NAB Review


Duncan Payne TV-Bay Magazine
Read ezine online
by Duncan Payne
Issue 113 - May 2016
Las Vegas

As I emerge from the customary post-NAB haze and try to formulate a coherent analysis of the 2016 show, perhaps the most striking realisation is that despite pacing the halls for four long days, I barely scratched the surface. The scale of the event, much like Las Vegas itself, is simply extraordinary, with over 100,000 attendees and nearly 1900 exhibitors. Right from the first morning of the show, my social media feeds have been full of reviews of “amazing products” and “technical advancements”, many of which I just didn’t get time to see. Here, however, are some highlights of the things I did manage to get to.

Even before the show properly started, Ross staged an impressive 800 seat mini-conference, with David Ross evangelising on the new product lines. Among a plethora of new toys was the surprising launch of quite possibly the only sub-4k camera seen at NAB. Their “Acid” camera has been developed specifically with green-screen applications in mind, as they felt that dedicated camera companies were not giving the attention required to that specific application - a field that Ross covers so well with all the other surrounding technology. Whilst the cameras they’ve introduced are “only” HD, crucially they are 4:4:4 sampling, giving the full colour range for the best results in chroma-key environments.
Ross also introduced a smaller mixer into their Carbonite range - the Black Solo - which is aggressively priced and can be supplied in any of 3 configs. It’s clever, and is perfectly suited for small AV / small truck applications. And coming from Ross it’ll work when it turns up, and keep on working.

On the other end of the mixer scale, SAM ( the new Snell / Quantel merged business ) were flat out with enquiries and demo’s for UK Broadcast and OB clients. As well as the hugely powerful headline Kahuna mixer which caught my eye, they had a very familiar looking instant replay device. The Quantel side of this business always did make quality, intelligent storage replay solutions, and this one looked like it might be able to succeed in a market place dominated for so long by EVS.
EVS themselves have never sat still, despite their powerful position. Of all the businesses selling kit, there is perhaps only Arri in the camera market which even comes close to possessing a “must-have” product in a particular sector. It must be a lovely place to be. EVS were promoting a new server technology aimed at supporting sports officials. Named Xebra, presumably named after the black and white uniforms of the American Football officials ( but with a gimmicky “X” instead of a “Z”), it is a multi-viewer showing up to 8 simultaneous angles of a particular event, which allows for faster mid-game decision-making. They also had a very neat C-Cast system. They estimate that over 90% of footage shot at big sporting events is never aired. C-Cast is an open platform that third party developers can write apps for, to review all footage and make 100% of the clips available to the viewers on demand for 2nd screen viewing. This allows the viewer at home to become their own director, with the ability to view different angles from the ones offered live on the broadcast.

Carrying on the storage theme, both ObjectMatrix and AVID had new offerings. AVID's Isis on-line storage range is being superseded by Nexis, which is a totally configurable and scalable storage solution, with 120Tb of storage available in a 4u chassis for around the £40K mark. One of the key changes is a move from a Windows-based technology to Linux. The existing Isis 2500 and 5500 are due to go end-of-life in December with the 7500 following 6 months later, but AVID will still support the product for 5 years, as there are so many still in the market. 5 years seems a sensible period to cover this type of technology. Another key technology development announced is that files can now be edited in Adobe Premier.

Similarly, Object Matrix were keen to emphasise their compatibility with other storage manufacturers such as AVID, and their Matrixstore product, offering off-site cloud storage for disaster recovery scenarios seemed pretty slick. They seem to build pretty robust architecture and have been successful selling their wares in to banks as well as in to media, which gives some credibility to their claims of being secure. Off-topic slightly.. am I the only person who didn’t know that all of their products are made in sunny Wales?

Editshare had a sizeable presence and were promoting their XStream EFS file storage. This Enterprise level solution is well priced against its leading competitors in quite a crowded sector, and if a busy stand is any guide to success, then they seem to be doing very well.

Arri was interesting, although perhaps more for what they did not announce, than what they did. The launch of a new sensor must be imminent as the current 3.2K sensor has been around for some time now. They have used some of the processing technology of the Alexa 65 in the XT to launch an SXT camera to gain even more performance from the existing block. Any existing XTs can be upgraded by Arri to SXT, by adding a new side panel to allow the camera to record on to new Codex-made large drives. 4K onboard recording is now possible, and new cartridges are also available so the existing recording media (SxS and CFast ) can still be used.

Netflix is now the single biggest commissioner of TV, and with their 4K end-to-end requirement, this currently eliminates the Alexa. I find it incomprehensible that footage shot on a 4K, £1,000 “handycam” is acceptable and the beautiful images that Alexa captures are not. Amazon has already relaxed its criteria, but there is no sign of Netflix following suit, so Arri will no doubt have to launch a 4K+ block. And in the meantime, they will continue to revel in the huge market share they enjoy with the existing block, a commercial cash-cow if ever there was one.

Panasonic were still very active with their Varicam and Varicam LT high on the agenda. I’m told that over 50 LT versions have been sold in Europe, with a significant production currently shooting on the camera. It seems that the Varicam “look” is still in demand, and the Dual Iso recording levels are desirable. Panasonic also have an amazing 46% global market share of PTZ cameras, with major installs going in all over the place.

Sony announced a couple of new and interesting products. The HDC-4800 is their new 4K studio camera and the first solution capable of shooting 4K in a higher than real-time frame rate. Up to 8x is possible in 4K, and 16x in HD, but it’s a single Super35mm sensor with a PL mount, so the same shallow depth of field issues will apply that made shooting sports on the F55 tricky. Also, such is the volume of data coming off of the block that you require a dedicated HDCU-2000 and a BPU-4800 video server. The BPU can interface with existing OB server technology to provide the highest quality slomo images currently available. At a price tag of around 250K though, it will be a very select client base.
A somewhat understated announcement was an option board for HDCU-2000 series CCU’s which can up-res the HD camera to 4K. With so many HDC-2500’s around, this could be a popular solution. This option board will be available around IBC time, but it’s worth noting that the HDCU-1700 will not accept this option board.

Sony also announced the PXW-Z450, a new shoulder-mount 4K camcorder as I had predicted. However, rather than using the 3 x 2/3”4K sensor configuration that they employ in the HDC-4300, they’re using just one of these sensors in the camcorder, making it a 4K, single sensor 2/3” camcorder. The set up on the stand, and my poor cameraman skills couldn't really show me if the camera was going to have the same depth of field issues as other single sensor cameras. As it’s a “traditional” 2/3” sensor, it may not, as physics dictates that it’s the sensor size which affects the depth of field rather than the number of sensors. There are also 3 viewfinder options - the L10, L20 and L30 - to give the beleaguered cameraman a fighting chance of getting the shot in focus.

Canon were show-casing an amazing technology display, with a C300 style camera with an 8K sensor, outputting raw on to 4 Odyssey recorders. The images were extraordinary. It could not be used on set in this configuration, but was interesting to see what we might see in years to come. They also had their low cost CN7 replacement, the CN18-80 4K lens which was very popular on the stand.

Interestingly, there is an argument that what the Broadcast industry really doesn’t need are more high-resolution, HFR, HDR cameras. We can now record far more detail than we can hope to transmit. 15+ stops of dynamic range, ever increasing frame rates, 4K and beyond capture, and yet the vast majority of TV is still being delivered in either HD or even SD, and more likely than not in Rec709. Is everything that is shot really worth archiving for future broadcast?

Fujinon had a number of new lenses, including the longest lens in its class, the 107x box lens. They also had their 80x lens which had a feature I really liked. Sports generally like a 95x zoom as this covers most football stadia. Fujinon made the 80x lens that covers most other sporting arenas, and as with any box lenses it has a 2x extender which doubles the magnification but significantly reduces the light passing through the lens. Uniquely, the 80x lens has a 1.2x extender in addition to the 2x extender, which gives the magnification required, and loses significantly less light than the 2x extender. There were also a couple of ENG style 4K barrel lenses launched, and I doubt we will see another HD lens launched now, such is the move to 4K.

Newtek are never backward in coming forward with new technological advancements, and they are leading the way with an open-platform NDI technology which allows for easier sharing of files. All of their products are compatible with this protocol, and I gather that over 200 companies have announced products embracing this technology. One specific development I particularly liked is their Skype Talkshow, which now allows for 4 channels of Skype to be managed through a single 1ru box. I really don’t understand why these boxes have not been adopted more widely. Skype is used universally, and these boxes significantly improve the image quality and workflow of Skype in a broadcast environment.

Whilst walking the halls, it’s possible to become a little immune to the incredible equipment on show. Mind-blowing technology and resolution that a non-industry person would find dazzling has become the workplace norm for us. I confess I felt this sense of 'tech fatigue' until I saw the Cooke Anamorphic zoom lens. It gave me that real “Wow" factor from the moment I saw what it produced. It's a front anamorphic lens, not a rear anamorphic lens, meaning the “squeezing” lens is in front of the iris. And it’s a consistent T3.1 throughout its 35-140mm range. But that’s just detail. Immediately, as I sat in front of the lens I was suddenly in a feature film, such was the effect that the lens gave on screen. And with a standard set of Cooke prime lenses covering the same range as this one lens costing over twice as much, I see this lens being in huge demand, despite the c18 month lead time. Great, innovative work Cooke.

As for a general show theme, some standardisation would be helpful. David Ross in his Ross Video opening statement spoke about there never having been a more confusing time for the broadcast industry. HDR is gaining huge momentum with every broadcaster manufacturer involved, but which version? There are already 3, and maybe even more by the time you’re reading this. 4K has become mainstream... or is it UHD? New protocols, more K’s, and certainly less D’s. My back of fag packet equation for good TV reads something like this...3D -1D + HDR + 4K + quality content + a good camera operator = fabulously immersive TV. VR and 360 shooting seems to be gaining some momentum. Clever image stitching software seems to be making this the likely next big thing. TVU were even able to transmit a live VR image over a mobile phone network with only a 6ish second delay.

I was reading recently about the advances in AI, and far from technology reaching a pinnacle, we need to brace ourselves for ever greater change. Our view of what is possible is governed by what has happened, not the rate at which it happened. Ever heard of the Law of Accelerating Returns? Put simply, it means that more advanced societies develop faster than less advanced societies precisely because they are more advanced. Think of the film Back To The Future. Marty was amazed at the changes that took place in the 30 years between 1955 and 1985 in TV formats, the style of music, and the price of a soda. These are big changes, but not unimaginable. Move on 30 years from 1985 and the internet has transformed our lives. We take for granted Google, Facebook, Uber, online shopping, amazing medical advances, Wifi, Bluetooth, iTunes, Amazon, Bitcoin, 3D printing etc. These advances are exponentially greater than the changes between 1955 and 1985, and it follows that the next 30 years will see advances greater than we have seen in the last 30 years. It will not stop. Food for thought here. On my fourth day in this industry, back in April 2000, I spent a day at Sony learning about their products. The Sony Account Manager said the most ridiculous thing. He said that in 10 years, we’d be watching TV on the internet. I was pleased to hide my dismissive scoff at this ridiculous concept. Doh!

A note of praise to the NAB organisers, which resolved a huge issue for all attendees previously - the ability to collect entrance badges from the hotels saved hours queueing on the first morning. And the shuttle buses were also excellent for the attendees, if not the cab drivers. Small improvements like this transform the NAB experience.

Also check out Peter Savage’s article on Page 44 where he highlights his top 5 products at NAB.

Feel free to comment with anything I missed. I know I probably missed as much as I saw. In true Rumsfeldian terms, I don’t know what I don’t know.

cameras

Tags: iss113 | NAB 2016 | Las Vegas | Black Solo | Kahuna | C-Cast | ObjectMatrix | Nexis | Matrixstore | XStream | Alexa 65 | XT | SXT | Varicam LT | Dual Iso | PTZ | HDC-4800 | PXW-Z450 | HDC-4300 | L10 | L20 | L30 | C300 | Canon | CN18-80 4K | ENG style 4k | NDI | Duncan Payne
Contributing Author Duncan Payne

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Contributing Author Phil Vinter Click to read or download PDF
Panasonic EVA1 and Atomos Shogun Inferno ProRes Raw Review
David Fernandes Filmmakers all over the world are embracing an affordable new route to higher-than-4K video recording. It’s just a few weeks since Atomos enabled support for 5.7K Apple ProRes RAW recording from the Panasonic EVA1 with the Shogun Inferno monitor/recorder, but filmmaker David Fernandes and DP Gregory Bennett have already become the first to use 5.7K ProRes RAW on a full-scale production.
Tags: iss132 | panasonic | eva1 | prores raw | 5.7k | review | inferno | atomos | David Fernandes
Contributing Author David Fernandes Click to read or download PDF
How machine learning might affect media
Bruce Devlin - new I have a curious relationship with technology. I’ve been doing it all my life and I see topics come and go over the years. This is the 3rd time around that I’ve seen Artificial Intelligence become trendy and this time, I think it will stick. There are 4 things that are different this time around and they are (in alphabetical order) Amazon, IBM, Google, Microsoft. All of those companies have had AI research programs running for years, but the big change now is that there is enough ubiquitous compute resource in the form of the cloud to make it commercially viable to build products around the platforms.
Tags: iss132 | class | machine learning | ml | watson | ibm | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read or download PDF
State of the Nation
Dick Hobbs - new

I am writing this in the middle of a record-breaking heatwave in southern England. Yet it is time to be thinking about the mists and mellow fruitfulness of autumn, or at least the predictably damp and chilly Amsterdam when IBC hits town.

What will be the hot talking points of IBC this year? I am not in a position to talk about what the big vendors will be showing: I have so far received just the one preview press release (take a bow, Calrec).

Tags: iss132 | ibc | ibm | watson | ai | Dick Hobbs - new
Contributing Author Dick Hobbs - new Click to read or download PDF
Investing in the Future of Broadcast Media
Clive Northen At the time of writing, the summer World Cup is providing its usual challenge to camera crews trying to televise the bright sunlight of the stadium without losing detail in shaded areas such as the covered terraces. It is a perfect demonstration of the need for high dynamic range. Several broadcasters are experimentally covering this year's tournament in 4K HDR, including the BBC which is streaming dozens of matches via its iPlayer service. HDR is also accompanied by a wider colour space, meaning millions more colours can be displayed than previously. Yet another advance is the adoption of 50p delivery rather than traditional 50i.
Tags: iss132 | finepoint | hire | 4k hdr | Clive Northen
Contributing Author Clive Northen Click to read or download PDF
Delivering on the 4k Promise
Lorna Garrett It’s happened. Consumers are demanding 4K UHD content. They have the TVs, smartphones, tablets and other devices they need, and with much of Netflix and Amazon original content in 4K, as well as sports coverage from BT and Sky, consumers have tasted the future of content quality and are hungry for more. But broadcasters need not worry if their customers have enough bandwidth to receive 4K content - the solutions are ready to make 4K distribution a reality. New viewers are waiting if you’re ready to get to them first.
Tags: iss131 | garland | 4k | uhd | hevc | hc11000 | media excel | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF
TVFutures : Bouncing Back
Jane Lawrance When I arrived at the University of Portsmouth three years ago, I would never have thought in my wildest dreams I would end up where I am now. My time at university has been eye opening, informative and fun. Of all the lessons I have learned in the past three years, resilience is the one that has taught me the most. Starting out in the television industry is hard. Like many others, I’ve applied for graduate job after graduate job and been pipped to the post and rejected many times. I have also started projects and been faced with a variety of unexpected setbacks. Yet, my drive to enter this industry remains just as strong because bouncing back is the joy of resilience.
Tags: iss131 | portsmouth uni | graduate | job | Jane Lawrance
Contributing Author Jane Lawrance Click to read or download PDF
Why is ST2110 important
Penny Westlake Presenting to a capacity audience at a joint meeting of the RTS Thames Valley Centre and SMPTE in Reading, research engineer and industry commentator Tony Orme opened the evening with the assertion - “SMPTE’s ST2110 is the most important development to hit broadcast television since John Logie Baird went head to head with EMI-Marconi at the 1936 BBC trials in Alexandra Palace, London”.
Tags: iss131 | st2110 | rts | aes | madi | st2059 | wcg | hdr | Penny Westlake
Contributing Author Penny Westlake Click to read or download PDF
What is Next for Broadcast
David Schleifer The Broadcast industry is always chasing new technology. Some of that technology is further than it appears to be, and some of it is closer to adoption than it seems. In part, early adopted technology is accelerated because of customer or business demands, and in the case of IP based environments, the driving factors are speed, cost reduction, and flexibility of workflow. To counterbalance these efficiency-based factors is a desire by content creators and customers to see more 4K HDR content on their new big screens. In some ways the push to deliver 4K workflows also makes the need to manage cost/performance even more urgent.
Tags: iss131 | 4k | primestream | hdr | hls | mpeg dash | rtsp | rtmp | streaming | David Schleifer
Contributing Author David Schleifer Click to read or download PDF
How to shoot the perfect lighting mix
Alan Ipakchian Advances in high-quality LED lighting over the past couple of decades might be one of the best things that’s ever happened to broadcast and cinema production. Compared to traditional tungsten fixtures, LED lights offer powerful operational and financial benefits from longer life and lower energy bills to brighter, more consistent light and greater control over color temperature. LEDs generate much lower heat and are relatively cool to the touch, meaning they can be used in much smaller rooms and studios without sweating out the talent and crew or damaging property. Plus, compared to traditional tungsten bulbs, LED lights are virtually maintenance-free and can deliver tens of thousands of hours of lamp life.
Tags: iss131 | litepanels | led | lighting | 2 person interview lighting | Alan Ipakchian
Contributing Author Alan Ipakchian Click to read or download PDF
Listening to the needs of audio engineers
Alan Wheable Monitoring SDI video content within an installation is and has always been straight forwards. If you have a monitor, and you can see the image correctly, all is well. This is not necessarily the case for metadata and especially not for audio.
Tags: iss131 | omnitek | audio monitoring | aes | ebu | smpte 2110 | st2110 | smpte 352 | dolby | Alan Wheable
Contributing Author Alan Wheable Click to read or download PDF
Tips and Tricks to Giving Sci-Fi a New Look
Mathieu Marano From Terminator to Blade Runner, Alien, and even E.T., science fiction is a genre that will never fail to capture an audience’s imagination. It’s also a genre that encompasses so much more than just space crafts or time travel: frequently providing filmmakers with a platform from which to not only highlight social and political issues, but also explore innovations in the world of filmmaking itself.
Tags: iss131 | sci-fi | blackmagic design | vfx | resolve | 4k | cinemadng | davinci | ursa mini | Mathieu Marano
Contributing Author Mathieu Marano Click to read or download PDF
Opting In or Opting Out
Peter Savage 2 Peter Savage, CEO of Azule, explains whether you should opt in or opt out of the current red tape nightmare facing businesses large and small.
Tags: iss131 | azule | gdpr | consent | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
Informed Disruption
Marc Risby The industry is currently going through an enormous amount of disruption, and while many are charging in to embrace the changes, others are wringing their hands with indecision.
Tags: iss131 | boxer | ip | hdr | 4k | Marc Risby
Contributing Author Marc Risby Click to read or download PDF
Moving to an IP Platform Considerations
Stephen Brownsill Audio transport methods have remained virtually unchanged in the broadcast industry for more than half a century. Common approaches to routing audio around large broadcast facilities have closely followed methodology employed in telco central offices, with the use of X-Y crossbar or crosspoint switching.
Tags: iss131 | ip | smpte | st2110 | Stephen Brownsill
Contributing Author Stephen Brownsill Click to read or download PDF
Artificial Intelligence and Economics
Dick Hobbs - new It’s May, so it seems inevitable that this month’s column should be a bit of a reflection on NAB. And it will, in due course. But first, some news which I think is interesting. Cisco, the IT giant, is selling off its video software solutions business. It is being bought by an as-yet unnamed new company, backed by venture capitalist Permira Funds.
Tags: iss131 | AI | dejero | evs | sky news | xeebra | state of the nation | Dick Hobbs - new
Contributing Author Dick Hobbs - new Click to read or download PDF
UHD 4k and HDR Picture Quality
Tobias Kronenwett And as good as it is, and as easy as it is to do, one of the raps on HDR is that some feel that it’s so bright and sharp that it looks odd, unnatural, almost harsh. It’s similar to when we did our first trials with 4K. The resolution was so high you could easily see, for example, even very minor blemishes. It’s perhaps an irony of new technology that the higher the resolution of natural objects the more artificial they tend to look. It’s often a case of capturing images with more resolution or a greater colour space than our eyes and brains can actually perceive.
Tags: iss131 | sonovts | uhd | 4k | hdr | oled | Tobias Kronenwett
Contributing Author Tobias Kronenwett Click to read or download PDF
What is Serial Communication
Mike Colyer

Don’t get me wrong - the advent of IP technology has done wonders for the broadcasting universe, especially here in Special Cams land where changing a setting could have involved a rather long walk and climb to a remote camera location! Nevertheless, this said, I still feel that serial communication is a huge contender - not only just in the realm of odd robotics systems, but also across broadcast in general.

In this article, I will walk through the very basics - introducing a few different types of serial and how they work.

Tags: iss131 | rs422 | rs232 | parity | rs485 | Mike Colyer
Contributing Author Mike Colyer Click to read or download PDF
The Pitfalls of Online File Sharing and Sending Services
Mike Nash Easy-to-use, readily-accessible, and consumer-oriented, online file sharing platforms such as Dropbox and Google Drive are, to end users, a pleasant replacement to older file transfer methods such as FTP. FTP is complex to use and requires IT intervention to make almost any change. The pain associated with FTP, which was developed in the 1970s, is one of the factors that opened the door for the rise of online file sharing services in the workplace.
Tags: iss131 | ftp | signiant | efss | dropbox | google drive | ftp | ofss | media shuttle | Mike Nash
Contributing Author Mike Nash Click to read or download PDF
Security, Identity and Privacy
Bruce Devlin - new Put your hand up if you have more than one online-identity. Keep your hand up if the adverts for your latest online purchase follow you between identities as you surf the web. You can now let your hand fall into your lap because adverts that follow you indicate algorithms that have merged your multiple identities into the one and only you.
Tags: iss131 | class | Security | Identity | Privacy | gdpr | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read or download PDF
Betting Industry Transformed by Video Technology
Chris Thornton In the betting and gaming industry, the streaming of live sports from across the globe is a big business. It’s proven that revenues increase when bettors are able to watch the event that they have placed a bet on, providing a far more engaging experience.
Tags: iss131 | sis | betting | latency | satellite | jpeg2000 | Chris Thornton
Contributing Author Chris Thornton Click to read or download PDF
The Ongoing Evolution of Subtitling Technology
Dean Wales As a subtitling technology developer and manufacturer we’re currently and frequently hearing remarks along the lines of us ‘having it easy’ at the moment. This has typically spun out from the fact that there hasn’t been any really significant and therefore demanding technology shifts in the industry that have affected us for a while.
Tags: iss131 | captions | subtitling | ott | speechmatics | live subtitling | live subtitles | Dean Wales
Contributing Author Dean Wales Click to read or download PDF
Broadcasting Indoor Sky Diving
Daniel Harker Barnes When you say you’re broadcasting skydiving, there are two types of reactions. One is the creative, who’ll say something along the lines of “Wow. Those shots must look great” and other is the engineer who’ll say “That must be a real hassle to get all the infrastructure in and secure.”
Tags: iss131 | sky diving | ally adams | roaming camera | Daniel Harker Barnes
Contributing Author Daniel Harker Barnes Click to read or download PDF
Slow Motion Video Techniques
Phil Vinter Well, those kinds of higher frame rates still pretty much belong to the big guns. The Phantom Flex will give you 2,000 frames a second at ultra HD or 1,000 fps at 4K. It produces truly stunning images, but at a price that is beyond the reach of all but those with the biggest budgets. The camera retails at a cool £100,000 (I’ll have three please) with a daily hire out charge of around £3,000 (including lighting and a technician). IDT’s OS series cameras produce equally high quality images at a cheaper price, but you’re still talking tens of thousands.
Tags: iss131 | slo-mo | phantom | idt | fs7 | fs5 | rx10 mk111 | hfr | Phil Vinter
Contributing Author Phil Vinter Click to read or download PDF
TV Futures, Tales on Location
Georgia Thirtle If I think back to last May, I was just finishing my second year at the University of Portsmouth, studying Television and Broadcasting, and winding down for the summer. Then out of the blue I got a message from my course leader, saying I might be getting a call from someone who was a location manager working for Raider productions, you know, the production company behind the upcoming Tomb Raider film, I mean, what!?
Tags: iss130 | portsmouth university | tomb raider | cci tv | ccitv | Georgia Thirtle
Contributing Author Georgia Thirtle Click to read or download PDF
VR and the importance of tracking
KitPlus I would like to begin this article by clarifying what we at Shotoku mean when we talk about VR in live production. It’s not the production of immersive, 360 content where you need to wear a headset; we are talking about virtual studio (VS) and augmented reality (AR) work, such as placing graphics into a green screen environment or physical set. The technology used for this work is entirely different, though equally specialist – therefore it is important to understand the challenges of this kind of production in order to make informed kit choices.
Tags: iss130 | shotoku | vr | live production | KitPlus
Contributing Author KitPlus Click to read or download PDF
Grand slam IPTV and digital signage platform
Joe Walsh Kauffman Stadium in Kansas City, Missouri, is home to major league baseball’s Kansas City Royals. Built in 1973, “The K” has a proud baseball legacy, and goes down in history for winning two World Series championship titles; one in 1985 and another in 2015 — exactly 20 years apart. The most recent win brought a resurgence of baseball fever to the stadium, hosting more than 2.7 million fans during its 2015 winning season.
Tags: iss130 | iptv | vitec | eztv | Joe Walsh
Contributing Author Joe Walsh Click to read or download PDF
The shining star of Dancing On Ice
Rod Aaron Gammons Lighting is an incredibly important part of any TV production, and it can make a huge difference to what is seen on-screen. If the right lights are used in the right way, it can create a mood, set a tone and convey a certain atmosphere.
Tags: iss130 | rotolight | led lighting | anova pro 2 | chris yacoubian | Rod Aaron Gammons
Contributing Author Rod Aaron Gammons Click to read or download PDF
How IP-based KVM can improve workflow in broadcast control rooms
John Halksworth One of the most significant shifts the broadcast industry has seen over recent years is the adoption of IP technology as a standard infrastructure across the entire broadcast workflow. IP provides a network suitable for routing audio, video and control around a broadcast facility and is providing the answers to many industry challenges.
Tags: iss130 | kvm | adder | adderlink | alif100t | John Halksworth
Contributing Author John Halksworth Click to read or download PDF
Interview with Peter Rowsell, Polar Graphics
Polar If you don’t recognise the name Peter Rowsell instantly you no doubt would recognise him in person, from the famous ‘Pink Coconut’ parties during IBC (Brighton) in the 80s or the name ‘Polar Video or Polar Graphics’ both companies which he’s built up over the years.
Tags: iss130 | polar graphics | apantac | bluefish | cinedeck | focalpoint | mediaproxy | stardom | storagedna | Polar
Contributing Author Polar Click to read or download PDF
Out of the box: Sennheiser Ambeo VR microphone
Jon Pratchett 2 The use of 360 video, especially on platforms like Facebook and YouTube is really starting to take off. Gone are the days when you needed to buy multiple GoPros and rigs in order to get something decent looking. Now players like Insta360 and even GoPro with their fusion 360 camera are providing single camera, high quality solutions, enabling the masses to put out reasonable quality, certainly watchable, 360 video.
Tags: iss130 | vr | virtual reality | audio | ambiosonic | Jon Pratchett 2
Contributing Author Jon Pratchett 2 Click to read or download PDF
Six steps for award winning sound design with Jungle Studios
Chris Turner Few can argue that great sound design is one of the most important elements to any moving picture. Mute most horrors, and the difference in fear factor will be enormous. Visualize Jaws or Star Wars, and John Williams’s iconic score will instantly come to mind.
Tags: iss130 | jungle studios | fairlight | blackmagic design | davinci | Chris Turner
Contributing Author Chris Turner Click to read or download PDF
NAB is all about people
John Smith -new The relative success of NAB is down to people. The individuals we meet, the relationships we make and renew with customers and the desire to work together to develop a technology solution to any given challenge.
Tags: iss130 | media links | nab | mdp 3020 | md8000 | John Smith -new
Contributing Author John Smith -new Click to read or download PDF
Tried and tested: DPA d:vice
KitPlus KitPlus recently took delivery of an interesting piece of equipment for review. We like our iPhone gadgets here. For us, useful iPhone gadgets started when the Olloclip lens gave us a wide angle adaptor. This was a good start, finally evolving into a proper tool when Ziess produced the Exolens system for the 5,6 & 7 series iPhones. Around the same time as the Olloclip came out we were testing the Fostex AR4i which was a very exciting development at the time. You have a portable device, that you carry everywhere with you, connected to the world but with very limited audio capabilities. A stereo interface with decent microphones was a real boon!
Tags: iss130 | dpa | dvice | iphone | journalist mic | filmic | ios | microdot | KitPlus
Contributing Author KitPlus Click to read or download PDF
Reliable back-up at the Music City Bowl
Sam Gordon WLEX – LEX18 – is the NBC affiliate in Lexington, Kentucky, and part of the Cordillera Communications Group. As a very popular local station with a broadcast area that covers 40 counties across central Kentucky we have a big commitment to news, broadcasting more than seven hours of live programming on a typical day.
Tags: iss130 | wlex-tv | dejero | engo | gobox | cellsat | Sam Gordon
Contributing Author Sam Gordon Click to read or download PDF
Transforming asset management and monetization
Chad Hamilton FremantleMedia is one of the largest global television-production companies in the world — with one of the biggest and most valuable catalogs. We operate in 36 markets, creating, producing, and distributing content across traditional TV and digital platforms at a rate of more than 10,000 hours of programming per year.
Tags: iss130 | freemantlemedia | core | wazee | Chad Hamilton
Contributing Author Chad Hamilton Click to read or download PDF
State of the Nation
Dick Hobbs - new

On the most recent occasion I was trimmed, my hairdresser had just returned from a holiday in Hawaii.

Where she thought she was going to die. She thought this because the state’s emergency alert system was triggered, sending messages across all available platforms, for 38 minutes, that a ballistic missile was about to strike. That, I suspect, is the sort of thing that casts a pall across your holiday.

Why did it happen? Essentially it happened because an operator selected the wrong menu item. “I feel very badly from what’s happened,” he is quoted as saying, in a somewhat mangled version of English which may at least in part explain his difficulties with menu items.

Tags: iss130 | alertsense | Dick Hobbs - new
Contributing Author Dick Hobbs - new Click to read or download PDF
Why OTT needs multicast ABR
Damien Lucas Last year, Netflix’s global revenue reached $11 billion, with 24 million new names added to its subscribers’ list. Viewers are certainly making their preferences heard – and voting with their remote controls to show that over-the-top (OTT) content is here to stay.
Tags: iss130 | ott | abr | adaptive bit rate | cdn | dsl | lte | Damien Lucas
Contributing Author Damien Lucas Click to read or download PDF
Technological advances in the broadcast industry
Alan Wheable Since it is Omnitek’s 20th anniversary this year, I thought it would be interesting to look back over the technological advances in the broadcast industry over the last few decades and look at the similarities between then and now.
Tags: iss130 | omnitek | test and measurement | smpte 2110 | untra tq | 2022 | sdi 2022-6 | Alan Wheable
Contributing Author Alan Wheable Click to read or download PDF
Innovation in cameras moving to 4k
Tony Valentino For a number of reasons, wireless camera links needed time to migrate to 4K. However Broadcast Sports International, BSI, designs their own cameras and builds their own hardware and their transition to 4K is already complete.
Tags: iss129 | bsi | ref-cam | wireless | 4k | Tony Valentino
Contributing Author Tony Valentino Click to read