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The firm has a new broadcast quality all in one live production switcher with integrated hardware control panel.

Blackmagic Design has a new broadcast quality all in one live production switcher with integrated hardware control panel. The ATEM Television Studio Pro HD features 8 inputs, multiview, auxiliary and program outputs, analog audio inputs, built in talkback, two flash based media players, a DVE for effects and more. It’s available in May for US$2,295.

ATEM Television Studio Pro HD is compatible with all SD and HD formats up to 1080p60 and also features two channels of analog audio in, RS-422, Ethernet and a built-in IEC power supply, along with program and auxiliary outputs. Customers also get both SDI and HDMI multiview outputs so they can monitor all sources, preview and program outputs, along with labels, audio meters and more, all on a single big screen television or broadcast monitor.

“With resynchronization on every input, switching is completely glitch free which means that customers can even use it as a front end controller for AV systems and cleanly switch between sources with the press of a button,” states the firm.

When used with Blackmagic Studio and URSA Mini cameras, customers get a complete remote control solution that includes talkback, tally, color correction, camera control and more, without having to add any additional cables or proprietary control boxes.

“The original ATEM Television Studio HD has been extremely popular with our customers who want a small broadcast quality switcher for live production,” said Grant Petty, Blackmagic Design CEO. “The exciting thing about our new ATEM Television Studio Pro HD is that it has all the same professional features, along with the speed of a full size 1 M/E hardware control panel for more complex, fast paced live events. When it comes to creating an entire HD program right from the switcher in real time, there simply is no faster, simpler or more affordable way to do it.”

The Blackmagic Design exhibit at the 2017 NAB Show demonstrated how this company has become a powerhouse in all aspects of video production.

The sun never sets on your activities when you are as busy as Blackmagic Design. In fact, just shortly after the 2017 NAB Show wrapped, their director of sales operations, Bob Caniglia, was good enough to steal away a few minutes during their set-up for Blackmagic Design Day in Burbank, CA as part of their multi-city North American tour to grant me a one-on-one interview to recap their Vegas announcements. Sheesh! These guys are hard to keep up with.

“Since our first acquisition in 2009 of DaVinci Resolve, we’ve gone from making pieces of the puzzle to producing solutions end-to-end in video production,” Caniglia began. “This year the NAB Show gave us the chance to show our customers how our products have matured to lead their production categories.”

Their announcements this year lead off with DaVinci Resolve vers. 14 which Caniglia said has a 10X performance improvement. It’s audio component is greatly enhanced with the addition of Fairlight audio built into it.

“This is a serious audio system capable of up to 1,000 tracks of 192kHz 24-bit audio,” Caniglia said. “It makes DaVinci a complete post production system.”

Blackmagic Design’s Duplicator received a 1.1 update giving it real time H.264 encoding capability. They also showed off ATEM TV Studio Pro HD, which, as Caniglia described it, “is a broadcast quality all in one live production switcher with integrated hardware control panel,” he said. “It includes 4 SDI and 4 HDMI inputs, all with re-sync, so customers can connect a total of up to 8 different HD sources.”

One of the most interesting announcements was that the price of the green screen compositor they purchased just last year, Ultimatte 11, is getting a 60% price drop, from $24,995 to only $9,995. I asked Caniglia if such a discount should spark skepticism in experienced production pros.

“Not at all,” was his response. “You have to understand that when Ultimatte was producing this system, they sold perhaps 100’s a year. We intend to sell many multiples of that. And since we keep the manufacturing in house, we can keep the costs low without sacrificing performance.”

They also announced UltraStudio HD Mini, the world’s first portable capture and playback system with 3G-SDI, HDMI and analog connections for broadcast quality 10-bit recording up to 1080p60 and 2K DCI and, importantly, Thunderbolt 3 performance. With the Thunderbolt 3 interface capable of up to 40 Gb/s transfer speeds this will give unprecedented power for edit monitoring and live broadcast graphics tasks at even today’s highest resolutions.

The URSA Mini Pro cameras will benefit from a new open control protocol that will let customers create their own remote control systems via Bluetooth. And Caniglia predicted a complete SDK for camera control should be released later in the year.

Finally, there is a new vers 2.4 update to the Blackmagic Video Assist which brings with it multilingual support (Chinese, English, French, German, Italian, Japanese, Korean, Portuguese, Russian, Spanish and Turkish), and new professional scopes including waveform, RGB parade, vectorscope and histogram that can be viewed full screen for accurately evaluating video signals.

Blackmagic Video Assist 2.4 update is available now from the Blackmagic Design website free of charge for all current Blackmagic Video Assist and Blackmagic Video Assist 4K customers. Blackmagic Video Assist 2.5, which will support scopes on the Blackmagic Video Assist 4K model will be available in June.

“There was a production truck at the 2017 NAB Show fitted out almost completely with Blackmagic Design equipment,” Caniglia finished up. “That shows how far this company has come from the days when we just produced capture cards and converters.”

ATEM TV Studio Pro HD is powerful enough for professional broadcasts, but flexible enough for AV videographers.

Blackmagic Video Assist vers. 2.4 gives you scopes that can be viewed full screen.

Fairlight audio gives DaVinci Resolve a whole new dimension in post production.

ChyronHego’s VPX Virtual Production Server is aimed at broadcast news operations. It puts the firm’s Camio Universe workflow tools into the IP world by supporting NewTek NDI.

VPX has emerged through a logical progression that began with all-software workflows requiring almost no hardware dependencies. The CAMIO Universe created an all-software workflow for every aspect of live production including video and audio switching, broadcast graphics, clip playback, virtual sets, and weather graphics, all under extensive playout automation. The next step is a migration from SDI, which gives live production components the ability to share video within the software-based workflow and without the need to go through SDI.

A key component of running live production workflows in a virtualized server environment is the ability to share and distribute video over IP within the virtualized server environment. The ChyronHego product range supports NewTek's Network Device Interface (NDI) video protocol. NDI and other protocols enable all ChyronHego solutions to communicate, share, deliver, and receive broadcast-quality video between the applications running on the VPX platform.

Jesper Gawell, CMO, ChyronHego, said "With last year's introduction of the CAMIO Universe, we took a big step forward in helping our broadcast news customers make this transition smoothly and cost-effectively with solutions for maximizing workflow efficiencies. And now, with the VPX platform, we're going to the next phase in IT-based broadcast operations by enabling these solutions to run in a virtualized server environment. With VPX, we clearly show the transformation from SDI to IP to IT is here."

With VPX, broadcasters can "cherry pick" applications from the ChyronHego product portfolio, allowing users to build workflows for all kinds of productions such as news, sports, current affairs, entertainment, and more.

German system integrator debuts multichannel 3G/HD/SD video recording server Dominator AT/3G.

The system supports up to 10 3G/HD/SD recording channels, four playback channels and powerful search capabilities on up to 10 channels. In 'record for editing mode' this server system can record up to 12 channels of HD/SD video.

Since the system has four independent graphic outputs each operator can work on the main GUI and a separate multi-viewer monitor simultaneously. In replay mode, the operator can display up to six recording channels and two video playback channels, as well as having access to five channels for clip marking and playlist editing.

When operating in SuperMo mode, the appliance can simultaneously support three Sony, Hitachi or GVG 3X Super Motion and one ISO cameras, or alternatively two Panasonic 4X Super Motion AK-H5000 plus two regular ISOs.

“For the past three years, has used SSD based storage subsystems, but now the Dominator AT/3G stores 266 hours, 100 Mbit of HD video - more than any other similar product,” claims the firm. “It provides recording directly in the "native" file formats of various NLE systems, using proprietary DMR technology which mitigates time-consuming file export operations. Alongside full HD recording, Dominator AT/3G enables the operator to create low resolution Proxy copies for draft editing without any additional equipment required.”

EVS and Avid have collaborated to support fast-turnaround live production workflows for users of their systems

Specifically, EVS has developed a connector called IPLink for Avid MediaCentral UX users that provides “rapid access” to media stored on EVS servers. It means users don’t have to leave the Avid interface to search for shots and import them into varied Interplay and Media Composer projects.

“EVS believes in open and connected platforms, and this new alliance perfectly meets our users’ needs,” said Benoit Quirynen, SVP Market & Product, EVS. “With IPLink, users have full visibility and direct management of EVS assets - complete with metadata - from within a single, unified production environment.

"The solution allows producers and editors to more quickly and reliably search, find and utilize the best shots – for faster collaboration between live and post-production functions.”

IPLink for Avid MediaCentral | UX is planned for release in June.

XCU UXF and UXF cradle provide hybrid SDI/IP support and strengthen IP portfolio

Broadcast professionals working in studios, mobile trucks, arenas and all types of facilities are seeking reliable, flexible solutions that will help them bridge the gap between the technologies of today and tomorrow. Grass Valley, a Belden Brand, is taking the next step towards a full IP live production solution with the XCU Universe UXF camera base station and advanced UXF cradle. Together, these solutions support the AIMS roadmap and all IP video formats, including high-speed operation and high dynamic range (HDR), providing the flexibility broadcasters need for their current workflows, for burgeoning IP workflows, and beyond.

"We have a number of customers who are already embracing the benefits of IP-based networks to improve performance and efficiency," said Neerav Shah, senior vice president of strategic marketing, Grass Valley. "The new XCU Universe UXF supports the high bandwidth needs of increasingly prevalent 4K video and IP networks while also delivering maximum production flexibility with hybrid SDI/IP features."

Grass Valley's XCU Universe UXF base stations are designed to support the extended bandwidth requirements of the LDX 86 and LDX 86N Series high-speed cameras with up to 6X speed operation, 4K capability and 15 F-stops of HDR in 1X speed operation. XCU now provides enormous overall flexibility with the ability to output any format video over IP (including TR-03, TR-04 and the new proposed standard ST 2110) or SDI. The new, advanced UXF cradle also features additional 4x MSA compliant SFP+ slots adding fully redundant IP interfacing and 12G SDI through SFP.

"When broadcasters and networks purchase broadcast solutions they're looking for reliable investments, not products that will be outdated in just a couple years," said Shah. "Grass Valley understands that and prioritizes flexibility in its solutions, including the XCU Universe UXF and UXF Cradle, so that they not only survive but thrive under the strain of time and innovation."

As additional support for productions shared over high bandwidth IP networks, the XF Transmission Direct IP Interface eLicense enables a direct IP interface of the complete transmission protocol between the cameras and XCUs over IP networks.

The Venice ingest and playout platform is a highlight of Rohde & Schwarz’s NAB presence.

R&S Venice permits convenient playout of mixed formats and codecs without prior transcoding. The solution offers workflows for SD to 4K and can be used for ingest through to playout. It handles all current codecs, including Apple ProRes, Avid DNxHR and Sony XAVC.

“The signaling and processing architecture is ready today for future HDR workflows, giving users an additional layer of investment protection," says Stefan Weidner, Sales Director Media at Rohde & Schwarz. "Its ability to process both current and future codecs and file formats makes the Rohde & Schwarz ingest and playout solution a secure investment for the future. The R&S VENICE Control application makes the system highly intuitive to use for multi-camera productions is considered an additional bonus."

Adobe Premiere, Final Cut Pro and Avid Media Composer can be used during ingest to directly access and immediately start processing the data acquired by R&S Venice. The system also simultaneously generates proxy files and closed-caption files from the data in the SDI stream.

R&S Venice Control can handle up to 16 channels, each with a different resolution, and simultaneously controlled during production. The channels are automatically assigned via multicast. Configuration via static IP address is also possible. The defined channels can be added for ingest via drag & drop.

Control can be installed on any number of systems and offers redundant control of all ingest requirements. If a system drops out, all ingest control processes can be immediately transferred to another system.

SAM is marketing a budget production package which includes a Kula switcher, Vega 30 router, IQ Modular portfolio, and the new SL Server series.

Robert Szabó-Rowe, EVP and General Manager, Live Production and Infrastructure at SAM said, “SAM works across the complete technology supply spectrum, recognizing the huge variation in production requirements from both a technological and budgetary standpoint. The desire to produce premium quality video is there at all points in the market and this high-quality production platform satisfies the needs of the cost-conscious. It gives our customers the confidence they require to get to air faster and on multiple platforms while staying within budget.”

Specifics include the Kula range of multi-format production switchers, available as 1, 2 & 3 M/E’s and 1 M/E UHD versions; the Vega 30 entry-point fixed size router with line synchronization and embedding MADI inputs and outputs; the Vega 16MV 16x16 SDI router with two multiviewer heads; the KudosPro AV processing platform and MV-Flex Multiviewer.

The 1RU, HD/UHD SL Series video server works directly with switchers and within small news production, studio, and transmission systems.

Socionext, a global expert in SoC-based imaging and computing solutions, has developed a prototype of a media edge server, the M820, which features the company’s hybrid codec technology. A demonstration utilizing TeraFaces®, the face recognition software provided by Tera Probe, was showcased during the 2017 NAB Show.

The M820 is a new media edge server equipped with Socionext's multi-format codec MB86M30 and high- efficiency SC2A11A central processor. The M820 features Socionext's hybrid codec technology, the optimal combination of high-speed data processing using dedicated hardware and flexible, software-based processing by a general-purpose CPU. It enables data processing such as video decoding and encoding, meta-data capturing through real-time analysis, and meta-data integration to the original video. The high value-added data generated by the M820 can be used for additional complex and sophisticated processes, including its use with artificial intelligence (AI) in the cloud.

As an example of solutions enabled by the M820 server, Socionext has demonstrated real-time data processing using the face recognition software "TeraFaces", to detect positions of individual faces in a video, then identify if those individuals match the faces of those who were registered, and then integrate the generated information with the video data.

With the M820, Socionext will continue to propose new solutions in various fields where data analysis and hybrid codec technology can be utilized