Newsletter from 19/12/2017
IP Is Here - Are You Ready?
Register Now for 2018 Training Courses - Beginning in January
With the first four documents in the SMPTE ST 2110 standards suite published, you need a solid foundation and working knowledge of the essential principles of IP video and audio transport for production and broadcasting facilities.
The new standards are essential to working with media over IP networks in real-time, and they are fundamental to the industry's migration to all-IP operations.
The impact of SMPTE ST 2110 goes beyond just replacing SDI with IP. The standards suite provides media professionals with the flexibility to develop and implement a whole new set of applications that leverage IT protocols and infrastructure. Media organizations and technology suppliers have already embraced SMPTE ST 2110, and products that support the standards suite are on the market now.
High Rock Mobile Television Chooses UTAH-400 Series 2 Router
A UTAH-400 Series 2 hybrid enterprise router from Utah Scientific is the signal distribution anchor aboard High Rock Mobile Television's first-ever production truck, High Rock 1. The compact yet powerful multiformat router is the ideal complement to the 40-foot, dual-expando vehicle, designed to offer big-truck production capabilities in a smaller footprint. Bennett Engineering sourced the UTAH-400 Series 2 and provided installation and integration for all systems on High Rock 1, which was manufactured by Gerling and Associates.
Calrec Artemis on a roll with High Rock Mobile Television
A Calrec Audio Artemis Light is the audio mixing engine aboard High Rock Mobile Television's first-ever production truck, High Rock 1. The 40-foot, dual-expando vehicle is designed to offer big-truck production capabilities in a smaller footprint, with Artemis providing superior sound quality, reliability, and seamless networking via Hydra2. Bennett Engineering sourced the Artemis and provided installation and integration for all systems in High Rock 1, which was manufactured by Gerling and Associates.
American Mobile Expands Its Focusrite RedNet Arsenal
Standard-setting remote production company American Mobile has further expanded its arsenal of tools from Focusrite’s RedNet range of Dante™-networked audio converters and interfaces, acting as the signal-transport backbone of its portable systems. Last year, American Mobile invested in its first RedNet hardware to eliminate long analog cable runs from stage. This lightened the travel load while improving quality with renowned Focusrite mic pre’s onstage digitally interfaced with American Mobile’s digital consoles and DAW systems. American Mobile has now configured three identical systems for remote use.
Wohler Supplies CSS Group with iAM-Audio for Hybrid Monitoring
When CCTV, China’s major public broadcaster, launched an initiative to update its OB trucks to 4K, it turned to CSS Group to supply the most suitable equipment for the station’s upgrade. For audio monitoring, CSS Group relied on its 15-year-relationship with Wohler Technologies, a leading manufacturer of video, audio and data monitoring solutions, to provide its high-quality audio signal monitoring and metering solutions. Wohler’s iAM-AUDIO, which monitors a mix of analog, digital and IP signals easily and transparently, was implemented into the truck to monitor CCTV’s various audio signals in the field.
Four new Calrec Brios take wing in VER flypacks
VER, a global provider of production equipment
and solutions, has added four brand-new Calrec Audio Brio compact desks to its operation. The Calrec Brios raise VER's Calrec inventory to 13 consoles that are shipped in rental flypacks to broadcasters and production companies for coverage of a variety of live sports and entertainment events. Based in Glendale, California, VER is a leading global supplier of equipment and technical expertise for television, cinema, live music, sports, and corporate production. Equipped with Hyrdra2, MADI, and Dante interfaces, the four Brios join VER's Calrec stable of two Artemis 64-fader desks, four Artemis consoles with 40 faders, two 32-fader Artemis desks, a Summa 36+8, and two Calrec router cores.
NEP Australia Selects Ross Video as Key IP Technology Partner
NEP Australia is transitioning from an SDI to an all-IP infrastructure for outside broadcast and live production from two IP-enabled centralized production hubs in Sydney and Melbourne that allow for remote Software Defined Production (SDP). “Even for broadcasters like NEP that are fully committed to building an all-IP infrastructure, this is not an overnight transition”, said Nestor Amaya, Director of IP Solutions and Infrastructure Product Marketing, Ross Video. “We are pleased to work with NEP to deliver future-proof solutions at their network edge that flexibly address their signal conversion needs with Software Defined Production.”
NEP Switzerland realizes Studio- / Playout-Facilities for MySports in Zurich and Rossens
Having begun broadcasting from its headquarters in Erlenbach near Zurich in mid-November, MySports is now producing its programming from a Broadcast Center in the former Schärer factory on Lake Zurich and a satellite studio in Rossens. NEP Switzerland is responsible for the planning and construction of the complex, and is in charge of day-to-day operations acting as a production service provider. Working with German system integrator Broadcast Solutions, NEP Switzerland has set up a 1,000-sq-m, 4K/UHD studio complex that includes a Playout Center in Zurich.
STV Channel in Belarus Turns to Grass Valley for Live Production Solution
Grass Valley worked with local systems integrator Offtech to identify the best programming solutions for Stolichnoe Televidenie (STV) Channel Minsk, Belarus, to increase the quality and efficiency of its live and studio news productions. After reviewing a variety of options, STV selected eight LDX 80 cameras, a GV STRATUS Newsroom Bundle, a K2 Dyno Replay System, two GV Korona K-Frame V-series production switchers and a 3RU Densité 3 Frame to serve as the monitoring and master control system for ingest, live and file-based content. STV also opted for an NVISION 8140 Hybrid Series router.
Stage Tec for digital studios at RTM Malaysia
Malaysia's public radio and TV broadcaster, RTM, is digitising its regional studios across the country. Stage Tec digital mixing desks and digital audio networks are vital building blocks of the strategy. The RTM studios Miri, Limbang, Sri Aman and Sibu went digital as part of the transition to the DAB standard. Four AURATUS platinum desks and four NEXUS audio networks were installed at the four regional radio stations in the state of Sarawak.
Claypaky leads at 2017 Asian Indoor and Martial Arts Games
The ceremonies, broadcast on the 17 and 27 of September to 57 countries worldwide, featured giant projection-mapped sets, pyrotechnics and sweeping light displays. For the Opening Ceremony, over 7,600 performers told the history of the Silk Road through music and dance, culminating in the lighting of the games’ ‘cauldron’ which burned throughout the 12-day event. Internationally renowned lighting designer, Durham Marenghi used more than 800 Claypaky fixtures to deliver the two large-scale lighting designs for the Opening and Closing Ceremonies of the 2017 Asian Indoor and Martial Arts Games (AIMAG), produced by Balich Worldwide Shows, held this year at the Olympic Stadium in Ashgabat, Turkmenistan.
Gearhouse provides OB, event comms and post production for 2017 UCI Mountain Bike WC
The 2017 UCI Mountain Bike World Championships was the 28th edition in the series and as in 2016, the championships various disciplines were held at separate locations. The world championships for cross-country and downhill were recently held in Cairns, Queensland and Gearhouse Broadcast provided and managed the full broadcast, event communications and post production solution. Gearhouse Broadcast OB Supervisor Marcus Doherty explained, “We covered the event in 2016 and identified areas then where we could improve for the 2017 world championships.
VidOvation Rides Along During NYC Marathon's Women's Wheelchair Race
"The only way to get live pictures from the course during a marathon is to use wireless technology. From there, bonded cellular is a good option for ensuring video gets where it needs to go, even in a dynamic, uncontrollable environment with millions of people taxing the network," said Jim Malone, director of technology for CP Communications. "VidOvation's AVIWEST system not only delivered a solid feed during the women's wheelchair race, but its command-and-control capabilities gave us far more control over the video than we've had with some other systems we've used. Our technicians were happy with how it performed and found it to be a valuable production tool."
Robe for Rolling Stones No Filter
Thirty-Six Robe BMFL Spots were workhorse moving lights on the recent Rolling Stones 'No Filter' European tour, part of a spectacular and epic lighting design created by Patrick Woodroffe. Patrick and associate designer Terry Cook of Woodroffe Bassett design (WBD) worked closely with stage architects Stufish on developing the show’s overall aesthetic. With many moving lights on the rig, they sought a high-powered fixture to occupy four 'slots' just below the tops of four imposing 23 meter high by 11 meter wide monolithic video towers which define the performance space.
Claypaky’s Scenius Fixture Range Hits the Road with Katy Perry for “Witness: The Tour”
The multi award-winning Perry is one of the best-selling music artists of all time chalking up sales of 100 million records globally. “Witness: The Tour” runs from September 2017 to August 2018; it began in North America and will move to Europe and Australia/New Zealand next spring and summer, respectively. The tour marks the first time Halpin is using Claypaky’s Scenius range. The stage design is dominated by a 130-foot eye-shaped LED screen, and Halpin was given the brief to “create big, strong, powerful looks that would complement and work with the shape and power of the screen.”
Adlib Sparks Up For Enter Shikari Tour
When mainstream media reviews are making comments about a show’s technical production, you know it has had serious impact! The full-tilt sonic maelstrom of Enter Shikari’s recent UK tour made so much landfall that no-one escaped the raw and visceral onslaught. “… it’s not the tech itself, but the way that it’s used that really makes the difference ..“ enthused Remfry Dedman in the Independent* referring to the band’s outstanding quad sound system. “The sound is incredible,” yelled Jen Thomas** for the Nottingham Post who reviewed the first of the arena venue shows as the tour energized after an exciting debut gig at the Liverpool Olympia.
EVS' X-ONE Wins IABM's Prestigious Peter Wayne Award
The all-in-one system delivers the signature speed and reliability of EVS’ technology with its new software-defined architecture. X-ONE puts the capabilities of an entire control room in the hands of a single operator who controls everything from EVS’ contextualized touchscreen user interface. This adapts to the type of production its deployed on, placing the user in a unique production environment with pre-defined functions. Perfect for smaller scale productions of up to six cameras, X-ONE lets operators create replays, control audio, cut together a live feed with the built-in video switcher and even add graphics to live programming.
IP-Based Sports Production Becomes Reality with NewTek 3Play® 3P1
Via NDI, NewTek’s innovative video over IP technology, 3Play 3P1 automatically translates connected SDI sources to NDI, enabling local inputs to be shared simultaneously across the network with compatible systems and devices. Built-in dual-channel “first replay” telestration empowers on-air talent with transport controls to start, stop, and scrub video in either direction. Users also benefit from the presence of familiar workflow paradigms for sports production and replay, recognizable from not only current and previous 3Play systems, but established solutions from other manufacturers as well.
MCX-500 Multi-Camera Live Producer
The MCX-500 is an affordable, uniquely user-friendly and flexible production switcher that makes it simple for a single operator or small team to produce a broadcast quality live event. Multiple video inputs include professional 3G-SDI, HDMI, Composite Video plus dedicated DSK mean you can mix and match kit as needed for each production. If you’re running the show on your own, you need controls that suit the way you work – intuitive and yet somehow also fully featured. The MCX-500 achieves this by carefully thought out physical controls that you will find easy to operate without looking away from the action for a second.
ES Broadcast Hire increases Fujinon 4K broadcast lens offering
ES Broadcast Hire, the broadcast equipment rental division of ES Broadcast, is to further expand its considerable range of UHD live production lenses with the addition of a fleet of Fujinon’s latest 4K box lenses. The company has purchased 11 Fujinon UA27x6.5BE and 22 Fujinon UA107x8.4BE lenses. The new box lenses will complement an existing inventory of Fujinon UA80x9BE 4K box lenses and UA14x4.5BERD and UA22x8BERD ENG lenses. The lenses are due for delivery in December and will be available for immediate hire.
First Wireless 4K Live Production
Live broadcast specialist BSI has completed a series of live tests with the 4K version of their wireless camera system. The company aims to be the first to use a low delay 4K wireless camera system live on air at a broadcast event. Most prime time sports events in the UK are already aired in 4K, however where the broadcasters are using specialist mobile wireless cameras, the shots are always captured at the 1080p/50/3G standard, and up scaled to 4K. So far, nobody has used images from a 4K camera with a low delay 4k wireless link in a production.
SMPTE Publishes ST 2110 Standards for Media Over Managed IP Networks
With SMPTE ST 2110 standards, intrafacility traffic now can be all-IP, which means that organizations can rely on one common data center infrastructure rather than two separate facilities for SDI and IP switching/routing. The foundation for the first SMPTE ST 2110 standards came from the Video Services Forum (VSF) Technical Recommendation for Transport of Uncompressed Elementary Stream Media Over IP (TR-03), which VSF agreed to make available to SMPTE as a contribution toward the new suite of standards.