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Calrec Audio will unveil its most powerful digital audio console yet at the 2009 NAB Show, April 18-23 in Las Vegas. Calrec’s new Apollo console provides more than twice as much processing power as the company’s Alpha platform, a channel count that sets a new industry benchmark, and an all new, highly responsive, user-configurable control surface. More »
At the 2009 NAB Show, Fast Forward Video (FFV) will unveil a robust new set of capabilities for its recently launched Elite HD camera-mounted digital video recorder (DVR) and player. As the first camera-mounted DVR and player to harness the JPEG 2000 (J2K) compression codec for recording HD-SDI video signals, the Elite HD is now the most
feature-rich solution giving field producers and others even more power and flexibility for recording high-quality video from HD-SDI cameras, while reducing the costs of storage media.
One key feature is the addition of the RS422 machine control option, which enhances the Elite HD as a standalone, single-channel DVR with record and playback capabilities. With the RS422 option, operators can connect the Elite HD with a standard machine controller (i.e. Buf Technology, Hi-Tech Systems, or DNF) via a DB9 connector. This extends the Elite HD’s functionality beyond the basic acquisition DVR controls of play, stop, record, and rewind, to more elaborate operations such as cueing, slow motion play, speed control, and reverse play. Via a remote machine controller, operators can build playlists and use the Elite HD as a playout device in a range of situations such as video assist, sports, or live events.
“All the broadcaster needs to add is a controller thereby increasing the feature-set of the Elite HD to a full-blown DVR solution,” said Harry Glass, vice president of sales of FFV. In addition, the Elite HD now includes J2K transcoding capabilities that allow the system to apply a wrapper to the J2K file within the Elite HD, giving a seamless file transfer to a nonlinear editing system. By working with the original J2K file in the editing process, operators can ensure the higher-quality output with reduced artifacts that J2K compression is known for. The Elite HD also includes the ability to record onto hot-swappable SATA HDD or SSD drives to meet even the most demanding storage requirements.
Designed to mount on the back of a camcorder, the Elite HD accepts an incoming HD-SDI video signal with up to eight channels of embedded audio, and uses J2K to record at data rates up to 100 Mbit/s with virtually no loss in signal quality. Video is stored to an off-the-shelf, hot-swappable 2.5-inch SATA HHD or SSD drive, which provides up to ten times more storage at a greatly reduced cost. In addition, the Elite HD integrates into a file-based workflow — Superior Workflow Technology (SWiFT). With its modular design, the user can easily detach the drive from the camcorder and connect it directly to a nonlinear editing system or media asset management system via a USB cable. FFV will demonstrate its SWiFT concept of HD editing workflow in seamless acquisition, transfer, editing, and playback at its booth, N2819 at the 2009 NAB Show.
“As the first camera-mounted DVR to harness the power of J2K, the Elite HD sets a new standard for HD-SDI recording and playback by solving the dual problems of quality and high storage media costs. Now, the new capabilities make this already-compact and easy-to-use solution even more powerful and indispensable for HD production,” Glass added.
Miranda Technologies will launch multiple new master control switching and channel branding products at NAB, including the new Densité LGK-3901 single card 3Gbps/HD/SD branding processor. Miranda will also show the NV5100MC fully featured, multi-channel master control switching and channel branding system, which can be integrated with the Intuition XG co-processor for advanced graphics.
The Densité LGK-3901 is the first modular 3Gbps/HD/SD branding processor, and is capable of inserting up to five independent layers of graphics. Three of the keying layers can be fed by internally stored still/animated graphics, and two layers are fed by external graphics devices. It also offers automated character generation, clock insertion, EAS support, and eight channel audio clip/voice-over playout.
Up to 10 of the LGK-3901 modules can be fitted in a single Densite 3 frame (3RU) to provide a high level of space efficiency. The LGK-3901 modules can also be combined with a wide array of other interfacing modules from the comprehensive Densite interfacing range.
The LGK-3901 is ideal for pre-rendered graphics, and integrates tightly with Miranda’s Xmedia Suite graphics preparation, asset management, and data interfacing workflow tools.
The new Branding Panel features an advanced ‘Button on LCD’ interface, and is designed for Miranda’s Densite LGK-3901, Imagestore 750 and Vertigo XG branding processors. This highly graphical, touch screen panel provides informative and easy to use control. It can operate of all the graphics and audio functionality across multiple channels, with a channel ganging capability. Channel branding media can be browsed easily from the panel using a thumbnail display.
The NV5100MC multi-channel, master control switching and branding system (HD/SD) will be shown for the first time by Miranda, following its recent acquisition of NVISION. The system offers cost-effective modular design, a wide choice of richly featured control panels, and tight router integration. It also provides versatile multi-channel audio control with Dolby E decoding, and a full preview. This combination of features makes it ideal for national and regional broadcasters, who require effective manual intervention during playout.
The NV5100MC processor modules are housed in an 8RU frame, which can provide built-in routing for up to 64 inputs, and master control switching for up to eight playout channels. The resilient design incorporates redundant power supplies, fans and control cards.
The NV5100MC can operate with the Intuition XG graphics co-processor and the Xmedia Suite graphics automation to provide the richest channel branding graphics, with streamlined workflows.
See www.miranda.com for more information about Miranda’s latest products.
QuStream will showcase additions to the Ocelot range in Booth N3421 at NAB 2009. The Ocelot 3GEN video router comes as either a 16×8 or 16×16, and both versions are housed in a single-rack-unit package.
The Ocelot 3GEN supports all SMPTE standard data rates from 143 Mbps to 3 Gbps with auto-equalization on all inputs. Auto rate-sensing and relocking capability is standard on all outputs with full support for DVB-ASI on every path. A reference input provided is capable of accepting analog black burst in NTSC or PAL formats. The unit can be equipped with single or dual power supplies and is compatible with all existing Ocelot control panels. Using the standard QuStream PRC (four-wire, RS422) interface, Ocelot 3GEN can be controlled from 3500PRO or PERC2K system controllers. Ocelot 3GEN is the perfect add-on to existing Pesa or QuStream systems to provide 3G, 1080p switching when only a small number of inputs and outputs is needed.
For more information, visit QuStream at www.QuStream.com.
Wohler Technologies has extended its RM LCD video monitoring series with three new dual-interface units that provide flexible confidence monitoring of HD/SD-SDI and composite video with embedded audio in the production environment.
Measuring just 2RU in height, the RM-2443W-2HD incorporates four 4.3-inch widescreen LCDs, each of which features 480×270 resolution with 16.7 million colors. The 3RU RM-3270W-2HD features two 7-inch widescreen LCDs, each with 800×480 resolution and 16.7 million colors, and the 4RU RM-4290W-2HD incorporates two 9-inch widescreen LCDs with 800×480 resolution and 16.2 million colors.
“The slim design and rich functionality of our dual-interface RM series products make them a smart choice for space-constrained production environments, and their light weight and low power requirements add to cost savings, particularly in mobile applications,” said Kim Templeman-Holmes, vice president of global sales and marketing at Wohler. “Equipped with high-resolution displays, integrated speakers, and flexible inputs capable of handling analog and HD/SD-SDI inputs, the RM-2443W-2HD, RM-3270W-2HD, and RM-4290W-2HD offer robust feature sets critical to effective monitoring.”
Ideal for use in mobile trucks, news and transmission control rooms, and duplication and post-production facilities, each new RM series dual-interface LCD rack includes two auto-sensing HD/SD-SDI and analog composite inputs with support for embedded audio, complemented by eight-channel audio meters (VU and PPM). Operators have access to the correct tools for shot composition in any environment with safe area markers, underscan, and aspect ratio and blue-only support. Additional display features include ANC time code, in-monitor UMD, tri-color tally, and H/V delay.
In addition to providing two-channel analog audio support, these new additions to Wohler’s RM series support one-channel-pair audio monitoring via a headphone jack for all three models and built-in speakers for the RM-3270W-2HD and RM-4290W-2HD. All three of the new dual-interface monitors will come standard with an on-screen waveform display.
Neutrik is introducing rearTWIST BNC connectors that exceed the demands of users looking to future-proof installations for HD 1080p. The connectors will be on display at the NAB Show in booth N7929.
Neutrik sweep tested the rearTWIST BNC to guarantee a jitter-free transmission, even with uncompressed HD 1080p signals. The results of an independent laboratory study have shown excellent return loss values up to 4.5 GHz, considerably exceeding the SMPTE requirements.
Neutrik’s rearTWIST BNC features a machined body with a true 75Ω design that meets today’s stringent HDTV/DVD requirements. Its unique ergonomic design features maximized connection comfort in high-density applications. Rear boot color coding options are available with the optional BST-BNC.
“With today’s ever-changing broadcast needs, Neutrik is proud to remain at the very forefront in broadcast connectivity technologies,” says Fred Besnoff, product applications manager at Neutrik USA. “Neutrik’s new rearTWIST BNC is a testament to our commitment to providing connectors that meet the very latest and even future requirements in broadcast trends.”
QuStream Corporation Cougar 3Gbps router will roar into the company’s NAB booth next month (booth N3421). The Cougar is a one-rack unit, video router offered as a 32×32 or 16×16 that supports all SMPTE standard data rates from 143Mbps to 3Gbps with auto-equalization on all inputs.
Auto-rate sensing and reclocking capability is standard on all outputs and non-SMPTE standard data rates from 143Mbps to 3Gbps are supported in non-reclocked or bypass mode and DVB-ASI is fully supported on every path. More »
Miranda Technologies will launch multiple new master control switching and channel branding products at NAB, including the new Densité LGK-3901 single card 3Gbps/HD/SD branding processor. Miranda will also show the NV5100MC fully featured, multi-channel master control switching and channel branding system, which can be integrated with the Intuition XG co-processor for advanced graphics.
The Densité LGK-3901 is the first modular 3Gbps/HD/SD branding processor, and is capable of inserting up to five independent layers of graphics. Three of the keying layers can be fed by internally stored still/animated graphics, and two layers are fed by external graphics devices. It also offers automated character generation, clock insertion, EAS support, and eight channel audio clip/voice-over playout.
Up to 10 of the LGK-3901 modules can be fitted in a single Densite 3 frame (3RU) to provide a high level of space efficiency. The LGK-3901 modules can also be combined with a wide array of other interfacing modules from the comprehensive Densite interfacing range.
The LGK-3901 is ideal for pre-rendered graphics, and integrates tightly with Miranda’s Xmedia Suite graphics preparation, asset management, and data interfacing workflow tools.
The new Branding Panel features an advanced ‘Button on LCD’ interface, and is designed for Miranda’s Densite LGK-3901, Imagestore 750 and Vertigo XG branding processors. This highly graphical, touch screen panel provides informative and easy to use control. It can operate of all the graphics and audio functionality across multiple channels, with a channel ganging capability. Channel branding media can be browsed easily from the panel using a thumbnail display.
The NV5100MC multi-channel, master control switching and branding system (HD/SD) will be shown for the first time by Miranda, following its recent acquisition of NVISION. The system offers cost-effective modular design, a wide choice of richly featured control panels, and tight router integration. It also provides versatile multi-channel audio control with Dolby E decoding, and a full preview. This combination of features makes it ideal for national and regional broadcasters, who require effective manual intervention during playout.
The NV5100MC processor modules are housed in an 8RU frame, which can provide built-in routing for up to 64 inputs, and master control switching for up to eight playout channels. The resilient design incorporates redundant power supplies, fans and control cards.
The NV5100MC can operate with the Intuition XG graphics co-processor and the Xmedia Suite graphics automation to provide the richest channel branding graphics, with streamlined workflows.
See www.miranda.com for more information about Miranda’s latest products.
By John Rice
Sports-graphics professionals attending NAB this year will see a number
of new options designed to tighten workflows, get information in front
of viewers more quickly, and most important, make it easier to do more
with less. And doing more is the key because, as Nir Goshen, director
of visibility for Vizrt, sees things, “every piece of graphics, even
the score bug, has animation in it.� In part two of a two-part series on new 3D graphics devices at NAB, Sports Video Group takes a look at how suppliers are streamlining 3D production and making it more cost-effective.
Vizrt systems has found believers in those involved in live sports
production. The key to that success, according to Goshen, is that
“Vizrt offers a core graphics platform. There is no need to import and
export. Part of our success is due to the embedded authoring tool, Viz
Artist.� He explains that the “relationship between Viz Artist and the
rendering engine is basically like client and server. The render engine
is the server, and the Viz Artist user interface is one of the server’s
clients.�
The platform allows users to add tools for tickers, maps, weather
coverage, and asset management for video footage. “It’s very attractive
to broadcasters to capitalize on their investment by adding modules and
components and things they already know how to use,� says Goshen.
Vizrt systems do work with third-party systems and software like
PhotoShop, but the strength of the systems is that the designer
maintains “ownership� of the graphics. “We believe in the
‘what-you-see-is-what-you-get’ [WYSIWYG] concept,� he says. “The rules
are dictated by the creator of the graphics.�
More and more, integration of real-time data is becoming a major part
of live graphics. “We are going in the direction of fancy technology
that tracks stuff on the field, collects statistics [including] some
that may not be able to be recorded by a human being.�
Vizrt is in a strategic alliance with Stats Inc. (which recently
acquired SportsView), providing “unique equipment that can be placed in
the arena and track the position of all the players and the position of
the ball,� Goshen explains. “Think about the ability to highlight a
player, a bunch of players, or a team  or the ability to draw the path
of a player as he ran to score a goal or a basket. Think about the
ability to show numbers pertaining to the speed of a run, the speed of
the ball or the pitch. It is really fascinating what can be done with
it.�
Orad Inc. also takes the platform approach. “I think there are a lot of
efficiencies that broadcasters can employ and are not being used today
with 3D graphics because they rely on multiple systems and multiple
staff to deliver one output,� says Shaun Dail, VP of marketing, North
America, for Orad. “They want to a high-quality graphics presentation,
but they want to try to do that as efficiently as possible. We see them
asking for that.�
Orad’s MVP (Motion Video Play) was “developed as a sports platform,�
Dail explains. “It was developed as a platform, not a set tool. If you
try to build a system that is constrained with fixed tools, you don’t
often meet the needs of the market.� He says MVP was designed as a
basic tool set that a customer can build upon.
Features offered in MVP include Object Tracking, Flow Motion,
Magnifying Glass, and Tracked Telestrator. For 3D, Orad’s 3Designer
provides authoring software for creation of 2D and 3D graphic elements;
it also imports 3D objects from Studio 3D Max and Maya.
Orad’s 3DPlay is described as a 3D and 2D template-based system. “The
point-and-click database interfaces are amazing,� says Dail. 3DPlay was
originally developed for internal use for sports and election coverage,
he notes. 3DPlay “gives the operator the ability to point and click on
any stat that will populate a template,� he explains. “The data is
automatically carried in from the database. It’s a big time saver, but
it also gives [the operator] flexibility.�
Speed, of course, is crucial in live sports production. But ever
increasingly, Dail says, customers are looking for to save time and
money. “Time and cost efficiencies while delivering the same or better
output is what we’re about. When you can eliminate 95% of your
programming cost and streamline your design and do it in a system that
requires minimal hardware units, it’s very cost-effective, and you get
a killer show.�
Harris Broadcast will give sports networks what they want with
Inscriber G. Introduced at NAB 2008, the HD/SD-switchable CG system
available in single- or dual-channel. “We approach our systems as an
all-in-one box,� explains Curtis Mutter, product line manager for the
Inscriber Production Graphics line. “They include a character
generator, connection to automation, and 3D capability. We do
everything from a single box. You can purpose these systems however you
want.�
In addition to the flagship Inscriber G7, Harris also offers the G3 and
G1, “still running the same software platform and with the same
functionality.� The systems are Windows XP-based. “You can add the
design tools that you want.�
Harris systems feature RTX, a programming API that enables customizable
graphics applications. RTX 2.0, which is currently being rolled out,
“has access to entire 3D-scene capability,� says Mutter. “RTX has been
used for tickers and score bugs, which have traditionally been 2D. Now
you have access to the entire 3D environment, so you can introduce some
interesting transitions.�
Mutter sees 3D graphics in sports as an augmentation to “traditional�
2D. Producers are “using the 3D tools to tell more about certain
situations in a game,� he explains. “3D also gives you a new way of
presenting data. With the 3D environment, you can integrate text as
more of an element within the scene, so you can actually have that
content imbedded into the scene.�
Another recent introduction is a G3D design application. “This is a
piece of software that sits on the machine,� Mutter says. “It’s our
3D-scene creation tool.� G3D enables creation of 3D primitives,
texturing, and animation. It features multiple timelines and provides
the ability to “build very complex scenes using this tool.
“Where it really shines is in scene-importing capability,� he
continues. “We can import entire 3D scenes from third-party
applications like 3D Studio Max. A customer can have their 3D designers
work in the tools that they’re comfortable with.� The system operator
then has access to all the elements and can modify the graphics as
needed. “It keeps it simple for the operator while providing a very
complex scene.�
In live-sports graphics, Mutter sees something of a tradeoff between
fully rendered, ray-traced events and what can be realistically
accomplished in real time. “We take the approach that you can combine
the two. If you need elements that have a very high production look,
you can integrate those into your 3D scene. Our product allows you to
use the best of both worlds. You can integrate that rendered content
when you need it. You still have access to the 2D environment and use
the 3D content to augment that presentation.�
With cost a paramount importance in a weakening economy, Pixel Power’s
approach to 3D graphics, says CEO Pete Challinger, is “to try to make
the cost reasonable, because we see it as something that’s going to
become ‘everyday.’�
The problem with real-time 3D graphics to date is that systems have
been very complex and very expensive. “Systems that are capable of
doing [high-end 3D] are not usually operator-friendly, and not usually
accountant-friendly,� says Challinger. “That’s starting to change.�
Pixel Power’s Clarity 3D is a recent arrival in the marketplace. “It’s
been a long time in gestation,� Challinger says. “It really stabilized
toward the last quarter of last year. Our approach has been that
real-time 3D should be a modest extension of the existing tools that
people are using.�
Noting the large base of graphic artists working in After Effects,
Challinger says an artist or operator who “can drive a real-time
graphics box and can use After Effects can use Clarity 3D. That’s our
approach.�
The need to incorporate real-time data and integrate with external
systems and software benefits Clarity 3D, he says: “One of the
advantages to our approach is that every aspect of the animation can be
connected to something externally. You could have 20 different
variables that are coming from live stats data and all modifying some
part of the animation. You can easily attach any control to any piece
of that.
“The area where we think we go beyond other players is the ability to
map multiple, real-time live videos onto the object surface,�
Challinger adds. Although most systems are limited in terms of inputs,
he says, Clarity systems have four live-video inputs “so you can put
more pictures on more parts of the object.�
For Pixel Power, it’s about “ease of use and lower cost of ownership,� says Challinger. “We hang our hats on them.�
For those needing access to high-end platforms on a rental basis,
California-based graphics company Reality Check Studios has been
creating high-end graphics and effects for broadcast, feature films,
and commercials. But recently, via its “hardware� division RC Gear,
it’s a presence in live sports production in both hardware and systems
design.
“As time goes by, the graphics and graphics systems have become more
sophisticated,� says Jeff Heimbold, producer at Reality Check. “The
networks want to do more, and someone has to be on the cutting edge
figuring out what it can do.�
RC Gear’s BULLET is a rack-mountable hardware package that runs on
Vizrt software. According to Heimbold, there are 70 or 80 of the
systems in the RC Gear fleet, primarily supporting HD sporting events.
Using off-the-shelf components, the system rack-mounts PCs with a back
patch panel that has video ins and outs: “The truck engineer simply
plugs it into his truck environment.� He estimates that the BULLET
works on approximately 1,800 events per year for various clients.
Recently, Reality Check and RC Gear have moved into the realm of
integration of graphics and video switching. “We developed Upper Cut,
which is a video-switching application on a touch screen,� explains
Heimbold. “What we’ve done is put the graphics operator and the
director side by side on the bench and made the graphics intelligent.�
The system occupies a smaller footprint in a production truck, and he
says it requires fewer people to operate.
“We are using the same sort of mentality that we had for creating
graphic front ends to now controlling graphics,� he says. “We’re
integrating the graphics with the video switching to make it more
user-friendly. You or I could be the TD.�
Heimbold says the company has “gone from being a graphics company to
adding hardware� to creating software and application solutions. “We
have a difficult time explaining what we do  even to our clients,� he
smiles. “It turns everything they’ve been doing on its head.�
Neutrik
expands its opticalCON line of pre-assembled mobile field cables to include a
cost-effective camera link set up, opticalCON
Low Voltage Camera/Single mode Hybrid cable.Ideal for any
broadcast application including mobile broadcast studios/trucks, touring
staging productions and live performances, Neutrik’s newest addition to
opticalCON’s pre-terminated cable offerings will be on display at NAB 2009
(N7929). More »
