No back link


Blackmagic Design announced its latest Video Assist 2.3, a major new update for Blackmagic. This update also adds features to the 5” Blackmagic Video Assist including improved DNxHD and DNxHR support, false color monitoring, expanded focus options and new screen rotation features. The Video Assist 2.3 update is available for download now from the Blackmagic Design website and is free of charge for all Blackmagic Video Assist customers. For customers using the 5” Blackmagic Video Assist model, this update adds new features that were previously released only on the 7” Blackmagic Video Assist 4K model. The Video Assist 2.3 update also adds false color monitoring exposure tools to the 5” Blackmagic Video Assist model. False color exposure tools make it easier to properly set exposure in different parts of the image by highlighting specific color ranges of luminance with a solid color overlay. For example, green indicates neutral grey, while pink tones are good references for skin, which is typically one stop over neutral grey. Using false color helps camera operators keep exposure consistent from shot to shot. The update also expands the options for focus assist so customers can now choose whether they want to see red, green, blue, black, white or traditional focus peaking indicators. This makes it easier for customers to accurately adjust focus in a wider range of scenes and under a variety of different lighting conditions. Customers will now also have the ability to manually control the screen orientation and turn off the auto rotate feature which makes it easier for customers to use the 5” Blackmagic Video Assist model with handheld gimbals and other equipment designed to move the camera and rig simultaneously.
Blackmagic Design has unveiled three new products targeted at creators of live content for the web. The ATEM Television Studio HD, HyperDeck Studio Mini and Blackmagic Web Presenter were revealed by Blackmagic Design chief executive Grant Petty. “With services like YouTube Live, Facebook Live, Twitter’s Periscope and more we think these new products will assist a whole new generation of web broadcasters to create innovative live programming.Of course, these new products are also ideal for traditional broadcasters, AV professionals and new developing markets”, Blackmagic design said. The ATEM Television Studio HD is an 8-input, live production mixer with broadcast level features for studio-based live productions and streaming. The mixer’s features include camera control, integrated talkback, multi viewer, DVE and up and downstream keyers.It is shipping now for $995. Blackmagic also unveiled the HyperDeck Studio Mini. The broadcast deck has dual SD card ports for non-stop recording for SD, HD and Ultra HD formats up to 2160p30. The HyperDeck Studio Mini is available now for $695 from Blackmagic Design resellers. The Blackmagic Web Presenter is a compact unit which accepts both HDMI and SDI sources. It can downconvert to 720p and outputs a signal that a laptop or computer recognises as a USB-webcam.The Blackmagic Web Presenter is available for $495. Blackmagic said that all of the products are shipping now.
JVC Professional Video, a division of JVCKENWOOD USA Corporation, today announced it is offering an all-inclusive system combining the popular GY-HM200SP sports production camcorder and Sportzcast Scorebot4100 scoreboard interface unit. Designed for single-camera coverage of local sports, the new GYHM200SCOREBOT sports production system provides a complete streaming and recording solution that includes a real-time graphics overlay with automatic scorekeeping. The GY-HM200SP’s built-in score overlay, which supports user personalized team names and logos, produces game graphics without the use of an external CG or production switcher. Once integrated with the scoreboard at a venue, the Scorebot receives and processes the score and game sequence information, then transfers it wirelessly to the camcorder in real time. As a result, the camera operator does not need to manually input score information. Beyond its built-in graphics, the GY-HM200SP includes the extensive professional feature set of JVC’s popular GY-HM200 4KCAMcamcorder. Its built-in streaming engine with Wi-Fi and 4G LTE connectivity allows live HD transmission to the JVC VIDEOCLOUD, Facebook Live, and YouTube, as well as broadcast IP decoders. Its integrated 12x zoom lens includes an optical image stabilizer and 24x dynamic zoom in HD mode. Other features include dual XLR audio inputs, integrated handle with hot shoe and dedicated microphone mount, and a variety of 4K, HD, and SD recording modes to economical Class 10 SDHC/SDXC memory cards. The new GYHM200SCOREBOT sports production system has an MSRP of $4,450 and is available now through authorized JVC Professional Video dealers.
Aaton Digital will unveil its new Cantar Mini 16 track digital portable mixer-sound recorder at BSC Expo 2017 in London. The Cantar Mini is based on the renowned CantarX3, winner of many awards and now widely recognized by the sound community as the ultimate digital 24 track location sound recorder, with many delivered and in daily use worldwide. The Cantar Mini is in no way a reduced performance or reduced quality product but retains the full sound quality, uses the same preamps and components and manufacturing quality, and the same design quality as the CantarX3 but with 16 tracks instead of 24, a reduced number of inputs and outputs, resulting in a considerably smaller size and a more lightweight unit - just 2.8Kg with 2 batteries on board - almost half the weight of the X3. Of course, most of the software comes across also from the well developed CantarX3 software. Like the X3, the Mini also has the indispensable tilting display; it uses the same batteries, and is compatible with the add-on mixer panel Cantarem2. The Cantar Mini will be a more affordable option to the world’s sound recordists at 7600 Euros. Jacques Delacoux, CEO of Aaton Digital and Transvideo said: “Research tells us that the Cantar Mini will be a desirable product for those professionals who already have one or two CantarX3s and want to have an additional, more lightweight recorder for particular tasks, perhaps with a boom, or to work with the recorder shoulder mounted.” “We address also the young recordists who have learnt of the CantarX3 but imagine they will perhaps never be able to afford a Cantar. We address the rental houses, who want to stock a recorder of the same quality and durability as the X3, but at lower cost. We address other markets such as the USA and India where there are large numbers who have the desirability for a Cantar, and the Mini, with it’s very practical specifications presents a more affordable route.” Tim White, UK production sound mixer: "It’s a great little recorder and it’s a great little mixer. -All the qualities of my X3 – but smaller, and lighter. To have boutique preamps in such a small package puts it in a class of its own.” “No other recorder that small has the X3 Mini’s smooth linear faders and no other recorder that small has such a clear and comprehensive display. I want one - now!" Aaton Digital will take orders at the show and will deliver 8 weeks after that. Sister companies Transvideo and Aaton Digital will share stand 300.
Some Cantar Mini specifications:
Dimensions: 259 X 234 X 90 mm – 10.2 x 9.2 x 3.5 inches
Analogue and Digital Inputs: 4 low noise mic inputs, preamps with very high quality transformer. 48V Phantom, limiters, filters and EQ -2 balanced line inputs.
AES digital inputs include 2 AES42 (mode 2) / AES3 pairs (4 mono channels) -Built-In slate mic with ext slate mic input.
Outputs: 8 analogue line level outputs; 4 AES3 digital outputs on SubD HD 15
4 Recording Media: -Simultaneous recording to internal mSATA 256 GB SSD drive, two SD cards and USB external drive
Metering and Controls: Ultra bright large swiveling display panel, visibility optimized for shoulder work or cart, auto adjust brightness. One large rotary selector for easy operations in any situation. On board ten channel sliders plate with magnetic linear assignable sliders. Direct access to monitoring and set-up functions through dedicated buttons.
Power: Two identical on board quick release Lithium smart batteries ensure seamless switchover during recording Up to 11 hours autonomy when using “stand by” mode -One XLR4 DC 13-17 Volts input for extra power when working on cart.
Main features: All inputs can be routed to any of the 16 tracks, linear control sliders addressable to any inputs and output. All tracks and inputs can be routed to 8 analogue auxiliary outputs and /or 4 digital outputs. Self-Generated PDF,CSV and ALE Sound Reports embedded with deliverable media. Variable Delays on all analogue Inputs -30 Second Pre-Record Buffer.
General Specifications: Open mechanical structure with independent Analogue, Digital and Display modules for easy maintenance and ‘anti-obsolescence’ upgrades.
Housing made of machined avionic aluminium. Water and dust resistant.
Broadcasters and programme-makers can now easily incorporate user generated content into their edits and on social media with a new software development kit available on the Forscene cloud video platform. Dubbed Camera SDK, the tool is being used for the first time by Licklemor Productions to increase audience engagement on the popular Sky1 youth magazine show, What’s Up TV. Camera SDK will allow Forscene clients to integrate Forscene’s Mobile Upload app into their existing applications - so that content recorded on mobile devices can be transcoded, uploaded to the cloud and made available in targeted projects on the cloud video platform. In this way, high quality user generated content can be gathered at speed, reviewed by team members anywhere in the world and included in edits or published to social media directly from Forscene. “The days of TV audiences passively consuming television programmes are over,” said Aziz Musa CEO of Forbidden. “Today’s audiences want to engage with content, comment and contribute. Producers that make it easy for their audiences to actively take part in their programmes will win the loyalty of their audience – and be able to use the insights from their viewers’ content to create programming that appeals to them – it’s a win-win situation. Forscene is renowned for helping teams all over the world collaborate to create compelling video content – now we’re making it possible for the audience to become part of that team.” Licklemor Productions incorporated Forscene into What’s Up TV’s workflow late in 2016, primarily as a tool for producers to create rough cuts of inserts before the formal edit. After experimenting with Forscene’s Mobile Upload App to incorporate behind-the-scenes footage into their stories, the producers saw the potential for using an app to increase audience engagement. This led to the decision to create MYapp – an Android app that will use Forscene’s Camera SDK to gather content from the What’s Up TV audience. Initially user generated content will be featured on What’s Up TV’s social channels - giving the audience an opportunity to share their thoughts and experiences relating to topics raised in the broadcast. “When we were first approached by the Forscene team to use the SDK technology, I saw the instant benefits that this could add to our production work-flow and our engagement with the What's Up TV audience,” said Bob Clarke, CEO of MAMA Youth Project which owns Licklmor Productions. “We cater to a 16 to 35-year-old demographic who expect brands to engage with them on social media, but we think they’ll be excited by this new opportunity to use social media to participate in a broadcast television programme. We’re looking forward to rolling it out over the coming months.”
Harmonic, the worldwide leader in video delivery infrastructure, and Mirantis, a pure-play open cloud company, today announced a new partnership that is providing media content and service providers with access to the industry's first media processing solution for live and VOD production on OpenStack. Mirantis and Harmonic have ensured interoperability of Harmonic's VOS™ Cloud media processing solution and Mirantis' cloud platform, allowing customers to manage the entire media production and delivery workflow for broadcast and over-the-top (OTT) applications on standard IT hardware in a scalable cloud environment. The joint solution has successfully been deployed by a leading North American service provider, and is in numerous trials with other service providers worldwide. Harmonic enables customers to produce, deliver and monetize amazing video experiences, with unequalled business agility and operational efficiency, by providing market-leading innovation, high-quality service and compelling total-cost-of-ownership. Mirantis helps top enterprises build and manage private cloud infrastructure using OpenStack and related open source technologies. The company is the top contributor of open source code to the OpenStack project and follows a build-operate-transfer model to deliver its OpenStack distribution and cloud management services, empowering customers to take advantage of open source innovation with no vendor lock-in. To date Mirantis has helped over 200 enterprises build and operate some of the largest OpenStack clouds in the world. Its customers include iconic brands such as AT&T, Comcast, Shenzhen Stock Exchange, eBay, Wells Fargo Bank and Volkswagen. "Harmonic and Mirantis share a common belief: that video content production and delivery should be simple, agile and efficient," said Boris Renski, CMO and co-founder of Mirantis. "Our work with Harmonic expands the scope of media processing in the cloud. Service providers can use the joint solution to launch new broadcast and OTT services with amazing video quality and a short time to market." Mirantis Cloud Platform (MCP) is a cloud-native infrastructure software based on open standards such as OpenStack, Kubernetes and Docker. It leverages architectural principles developed by Google to make it simple and cost effective to manage. Mirantis delivers MCP to enterprise customers though a build-operate-transfer model, minimizing the lock-in and ballooning costs that are typical of traditional cloud delivery approaches. MCP is currently in use by a limited number of beta customers and will become generally available by the end of Q1 2017. The comprehensive VOS Cloud software solution, embedded with a unified code structure combining the expertise of Harmonic and recently acquired Thomson Video Networks, makes configuration, deployment and orchestration of powerful media processing and delivery workflows easy via an automated video and cloud formation technology using standard OpenStack deployment templates. Featuring capabilities such as live video encoding with time-shift TV services, as well as VOD and cloud DVR, VOS Cloud software enables service providers to generate instant revenue, without the traditional CAPEX involved with building, maintaining and operating a new headend or data center. Pay-as-you-go pricing allows service providers to realize ROI in the shortest time possible. "Unleashing the power of VOS Cloud software on the Mirantis Cloud Platform will stimulate monumental change in the industry, allowing video content and service providers to compete on a level that was never possible before, in terms of speed and flexibility," said Bart Spriester, senior vice president, video products, at Harmonic. "We chose Mirantis as an ecosystem partner because they're a major player in the OpenStack market and provide a robust set of OpenStack control-plane services that can be used with best-in-class infrastructure."
The R&S Prios SDI is a new video board from Rohde & Schwarz that earns points with its versatility and cutting-edge technology. It offers operating modes for simultaneous recording and replay over eight independent HD channels or two 4K/UHD channels. The SDI interfaces are implemented by means of up to four swappable SFP modules, each with two SDI ports. Two of the SDI modules can be replaced with 10G Ethernet modules, making the R&S Prios SDI compatible with the advanced video-over-IP technology. Supported protocols will include SMPTE 2022 for data transmission and SMPTE 2059 for synchronization. Data is transmitted uncompressed in line with SMPTE 2022-6. If necessary, forward error correction in line with SMPTE 2022-5 can be enabled to compensate for the loss of IP packets. Redundant transmission with seamless protection switching in line with SMPTE 2022-7 is also supported. Additional protocols are planned to follow. The R&S Prios SDI addresses OEM customers in the field of professional film and video, who can integrate the board into their own products. The high degree of flexibility offered by the R&S Prios SDI allows customers to convert their products right in the field from a pure SDI to a mixed (hybrid) SDI/video-over-IP configuration. The combination of SDI and IP enables applications that link conventional video technology with state-of-the-art IP technology using only a single interface board. For example, multiple SDI cameras can be connected directly to the board, whose signals can then be transmitted via a network to centralized recording equipment or to remote editing stations. Virtual studio applications especially benefit from the low latency made possible by the fast PCIe 3.0 x8 bus. The four SFP cages combined with the half-length design make the R&S Prios SDI exceptionally compact. As a result, applications involving very complex interfacing tasks that previously often required multiple interface boards can now be implemented on small servers of only one unit. The software development kit for the R&S Prios family of video boards is compatible with the successful R&S Atomix line of video boards. Applications that support R&S Atomix boards can be adapted for use with R&S Prios boards with minimal effort. The flexible combination of SDI and IP technology on the R&S Prios SDI is useful for anyone who develops video applications and desires a smooth transition from SDI to video over IP. This board offers a full range of functions for both worlds. The R&S Prios SDI video board is now available from Rohde & Schwarz. Video-over-IP capability can be retrofitted.
The Lightweight and compact dual SxS field recorder is ideal companion deck for XAVC camcorders. PMW-RX50 mobile recorder plays and records Full HD XAVC Intra and XAVC Long GOP, as well as MPEG HD 422 50 Mbps, MPEG HD 420 35Mbps, MPEG IMX and DVCAM, making it the ideal companion deck for XAVC camcorders. As the successor to the PMW-50, the PMW-RX50 has a lot of attractive features, including dual SxS memory card slots offering dual simultaneous recordings, 3G HD/SD-SDI interface and 1080 59.94/50P workflow support and conversion output from 1080/59.94P (50P) to 1080/59.94i (50i). The recorder also has XLR audio input via a removable Audio Box. DC output is also provided for the CBK-WA100 mobile network 3G / 4G / LTE / wireless LAN adaptor. • Key features of SONY PMW-RX50 • The PMW-RX50 is a lightweight, rugged handheld recorder/player offering full portability for news and field operations. The unit is designed to be tough and insensitive to vibrations and can be operated on BP-U battery.
• 3.5-inch LCD panel display
• The PMW-RX50 acts as a stand-alone multi format SxS viewer or desktop SNG Card feeder.
• Supports Full HD XAVC recordings, plus popular HD/SD formats
• The PMW-RX50 plays and records Full HD XAVC Intra and XAVC Long GOP in exFAT mode. It records 1920 x 1080 59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P and 25P, as well as 1280 x720 59.94P and 50P. The PMW-RX50 also supports MPEG HD 422 50 Mbps, MPEG HD 420 35Mbps, MPEG IMX and DVCAM.
• Dual simultaneous recordings direct to SxS cards via HD/SD-SDI inputs
• The PMW-RX50 can record to two SxS memory cards simultaneously and enables second/parallel recording with embedded audio via HD/SD-SDI inputs.
• SD, MS , XQD cards and SxS Media support • There is a flexibility of media availability, which allows user to choose the most appropriate media for their application.
• Multiple inputs and outputs including XLR audio via Audio Box
• The PMW-RX50 features an HD/SD-SDI interface along HDMI out, iLink interface, USB, stereo earphone and XLR audio input via a removable Audio Box.
• 5 assignable buttons
• The PMW-RX50 has 5 assignable buttons for users to set any functions they want to use, including LCD, BRI and Display.
• Monitoring on tablet and file transfer via Wi-Fi
• DC output is provided for the CBK-WA100 mobile network 3G / 4G / LTE / wireless LAN adaptor.
The R&S Prios SDI is a new video board from Rohde & Schwarz that earns points with its versatility and cutting-edge technology. It offers operating modes for simultaneous recording and replay over eight independent HD channels or two 4K/UHD channels. This high performance OLED monitor includes unparalleled black performance, colour reproduction, quick pixel response, and industry-leading wide viewing angles. In addition, the BVM-X300 has enhanced interface and features for High Dynamic Range (HDR) live production, as well as a wide colour gamut conforming to DCI-P3 and most of the ITU-R BT.2020 standard. By unleashing these superb features and qualities, this master monitor makes an ideal tool for a wide range of applications such as colour grading and QC (quality control) in the 4K production workflow. The OLED panel is equipped with 4K (4096x2160) pixels. This master monitor is ideal for covering cinema applications and 4K colour grading. The gadget also offers never-seen-before image reproduction – the black is black, and peak brightness can be reproduced more realistically with colours that are typically saturated in a conventional standard dynamic range. The monitor is also equipped to display various markers, including an aspect marker, safe area marker, and center marker. When Rec.2020 colours out of Rec.709 or DCI-P3 colour gamuts are detected, this master monitor indicates this with a zebra pattern over the relevant area of the picture. Gamut Marker is a convenient feature that instantly tells viewers to such colours. A key advantage of TRIMASTER EL is the fact that each pixel can be turned completely off. No other display technology is able to offer this. TRIMASTER EL is capable of reproducing accurate black with each individual pixel, enabling users to evaluate each picture image faithfully to the signal.
Tactical Fiber Systems is a manufacturer of fiber optic-based transmission systems and tactical fiber cables for broadcasting and sports production. TFS DuraTAC-brand steel armored tactical fiber cable and Magnum connectors are among their products. Tactical Fiber Systems is a manufacturer of fiber optic-based transmission systems and tactical fiber cables for broadcasting and sports production. TFS DuraTAC-brand steel armored tactical fiber cable and Magnum connectors are among their products. Designed for video production in sports, racing, concerts and conferences, Tactical Fiber said the PTZ CamLink 2000P includes a compact seven-inch square camera converter that transmits 3G-HD/SD-SDI video and mic level audio to a 1RU base unit, while receiving PTZ cameral control commands and DC electrical power. The compact camera module can be tripod mounted using standard hardware or located on a flat surface. PTZ cameras are attached to the camera module via a quick-release mount. Features include a sensitive shotgun microphone with a ⅛-inch to XLR cable adapter to connect any microphone. The PTZ CamLink 2000 can be used for cable runs up to 20 miles via “dry” non-powered tactical cables, but requires the camera module and camera to be powered locally by an AC/DC power supply or DC battery pack. “We developed the PTZ CamLink systems in response to the increasing popularity of PTZ cameras by producers to reduce production expenses. The availability of quality PTZ broadcast cameras at very attractive prices has become a real game changer and we are pleased to facilitate long distance connectivity to these cameras.” Rich Rubin, TFS’s president.
The UR-2 is a 1 U rack size stereo audio recorder using SD card and USB storage device that is flexibly adapting to the wide variety of playback requirements. It uses 2 SD cards (SDHC compatible) and USB storage device as the recording media. The recording/ playback file format is BWF (WAV). Its ample playback functions will adapt to the wide variety of playback requirements. It offers high quality recording of up to 24bit/96kHz (in BWF format). Employing FAT 32 disc format, it is easy to process the file transfer to a PC based DAW. The analog input and output are balanced XLR/+4dBu and un-balanced RCA/-10dBV, the digital input and output complies to AES/EBU and S/P DIF digital signal. It is flexible to be used in the available audio system. The playback function includes Chain Play and Timer Play, it is suitable for live stage performance and sound installation. In addition to the external control via parallel remote with D-Sub 25pin and RS-232C serial remote, a USB keyboard and 10-key keyboard can trigger the instant playback start, which is very useful at a live event, theater and broadcast environments. The Mic input located on the front panel offers 48V phantom power, it can be used not only for recording but also for speech to be mixed with playback source. Last but not least, its newly employed organic EL display gives an extremely clear visibility. This combined with DC power operation; it serves for outdoor use very well. The gadget can be operated through Remote transport control via Foot SW, Parallel remote pot (Dsub 25pin) and RS-232C (D-sub 9pin). It also comes with an additional feature of External USB keyboard that can be used not only for file name editing but for transport control such as REC and PLAY.
Video Clarity Inc. provides audio and video quality assessment and analysis systems for researchers, broadcasters, equipment vendors, and entertainment distribution engineers that must continually measure the quality of their products and services. Video Clarity Inc., provider of market-leading audio and video quality measurement and analysis systems, today announced the launch of ClearView IP, the newest member of its ClearView line of video quality analyzers and an all-new product category for IP infrastructure use. The ClearView IP system allows users to play, record, and test quality of video that travels over IP networks according to new video-transport standards, and it gives them the option to mix SDI functions in the same system. "The evolution to an all-IP infrastructure is perhaps the next great change in the video-delivery landscape, and to make that evolution successful, programmers and product-development engineers must be able to test new products that incorporate IP interfaces and new and imminent IP standards. That said, SDI is not going away anytime soon, so customers must be able to work with both during the transition," said Blake Homan, president and founder of Video Clarity. "We're adding new testing features to our ClearView Analyzer line to help customers hone their IP video-networking products and program data rates while recognizing the role SDI will continue to play. With ClearView IP, manufacturers and programmers have a versatile quality analyzer for testing video and audio quality in the IP domain, with a choice to maintain SDI functionality on the same system if required." ClearView IP is designed for broadcast-product manufacturers and programmers to use in their test labs. The system plays or records up to two channels of uncompressed video programming from a high-capacity testing server into a SMPTE 2022-6/7-compliant network, with the capability to accommodate SMPTE 2110 (TR-03 and TR-04) as the standard develops. ClearView IP is the first video quality testing solution to apply the new IP standards and the only one that can play while recording in the IP domain. Through automation, playlists, or straightforward desktop controls, video engineers can perform visual analysis within several viewing modes to compare original with processed video in any format their screens will allow. Widely adopted metrics yield perceptual quality scores that, along with the subjective analysis, help engineers assess the progress of product development, set encoding parameters for program delivery, and evaluate various encoders among multiple vendors. ClearView IP goes beyond the video capabilities of a standard Gigabit network and traditional SDI and HDMI. The system's interfaces are specially designed to apply uncompressed video and audio with certain time stamp and packetized procedures that are specific to the entertainment production, postproduction, and delivery markets. The ClearView IP analyzer system is available now in two models: the ClearView Extreme IP 3-RU server with both IP and 4K SDI interfaces, and the portable ClearView Shuttle IP with the new uncompressed IP interface only.