Newsletter from 18/04/2011
NAB 2011 Review
Cameron Says 3D TV Broadcasts Must Use 2D Talent
“People can't completely reinvent how they do things," Cameron said. “It costs too much to hire separate crews to produce the same content in 3D and 2D, and separate 3D productions lose the expertise that comes from directors and producers who have filmed for years in 2D,” and he continued, "to grow this market rapidly and correctly with high quality 3D, let people do what they do." Cameron said that when he began adopting 3D technologies into his own filmmaking, he didn't want to use heavy rigs that would take away his opportunities to shoot hand-held or use other techniques. "I approached that as a director saying, 'Well, I don't want to change the way I make movies,'" he said. "I think the language of cinema is what it is, different people have different styles and so on, but I don't want to be denied my normal tool set."
3ality Digital Takes the Headache out of Live S3D
3ality Digital, a world leader in advanced technologies to empower creative digital stereoscopic 3D (S3D) acquisition and workflow, intoduced new technologies at NAB that will dramatically change the landscape for S3D live production. These innovative new solutions will bring S3D production crews an unparalleled level of automation and flexibility, ultimately providing broadcasters better, faster, and less expensive solutions for successful S3D production. 3ality Digital has developed three new products ideally suited to the demanding requirements of live, S3D broadcast environments. All new additions to the 3space™ line of technologies, 3ality Digital took the wraped off IntelleScene™, IntelleMatte™ and IntelleMotion™ systems at their NAB booth in Las Vegas.
AJA Ki Pro Mini is First Recommended ProRes Solution for RED EPIC
"AJA's Ki Pro Mini is the first ProRes recorder that we've battle tested and are recommending for use with the RED EPIC," said Ted Schilowitz of RED. "I flew with it as the broadcast quality, 1080p offline video recorder while shooting 5K EPIC REDCODE RAW files in the Pictorvision nose mount of a copter this week and it worked like a charm. I know first hand of the high level of industry adoption of AJA gear based on its proven performance and their reputation for high quality professional gear, and the KiPro Mini is no exception. It worked solidly under the pressure of real high-end cinema shooting environments, where it really counts. We tested it, and loved it."
New AJA Frame Synchronizer and Fiber Mini-Converters
AJA Video Systems opened up myriad workflow possibilities with the launch of FS2, a universal frame synchronizer and converter with two completely independent channels that can be used separately or together, all in a compact 1RU design. Each FS2 video channel supports virtually any input or output: analog component or composite, 3G/HD/SD-SDI, Dual-Link and HDMI I/O—and each channel has its own still-store, keyer, and video proc amp/color corrector. FS2 offers dual independent streams with full input and output signal routing and dual 16 channel audio processors making it ideally suited for broadcast facilities, production trucks and other multi-format production environments.
AJA Previews Thunderbolt Technology-Enabled Products
AJA was also demonstrating support for the all-new Thunderbolt technology based HD/SD I/O with the recently introduced MacBook Pro line. Developed by Intel and brought to market with technical collaboration from Apple, Thunderbolt technology is designed to provide simple, yet powerful one-cable plug-in connectivity for 3G, HD/SD-SDI and HDMI workflows. Codenamed “Phaser”, AJA’s upcoming product supports HDMI 1.3a input and HDMI 1.4 output for stereo playback, provides 10-bit up/down/cross-conversions, with RS422 device control and professional reference/LTC I/O, in a highly portable design.
ARRI and CAMERON-PACE GROUP Cooperate in 3D Market Development
ARRI and CAMERON - PACE Group (previously "PACE") have worked closely together on several premium 3D projects including THE THREE MUSKETEERS; Martin Scorsese's HUGO CABRET, due for release this November; Ang Lee's ongoing production LIFE OF PI; and now 47 RONIN, starring Keanu Reeves, which recently entered principal photography. ARRI Managing Director Martin Prillmann comments, "The ALEXA M camera system is designed for mobile 2D and 3D camera configurations, offering the same unparalleled image quality, reliability and workflow options as all other cameras in the ALEXA product range. The CAMERON - PACE Group will have exclusive commercial access to the first systems to be made available in September 2011, pioneering its use in a variety of exciting 3D productions during which the design will be enhanced and optimized with new 3D application features unique to the CPG/ARRI collaboration. Serial production and sales release of the ALEXA M to all customers will commence during the first quarter of 2012."
Axon Showcases Cortex Monitoring & Control System
The latest version of AXON’s Cortex software application makes the implementation of multiple video and audio signal paths easier, more efficient and cost-effective than ever. Cortex provides comprehensive tools to configure, monitor and maintain a diversity of devices including Axon’s Synapse range of control modules and other third-party products. Consequently, you take total control over multiple and complex routines involving numerous users. Ultimately, you can configure your workflow exactly how you wish, to meet your production needs. Like all AXON products, the evolution of Cortex has been heavily influenced by customer feedback. As a result, alongside its elegant feature set and extensive functionality, Cortex is also highly-customisable and intuitive to operate. Flexibility is essential. Cortex delivers a common control and monitoring interface for 290+ processing modules found in the market-leading Synapse range, plus a wealth of devices from different manufacturers – such as routers, waveform monitors, receiver decoders – using SNMP (Simple Network Management Protocol)
Bexel Hits the Court with 3ality Digital
Featuring six 3ality Digital acquisition systems, the Hercules HD Flypack and the Eagle Announcer System, the basketball court, located between Central and South Hall, will replicate a professional sports broadcast set-up. Each day during exhibit hours, special appearances and events will take place on the court in an effort to offer broadcasters, producers and other show attendees a close look at the tools and technology needed for 3D production. “Each year 3D is a major topic of discussion at NAB and this year is no different,” says Craig Schiller, vice president and general manager of Bexel. “We look forward to showing clients and prospective clients alike just how far this evolving technology has come. Thanks to partnerships with technology leaders like 3ality Digital, we are able to create systems that provide efficient solutions for clients using the newest premium gear and technology.”
Bexel Keeps Clients on Cutting-Edge with EVS
Beginning this summer, Bexel will offer clients the third and next generation EVS XT servers, which have quickly become the industry standard of production playback servers. The XT3 offers up to eight channels as well as the enhanced speed and reliability of Solid State Drives in its redundant storage array. Best known for its proven compatibility with several control protocols and its ability to record in multiple popular third-party codecs, the new XT3 includes enough capacity to support two SuperMotion streams per mainframe and up to six channels for 3D/Dual Link applications. In addition, the XT3 includes physical ports for modular storage expansion. “Upon learning about the capabilities of the latest EVS XT server, we immediately recognized how easily the XT3 translates into increased power and flexibility in any production environment for our clients,” says Craig Schiller, vice president and general manager of Bexel. “The new XT3 production server combines the world-class speed and reliability we have come to expect from EVS, along with new features enhancing its capability and performance.”
Blackmagic Design Announces New ATEM Production Switchers Model Lineup
ATEM Production Switchers will now be sold independent of the control panel, so customers can start at a lower cost, using the chassis and a software control panel for Mac or PC. If the customer needs a robust hardware based control panel, then the ATEM Broadcast Panels can be purchased separately. The new software control panel software for Mac and Windows lets customers use ATEM switchers from their laptop, greatly reducing cost and increasing portability. The ATEM Software Control provides a professional M/E workflow control panel with parameter adjustments in simple to use palettes. Customers can also manage the media pool in the switcher and change switcher settings.
Clear-Com Distributes Optocore Intercom Interfaces
The V3R-FX-INTERCOM and X6R-FX-INTERCOM are intercom interfaces for the distribution networks, based on the market-proven Optocore™ and SANE (Synchronous Audio Network plus Ethernet) technology platforms. The Optocore dual redundant fiber-ring-based network can transport up to 1024 channels of 48 kHz sampled digital audio, or can be reallocated to route data and video signals simultaneously with multi-directional audio. The SANE platform is based on CAT5 cabling, which carries up to 64 channels of very low latency digital audio and two pairs for 100Mbit Ethernet. By using a ring topology, SANE is fault tolerant like the Optocore fiber-based solution and supports up to 24 interface nodes. “Optocore and SANE together enables the V3R-FX-INTERCOM and X6R-FX-INTERCOM devices to deliver a highly reliable, flexible and cost effective solution for broadcast and live performance productions,” said Simon Browne, Senior Product Manager of Clear-Com. “These devices seamlessly integrate intelligent intercom systems – for a production of any size and across any number of locations – with the other analog or digital audio, data and/or video signals over common fully redundant fiber and CAT5 cables.”
Genelec Displays its 1238CF Tri-Amplified DSP Monitoring System
Designed for medium-sized control rooms, this system is ideal for music recording studios, project studios, film and video postproduction and broadcast monitoring. The 1238CF is compatible with proprietary Genelec Loudspeaker Manager™ (GLM™) control software, Version 1.4.0, and can be combined with Genelec 8200/7200 Series products in the same control network. Like Genelec’s popular 1038CF, the 1238CF was developed as a response to market feedback and customer requests for Mid/High-frequency Genelec performance in a more compact package. The Genelec 1038B model is an impressive full-range monitor with great low-end response; it has been consistently praised for its even dispersion characteristics in the Mid/High spectrum. However, today’s audio production rooms are often small, and most multichannel environments use a subwoofer combined with bass management to handle most of the LF content as well as the LFE channel signal, settings in which use of the larger 1038B enclosure would not be optimal. Genelec has engineered the 1238CF specifically with these needs in mind.
Alain Andreoli, President and CEO of Grass Valley
Alain's long term mandate is to build Grass Valley into a strong global leading brand—the premier video technology solutions company—leveraging its more than 50-years of R&D and technology innovation leadership, its broad range of products and solutions offering, and its intimate relationships with one of the broadest and most loyal customer bases in the broadcast industry. Alain joins Grass Valley from Francisco Partners, where he was an Operating Partner. Just prior, he was President of Sun Microsystems Europe which included 30 subsidiaries operating in 100 countries and representing 40% of Sun's business, until Sun’s acquisition by Oracle.
Grass Valley with 3G Triax and Fiber Systems
3G Transmission from Grass Valley is the company's third-generation camera transmission system, capable of carrying uncompromised 3 Gb/s signals over both triax and fiber. This allows any choice of transmission cable to carry either uncompromised 1080i, 720p or 1080p50/60 video, while being prepared for multiplexed pairs of 720p or 1080i HD signals for stereoscopic 3D applications. As a bonus, 3G Transmission extends the range of triax coverage by 25%, to a conservative minimum of 4,921 feet (1,500m). Getting cameras to the positions where you need them to be. In addition to the camera’s digital video output, 3G Transmission carries four digital audio channels back to the base station as two AES/EBU pairs and as an embedded signal within the digital video signals itself. Two independent video returns can be sent to the camera for operator monitoring and for example, a stage-floor monitor, at the same time. 3G Transmission also provides crystal clear talkback and a broad data channel for camera control, communication with robotics, real time graphical overlay processing or remote alignment of a stereoscopic rig.
New Multiviewer and Routing Solutions from Harris
The 2011 NAB Show marks the North American debut of the HView IP multiviewer, built for networked environments with compressed video and audio feeds; and the HView SX Hybrid multiviewer, designed for hybrid applications with traditional baseband and IP signals. The HView IP multiviewer simplifies signal management in facilities working almost purely in the IP environment, including IPTV and cable headends and those streaming directly to the Internet. HView IP supports multiple compression formats and resolutions and includes support for virtual network control, RSS display and multiformat IP stream decoding with visual alarming.
IMT's Modular Mobile RF Platform Broadcast ENG Vehicle
Integrated Microwave Technologies, LLC (IMT), a Business Unit within the Vitec Group’s Videocom Division, and a leader in advanced digital microwave systems serving the Broadcast, Sports & Entertainment and MAG (Military, Aerospace & Government) markets, was rolling out its fully HD Microwave Service Company (MSC) Modular Mobile RF Platform (MMRP) broadcast ENG news vehicle at the 2011 NAB Show. The MMRP in full HD configuration was designed and integrated by Microwave Service Company (MSC), the engineering, integration and installation group of IMT. The MMRP offers superior gas mileage, along with a very flexible and efficient platform for today’s smaller news crews. Now available in a full HD-SDI configuration, the MMRP (also available in SD), features a full-width removable rack with 27RU, comfortable seating for two, an integrated I/O panel, both a 4 dB omni and a 14 dB directional high-gain microwave antennas with pan & tilt, and an in-dash 3G/4G Ford installed computer system.
Jünger Audio Appoints New Distributors In The US And Canada
As part of a major restructuring of its distributor network, dynamic processing specialist Jünger Audio has appointed two new distributors – Group One and HHB Canada - to handle its product range in the United States and Canada respectively. Peter Poers, Managing Director of Jünger Audio, says: “We are delighted to be working with Group One and HHB Canada and feel confident that their expertise in the market will enable us to bring our product range to a much larger audience. Both our new T*AP TV Audio Processor and LEVEL MAGIC™ suite of products fulfil the requirements set by major broadcasters around the world for maintaining loudness consistency. This is an important issue for everyone involved in the broadcast industry. Our strength lies in our 20-plus years of expertise in dynamic processing – and in our ability to deliver a range of products that are designed to solve the problem in an easy and cost effective way.”
Miranda highlights its fully integrated, IT-based automated playout system at NAB
Called the Playout Glass Cockpit, the new solution tightly integrates the iTX IT-based automated playout with Kaleido multi-viewers, and the iControl Playout Manager facility monitoring. The system also incorporates a range of broadcast infrastructure products, including intelligent switching and loudness management. “This tightly integrated playout solution brings together many of our most advanced products to deliver unprecedented cost and workflow efficiencies for broadcasters and playout facilities”, says Michel Proulx, CTO at Miranda. “With the Playout Glass Cockpit, facilities can improve their channel to operator ratios, while also increasing their overall quality of service, and decreasing the Mean Time to Repair when problems occur. They also benefit from much greater operational agility, with the ability to quickly add more channels and support new formats.”
Compact 3D Broadcast Live Control for P+S TECHNIK Freestyle Rig
“The combination of the Sony HDC-P1 cameras, HDFA-200 fibre adaptor, MPE-200 3D processor and the P+ S TECHNIK Freestyle Rig are an ideal solution for broadcasters wanting a compact 3D camera set-up. By simple integration of the cameras, fibre adaptor and rig itself it is just a single fibre connection back to the control room from where the operator has full control over both the rig and cameras making it not only very compact but also very easy and quick to install, in fact ideal for OB usage.” says Andy Hotten, product specialist group leader for live production at Sony Professional Solutions Europe in Basingstoke, UK. The compact 3D broadcast live control integration works perfectly with the Freestyle Rig, but also with the Standard Rig when using a Cmotion cam in and compatible motors. The live control will be available from May 2011.
Panasonic Announces 2nd Generation 3D CamCorder
The 3DP1 incorporates two 1/3”, full-HD 2.2 megapixel 3-MOS 3-chip imagers with enhanced sensitivity and a 20-bit Digital Signal Processor to acquire full production quality, native 1920 x 1080 resolution images. As with the 3DA1, the 3DP1 incorporates stereoscopic adjustment controls making it easier to use and operate. The twin-lens system adopted in the camcorder’s optical section allows the convergence point to be adjusted. Functions for automatically correcting horizontal and vertical displacement are also provided. Conventional 3D camera systems require these adjustments to be made by means of a PC or an external video processor. Panasonic’s integrated professional 3D camcorders, however, automatically recalibrate without any need for external equipment, allowing immediate 3D image capture.
Panasonic Unveils AG-HPX250 P2 Handheld CamCorder
Weighing 5.5 pounds, the HPX250 incorporates high-sensitivity 1/3”, full-HD 2.2 megapixel 3-MOS imagers and a 20-bit Digital Signal Processor to acquire native 1920 x 1080 resolution images. Offering a wide 28mm to 588mm (35mm equivalent) 21X HD lens with 3 independent adjustable rings, the HPX250 covers most shooting situations without the need for a wide-angle conversion lens. The 21X lens also features an Optical Image Stabilizer (O.I.S.) function that ensures stable images during shooting. The HPX250 offers variable frame rate capability in 1080p up to 30fps as well as 720p up to 60fps for undercranking/overcranking to create fast or slow-motion effects. In addition to AVC-Intra 100/50 recording, the HPX250 records in DVCPRO HD, as well as standard definition recording in DVCPRO50, DVCPRO and DV. The HPX250 supports international HD and SD standards, an added benefit to producers with global clients. In AVC-Intra 100/50 and DVCPRO HD, it records in 1080 at 59.94i, 29.97pN, 23.98pN, 50i and 25pN and in 720p at 23.98pN, 29.97pN, 59.94p, 50p and 25pN. In DVCPRO50/25 and DV, it records in 480 at 59.94i, 29.97p, 23.98p, 23.98pA, and in 576 at 50i and 25p over 50i.
Riedel MediorNet Compact
MediorNet Compact provides connectivity for up to 12 3G/HD/SD-SDI signals, four AES ports, two MADI interfaces as well as four analog audio I/Os with high-quality microphone preamps and a dynamic range of 117 dB. Furthermore, MediorNet Compact features an interface for Riedel RockNet digital audio networks, two DisplayPort outputs, three Gbit Ethernet ports and connections for serial data and GPIs. One Sync input and three Sync outputs complete the device’s interfaces. MediorNet Compact is fully compatible with other MediorNet systems and supports all network topologies including ring, daisy-chain, star or any combination of these. The units can be equipped with various fiber connectors, ranging from install-friendly LC connectors to road-proof Neutrik opticalCONs with integrated WDM multiplexing technology.
SGO Demonstrates Mistika Live On-Set Application
SGO’s latest innovative development, the new on-set Mistika Live application, is also being demonstrated, to show how SGO's technology can be used at the start of the production process. Mistika Live is the ultimate on-set work station in a stereo 3D shoot environment, which extends Mistika's industry-leading stereoscopic 3D post production tools into the production environment. SGO presents how the system forms the central core of the process and how its incredible toolset efficiently handles both the challenges and creative demands of production. Mistika shows how it enhances a quality driven business, based on its unrivalled speed, highly developed functionality, openness, flexibility and ability to integrate seamlessly with other systems to work collaboratively.
Snell Debuts New Kahuna 360 Features
The Kahuna 360 production switcher platform breaks away from the tradition of fixed M/E’s, fixed resources, and fixed formats while supporting multiple simultaneous broadcast productions and a mixture of SD, HD, and 1080p in a single mainframe. The system has up to six full M/E’s and seven keyers per M/E, as well as a sophisticated 3D DVE package. Snell's new Source Safe automatically senses a signal on a Kahuna 360 input and sets up the correct processing without the need for operator or engineering intervention. With this capability, the system can detect the source format of signals coming through the plant to production and ensure that they can be brought smoothly into the workflow and safely taken to air. Addressing all variety of formats up to 1080p, Source Safe addresses both the current and future format requirements of production. The new feature enables the integration of SD content into HD programming, and also allows operators to mix progressive and interlaced material effortlessly and with confidence.
New Range of Channel-in-a-Box Solutions from Snell
Snell's channel-in-a-box solution for news provides clean and accurate transitions between live feeds and the content played back from ICE. Reaction time is important in live, breaking news, and ICE's built-in functionality for rapid response frees production staff to focus on the creative aspects of making compelling news programs. Because ICE is file-agnostic and supports almost any industry compression standard, a single playlist can contain multiple video, audio, and graphics formats. Thus, operators can save time and simplify operations by avoiding unnecessary file transfers, transcoding, format conversion, and file rewrapping. For sports television, Snell's channel-in-a-box solution enables broadcasters to maximize revenues from programs, controlling playout to ensure the optimum number of commercial insertions while still making sure that viewers catch all the action. ICE facilitates HD/SD simulcasts so that broadcasters can satisfy all programming demands throughout the transition from SD to HD operations. Multiple inputs into ICE allow external advanced graphics to be "mixed" with live signals from remote sites while inserting specialized graphics, such as scoreboard tickers and RSS feeds, and final routing to the desired destination.
Sony's `Belive Beyond HD´ Vision
The first example of technology to realise the concept of ‘Beyond HD’ is a new CineAlta camera, the F65. The F65 is designed for the highest quality movie, drama and commercials. It uses an 8K CMOS sensor¹ to produce stunning pictures. Footage shot with the F65 was shown on the Sony stand at NAB using Sony’s SRX-R320 4K digital cinema projector. Sony also has expanded its line of 3D production solutions by developing a number of 3D camcorders including the PMW-TD300 shoulder mounted 3D camcorder and the compact HXR-NX3D1E 3D NXCAM camcorder. In addition, new 3D application software is available for the MPE-200 3D processor box. Finally, Sony has launched the MVS-7000X multi-format production switcher, suitable for even the most demanding HD productions.
Sony Delivers Innovative 3D Production Solutions
Sony has expanded its range of 3D production solutions with two new 3D camcorders; the PMW-TD300 shoulder mounted 3D camcorder and the compact HXR-NX3D1 3D XDCAM camcorder. Both the PMW-TD300 and HXR-NX3D1 have been designed to deliver stunning 3D images in high-definition, while offering maximum flexibility and mobility regardless of the shooting environment. Sony also announced a new 3D-Link option for the PMW-F3 digital cinema camcorder, enabling greater efficiency for shooting 3D using a rig system. Other additions to Sony’s 3D range include new application software for the MPE-200 3D processor box, which allows real time analysis and correction of stereoscopic 3D signals. The new MVS-7000X multi-format production switcher is capable of 3 Gbps single-link operation that is suitable for even the most demanding live 3D production requirements. Furthermore, at NAB Sony announced SRMemory, a high-speed, high capacity recording media which turns 3D file-base production work flow into reality.
Sound Devices Introduces MixPre-D Portable Mixer
The introduction of MixPre-D continues Sound Devices’ heritage of studio-quality portable mixers, which began with the original MixPre. At the heart of the new MixPre-D are two studio-grade mic/line switchable inputs with limiters, high-pass filters and selectable phantom power. To accommodate the increasing variety of cameras and devices used in production today, the MixPre-D has incredible output adaptability and serves as a flexible, class-compliant USB audio interface. The MixPre-D offers numerous analog output options including mic/line switchable balanced XLR, dedicated consumer mic-level on a locking TA3 connector (designed spec ifically for DSLR-type inputs) and an aux-level output on 3.5 mm connection. Digital outputs include balanced AES3 on XLR and USB audio connectivity for Mac OS, Windows or Linux computers.
Sound Devices Previews Video Recorder
The new PIX 220 and PIX 240 can be connected to cameras with HDMI and can record directly to QuickTime using Apple’s ProRes or optionally, Avid’s DNxHD codec. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post-production, making the workflow simple and fast. The PIX 240 adds even more flexibility, with its HD-SDI input and simultaneous HD-SDI and HDMI outputs. The audio circuitry on the PIX 220 and PIX 240 was based on Sound Devices’ award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power. PIX 240 includes a built-in Ambient Clockit time code generator/reader with Genlock output for multi-camera and double-system sound applications. The source time code can be derived from the HD-SDI stream, from an external source, or from the built-in generator in PIX 240. Additional features include digital audio inputs on AES3, and an external eSATAp connection for direct connection to large SATA storage volumes.
SSL Expands Capability of C100 HD with New V4 Software
Highlights of the new software include ‘C-Play’, another industry first from SSL, which integrates a professional audio playout system into the console surface, delivering superior ergonomics for the operator, integrated recall of playlists with console projects and a competitive price benefit. Compatibility with external studio systems is significantly enhanced. V4 includes integration with Mosart Medialab Newscast Automation. Mosart is one of the world’s leading production automation systems and adds to existing support for Sony ELC and Ross Overdrive. Continuing with the integration theme, full duplex connectivity with Riedel RockNet Audio Networks (including remote preamp control and compatibility with their Independent Gain System) expands compatibility with installed audio networks. ‘Audio Follow Video’ capabilities are also enhanced with independently programmable ramp on/off fade times.
Studer Vista 5 Gains New TFT Metering and Upgrades
The new metering is capable of displaying signal levels from mono through to 5.1 channels on each input, with a configurable lower area which can be used to display bus assignments, surround images or the unique History mode, where a scrolling audio waveform displays signal anomalies and highlights them for up to 50 seconds to allow the engineer to identify where the event occurred. Metering for ‘layer 2’ signals can also be viewed, while the Control Bay screen can be used to provide configurable user pages with up to 40 meters. When the TFT meter bridge is fitted, the external GC screen becomes an integral part of the chassis.
Telecast Fiber Optic Connectivity for 3ality Digital 3D Rigs
Telecast Fiber Systems CopperHead™ 3400 camera-mounted fiber optic transceiver played a lead role in 3D broadcasts of two high-profile Australian sports events: the Australian Football League (AFL) Grand Finals of Australian rules football, held Sept. 25, and the National Rugby League (NRL) Grand Finals held a week later. The CopperHead 3400 units provided seamless fiber optic connectivity for 3D rigs supplied by 3ality Digital, a leading provider of advanced 3D camera equipment. “With the CopperHead 3400, we can multiplex all of the many signals from our 3D rigs onto a single two-fiber hybrid cable. It’s pretty unheard of to find a solution that can multiplex so many packets onto a single fiber pair, but that’s the big advantage of the Telecast gear — it allows us to do more with fewer fibers and fewer cables,” said Matt Battaglia, chief engineer for 3ality Digital. “We have always relied on Telecast Fiber Systems for our fiber optic connectivity needs because they understand broadcasting and broadcasters. With the CopperHead 3400, they have delivered a one-of-a-kind product that’s uniquely addressing an important niche in the marketplace.”
Vinten is 3D ready
The Vinten 3D wedge adapter balances rigs which cannot be mounted to a conventional head in a balanced position. It is designed to facilitate the proper balancing of under/through beamsplitter 3D rigs and allows more clearance for the under-slung camera, which increases the downward tilt available. The new 3D wedge adapter offsets the head’s level position by a few degrees so the balance mechanism produces a back-torque when the camera is level, which enables the centre of gravity of the payload to be forward of the tilt axis. The adapter gives users a flexible and cost effective solution as it integrates seamlessly with Vinten’s full range of heads. For OB customers looking to make their truck fleets dual purpose, the adapters allow the option of shooting in 2D and 3D without compromise, removing the need to replace their current inventory of Vinten heads. The 3D wedge adapter is making its debut at NAB2011 alongside a collection of Vinten’s highly acclaimed and multi award winning top quality camera support solutions. To demonstrate its capabilities, the adapter will be shown with a Vector 950 system set up with a Stereotec Mid-Size Beam splitter.
LiberoVision’s Integration into Vizrt's Sports Tool
With this new product integration, sportscasters can deliver their Libero Highlight clips— with defined starts/stops and annotations—into the Vizrt workflow. They can then control the playback of the clips from an Apple iPad using Viz Anchor or any other Vizrt control software and play it out through the Viz Engine embedded in graphics. It’s also possible to export metadata, such as short text, which is rendered by Viz Engine, Vizrt’s real-time rendering engine. This also means that the LiberoVision analysis can reach videowalls, virtual sets and that it is available for distribution to mobile devices by using the device optimized delivery of video to all devices. “LiberoVision’s patented image processing technology instantly transforms the camera feeds into realistic 3D representations that allow viewers to essentially fly over the playing field to review key moments in the action from the best perspective,” said Dr. Stephan Würmlin Stadler, CEO for LiberoVision AG in Zurich, Switzerland. “Realistic 3D replays can be slowed or stopped and illustrated with advanced telestration and other sports analysis tools to enhance viewers’ understanding of game strategy and developments as they unfold.
3D OBVan Directory now on Sale
In our 3D OBVan Special 2011 we present 20 3D/3G OBVans from all across the world. Each truck is described in detail on three pages. In addition we present case studies about the production of the Ryder Cup 2010 in 3D, the Hockey Night 2011 in Canada in 3D. You will find an overview on available 3D rigs and a listing of 3D broadcasters. We also discuss the issue of cost savings by producing a 2D feed and a 3D feed with one truck.
On 140 Pages we present
Portraits of 20 3D/3G OB Vans
• OB Trucks for 2D and 3D Production
• The Power of Partnership3D Rigs – An Overview
• 3D Broadcasters – An Overview
• CAN Communicate
• 3ality Digital Provides Cool Viewing
• 2D Graphics for the Hockey Night in Canada
• Ryder Cup 2010 – Live and in 3D
• Broadcast Milestones – Audio for 3D
• 3D Cinemas – Two Examples
• 3D Productions – Sports, Concerts, Shows