurist and internationalspeaker whose company FutureMatters is a leading research andanalysis consultancy that hasadvised 40% of the German stockexchange in their strategicplanning.

Thomsen specialises inidentifying disruptive opportunities,or ‘Tipping Points’, that causesignificant shifts in economic,political and social trends. Hispresentation, entitled, “520 Weeksinto the Future: Trends and TippingPoints in the Electronic SystemsIndustry until 2025”, will coverareas such as Artificial Intelligenceand Robotics 2.0 alongside

expected shifts in media, marketingand consumer expectations.

Preceding Thomsen’s keynote onthe 9th will be the opportunity toexperience a full day’s conferencewith Smart Building Amsterdam, ajoint venture between ISEcoowner’s InfoComm and CEDIA.This event, the third to be hosted atthe RAI, follows successful recentSBC events in London and Berlin.

Chaired by Bob Snyder, Editor inChief, Channel Media Europe, theconference will continue its winningtwin-track formula and focus onResidential and Commercial smartbuilding technology andapplications. Delegates can expectto experience best practiceapproaches to Smart Buildingdesign and efficiency objectivesalongside insights into emergingtrends, energy savings and homeautomation systems.

Being premiered at ISE 2015 isThe Capital Summit, an afternoonevent taking place on 10 February.Co-hosted by MediaBridge CapitalAdvisors and Stiernberg Consultingit will bring together AV/IT industryentrepreneurs seeking investmentcapital with financial business

professionals from the world ofinvestments, mergers andacquisitions.

The Capital Summit will providedelegates with the opportunity tomeet and greet business expertsand qualified strategic and financialinvestors with an interest in the AVindustry. The Capital Summit willrun from 1pm - 4.30pm in RoomE102. In addition to these events atISE 2015, others being showcasedinclude: Audio Forum@ ISE, a one-day pro audio educational forumproduced in association withConnessioni, 9 February in RoomG001/G002; The Sport FacilityIntegration Summit conferenceproduced by SVG Europe on 11February in Room E102; TheInAVation Awards produced by IMLat the Westergasfabriek’sGashouder on 10 February.

Following on from the success ofthe introduction of The ISETheatres in 2014, they will return in2015 with the addition of the ISEUnified Communications Theatre.This will be located in Hall 9 andwill stage case-study presentationsby manufacturers, productdistributors, systems integratorsand end user customers.

The Residential Solutions Theatre(sponsored by Vutec) and theCommercial Solutions Theatre(sponsored by Microsoft) will returnto Hall 7 and Hall 8 respectively.

Here´s a sample of broadcastmarket exhibitors:

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ADDER TECHNOLOGY

Stand 9 D100Next generation AdderLinkproducts to launch at ISE

Adder Technology will beexhibiting at ISE 2015 where it willbe unveiling two new products inthe AdderLink Infinity range, as wellas showcasing a number of otherinnovations.

The AdderLink Infinity 2020 is anew solution that fits neatly into theIP-based high performance KVM(keyboard, video and mouse)portfolio. The 2020 features atransmitter and receiver andprovides a dual head, single linksolution that delivers IP-based, highperformance KVM capabilities. Thisnew model is based on the existingAdderLink Infinity Dual and wasdeveloped based on customerfeedback, to complement the rangeof AdderLink Infinity products.

“This new cost-effective solutionis ideal for customers that don’trequire the full functionality of theAdderLink Infinity Dual and is anexcellent complement to therange,” says John Halksworth,senior product manager, AdderTechnology. “We will also beunveiling version 4 of our A.I.M.(AdderLink Infinity Manager) thatbuilds on the success of this server.”Version 4 of A.I.M. provides aneasy and powerful centralisedmanagement solution for a digitalmatrix. It features a new hardware

platform that is more powerful thanprevious versions and includesconfigurable user access rightswith full audit trail. The new designis also sleeker, ensuring that it canbe efficiently rack mounted with upto two fitting back to back in 1U of19 inch rack space.

“One area we’ve focused on ismaking service and support moreefficient for our customers. Version4 features remote access options,whereby if given access by thecustomer, our technicians can logon remotely and trouble shoot anyproblems or work with them tosolve issues. This is made possiblethrough our extensive securityupgrades and continued emphasis

on making sure our products aresecure,” says Halksworth.

In addition, the CCS-PRO4 willbe showcased at the event.Providing seamless switchingbetween computers with AdderFree-Flow technology and built onthe success of its predecessor.This professional KM (keyboard,mouse) switch delivers a new set offeatures for mission criticalenvironments, including redundantpower and an ergonomic low profiledesign. CCS-PRO4 also has anintegrated web server allowingadministrators to view and monitorCCS-PRO4 devices around theirinstallation, as well as upgrade alldevices over the network.

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2015

MERGINGTECHNOLOGIES Stand 7C160

Ovation 6 gets 3D panning foradded realism on

Merging will showcase at ISE anarray of 12 Tannoy Di6 DualConcentric loudspeakers that willdemonstrate how customisedvirtual rooms can be createdquickly and easily. Tannoy's DualConcentric driver design - whichplaces the tweeter behind thecentre of the medium or bass driver- allows for a much truer, morecoherent sound source, perfect forthis kind of application, while theLab.gruppen IPD amplifiers offer alatest-generation DSP engineequipped with up to a total of 40real-time, multi-slope parametricEQs along with adjustable gain,input and output delay, and bothhigh- and low-pass filters adjustableto any frequency.

Merging’s Networked AudioInterfaces, Horus and Hapi havealso found a place in manyinstallations and are the perfectpartners in any complex design.Easy interconnection, exceptionalsound quality and the simple set upand routing show the practicaladvantages of RAVENNA/AES67networking. The arrival of the newcombination ADA8 board, offering 8mic/line inputs and 8 analogoutputs on the same card

significantly increases the capacityof both these products, with Horusable to handle 48 in and 48 out andHapi 16 x 16 or 8 x 8 plus MADI.

Merging’s Product Manager,Johan Wadsten will be on stage inthe ISE Commercial Theatre topresent “Museums – An aural aswell as visual experience”. Thisintriguing session starts at 12.30and will use the recent installationsat La Grande Galerie de l’ Evolutionin Paris and the Imperial WarMuseum to illustrate why Ovation isas essential in this type ofinstallation as it is in a moredynamic live event.

RIEDEL

COMMUNICATIONS

Stand 10K-118

Tango TNG-200 Fully NetworkedPlatform SupportingRAVENNA/AES67 and AVB

The Tango TNG-200 representsRiedel's first network-basedplatform supportingRAVENNA/AES67 and AVBstandards. With its own dedicatedintercom application, the platformcan be turned into a flexible,cutting-edge solution for a variety ofcommunications scenarios. The

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2015

unit itself is equipped with a high-resolution, full-color TFT displaythat ensures perfect readability atall times. Intuitive front-panelcontrols simplify the recall ofpresets and adjustment of audiolevels. Along with powerfulprocessing capabilities, the TangoTNG-200 features two integratedRiedel digital partylines, twoRAVENNA/AES67- and AVB-compatible ports, two Ethernetports, one option slot, andredundant power supplies. Thededicated intercom application, "MyFirst Riedel," turns the Tangoplatform into an efficient intercomsystem that users can tailoraccording to their needs. Theasymmetric 40 x 80 matrix size isanother Riedel innovation, allowingfor standard premium-quality stereoaudio connections to panels.

RSP-2318 Smartpanel

The new RSP-2318 Smartpaneloffers features and capabilities thatwill enrich the user experience andchange the way broadcasters andAV professionals communicate.The world's first control paneldesigned to serve as a powerfulmultifunctional user interface, the

Riedel device boasts a uniquefeature set that includes three high-resolution, sunlight-readable,multitouch color displays; premium-quality stereo audio; a multilingualcharacter set; and 18 keys in just1RU. These features make Riedel'snew Smartpanel a powerful userinterface that can be furtherexpanded through the use of apps.Riedel's first app for the RSP-2318turns the Smartpanel into aninnovative and smart intercompanel. RAVENNA/AES67 and AVBconnectivity are standard, withAES3 over CAT/coax optional.

STX-200 Professional Broadcast-Grade Interface

The STX-200 professionalbroadcast-grade interface bringsany Skype user worldwide into theprofessional broadcastenvironment. Licensed byMicrosoft, the new Riedel productmeets broadcasters' increasingneed for a reliable single-boxsolution that enables them to bringlive contributions from bothreporters and viewers into liveprogramming — all while avoidingtypical problems such as consumerPCs running common Skype

clients, having to add scan andHDMI-to-SDI converters, or audiodropouts and menu pop-ups on thelive feed. Serving as more than astand-alone solution, Riedel's STX-200 integrates Skype into theintercom solution to enable evenmore powerful, flexible applicationsand workflows.

"We are proud to bring severalnew solutions to ISE that areperfectly suited for broadcast andAV professionals. Our innovativenew Smartpanel represents thecutting edge of communicationsinterfaces with powerful featuresthat will provide unprecedentedpower and convenience. Our newTango communications platformfurthers our philosophy of beingstandards agnostic with networksupport for both RAVENNA/AES67and AVB. Finally, our new STX-200interface brings Skype content intolive production. All of theseinnovations have the ability toimprove workflows and savemoney." — Christian Bockskopf,Head of Marketing, RiedelCommunications

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BVE 2015 will welcome morethan 240 exhibitors to this year’sevent to showcase the latestproducts and technologies that takecontent from creation toconsumption. The UK’s only showfor the broadcast and productionindustry attracts manufacturers ofmany different kinds of broadcasttechnology, providing the idealplatform to launch products andservices to the UK market orindeed the world. BVE 2015 takesplace from 24-26 February 2015 atExCeL London and registration isnow open.

Alison Willis, Event Director, said,“BVE is the number one destinationfor the UK broadcast industry tolaunch their new products andservices. The internet is great forresearch, but nothing beats actuallymeeting vendors who can explaintheir products in human terms or,for the vendors, meeting the peoplewho will use their products. It’s alsoa chance to see pieces ofequipment in action - press buttons,flick switches and get excited aboutthe technology. We have over 60new exhibitors this year, manyproduct launches and someexciting innovations that may wellturn out to be the new must-havesolutions.”

Leading manufacturers includingSony, Panasonic, ARRI,Sennheiser, Avid and VitecVideocom are in attendance withtheir latest products andtechnologies, while niche vendorssit comfortably alongside the majorplayers, showing off brilliantinnovations, products and services.The show also features thededicated Production Servicesarea, including studios, hirecompanies and other productionservices.

Here´s a sample of the exhibitors:

AVIWEST -SEMATRON

Stand M16

NEW Linux®-Based DMNGStudio

At BVE 2015, AVIWEST willshowcase a new version of itsDMNG Studio server, which isdesigned to receive incomingstreams from DMNG video uplinksystems, IP cameras, and otherequipment through a variety offormats such as RTP, RTSP, TSover UDP, and RTMP. The next-generation DMNG Studio is basedon a Linux® operating system andoffers support for multiple output

formats as well as point-to-pointand point-to-multipoint videodistribution.

DMNG Manager — Now FeaturingCloud Capabilities

AVIWEST will demonstrate newcloud-based capabilities for theDMNG Manager at BVE 2015. TheDMNG Manager is an innovativeserver application that enablesbroadcasters and videoprofessionals to monitor andmanage an entire fleet of DMNGequipment including DMNGtransmitters, smartphones with theDMNG APP, and DMNG Studioreceivers. Through a unified Web-based user interface that can beinstalled through either a cloud-based application or a headendsolution, operators can easilyallocate resources and route livevideo content for transmission over3G/4G cellular wireless, WiFi,Ethernet, and satellite networks.

DMNG APP — Now Available forAndroid™ and iOS-BasedSmartphones

At BVE 2015, AVIWEST willshowcase the DMNG APP, whichturns any Android™- or iOS-basedsmartphone into a live broadcastvideo camera. Designed with easeof use in mind, the DMNG APP

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allows broadcasters to transmitvideo content in just seconds.Using the DMNG APP, videoprofessionals can stream high-quality, live video content via WiFiand 3G/4G-LTE networks — evenbonding both together for higherbandwidth, coverage, and reliability— or transmit prerecorded videofiles from anywhere in the world tothe DMNG Studio receiver.

DMNG RACK180 ContributionVideo Encoder With QUADAntenna Arrays

Another key highlight at BVE2015 will be AVIWEST's DMNGRACK180, a powerful encodingsolution for live newsgatheringapplications. Designed specificallyfor installation in OB vans, SNGs,or other vehicles such as smallernews satellite cars, the DMNGRACK180 is one of the mostreliable, affordable, mobile, andflexible solutions for streaming liveHD video signals from anywhere inthe world.

BLUEBELL OPTICOM

Stand M50

BC364 Multiformat SFP Interface

The BC364 is a compact, rack-

based multiformat converter for usewith a wide range of broadcastvideo and audio signals. TheBC364 provides a base unit thatcomprises input and output SFPcages. With different SFP convertermodules, users can adapt thefunctionality of the unit to suitdifferent applications. Signal inputand output formats are defined byselecting appropriate standardSFPs that can perform opticaland/or electrical formatconversions. The BC364 cardoffers a range of options includingdistribution, format conversion,monitoring, and wavelengthmanagement including CWDM.

BN366 4K Fibre Link

The BN366 is designed for thecost-effective transport of 4K UHDsignals over fibre. Based on field-proven technology, the compactunit provides the transport of 4 x3G-SDI signals over a dual fibrelink. The BN366 uses premium-grade, broadcast-qualitycomponents to maintain the highestsignal integrity and ensuretransparent, error-free pathologicalsignal performance. Units havealready been successfully deployedto cover a series of major sportingevents using the latest 4K Ultra-HDTV broadcast cameras.

BN623 Audio, Data, IntercomLink

The BN623 is the latest additionto the Bluebell BlueNano range ofcompact fibre optic interfacesproviding bidirectional analogueaudio and serial control data overfibre. The BN623 is specificallydesigned to link remote panels inan intercom system back to themain central routing position. Therobust design allows the unit to bedeployed in OB or flypackapplications. The BN623 can besupplied in multimode, singlemode,and CWDM variations to suit allapplications, offering a perfectcomplement to the BC323, BC550,and BC323-63 modules.

Caddie-LB 4K

At BVE 2015, Bluebell Opticomwill launch the Caddie-LB 4K,specifically designed for outsidebroadcast (OB) and deployableapplications. Caddie-LB 4Kprovides a single cable linkbetween cameras and ENG/OBunits. Features include four3G/HD/SD-SDI video paths fromthe camera's on-air audio,intercom, and control data. Basedon field-proven technology, theunits offer a range of signals to theoperator including program video,audio, comms, data, and genlockfor camera control andsynchronisation. All signals aremultiplexed onto two fibres toensure easy and quick systemrigging.

"We aim to make our customers'jobs simpler by designinginnovative, reliable products. We'vehit the mark again with the latestentries to our product line, whichwe'll be demonstrating at BVE.Beyond that, we look forward toconnecting with current and futurecustomers to hear about their latestneeds and challenges." — PaulMcCann, Managing Director,Bluebell Opticom

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CALREC AUDIO

Stand D20

New Dante Interface

At BVE 2015 Calrec willshowcase its Dante interface,which works in conjunction withHydra2 across the entire range ofCalrec Bluefin2 consoles. Thedevelopment gives Danteconnectivity to every client on aHydra2 network via a simple,single-width 3U interface card. Thisprovides 64 audio input and 64audio output channels, withconnectivity via dual-redundantRJ45 Ethernet connectors on thecard's front panel.

Hydra2 for Apollo and SummaConsoles

Also on display on Calrec's standat BVE 2015 will be Apollo andSumma consoles networked usingHydra2 technology. Hydra2 offersmore than just a signal transportsystem. It is also a powerfulmanagement tool that providesincreased network-wide control ofmany parameters. Broadcasterscan remotely configure mic gain,phantom power, patching, portprotection, alias files, virtualpatchbays, and access rights. Thisadded benefit not only streamlinesthe workflow to make setupconfiguration quicker and moreefficient, but also allows thebroadcaster to maximizeproductivity and gain maximumreturn in today's fast-pacedenvironment.

EVSStand K06

Future Proof productions withXT3 & XS servers

With the introduction of its newrange of XT3 and XS serversprimarily aimed at OB and livestudio operations, EVS has againdelivered the greatest flexibilitypossible in one box. Both newservers offer extended formatsupport and capabilities including4K, 1080p and proxy, as well asnew 10 Gigabit Ethernetconnectivity and up to 12 HD/SD

live recording channels. This allowscustomers to transition to the nextgeneration of industry standardsand workflows as needed.

Content Management for LiveProduction

Designed for live and fastturnaround production, the latestgeneration of IPDirector offers awealth of new capabilities andmodules. These include web-basedremote browsing and contentexchange, automated clipmanagement, archive import/exportand seamless integration with EVS’XStore scalable storage solution

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Multimedia Distribution Platformwith C-Cast

C-Cast technology extends thelive content experience beyond theTV screen by providing contentowners, rights holders andbroadcasters with the ability toreach and engage more diverseaudiences with high-quality andtargeted content as the eventunfolds. C-Cast connects on-siteproduction infrastructure to a cloud-based platform, allowing theaggregation of multi-angle videoand statistics for instant delivery toany platform. This provides anenriched, personalised andexclusive live sports experience.

New Truck Manager Setup Tool

Truck Manager is a new softwareapplication that detects all EVSdevices in an OB van and enablesthe engineer to configure them froma laptop to meet the needs of theproduction. Once complete,settings are stored and can berecalled at any time, facilitating thesetup for subsequent productionteams.

DYVI Next Generation VisionMixer

DYVI offers the next generation ofvision mixer technology to thebroadcast industry. This IT-basedlive production platform gives

directors full control of all keyswitcher functionalities no matterwhere they’re located.

FORBIDDEN

TECHNOLOGIES

Stand E34

"This is our first exhibition sincethe new Forscene went live, sowe're excited to show it off! Weinvite everyone to visit our standand experience the new Forsceneinterface and Forscene MAMtogether for the first time as acomplete product."— StephenStreater, CEO, ForbiddenTechnologies plc

New and Greatly ImprovedForscene Cloud-Based VideoPost-Production Platform

At BVE 2015, Forbidden willfeature the new Forscene, whichwas unveiled at IBC2014 and wentlive in December. The newForscene interface combinesprofessionally designed graphicswith an elegant colour scheme andupdated functionality to provide anefficient and enjoyable userexperience. Forbidden is alsogiving Forscene a new infusion offunctionality by adding a mediaasset management (MAM) system.Through the Forscene MAM, users

will have the full potential of theplatform — from acquisition topublishing — at their fingertips.Other new Forscene featuresinclude the ability to publish withburnt-in timecode or othermetadata; expanded multicamlogging to support up to 18cameras simultaneously; andincreased support for differentformats that enables functions suchas editing MXF files during ingest.

Speaking Events at BVE 2015

Jason Cowan, Forscenecommercial manager at ForbiddenTechnologies, will participate in asession and present a case studyduring BVE 2015.

On Wednesday, 25 February from14:45-15:15 in the UKTI Theatre,Cowan will present a case study:"Finding, On-boarding, andManaging Resellers andDistributors." In a topic that is veryimportant to many B2Borganizations, this case study willfocus on how to find, develop, andcultivate successful partnershipswith resellers and distributorsabroad.

On Thursday, 26 February from14:10-14:55 in the Post ProductionTheatre, Cowan will participate in apanel discussion: "The Sky's theLimit — Getting Ahead in the Cloudto See the Potential Value of

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Remote Editing." During thissession Cowan, along with otherindustry professionals, will explorethe fresh perspectives of remoteediting possibilities andcollaboration opportunities for post,discuss the bandwidthrequirements for remote editing,and look at innovative ways tocreate and transfer content. Thesession will conclude by suggestingbest practices in blending on-premise systems and the cloud tosave time and enable exceptionalcreativity.

IKEGAMI

Stand F25

Ikegami's HC-HD300 makes itsfirst UK exhibition appearance atBVE 2015 in London, February 24-26. Introduced at BIRTV 2014 andnow deliverable, the HC-HD300 is

a highly flexible docking-stylecamera for studio or field operation.A compact and aggressively-pricedaddition to Ikegami’s broadcast-ready Unicam HD product line, theHC-HD300 delivers the outstandingimagery and has the same ruggedconstruction. It is equipped with a1/3 inch bayonet lens mount andemploys three 1/3-inch CMOSprogressive-scan 1920 x 1080native sensors in RGB prismformation. The camera delivershigh quality pictures in allcommonly used HD video formats:1920 x 1080/50i, 1920 x1080/59.94i, 1280 x 720/50p, 1280x 720/59.94p, and 720 x 576/50i(PAL) 720 x 480/59.94i (NTSC).Typical performance characteristicsof the HC-HD300 in 1080/59.94ioutput mode are 1,000 televisionlines horizontal resolution, 58 dBsignal-to-noise ratio and 2,000 luxsensitivity (89.9 per cent white

reflection) at F10 aperture.Equivalent aperture in 1080/50imode for this light level is F11.

Camera gain can be attenuatedfrom mid level to -3 or -6 dB, orincreased by +3, +6, +9, +12 or +18 dB. Integral neutral densityfilters (100 per cent, 25 per cent,6.2 per cent and 1.6 per cent) canbe switched in as required, plusoperator-selectable 3,200, 4,300,6,300 and 8,000 kelvin electroniccolour conversion. An electricshutter can be set to 1/100, 1/120,1/250, 1/500, 1/1,000 or 1/2,000second speed.

The camera can be operatedunder local control or in conjunctionwith a newly developed controlsystem. This consists of an FA-300fibre adapter and BSF-300 basestation. Light in weight andcompact in size (1.5RU), the BSF-300 base station is easily integrated

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into any studio, mobile truck, orportable flypack. When using ahybrid fibre camera cable, the basestation provides power to the fibreadapter and the camera itself.

Ikegami HDK-97 ARRI large-sensor broadcast productioncamera

Also on show onthe Ikegami standat BVE 2015 willbe the HDK-97ARRI camera.Jointly developedby Ikegami andARRI, this is apioneering newbroadcast-styleproduction camerawith digital cinemacharacteristics.The HDK-97ARRImakes it possibleto employ a largeformat sensor in amultiple cameraoperation. Theresult is a best-of-both-worlds imageacquisition systemideal for use inmulti-camera

studio and field applications,including conventional broadcastcamera operation and classic videooperator control of multiplecameras.

NAC Hi-Motion II sportsbroadcast camera

For slow-motion applications,Ikegami will exhibit the NAC Hi-Motion II sports broadcast camera.Jointly developed by NAC ImageTechnology and Ikegami, the Hi-Motion II delivers broadcast-qualityslow-motion images at up to 20times slowdown. The Hi-Motion IIemploys three-sensor 1920 x 1080native technology and has abroadcast industry standard B4lens mount. Features includesimultaneous record and replay (96gigabytes), up to 1,000 frames persecond 1920 x 1080 capture,integral shutter and full remotecontrol with paint, flickersuppression, and EVS systemcompatibility via an LSM panel.

GARLANDPARTNERS/LIVEU Stand L16

UK debut for LiveU’s new LU200

At BVE 2014, Garland willpresent the recently launchedLU200 for the first time in the UK.

The LU200 offers a veryattractive price, performance andform-factor for live videotransmission, expanding LiveU’sproduct portfolio. The LU200 opensnew live coverage opportunities,enabling every field camera to beequipped with a bonding uplink unit.

Weighing just over 500 grams,the LU200 is available in a pouchor camera-mount configuration,providing two built-in modems withpowerful integrated antennas in abonded solution suitable for anyvideo professional. The flexibleLU200 can also serve as astandalone video encoder with

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satellite integration functionality, orbe used as a LiveU DataBridgemobile hotspot for all IPapplications in the field. The LU200supports two 4G LTE/3G modemstogether with Wi-Fi and LANconnections and includes LiveU’sproprietary antenna modules forextra resiliency.

LU500 and LU400 also on show

Garland will showcase LiveU’sLU500, the ultimate combination ofhigh-performance and portability forcellular uplinking. It was recentlytested and described by DomRobinson, industry consultantwriting on Streaming Media.com,as, "…the flagship of the leadingplayer in the space, is absolutelyrobust, extensible, and simple touse, while being packed withfeatures and capabilities." Itbenefits from a small form-factorcombined with exceptionalfunctionality. Weighingapproximately 1kg, the unit ispowered by LiveU’s new multi-processor, video encoding engineand fourth-generation patentedbonding algorithms, with up 13network connections.

LiveU Central

Garland will also be showingLiveU Central, LiveU’s centralmanagement system. This powerfultool means that fleets of units canbe centrally controlled using geo-location capabilities alongside ahost of other management options.Footage can be effortlesslyintroduced to a back end broadcastenvironment creating a powerfulcontent network.

LYNX TECHNIK

Stand A02

LYNX Technik AG will showcaseits new Testor™ | lite 3G, a cost-effective, compact, hand heldtouch-screen multi-format testsignal generator to the UK marketat BVE 2015, stand A02. Thistesting tool supports SD/HD/3G4:2:2 and dual-link video formatsand generates two simultaneousoutputs, as well as one sync output.In addition, Testor | lite 3Ggenerates a 3D test pattern eitheras two separate signal outputs (lefteye, right eye) or one 3G-SDI1080P dual-stream signal (Level B).

The user can select from pre-defined static or dynamic movingpatterns for each of the SDIoutputs. Also available is a dynamicEBU Digital AV sync test patternthat has been designed to addressa number of test and alignmentrequirements for audio and videosignals in a modern multi-formatdigital environment. The Testor | lite3G also addresses audioverification applications andincludes an integrated eightchannel audio generator withadjustable gain and frequency,which is embedded into the SDIvideo.

Each test pattern output can beconfigured via the color touch-screen to support various overlaysincluding:

-User-defined text up to 16characters for both horizontalscrolling and static options.

-Safe area markers supportingSMPTE safe action (90/90) or safetitle (80/80) markers.

-Circle overlays in either 16:9 or4:3 aspect ratios.

MILLER FLUIDHEADS (EUROPE)LTD. Stand J26

Miller Fluid Heads (Europe) Ltd.,a leader in the production ofinnovating camera supportsolutions, is set to showcase itsrobust Cineline 70 Fluid Head andAir Tripod System at BVE 2015(Stand J26). Both camera supportsolutions embody the essence of

the brand with their unwaveringdurability and agility that isessential for today’s on-the-gobroadcasters.

“As BVE is the largest broadcastand production technology event inthe UK, it is crucial that Millershowcases its latest cost-effectivecamera support solutions that canbe real assets to broadcasters dueto their supreme versatility,” saysMike Lippmann, Europeanmanager, Miller. “With the Cineline70 and Air Tripod System ondisplay, we look forward tointeracting with industryprofessionals to discuss the latestproducts set to take the broadcastand production industry by storm in2015.”

Constructed of corrosion-resistantalloy, the robust Cineline 70 FluidHead is a feature-rich, cost-effective solution that is ideal foruse on feature films, documentariesand high-end television commercialproductions that require heavypayload, frequent re-rigging and adiverse range of lenses and

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cameras. For easy setup changes,its eight-position counterbalancesystem, with “all-in-one location”rear-mounted controls, easily allowusers to capture the big picture.The fluid head also features anextended sliding range to promotequick and seamless rebalancing ofthe rig when changes in lenses andaccessories result in weightdistribution shifts. It is set toaccommodate industry-leadingcamera mountings, including Arri,Sony, RED and Canon, and itfeatures an Arri-compatible side-loading camera platform, with anoptional, easy-to-fit 1225 MitchellBase Adaptor to suit traditionalMitchell Flat Base tripods. The fluidhead also offers dual side mountsfor monitors and accessories.

Also on display at Miller’s BVEstand will be its multi-award winning

Compass series, as well as its150mm ball levelling Skyline 70fluid head and tripod systems. AllMiller products, including theCineline 70 and Air Tripod System,possess the right feel for their usersand are equipped with extensivethree-year warranties, as Miller isconfident in the longevity of itsproducts’ reliability.

NETIA Stand G30

NEW NETIA Media AssistSoftware Suite

The NETIA Media Assist softwaresuite unites the unique functionalityof NETIA's proven radio broadcastautomation and mediamanagement products with a SQLdatabase to provide a robust

multimedia asset managementsystem with a full complement ofproduction tools. With this powerfulnew solution, users can manage alltypes of content, in any format, onany platform, anywhere, at anytime. The software suite alsomakes it easier for users to movemedia among sites.

To enable convenient use acrossa facility or organization, the MediaAssist software suite provides botha rich-client platform and a Web-based interface that can bedisplayed with a simple Internetbrowser. Both GUIs have beendesigned to assure effectiveergonomics. The option of workingthrough a browser-based interfaceallows journalists and reporters togo fully mobile while maintainingtheir ability to access, search, edit,and repurpose content. In fact,

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NETIA has already released MediaAssist modules engineered forsmartphones and tablets, and thecompany will providedemonstrations of the modulesfunctionality throughout the show.

Media Assist is based on aservice-oriented architecture,offering all of the additionaladvantages of a client-servercomputing model. Key benefits tooperations include increasedmodularity, optimal scalabilitythrough the improvement oraddition of services, third-partyconnectivity through a Webservices API, and straightforward,cost-effective maintenance.

NUGEN AUDIO -HHB Stand J43

Loudness Toolkit and LMBProcessor Update for EBU R128S1 Compliance

The latest standard update for

short-form content such as advertsor promos, EBU R128 S1, will besupported with immediateavailability at BVE 2015. NUGENAudio will launch a series ofparameter sets for its highly popularLoudness Toolkit NLE plug-ins andLMB (Loudness ManagementBatch) Processor software.Implementing the recommendationsillustrated in the new supplement toR128 for short-form content, thesedownloads simplify and accelerateconfiguration for those working tothe new measures. This update willbe available at no charge to theend user.

Preview: New UpmixerTechnology for Stereo-to-5.1/7.1/9.1 Upmixing

At BVE 2015, NUGEN Audio willpreview a new upmix processspecifically designed for film andTV production. Capable ofproducing a downmix-compatibleupmix with optional dialog isolationin the center channel, the newtechnology is projected to beavailable in early Q2 2015.

LMB Processor MXF ExtensionUpdate for DPP AS-11 ProgramCompatibility

NUGEN Audio's LMB Processoris an offline, file-based loudnessanalysis and correction program forhigh-throughput applications. TheMXF Extension for LMB Processorallows automated analysis andloudness correction for the audioessence within MXF files. This MXFExtension has been updated toinclude DPP AS-11 compatibilitywith immediate availability. NUGENAudio is a participant in the DPPcompliance program, an initiativefounded by U.K. public servicebroadcasters to help speed thetransition to fully digital productionand distribution for television.

DynApt™ Extension for LMBProcessor (LoudnessManagement Batch Processor)

At BVE 2015, NUGEN Audio willpresent DynApt™, DynamicAdaptation Technology, agroundbreaking solution forintelligent repurposing of audio forTV and streaming at faster-than-

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real-time speeds. The DynAptalgorithm has been designed toadapt the dynamic content of audioappropriately for different listeningenvironments and playout systemswhile respecting the level of dialogin the original mix and meetingspecific loudness criteria. The firstimplementation of this newtechnology is now available as aDynApt Extension for NUGENAudio's LMB Processor, thecompany's leading offline loudnesscorrection program.

RIEDEL

COMMUNICATIONS

Stand F-24

"As the premier broadcast showin the U.K., BVE is a wonderfulforum for meeting with our partnersand clients. This year we willfeature our Tango Communicationsplatform that builds on ourphilosophy that the customershould have a choice in whatstandards they embrace. We will

also show our next generationSmartpanel and our STX-200Skype interface that brings Skypeconversations into broadcastworkflows." — Paul Rivens,General Manager U.K., RiedelCommunications

Tango TNG-200 Fully NetworkedPlatform SupportingRAVENNA/AES67 and AVB

The Tango TNG-200 representsRiedel's first network-basedplatform supportingRAVENNA/AES67 and AVBstandards. With its own dedicatedintercom application, the platformcan be turned into a flexible,cutting-edge solution for a variety ofcommunications scenarios. Theunit itself is equipped with a high-resolution, full-color TFT displaythat ensures perfect readability atall times. Intuitive front-panelcontrols simplify the recall ofpresets and adjustment of audiolevels. Along with powerfulprocessing capabilities, the TangoTNG-200 features two integrated

Riedel digital partylines, twoRAVENNA/AES67- and AVB-compatible ports, two Ethernetports, one option slot, andredundant power supplies. Thededicated intercom application, "MyFirst Riedel," turns the Tangoplatform into an efficient intercomsystem that users can tailoraccording to their needs. Theasymmetric 40 x 80 matrix size isanother Riedel innovation, allowingfor standard premium-quality stereoaudio connections to panels.

RSP-2318 Smartpanel

The new RSP-2318 Smartpaneloffers features and capabilities thatwill enrich the user experience andchange the way broadcasters andAV professionals communicate.The world's first control paneldesigned to serve as a powerfulmultifunctional user interface, theRiedel device boasts a uniquefeature set that includes three high-resolution, sunlight-readable,multitouch color displays; premium-quality stereo audio; a multilingual

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character set; and 18 keys in just1RU. These features make Riedel'snew Smartpanel a powerful userinterface that can be furtherexpanded through the use of apps.Riedel's first app for the RSP-2318turns the Smartpanel into aninnovative and smart intercompanel. RAVENNA/AES67 and AVBconnectivity are standard, withAES3 over CAT/coax optional.

STX-200 Professional Broadcast-Grade Interface

The STX-200 professionalbroadcast-grade interface bringsany Skype user worldwide into theprofessional broadcastenvironment. Licensed byMicrosoft, the new Riedel productmeets broadcasters' increasingneed for a reliable single-boxsolution that enables them to bringlive contributions from bothreporters and viewers into liveprogramming — all while avoidingtypical problems such as consumerPCs running common Skypeclients, having to add scan and

HDMI-to-SDI converters, or audiodropouts and menu pop-ups on thelive feed. Serving as more than astand-alone solution, Riedel's STX-200 integrates Skype into theintercom solution to enable evenmore powerful, flexible applicationsand workflows.

SHOTOKU BROADCAST

SYSTEMS

Stand C36

“The BVE show at London’sExcel in February will mark the startof the 2015 show season for us atShotoku Broadcast Systems,” saysJames Eddershaw, sales director,Shotoku. “This year, building on thegreat momentum seen in 2014, theevent provides a fantasticopportunity for us to showcase ourrange of manual camera supportand robotic camera control systemsand provides a platform todemonstrate a wider range ofproducts relevant to a number of

global projects and to visitors fromboth the broadcast and Pro AVmarkets.”

SX300 Pan & tilt Head / TP200Pneumatic Pedestal

The SX300 features outstandingbalance, a robust build andergonomic design. With a highcapacity 40 kg (88 lbs) payload andwide-balance capability, the SX300supports an array of cameras,lenses and accessories, making itperfectly suited for field production,OB and studio use. The 300 headaccommodates flat base or 150mmball. Operators can not only expecttop-class performance andreliability from the SX300’sVISCAM technology for smoothand adjustable pan & tilt drag withreinforced torque, but acontinuously adjustable balancesystem.

The SX300 is a perfect match forShotoku’s ergonomically designedTP200, a two-stage pneumaticpedestal. The pedestal handles amaximum payload of more than

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80kg (177 lbs) and supports a widerange of camera configurations. Itsperfectly balanced column andbase offer maximum stability andgreat operational flexibility. One-step foot brake and single-actioncable guard enables precisemovements and control at all timesfor fast, easy positioning.

SH100 & 120 Fluid Heads

The SH series pan and tilt fluidhead’s drag controls make it easyto adjust the head from low to hightorque, to provide the smooth, highquality movement needed for calm,clear camera work. Furthermore,the cam/spring PerfectCounterbalance System eliminatesany stress during tilts.

The tilt fluid drag torqueadjustment does not cause anychange in balance, and makes thishead extremely easy to use. With amaximum payload of 20kg (44.1lbs), the SH100 has gone through arigorous performance and reliabilitytesting to ensure that it meets thedemands of the strictestprofessional in any type of situation.Designed as a multipurpose head,suitable for news, documentary,drama, and live sports work, theSH100 is one of Shotoku’s premierENG/EFP pan and tilt heads. TheSH120 extends system coveragefor payloads of up to 25kg

TELESTREAM & BOXER

SYSTEMS

Stand P16

Telestream® will use BVE 2015 toshowcase the company's latestdevelopments in Digital ProductionPartnership (DPP) workflowsolutions. At BVE, the company willteam up with its channel partner,Boxer Systems, to provide aninsight to its strategic developmentfocus on this UK-based broadcastindustry initiative. Live on the showfloor, Telestream will demonstrate

how its Vantage® transcoding andworkflow automation systemprovides UK broadcasters andfacilities with a clear competitiveadvantage in developing their DPPenterprise operations.

The latest version (6.3) ofVantage adds several newcapabilities for assembling andencoding DPP AS-11 MXF files.The Vantage DPP Workflow Portal

allows entry of DPP metadata andthe creation of multi-part DPPpackages from one or more mediafiles. Vantage Post Producerautomatically assembles the DPPtimeline, including bars, tones,slates and correct multi-partspacing. The entire DPP solution iscompletely unified and includes fullencoding, timeline rendering andmetadata assembly withoutrequiring editing personnel or XML

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programmers.

Vantage was one of the firstproducts to achieve DPP/AMWAcertification in September 2014 aspart of the Digital ProductionPartnership’s new ComplianceProgram. UK-based broadcaster,ITV, one of the leading partners inthe Digital Production Partnership(DPP), has already announced thatit has placed the TelestreamVantage platform at the heart of itsnew Content DeliveryModernisation (CDM) project.

“Telestream is proud to be anindustry leader with file-baseddelivery and DPP compliantworkflows,” said Paul Turner, VP ofenterprise product management atTelestream. “Being one of the firstvendors to achieve DPP/AMWAcertification was vital for our manyUK customers and serves as animportant milestone for the rest ofthe world.”

WOHLER

TECHNOLOGIES

Stand L01

Tachyon® Wormhole™Automated File-Based RetimingSolution

Tachyon® Wormhole™ is a file-based retiming solution thatenables automated plus or minusrun-time adjustment of mediaassets while preserving not onlyvideo and audio quality, but alsoclosed caption/subtitle integrity.Based on the Wohler RadiantGridIntelligent Media TransformationPlatform™ running Cinnafilm's

award-winning Tachyon algorithms,Tachyon Wormhole allows contentowners and broadcasters to meetspecific customers' lengthrequirements cost-effectively andefficiently. In many cases, thissolution enables users to replace agreat deal of expensive specializedhardware with a single server at afraction of the cost.

MPEG DVB-ASI and IPTVMonitors

Providing functionality critical forfacilities migrating toward IP-oriented distribution networks, theaward-winning MPEG Seriesmonitors decode and provideconvenient at-a-glance monitoringof program content from MPEG-2/4ASI and Ethernet IP streams, aswell as 3G/HD-SDI inputs. To meetbroadcasters' increasing need forstream-based monitoring, theMPEG video monitors identify,decode, and display in highresolution both MPEG-2 andMPEG-4 signals (input via BNC orEthernet) while giving users theability to browse the PAT, PMT, PID,EIT, and NIT data (both ATSC andDVB tables) for each selectedstream.

AMP2-E16V Series ModularAudio/Video Processing Monitor

The AMP2-E16V monitor'sfeature list continues to be thelongest in the industry, yet theproduct is operated with one-touchsimplicity. In addition to its top-quality audio system, it featuressimultaneous multiformatmonitoring, quick programselection, instant stereo downmix,loudness monitoring, internalchannel mixing including SDI re-

embedding, and audio delays. Themonitor also includes a wide varietyof meter scales and ways to viewmeters, video, and Dolby orSMPTE 2020 metadata.

AMP1-16M Dual 3G/HD/SD-SDIAudio Monitor

Wohler's new AMP1-16M dual-input SDI audio monitor provideshigh-performance monitoring ofembedded audio in two 3G/HD/SD-SDI streams at an attractive pricepoint. The 1-RU system de-embedsand provides metering andmonitoring of any or all of the 16audio channels in the selected3G/HD/SD-SDI stream. It assuresintuitive operation and clear displayof levels and other criticalinformation using bright 2.4-inchLED-backlit LCD displays, enablingone-touch monitoring and summingof any selected channel pair(s) tobuilt-in speakers, headphones, orXLR-balanced analog outputs.

RadiantGrid Intelligent MediaTransformation Platform™Version 9

The award-winning version 9 ofthe Wohler RadiantGrid IntelligentMedia Transformation Platform™offers broadcasters a variety ofpowerful tools that boost theefficiency of file-based workflowsfor multiplatform media delivery.The platform enables fullycompliant OTT offerings for leadingformats, including MPEG-DASH,HLS, and Microsoft SmoothStreaming, and aids broadcastersand other content producers inmeeting the array of target bit rates,resolutions, and frame ratesnecessary for today's contentdelivery ecosystems.

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During the last decade cameratechnology has dramaticallychanged the way footage iscaptured. Every time audiencesturn on their TV screens, open theirlaptops or browse through theirsmart devices, a range ofrevolutionary dynamic and creativeshots are on display in many oftoday’s most popular programmes.

In the same way that technologyhas transformed viewing habits,

camera technology has had toevolve to meet the increaseddemands of audiences who expectmore innovative and excitingcoverage. However, rather thansimply responding to theexpectations of viewers, theadvanced capabilities of the latestcamera systems are now capturingshots that are setting the bar evenhigher.

The common theme across these

wide ranges of unusual and uniqueshots is the creation of a moreimmersive experience for theviewer. Whether it is looking down aski slope through the eyes of acompetitor or following the antics ofcelebrities in the midst of anAustralian jungle, new cameratechnology, such as the latestremote camera systems, is placingthe audience right at the heart ofthe action.

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Paul McNeil, senior project manager, Camera Corps

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Reality-show producers haveproved particularly keen on usingremote camera systems as a wayof fielding cameras in positions thatwould be impractical with any othersystem. One of the earliest highprofile examples was theintroduction of Camera Corps’ Q-Balls in Channel 4’s Big Brother,where a range of the discreetsystems were placed around thecontestant’s house to capture live‘fly-on-the-wall’ coverage. The firstBig Brother programme was airedback in 2000, and since then thistype of footage has beenincreasingly used on our screens.

Fast forward to this year and thelatest camera technology is beingused on some of the nation’sbiggest entertainment shows. Therecent series of ITV’s I’m aCelebrity…Get Me Out of Hereused almost 80 Camera Corpscameras in its production, includinga number of the Q-Ball remote-controlled pan and tilt camerasystems with high quality built-inoptical lenses. Camera Corpstechnicians also assistedthroughout the production, maintainthe cameras and carrying outadditional rigging for all challengesand trials.

Other speciality cameras suppliedto the programme included Minishotremote heads, HD Mini Zoomcameras with infrared mode,Hitachi DK-H32, and Toshiba IK-HR1s and IK-HD1 mini cameras.The cameras were used to film thecelebrities in camp 24 hours a dayduring their stint in the jungle, aswell as during the BushtuckerTrials, and were controlled from theproduction gallery located over 800metres away.

Another genre that stands out forusing the most advanced cameratechnology is sports. The role ofcameras in live sports has changeddramatically in recent years,moving away from providing arange of generic views and close

ups from the side of the pitch,cameras are now being placed rightin the midst of the action. Keybroadcasters are deployingincreasingly innovative techniquesto make their coverage stand outfrom their competitors, and the newcamera products are actuallyshaping the way audiences viewand consume sport.

Camera Corps and its fellowVitec Group brand, The CameraStore, have provided specialistequipment and technical supportteams for hundreds of sportingproductions – including arena, field,stadium and major motor sportstournaments. One proven cameratrend that has already deliveredhours of special camera footage iswearable cameras. These aredeployed with the latest high-performance RF video links and arepart of Camera Corps’ portfolio ofremote camera solutions thatacquire more exciting and unusualtelevision from these types ofextremely challengingenvironments.

Winter Sports, in particular,seems to epitomise advancementsin camera technology. Helmet camshave been used in events such asboard cross, and unique pop-upcameras are also frequently usedto capture action shots during thebobsleigh, skeleton and luge. Wehave even seen drones being used,with one UK based companytrialling its camera mountabledrones to film unique close upimages at recent ski andsnowboarding events.

Live orrecorded on-board mobileapplicationshave also beenin operationcovering sportsfor severalyears, with arange of special-purposecamerasdeveloped toshoot specificactivities.Whether it isspecialistaquatic camerasystems to bringthe viewer anunderwaterperspective orsolutions suchas the CricketStump Cam,these are beingadopted bysome of theworld’s biggest broadcasters.

Regardless of the genre orapplication, the latest cameratechnology has undoubtedlychanged the way footage iscaptured both now and in thefuture. The winners in this battle ofthe most creative and innovativeshots are the audiences, as whenthey switch on their chosen devicesthe dynamic and diverse range ofcoverage is consistently raising andexceeding their expectations.

Paul McNeil Senior Project Manager Camera Corps

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INTERVIEW WITH

ANDREW LAMBOURNE,BUSINESS

DEVELOPMENT

DIRECTOR, SCREEN

SYSTEMSWhat are the latest developmentsin voice to text workflows?

It has been the dream ofbroadcasters for many years thatthey can just plug their programmeaudio feed or media file into a blackbox, and magically out comesperfect live subtitles. Sadly this isnot the case, and probably will notbe the case for a long time tocome. The truth is thatunderstanding speech – particularlywhen there is noise in thebackground, or the speaker is notspeaking clearly, or where theremay be two people speaking atonce – is a highly complexchallenge. Computers are just notable to do this at present – but whatthey can do very well now is tounderstand a dedicated speakerwho has trained the system to knowtheir voice, who speaks clearly, andwho gives extra information like

saying the punctuation out loud.Such a person is called a “re-speaker” since they are trained tolisten to a live TV show and re-speak it for the computer, in such aclear and precise way that theaccuracy of speech-to-text is veryhigh (often 99%). The onlyremaining thing is to ensure thatbefore the programme begins, the

computer knows the vocabularywhich is going to be used,otherwise it is not able to put outthe correct words. Screen hasdeveloped a really useful newsystem to help with this problem –its VocabFinder product searcheswebsites for latest names of peopleand places in the news or in sports,so that the subtitlers have a list ofwords which the speech enginedoes not know, and can thendecide which ones to add to itsdictionary. This, plus the carefultraining which we provide,maximises the quality of the endresults. Respeakers can also usetheir unique skills to help inpreparation of subtitles for recordedprogrammes where there is noscript, by transcribing theprogramme as if it were live, andthis is faster than typing atranscript.

What are the biggest challenges?

One of the big challenges inrespeaking is words or shortphrases which are pronounced thesame but spelled differently –homophones as they are called.For example in English “fish andchips” is pronounced like “fissionchips”, and someone called“Greene” may be playing golf and

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Andrew Lambourne Busines Development Director ScreenSystems

Present and future

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hitting the ball onto the “green”.Various techniques can be devisedto overcome this, including defininga different way of saying one of thecases as a verbal code, and tellingthe computer how to represent thiscode as text. All of this places extrademands on the skills and ingenuityof the respeakers. Only whencomputers start to understand thegrammatical context of what theyare hearing (which they currentlydo not – speech recognitionsoftware is based on a statisticalmodel of the likelihood of differentsounds being in sequence) will thisimprove.

What about the delay? How longdoes it take to the information toappear in the screen?

There are various components tothe delay of live subtitles. First ofall, the respeaker needs to hearenough of the sentence to be ableto make sense of it and to beconfident that this is what thespeaker is actually going to say

(some speakers start a sentenceand then change their minds andgo along another track). Then therespeaker has to repeat what itsaid, the computer has to turn itinto text, and finally the text has tobe presented on screen. All thistakes a few seconds. If the text ispresented word-by-word in ascrolling display, then the timebefore a given word appears maybe around 3-6 seconds. If the textis held until a complete sentence orblock is ready, then the first wordswill be delayed by more than this.But working in their favour, if therespeakers are given a feed ofaudio direct from the studio ratherthan after digital encoding, they“catch up” by the amount of time ittakes to encode the signal forbroadcast.

Where will the growth be of thiscontent in future years? Whatcontent is best suited?

That’s a big question. Sport isobviously popular with viewers, and

having live subtitles can make allthe difference. So broadcastersmay focus on this area even thoughit can be hard to subtitle wellbecause of all the different namesof people and teams. News iseasier for the subtitlers becausemuch of a news programme is pre-scripted, and the scripts can beaccessed by the subtitlingcomputer and manually cued to airrather than being created live.Chat-shows are another populargenre, and here again it can bedifficult – particularly if there aremultiple people speaking at once. Ithink one has to say that theaudience of deaf and hard-of-hearing people probably wantaccess to the same kinds of TVprogrammes as everybody else, sothe broadcasters should probablychoose to target their servicesacross the range of content types.But it’s important to keep theaudience onside and to explain tothem (by way of some broadcast

Respeaking Software Architecture - for news subtitling

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Q-Live Screenshot with respeaker

facts about how the services areproduced) where the challengesare and how the team orprofessionals work hard to give thebest possible quality. Whenhandling recorded material, I thinkthat for some specific content types(like documentaries or new clipswhich do not have a lot of

background noise) automatedoffline transcription systems arenearing the point at which they willdeliver usable transcripts withoutthe need for too many edits: this willassist the workflow and increaseproductivity.

Please tell us about yourequipment for this service and

your main projects

Our live subtitling preparationsystem is called Q-Live, and it isused by a number of broadcastersin the UK and around the world tosubtitle all kinds of liveprogrammes. We have providedtraining for many of the respeakersworking today, and are constantly intouch with them and finding newways to help them meet thechallenges and to deliver bestpossible quality at best possibleprice. Seehttp://www.screensystems.tv/subtitling/subtitle-preparation-software/live-subtitle-preparation/for more information. One of themain areas in which we continue toapply pressure is to try to getspeech engine manufacturers (ofwhich in the mass market there issadly only one major player now) todevelop tools for more languages:this would open up the possibilitiesfor cost-effective live subtitling inmany more countries.Respeaking with WinCAPS in action

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Four years ago, Argentinian producer Sebastián Noó

Bermúdez, a creative director by trade with a strong tech-

nical background in live event productions, discovered a

new business opportunity while promoting Argentina’s

amateur body building and fitness circuit. “For professional

sports, there is an established group of production compa-

nies that have the infrastructure and relationships to fully

produce and broadcast professional competitions. This

was not the case for the amateur sports market. If the

public wanted to experience a body building competi-

tion, they would have to attend it in person.”

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Seeing the growing popularity infitness and specifically bodybuilding, Sebastián launched SybilaProducciones, a venture designedto produce and broadcast bodybuilding and fitness events andcompetitions. “Our aim was to growtogether with the body building andfitness movement, workingalongside the organizations to helpthem increase the presence of theactual event as well as develop anddrive programming for national andinternational coverage.”

After discussing the idea withRafael Santonja, president of IFBB(International Federation of Body

Building), Sybila Productionsembarked on a journey to bring theworld of body building closer to itsfans.

TOUGH GEARDESIGNED FOR

ENDURANCEWhile the strategy was well

defined, setting up a modernproduction facility to create andbroadcast events and programswas no small task. It would requireboth a studio build out for pre and

post event program interviews andmagazine shows, as well as asturdy mobile unit that couldcapture the action onsite and serveit back out to the world over multiviewing platforms. With a strongtechnical background in live eventproduction, Sebastián had anadvantage when it came toresearching and testing new gearfor his studio set up.

“The first thing I did wasinvestigate the latest products themarket had to offer and comparebenefits without looking at price asthe deciding factor. Based onprofessional performance alone,

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many of Blackmagic’s productsimmediately stood out from the rest.It was easy to see that thecompany invested in its products,putting out cost effective updatesfrequently, developing importantemerging technologies we wantedto use for our productions.”

In addition to the engineeringpower behind Blackmagic Designsolutions, Sybila knew it couldquickly recover its investmentsthanks to the company’s costcompetitive nature. “Blackmagicgave us the possibility to purchaseoutstanding production andbroadcast technology at a low cost.Combined with the ongoingupdates, we are able to competeside by side with any majorproduction company here inArgentina for business. This isimportant as we did not have thesponsorships that some of theseother organizations had.”

Sebastián continues, “Our abilityto compete on this level speaksvolumes about the infrastructure wehave in place. In fact, we havecollaborated with severalestablished production facilities onprojects and, after seeing andexperiencing our set up, they havemade more than one remark about

moving their infrastructureinvestment to Blackmagic Design.”

Sybila has two BlackmagicDesign 2.5k Cinema Cameras andone Blackmagic Studio HDCamera, for shooting live eventsand pre-recorded interviews inProRes. Both the facility and mobileunits are equipped with two ATEM 1M/E Production Studio 4Kproduction switchers and MiniConverters. Sebastián explains,“Since we record a lot of interviewsbefore and after events, the studiois set up with two camerasmounted on a crane and we usethe two Blackmagic CinemaCameras either on tripods orsteadicams. We have BlackmagicDesign Mini Converters to supportour HDMI to SDI conversions. Atthe heart of our studio and ourmobile unit is the BlackmagicDesign ATEM 1 M/E ProductionStudio 4K. It allows us toorchestrate recordings destined forsatellite, cable and the Internet.”

Thanks to Blackmagic Design’sportability, Sybila’s mobileproduction and broadcast solutionis rack mounted in compact anvilcases, ideal for on the goproduction. “We have managed tobuild a very portable solution based

on Blackmagic products, which canbe disassembled and reassembledvery easily, anywhere. In the pastwe had difficulty with other brandsbecause of the proprietaryinterfaces and such. Connectionsbetween controllers were notstandard and it caused problemscontrolling components that wereplaced at a distance with a networkcable. Not Blackmagic. Their toolsare rugged and play well withothers.”

BLACKMAGIC DESIGNENTERS THE MAINEVENT

Sybila’s biggest event is theArgentinian Body Building TitleCompetition. It is a two day eventthat takes place every year duringthe month of August. Each daythere are eight hours of competitionto capture and broadcast.Sebastián explains the set up heuses to capture the muscle poppingmoments: “Three of the fivecameras we use at the event arethe Blackmagic Design cameras,two Cinema 2.5k cameras and oneStudio HD. One is mounted on acrane and the other two are usedtypically on a tripod or steadicam infront of the stage. All BlackmagicDesign cameras are connected viaSDI to the ATEM 1 M/E with MiniConvertors to support HDMI to SDIconversions.”

With the ATEM, Sebastián has animmense amount of flexibility. “Forexample, audio mixing does notneed to be done outside of theATEM, which was fantastic for us.The mix sent to us from the event’ssound operator went directly to theATEM. But, we also had thepossibility of taking audio from thecameras, which was ideal for theinterviews we conducted during thebreaks. No additional equipmentneeded. Microphone and camerawere directly connected to theATEM. The quality of the broadcast

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was really outstanding.”

Sybila broadcasts the entirecompetition to both satellite in HDand over the Internet using theATEM to incorporate lower thirdsand facilitate picture in pictureshots, showing various posessimultaneously as well as playsponsorship advertisements.

“The diversity of connections iswhat makes Blackmagic Designcomponents so attractive. Thepossibility of having eight channelsof SDI connections as well as fiberconnections, etc., is truly fantastic.”Sebastián also appreciates thecamera control module. “That reallychanged the workflow for the better.We can put up a video monitor witha PC touchscreen, no need for acamera interface or proprietarysoftware.”

Once the events are over, Sybilapushes the content into post, where

it is assembled for VOD.

GROWING STRONGEREVERY DAY

With the quality of the broadcastat a professional level, Sybila hasbeen able to grow its businessquickly. “We have a lot of greatcustomers and they are prettyhappy we made the leap from justproducing the events tobroadcasting them worldwide. Notonly has it helped us grow ourbusiness, but it has helped themincrease their audience and fanbase. It’s a win win all around.”

In just three short years, Sybilahas helped amateur body buildersget on a global stage, attracting awider fan base that is looking formore and more ways to get theirmuscle flex fix.

With demand building, Sybila has

plans to expand its studioproduction schedule to includemore prerecorded shows such asbehind the scenes, how to’s andother magazine format programs.“Our goal is to provide high qualitylive events and a wide range ofprerecorded shows. WithBlackmagic Design supporting ourentrepreneurial vision throughaffordable, outstanding technology,we are able to engage and raisethe awareness around an entiremarket as well as start and grow asuccessful business.”

The push into more studioproduction oriented shows means abigger emphasis on post. Sebastiánlooks into their future: “I just startedplaying around with Blackmagic’sDaVinci Resolve and love it. I amlooking forward to this next phaseand so glad that Blackmagic isalong for the ride!”

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WHAT’S

NEW?

ANOTHER

GOOD STEP

FORWARD

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The content creators are perma-nently in luck thanks to the growthon variety and capacities of thetools available to do their job. Ofcourse, this situation enables theirwork but at the same time compli-cates the decision-making whenchoosing the equipment they willuse to work with.

We have been saying for sometime, the selection of the appropria-te tool, together with the use of itscharacteristics with our knowledgeand skills, is the best starting pointfor the success of our projects.

Let’s see what this new memberof the Sony family offers us andhow can it help us increase ourpossibilities and finally, if it canmake our lifes easier.

In short, this is a full HD camcor-der, with three state of the art 1/3Exmor Cmos sensors, a wide non-interchangeable 25x zoom, Wi-Fi,NFC and GPS with a compactbody and partially adapted for theshoulder. It was launched beforethe summer of 2014 in order toreplace the “old” HVR-Z7 and HXR-NX5. It includes enough advanta-ges and news to be an authenticadvance until the next level. In fact,the equipment is already part of theXDCAM family and records inXAVC and MPEG2 formats on SxS.It’s the new step forward.

We have a lot of thing to review;therefore we have separated thecontent in parts.

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Txt: Luis Pavía

Any tool can be limited by the hands that manage

it. Undoubtedly tools need good hands to handle

them in order to take advantage of all they offer.

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THE BODYRegarding the body, it doesn’t

have much news. It maintains theclassic structure of this type ofcameras: solid, well-balanced, witha screen, the lens and some pro-tective lids as the only mobile parts.It is slightly bigger and heavier thanthe classic EX1, but without havingthe dimensions and weight of theEX3, models we use as reference

because of their popularity. All ele-ments are logically grouped on theirusual places and we only miss arevolving handle, which hasn’t gotmuch approval by users becausealmost all models have removed it.However, we find it very useful onmany shots. It has an upper handlewith two viewfinders: the frontalpop-up screen and a new OLEDviewfinder in colour on the rear andthe second zoom and shot control.

THE LENSIt has a Sony lens of the G series:

with a big 25x zoom and approxi-mately 26-650 range (35mmFF). Italso offers a wide angle with animpressive range, especially for anon-interchangeable lens. It can behandled by remote control throughLan-C and has three independentrings for the focus, zoom and iris.The touch is good and offers accu-racy and inspires confidence. Weespecially like the ring of the focusbecause it can be moved back andforth; it can be moved manuallywith marks of distance and blocksor it can be partially automatic wit-hout distances and blocks. Thezoom can also be selected onmanual or servo mode. With theservo mode, the physical ring whichcontrols it, remains off and unhoo-ked. This way, accidental movescan be avoided. The iris ringdoesn’t have marks or blocks, itsvalues appear on the screen, onmanual and automatic mode.

CONTROLS, BUTTONSIn this section, and like the design

of the body, we find everything “onits place”, or at least where everyperson used to handling camcor-ders will try to find these buttons.With the camcorder on manualposition, all buttons which can benecessary during the shooting areaccessible with the left hand, with asecond zoom control and a star-stop button on the upper part of thehandle, which is the place for thelow shots. There are seven assig-nable buttons, with a big list ofoptions for each of them. This way,we can place at hand the differentoptions necessary for the work weare doing at each moment.

As a new function and especiallyinteresting feature, it includes avariable ND filter which enablescontinuous setting adjustment from1/4 to 1/128, that is to say, from 2to 7 diaphragms on one to one

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steps. If this wasn’t enough, thethree positions ND1, ND2, ND3 canbe configured through the menuwith any of the values of that range.By activating the “variable” on anyof them, it will automatically applythe lat value used.

We find this very useful, becauseit enables us to manage the iris(and the resulting field depth)regardless of the light without pre-cedents. Provided there is somelight, of course.

The gain can even be configuredon negative to reduce sensitivity.We are not surprised to learn thevalues assigned to the selectorposition can be configured with themenu, from -3 up to +18db.Regarding the noise, it can befound when we are approachingthe limit. How much? Is it accepta-ble? Only the type of work we aredoing, the look we want for ourshots and our level of exigency cananswer those questions. All thesefactors are very debatable; the onlyvalid assessment is we find it lessthan the noise you can find onother cameras with sensors of thesame size.

Apart from the base for a gunmicrophone it has a stereo built-inmicrophone. The multi-interfaceshoe has new connections, whichare not evident at first sight andoffer the possibility of including acompatible wireless microphone(UWP-D11 ó D12) and collect thesignal without cables and powersupply. These same connectionsalso switch on or off the video lightwhich is synchronized with the fil-ming, without additional cables. Ofcourse, only on compatible models.

Protected by the screen we find acollection of buttons that, althoughthey are not usually used on fil-ming, are convenient for other func-tions. The OLED viewfinder of 0.5inches completes the external scre-en of 3.5. The visibility of both scre-ens is very good and is an insepa-rable part of the authentic control

centre of all camcorder functions:the menu.

On the image we will be able tosee up to 37 additional fields whichprovide us with the information ofall the conditions and adjustmentswe are using at each moment.Calm down, because with a simplebutton we can make them appearor disappear to be able to focus allthe attention on the shot withoutdistractions. They can be selectedwith the menu in order to choose ifwe want them to be on the screenor not.

The 37 fields aren’t unnecessary;we can even find some good surpri-ses. For example, the same field of

the histogram can show instead avectorscope or a monitor wave-form, always on the real time of theshot.

THE MENUFrom the menu you can control

the parameters with enough mano-euvre margin to give the camerasome time to adapt to the mostappropriate and convenient beha-viour for each moment. You haveenough time to make the camcor-der work on completely differentways on each occasion. If we trylisting all the options we won’t have

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enough paper to put them on. Theuser manual is very extensive and itincludes all this information. Youshould read it if you want to takeadvantage of all its possibilities.

We can access the menu easilyand select options and values withspecial buttons, both on the side ofthe camera with a thumbwheel andwith the buttons below the screen.It’s always of great help to have theoption of configuring the camcorderon nine languages, among themthe Spanish language. Parametersare grouped under the usual namesand the menu also has new ones toinclude the new functions, like thenetwork parameters for the Wi-Ficonnectivity.

It has an option that although it’snot frequent, not even on high endcamcorders, is one of our favouri-

tes: the skin tendering. This functionenables you to establish a range oftones and adjust different levels ofclarity in the images which are inand out of that range. This way it’seasier to maintain all the details ofany shot and provide at the sametime certain tenderness on the skinof the lead actors. It’s important todo this carefully otherwise theactors will lose its essence.

We like the fact the parametershave a numerical value and thatthey can be selected from a rangeand also that they have next tothem a graphic bar which shows areference mark of the value bydefault. It makes experimentationeasier without losing the referen-ces. We also like the fact of findingthe last option selected when ente-ring the menu. At least until youswitch off the camcorder.

CONNECTIONS AND

CONNECTIVITYIt has enough variety and versati-

lity to offer a good performance ondifficult environments: SDI ports onSD and HD, HDMI, Genlock, timecode... Moreover, with the NFC andWi-Fi we can control, see and sendfiles on real time. Some years ago,these characteristics were unimagi-nable and today we can control ourcamera with a mobile phone ortablet and upload shots to the cloudalmost instantly.

Although it’s not a part of the con-nectivity, we have to mention itsbuilt-in GPS which enables thegeolocation of our shots. It can bea valuable element on certain situa-tions. It can be deactivated, becau-se sometimes it’s also important tostop delocalizing.

The audio entry selector has theclassic options of an internalmicrophone and external XLR con-nections, plus an extra option forthe multi-function shoe. On the thirdposition, the audio is registeredthrough the connections of thisshoe; therefore there is no need towire up the receiver, provided themodel is compatible with the sys-tem. By the way, this selector isnext to the volume controls on theside of the camcorder, while theselector of entry level and supply+48v is next to the XLR connectors,near the gun microphone base. Inorder to activate the wind filter youhave to enter the menu.

To monitor the audio through theheadphones there is a practicalselector to hear both stereo chan-nels, or hear each of them indivi-dually.

CODECSThe main news is the capacity to

work with the XAVC format. It’simportant to know the differencewith the XAVC-S, a simplified ver-

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sion for “domestic” use. Technically,the XAVC uses a MPEG4 withAVC.H264 container of level 5.2. Itseems that writing more acronymswon’t make a difference, so let meexplain the XAVC technology isbased on a method which providesthe biggest image resolution, thehigher frame-rate and the bestvideo compression available at thismoment.

The format design is the XAVCcodec and it can obtain: in 4k(4096x2160) and QFHD(3840x2160) up to 60 fps. In 2K(2048x1080) and HD (1920x1080)up to 180 fps. In all cases withspace colours of 4:4:4, 4:2:2, or 4:2:0and extended gammas with S-Logcurves and colour depths of 8, 10,and 12 bits.

With this camcorder HD in 50i or25p resolutions can be obtained, or1280x720@50p. The recording for-mats are: XAVC intra, XAVC long-gop, MPEG HD422, MPEG HD420,AVCHD and DVCAM. The files arerecorded with data flows from 112Mbps to 8 bits, although on the SDIoutputs the signal has 10 bits andcan be registered at a higher qua-lity on external devices.

Not only there are a lot of availa-ble formats but also there are themost important ones, these cam-corders offer the minimum levelappropriate for TV emission: MPEGHD422 at 50Mbps.

THE CARDS AND THE

WORK FLOWIt can record on memory cards,

which is almost the most used devi-ce today. The work flow necessaryto maintain the quality levels hasmarked the selection of the SxScards as the main way of recording.It has two slots which can be confi-gured to record in parallel or one byone. When a card is full, the recor-ding continuous automatically onthe other, if there is enough space.

Then these two files are directlyconnected to the frame withouthaving to do anything else.

We can use different SxS cardsfrom different ranges and capaci-ties, like the new XQD cards or theclassic SD cards or MemoryStickpro with its own adaptors.

There are two additional slots forSD cards or Memory stick pro duo.One of them is for the recording ofproxis in low quality. The low qualitycan be configured with resolutionsbetween: 1280x720, 640x360, and480x270. This recording can besimultaneous to the main recordingor the buttons can be configured toensure one of them has an inde-pendent control of the recording ina device (SxS ó SD).

There is a fourthslot for SD cardscreated for thescene files and theplan metadata.The scene filesare parametercollections toquickly store andupload. On othermodels this possi-bility requires the

use of the same SxS cards. Planmetadata are data collections thatare going to be stored together withcamcorder metadata in order to usethem afterwards for edition andpostproduction projects. In thiscase, we can use cheaper cardsjust to store and share all this infor-mation.

We think is a good choice,because it’s usual to have severalaccessible configurations which arequick and safe to use. It’s alsousual to have metadata for editingand postproduction on the originalfiles of the camcorder. Only if wethink about the Wi-Fi networks wecan access, it’s worth to have acollection of different configura-tions. On big projects is a greatadvantage to avoid the step of uplo-

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ading metadata, more for securityreasons than for the time it takes. Ifwe also add all the correspondingparameters to the image, in a shortperiod we will have a good collec-tion.

These uses are even more inte-resting if you hire these equipmentsfrequently. You can rest assuredyou will have a safe and reliableconfiguration on a minimum time.

Regarding the work flow, theMPEG files are immediately recog-nized by all editors, even on ver-sions a couple of generations older.Only if we want the maximum of theXAVC files, we will need an upda-ted editor or to have third party

converters. The last possibilitycould be cheaper, but we will losethe advantage of the high quality onfiles of reduced size that the formathas.

Regarding the use, as theXDCAM range to which it belongs,the batteries are the usual BP-U ofthis range, although the batterycharger doesn’t work to power thecamcorder. Therefore it comes withthe appropriate one for its powernecessities. By the way, its con-sumption, with all the wireless func-tions is higher than on other modelsof the range. We have to take thisinto account to carry charged batte-ries all the time.

THE CLIENTSTo who is directed? We find it

curious to find more and more ver-satile equipments for wide environ-ments, in this time when tool crea-tion seems to go towards speciali-zation. Usually, the more versatileequipments are, the more limitedthey become or the more expensi-ve we can find them.

This time, the step forwarddoesn’t imply limitations or anexcessive price: it’s below 5,000€(without taxes at the moment I ‘amwriting this article at the end of2014). This makes the client rangevery wide, especially if we take intoaccount it has a very good price,with regards to what it offers.

The SDI, HDMI, and genlock con-nections, added to its capacities ofbeing managed by remote controlmake easier the configuration asstudio camera on small local broad-casters, companies and universi-ties. Therefore, the possible clientrange is bigger than usual.

The only element we could consi-der “limited” is the sensor due to itssize of only 1/3 inches. We think isnot really a limitation. There aremany jobs where a small sensor,with its higher field depth can beused like: social, company, training,

dissemination, news, documentaryand low cost videos and even as Bcamcorder on bigger productions.

It’s also true that a field depthhelps you focus on the main actorand the message, but sometimes tofilm on such controlled conditions isa problem or even impossible. In allother cases where a field depth is arelief, like persons moving around,or just one operator, this tool is yourally.

If you want a camcorder withsimilar characteristics and a biggersensor of ½ inches, there aremodels like the PXW-X200 or thePMW-X300. You can even have allthe advantages at a lower price ifyou go without the GPS, the Wi-Fiand the NFC, like the model PXW-X160.

CONCLUSIONIn short, apart from the elements

highlighted on the headlines of the(3Cmos 1/3, Zoom x25, XAVC +MPEG, Wi-Fi + NFC, variable NDfilter, screen 3.5 + OLED viewfin-der, GPS,…) a valuable and a widecollection of characteristics, a highlevel of customization and connec-tivity to face the most complicatedsituations, provides it with everyt-hing you need to work on a greatvariety of situations with a goodresult.

If you add to all of this the goodprice, we think is a tool that offersus good results without a biggerinversion. And yes, it can make ourlives easier, at least in a professio-nal way. We cannot talk aboutimperfections or shortage of advan-tages. We can only talk about somedecisions made regarding thedesign which could have been bet-ter, but that were made to lower thefinal price. However, these improve-ments can be obtained on superiormodels with a higher price.

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