LAS VEGAS—The video industry is moving into more—more resolutions, more color, more contrast, more frames. Ultra high-def 4KTVs are the new HD. More and more sets feature high dynamic range. Wide color gamut is on the way. The questions now revolve around the workflow—achieving these dynamics glass-to-glass—whether or not it’s worth it, and if so, what’s the best approach.

That’s what four top broadcast engineers take on during the NAB Show in a Tuesday, April 19 at 2:30 p.m. Super Session entitled, “4K, UHD, HDR and More—The Future of Video.” TV Technology’s Deborah D. McAdams will grill video expert Mark Schubin, SMPTE President and CBS Vice President of Engineering and Advanced Technology Robert Seidel, broadcast veteran Jim DeFilippis and Ericsson’s Senior Vice President of Technology for TV & Media Matthew Goldman with crowd-sourced questions from their peers.

Here, Jim DeFilippis takes a crack at the list.

CROWD MEMBER: What provides the best bang for the buck: 2160p resolution, high dynamic, wide color gamut, or high frame rate (120 fps)?
DeFILIPPIS: Good and interesting content! Ok, each provide a unique ability to capture and display content.

CM:The Canadians are now doing baseball, basketball and hockey in 4K, and distributing it via cable. What is holding up the U.S. broadcasters? What are their immediate challenges?
DeFILIPPIS: The difference is that this is one cable/broadcaster (Rogers Communications). DirecTV and Comcast have committed to delivering 4K (Masters Golf, Rio Olypmics). 

CM:What about standards? What’s needed?
DeFILIPPIS: We have many standards, but what we are missing is clarity of the problem they are supposed to solve.

CM: Beyond sports, what other genre will benefit and have a business ROI?
DeFILIPPIS:Cinema, perhaps documentaries.

CM:Will broadcasters be “forced” into 4K/UHDTV adoption similar to the evolution of HDTV? If so, by when?
DeFILIPPIS: Different situation today. Back then, with government and private cooperation, the spectrum sell-off traded the mandatory digital tuners. This time around, government is taking spectrum and providing a one-time payout or compensation for re-location to the under-500 MHz ghetto. No mandate to update the digital tuners nor upgrade of the broadcast technology.

CM:What are the key dominos in the chain that need to be knocked over for the consumers to feel this is real and start spending? Is it availability of “great titles,” consumer devices, branded premium channels, marketing or something else not yet concocted?
DeFILIPPIS: Well the key growth driver is mobile/OTT; so how will 4K play in these devices? When a Google Nexus supports native 4K decoding, when Apple promotes their “8K” screens and iTunes UHDTV offerings, then UHD will take off.

CM:The young adults of today are notorious for consuming social content on small, portable devices. They are the future money for this. Why do they need it?
DeFILIPPIS: Cause as they get older, need to have larger screens so they can read their tweets.

CM:How do we as an industry start our advancement to UHD and HDR?
DeFILIPPIS: Run around, start many organizations that advocate people go out and spend more for larger TV’s.

CM:What is the immediate opportunity for a TV group with regard to these technologies?
DeFILIPPIS: Let the other guy go first. 

CM:Are we now headed toward 1080p60 with HDR and wide color as a first step, with 4K used in production and on-set display etc.?
DeFILIPPIS: Maybe.

CM:What are your thoughts on HDR HD facilities versus native 4K HDR?
DeFILIPPIS: Well while HDR HD is more affordable, so much of the industry is in shell shock and can’t rationalize spending any capex. So if a channel has the opportunity to upgrade, might as well go for 4K.

CM:Is the notion of HDR for HD now officially dead?
DeFILIPPIS: Stillborn perhaps?

CM:Given the file sizes, do you think we should be significantly compressing in acquisition and post, just as we did in the early stages of HD?
DeFILIPPIS: All aspects of 4k makes the workflow more of a problem. However if there can be a universal file format for UHDTV, this alone would speed adoption.

CM:HDCam, while not perfect, was a pragmatic way of getting to HD and getting material out to audiences. What’s the equivalent for UHD?
DeFILIPPIS: Good news is that in the time from HDCam (130Mbps) we are now able to support 250Mbps in production. Given that video compression is not linear—4K does not take four times the bitrate of HDTV—the production bitrate maybe close to the 250Mbps range.

CM:4K, 8K, UHD, and HDR require a very large network topology to support file transport. How do we justify that investment when the delivery to the home will not support the transport without heavy compression for years to come?
DeFILIPPIS: A bit of apples and oranges. Yes live UHD requires large amounts of bandwidth and storage. Given that HDTV/MPEG-2 routinely uses 11-18Mbps, UHDTV using HEVC can be delivered without much more (or less) bandwidth. The more difficult problem is agreeing to the distribution modalities.

CM:Will 4K become a standard transmission? 
DeFILIPPIS: Sure. Just numbers on a piece of paper.

CM:What are you views on affordability of transmission methods for 4K, that is, broadcast, broadband and/or satellite?
DeFILIPPIS: 4K is as affordable in it’s time as HD was in the late ’90s. The real issue is the cost for any change to the established infrastructure.

CM:Do any of you on the panel think there is benefit to using HDR and/or 4K to author a better HD product that can be delivered to consumers without significant changes to current infrastructure, instead of racing to provide 4K?
DeFILIPPIS: This is happening today… use of 4K cameras to capture and then downsampled in post to 2K, while preserving the 4K digital negative.

CM:Shooting UHD side-by-side with HD is too costly. How can we reduce the cost of producing sports in UHD and HDR? 
DeFILIPPIS: Ultimately, side-by-side is not practical. So we have to develop the ability to interoperate between UHD, HDR and HDTV.

CM:How can we do live production of HDR sports without needing separate “shaders” for an HDR/wide color gamut output and an SDR/normal color gamut output for legacy TVs?
DeFILIPPIS: We need to develop tools and monitoring techniques to allow video ops to “shade” for both HDR and SDR.

CM:Do you think that high frame rate is suitable for all genres?
DeFILIPPIS: Yes, in the context that HFR capture can be used for any frame rate (24, 25, 30…). However, artistically we are accustomed to seeing some content at low frame rate and other content at high frame rate.

CM:Given the propensity of advertisers for brighter brights and whiter whites, how do we avoid the CALM Act for brightness?
DeFILIPPIS: Have Congress work on more important matters such as the budget, hunger, terrorism, etc…

CM:How do we integrate interstitials into programming without brightness and color wars?
DeFILIPPIS: Ultimately, this is a self-correcting problem. If commercials are obnoxious, people will tune out, or cut cords or go read a book.

CM:How well can we produce for both HD and HDR without serious compromises, particularly in graphics or saturated colors?
DeFILIPPIS: By it’s nature, HDR is a different pallet than SDR. One could “paint” within the Rec. 709 lines, and HDR will convey these colors but no real benefit. Or paint outside the Rec. 709 lines and try to downsample to SDR, with mixed results.

CM:Given the constraints of the television, cable and satellite system, how comparable will the broadcast experience be to the ultra Blu-ray?
DeFILIPPIS: Apples to oranges. Ultra Blu-ray is not limited by bitrate nor have to support both HDR and SDR.

CM:Given the wide disparity of displays and capabilities on the market, how well can we author once and use everywhere, and how much will the user experience vary?
DeFILIPPIS: Hey, just like NTSC, Never the same color!

CM:As HDR displays get better and do a nice job of presenting SDR-graded content better than it would look on a legacy UHD display, does this challenge the value of specific HDR grading? What percentage of average consumers will appreciate the difference?”
DeFILIPPIS: Unless some one has a side-by-side set of UHDTVs, one showing the SDR upsampled and the other HDR graded, who knows? Try watching a movie on DVD and then Blu-ray HD. Not exactly the same.

CM: When will lower-end 4K cameras offer servo lenses?
DeFILIPPIS: Not sure what lower-end 4K cameras exist… but the key issue about 4K cameras is the optics not the cost or electronics.

Also see…
April 16, 2016
“Q&A: Matthew Goldman on 4K, UHD, HDR and More”
“Is it worth the investment to build a native 2160p infrastructure for the gain in user experience? This is what the broadcaster needs to grapple. This question is very different between a Hollywood studio production and live TV production or distribution.”

April 11, 2016
“Q&A: Mark Schubin on 4K, UHD, HDR and More”
“In my opinion, HDR and HFR offer the most bang for the buck. HDR might be easier to implement, but it can increase motion artifacts, bringing us back to HFR.”

At this year’s NAB Show, 4K/UHD cameras will be omnipresent in the booths of camera makers, with a wealth of new products and new features making their debuts.

AJA CIONAJA will introduce new features in its CION 4K/UltraHD and 2K/HD production camera. It enables shooting in direct to edit-ready Apple ProRes 4444 at up to 4K 30fps; ProRes 422 at up to 4K 60fps; or can output AJA Raw at up to 4K 120fps. CION provides extensive Gamma modes that offer the flexibility to capture the scene exactly as lit in Normal, Normal Expanded or Video Gamma modes.

ARRI will demonstrate the ALEXA Mini camera, which combines a compact, lightweight form factor with the same image quality that ARRI’s standard-size ALEXAs deliver. The Mini is designed for use with gimbals, multicopters and other specialized rigs. ARRI also will introduce its economical AMIRA documentary-style camera, which supports CFast 2.0 workflows.

Blackmagic URSA Mini Sticking with tradition, Blackmagic Designl will hold its new product news until the show, however, expect to see the return of the company’s URSA Mini, a small form factor of its URSA 4K cameras, as well as the Micro Studio Camera 4K and the Blackmagic Micro Cinema Camera.

Canon will introduce a new HDSLR flagship, the EOS-1D X Mark II, with a 20.2 megapixel 35mm Full Frame Canon CMOS sensor and Dual DIGIC 6+ Image Processors. The company will also showcase its multipurpose ME20F-SH, delivering full HD images at an ISO sensitivity of over 4,000,000.

Grass Valley LDX 86 Universe

Hitachi DK-H200 HD compact Box CameraGrass Valley will feature its LDX 86 Universe camera, which provides universal format support with switchable 1X/3X/6X HD, 1X/3X 3G and 1X 4K, all from a single camera. The LDX 86 Universe offers an optional software upgrade to enable 15 ƒ/stops of high dynamic range (HDR) in single-speed operation.

Hitachi Kokusai will introduce the DKH200 HD compact Box Camera, a multiformat, HDTV box camera for robotic applications. It features full frame rate 1080p acquisition. Also highlighted will be the SK-UHD4000 camera, which uses standard 2/3-inch B4-mount lenses. It uses a fourport prism and four MOS sensors totaling more than 8.8 megapixels.

I-Movix Infinite

Ikegami UHK-430 4K cameraI-Movix will demonstrate Infinite, a new ultra-slow motion camera system that combines scalability with trigger-less operation, with continuous on-board loop recording of more than one hour of high frame rate in HD and frame-accurate ramping of speed without compensation and interpolation.

Ikegami will showcase its UHK-430 4K camera, designed for use in the studio and field. Utilizing B4-mount lenses, the camera has three 2/3-inch 4K (3840x2160) CMOS sensors with RGB prism optics. Ikegami also will exhibit 8K technology showcasing developments in the extremely high-resolution format, Super Hi Vision.

Joseph Electronics will introduce its JFS WAVESHIFTER-4 series that can transport up to four HD camera systems on one single- mode fiber optic path. The WAVESHIFTER uses optical wavelength shifting technology to map the two fibers in standard HD cameras to wavelengths in the CDWM spectrum, which is then introduced into a CWDM mux.

JVC KENWOOD will exhibit upgraded versions of its popular ProHD and 4KCAM camera models. The company will emphasize IP connectivity for broadcast newsgathering, studio and field production, events and sports, demonstrating real-world IP solutions using products that are currently available in all these categories.

Marshall Electronics CV505 2.5MP Miniature POV CameraMarshall Electronics will unveil its CV505 2.5MP Miniature POV Camera, designed for sports integrators looking for broadcast-quality video in a small footprint. It measures 1.5x1.7 inches and weighs just under 5 ounces. It provides 3G/HD-SDI or HDMI output at up to 1920x1080p60/59.94. Newly added to the camera is the ability to capture TRS audio, embedded across 3G/HD-SDI or HDMI.

MultiDyne will introduce its POV/PTZ camera system, designed for a range of unmanned camera applications. It includes bidirectional GigE transport capability and the ability to accurately synchronize multiple cameras during live or studio productions. The weather-resistant, camera base includes a built-in MultiDyne HD-3500GE Series Multi-rate Serial Digital Video Fiber- Optic Transceiver.

Panasonic Varicam LTPanasonic will unveil its VariCam LT next-generation 4K cinema camera. It utilizes the same super 35mm sensor and imaging capabilities as the VariCam 35, but with significant reductions in size, weight and price. The VariCam LT (model AUV35LT1G) delivers 14+ stops of dynamic range with V-Log, and the cinematic VariCam image quality and color science, as well as dual native ISOs of 800/5000. The company will also debut the AJPX230PJ AVC ULTRA handheld camcorder, providing the quality, image control and much of the functionality of its predecessor, the AJ-PX270. It offers 10-bit, 1080p AVC-Intra and AVC-LongG codecs, extensive video control, a 22x zoom lens and OLED viewfinder. The camcorder provides the same video recording quality and body design as the PX270, minus networking (wired and wireless), proxy and genlock/TC interface, delivering a significantly lower-cost version for shooters who don’t require these features.

Sony PXW-Z150RED Digital Cinema will showcase the latest RED camera lineup: Raven 4.5K, Scarlet-W 5K, Weapon 6K and Weapon 8K Carbon Fiber. In addition to a hands-on experience with RED cameras you’ll see demonstrations on RED’s workflow as well as the software and accessories that help unlock the power of any RED–based system.

Sony will unveil the PXW-Z150 4K camcorder that combines lowlight performance and multiple file transfer options. It features a 1.0 type stacked Exmor RS CMOS image sensor to help deliver sharp pictures in low-light conditions. Also new will be the HXR-NX100 professional compact camcorder that delivers the benefits of a 1.0- inch type sensor.

WASHINGTON—There will be a new event taking place during the 2016 NAB Show, as NAB announced the launch of the Multicultural TV & Video Conference. Set to take place on April 20, the conference intends to focus on how media companies can capitalize on diverse audiences on TV and other video content viewing, particularly through talent, content development, brand advertising and publicity.

Oscar De La Hoya

The conference will features multiple sessions and panels, including a keynote from Oscar De La Hoya, an Olympic gold medalist and 10-time world champion boxer. Since he retired from boxing in 2009, De La Hoya founded Golden Boy Promotions. His keynote, “Rolling With the Punches: Launching New Channels for Diverse Audiences,” will talk about his company, as well as his vision on his recently launched RingTV Live, according to NAB.

Other scheduled sessions include “How Do Diverse Voices Matter?” with Kelly Edward, VP of talent development for programming at HBO; Donna Michelle Anderson, president of Planet DMA; and DuJuan McCoy, owner, president and CEO of Bayou City Broadcasting. Another sessions, titled “Getting to Know You: More Research + More Data=More Viewers?,” will include a panel of Eliana Murillo, head of multicultural marketing at Google; Carol Hinnat, senior VP of national television at comScore; and Adriana Waterston, senior VP for insights and strategy at Horowitz Research. Another session is in development that will attempt to address the “three cultures of content” that attract diverse viewers on multiple video platforms. The full schedule is available here.

The NAB Show Multicultural TV & Video Conference is being produced by Schramm Marketing Group.

The 2016 NAB Show takes place from April 16-21 in Las Vegas.

Despite the increasing use of mobile devices and systems for producing and monitoring content, much of television and post production still takes place in front of a screen at a console. Production furniture makers are taking their cues from health reports that warn of the danger of long-term sitting by building height-adjustable console systems that give users the option of sitting or standing, while maintaining optimal ergonomics.

Forecast Consoles GCXForecast Consoles will launch the newest addition to its ImageMaster edit consoles and workstations. The GCX offers increased options for user configuration including interchangeable turret modules for future expansion, a variety of countertop shapes and sizes to fit specific environments, and the GCX-S adds electronic height adjustment for increase user comfort, health, and productivity. Launched at NAB last year, the MasterVision line of low profile monitoring consoles will be back with newly added configurations and equipment mounting options. The company will also show off user-inspired updates to the MasteRail console line and Sightline Monitor Wall System.

TBC Consoles’ TS Console future control room conceptTBC Consoles will debut its SmartTrac ST3 Plus, a motorized height adjustable desktop, with an independently height adjustable monitor frame. The frame supports up to 6x24-inch monitors as well as a pair of speakers. This feature was added to allow for separate monitor height adjustment for perfect sightlines. The Plus series is available in the Workstation (full desktop) or Console series, which includes above desk rack turrets, full cable core enclosure, adjustable floor levelers and many accessories.

Also new is TracWall v2, with the option of motorized height adjustability. Each TracWall is custom configured to client specifications and can support an unlimited number of monitors ranging from 24-inch to 90-inch. An adjustable height range of 26-inches allows for multiple sightlines from sit/stand consoles or specific applications requiring certain monitors be optimized for perfect viewing. TracWalls offer a large assortment of options, including speaker and digital clock mounts, and base unit storage for CPU’s or rack equipment.

Winsted will debut its Impulse Dual Sit/Stand consoles, which provide two independently adjustable, ergonomically curved work surfaces. The surfaces can be raised and lowered to meet the needs of individual operators while offering flexibility between sitting and standing. Configuration and technology options include electric-lift legs; Versa-Trak Monitor Mounting System; Safeguard Edge work surface; CPU pedestal; perforated privacy panel; easy-access cable management; three monitor Mount Post Heights; optional decorative end panels, and powder coat paint.

WASHINGTON—The broadcast industry has been talking about ATSC 3.0 for a while now, but at the 2016 NAB Show attendees can see it in action as NAB announces that ATSC 3.0 will test its live transmission capabilities from the show floor. These live transmissions will be sent to prototype receivers designed to demonstrate the new capabilities of ATSC 3.0.

These broadcasts will be part of the ATSC 3.0 Broadcast Pavilion, which will be part of the Futures Park exhibition in the South Hall, Upper Level of the Las Vegas Convention Center. These transmissions will then be on received and displayed at the ATSC 3.0 Consumer Experience, which will be located near the entrance to the Upper Level of the South Hall.

In addition, the ATSC 3.0 Consumer Experience will display new receiving devices for next-generation television broadcasts, ATSC 3.0 “gateway” receivers that are designed to feed existing tablets and mobile devices with Wi-Fi signals, as well as examples of ATSC 3.0’s emergency alerting system.

The 2016 NAB Show will take place in Las Vegas from April 16-21.

WASHINGTON—Attendees will be given the chance to check out a new conference at the 2016 NAB Show, as the National Association of Broadcasters has announced the launch the Digital Futures Exchange. Powered by the NAB’s Pilot program, formerly NAB Labs, DXF will look to showcase emerging trends and best practices of digital content strategies for broadcasters.

The NAB says the conference will feature interactive discussions on trends and strategies for incorporating digital as part of a station’s business plan. It will also feature presentations by analysts from organizations like Pew Research Center, BIA/Kelsey and the Local Media Association. Attendees will also have the opportunity to examine digital strategies for content and marketing; share digital media spending management examples; exchange ideas for driving digital revenues in local markets; and discussion on the state of the news media, including millennials’ news habits.

The Digital Futures Exchange conference will take place on April 17 in Las Vegas. To see the full schedule, click here.

WASHINGTON—The first batch of companies selected to participate in Sprockit’s 2016 program has been announced. These 10 startup companies were selected based on “their potential to offer real solutions to challenges in today’s evolving market that many established media and entertainment companies,” said a joint report from NAB and Sprockit.

The fourth annual Sprockit program will showcase emerging companies at the upcoming 2016 NAB Show, and then convene throughout the year at Sprockit Sync, a series of private meetings where new technologies are expected to be introduced and discussed.

Here is the first batch of companies that will take part in this year’s program and descriptions provided by the report:

• AmpLive – helps content creators and marketers, using live video, build better audiences by tracking user attention and using that data to retarget and engage at a later time.
• Appiness – provides advanced solutions for video commerce. The company offers time-stamped products and brands for shopping via any smart device, locally or internationally.
• Crowdynews – is the largest social media curation platform, delivering social content to the news media worldwide.
• Nervve – helps industry leaders to target, measure and monetize media through visual search and analysis.
• OwnLocal – builds the bridge between small and medium businesses and local media companies by automating digital marketing through a secure source.
• Stre.am – a mobile live streaming platform with enterprise video player capabilities that is platform-agnostic and can consume live video from mobile devices, GoPros, and more.
• System73 – the “Google Maps” for OTT broadcast video. Simple codes added to the video stream guarantee delivery of high quality video to millions of viewers simultaneously with no blocking, while reducing costs.
• trueAnthem – a data-driven social publishing solution that enables media companies to maximize profitability from social media.
• TVision Insights – leverages state-of-the-art computer vision technology to collect viewers’ demographics, emotions, actual viewing habits, and content engagement by analyzing data from sensors in the living room.
• Vigour – empowers media companies and operators to revolutionize online video services using Vigour Video, a world-class interface platform that captivates customers and connects their screens.

Up to 30 companies will be selected to participate in the 2016 program. Applications are still being accepted and invitations are done on a rolling basis. The application deadline is March 14. For more information, click here (sprockitglory.com).

The 2016 NAB Show will take place from April 18-21 in Las Vegas.

TV TECHNOLOGY: What do you anticipate will be the most significant technology trend at the 2016 NAB Show?

Dr. Andrew Cross

CROSS: It won’t come to anyone’s surprise that the industry’s transition to IP-based workflows will dominate the conversation at NAB Show this year, as it should. We are big believers in IP as the future of video production. It represents the biggest transformational change in the industry since file-based workflows replaced tape and we may not see a bigger transition in our lifetime.

TVT: What will be your most important product news?

CROSS: We will be demonstrating NewTek’s TriCaster Advanced Edition featuring our Network Device Interface (NDI) protocol, an open standard for live production for anyone wanting to enable IP workflows over Ethernet networks in their facilities or in production systems they manufacture.

TVT: How is your new product different from what’s available on the market?

CROSS: NDI allows multiple video systems to identify and communicate with one another over IP, and to encode, transmit and receive many streams of high-quality, low-latency, frame-accurate video and audio in real time. This new protocol can benefit any network-connected video device, including video mixers, graphics systems, capture cards, and many other production devices. This makes it possible to exponentially increase the number of sources available for live production switching, without directly attaching to devices, changing locations, or investing in expensive, high-bandwidth networks that simply replace SDI-based workflows. NDI is also backwards-compatible with a large number of devices from top manufacturers and developers already using NewTek’s previous technology allowing IP connectivity between devices. This will extend support for NDI to well over 100,000 compatible systems already deployed worldwide, making it by far the most prolific IP video transfer method in the production market. NDI is a royalty-free software development kit (SDK).

TVT: What is it about the NAB Show that brings you back every year?

CROSS: The NAB Show is, without question, the biggest event in our industry year after year. It is not only a great venue to launch and demonstrate our latest technology, but it’s where we can best interact directly with the broadest number of partners, developers, past and future customers, press and more. There’s no substitute for it and that’s what brings us back every year.

PORTLAND, ORE.—Runners, get ready to take your mark once again for the 4K 4Charity Fun Run at the 2016 NAB Show. Elemental Technologies has announced that for the second year in a row NAB Show attendees can take part in a 4km (2.49 miles) fun run that commemorates advancements in video technology by global media and entertainment industry leaders and technology vendors that support them, while also supporting local and international charities. Registration for participation and sponsorship is now open.

The run will take place on Tuesday, April 19 at 7:30 a.m. through Sunset Park in Las Vegas. Free transportation will be provided both to and from the race from major NAB Show hotels.

All proceeds raised by the event will go to Mercy Corps, a global charity that helps people around the world survive and thrive after conflict, crisis and natural disasters, as well as Las Vegas-based charity The Shaded Tree, which is a shelter for women, children and pets that are victims of domestic abuse. This will be the fourth event in the 4K 4Charity series that has made stops at other conventions, and to date has raised more than $200,000.

Current sponsors for the 4K 4Charity Fun Run at the 2016 NAB Show include Aspera, Brightcove, Verimatrix, NAB and media partners NewBay Media and Rapid TV News. The deadline for sponsorship commitments is Feb. 29. For more information, contact Laura Barber at laurab@elementaltechnologies.com.

For more information on the run, or to register, please visit www.4K4Charity.com. 

WASHINGTON—The 2016 NAB Show is going virtual, as it has been announced that NAB and Kaleidoscope have partnered on the inaugural Kaleidoscope VR Showcase.

Founded in 2015 by René Pinnell and Michael Breymann, Kaleidoscope is a virtual reality community that empowers independent VR artists and works to promote the visibility of VR in the film and entertainment industries. The Kaleidoscope VR Showcase at the NAB Show will feature virtual reality films and immersive experiences from North America, Europe, South America and other places around the world. Kaleidscope previously demonstrated its VR content to people during a North American tour in 2015.

“With the rapid evolution of media and entertainment, it’s clear that virtual reality will play a prominent role in the future of film and broadcasting,” said Chris Brown, NAB executive vice president of conventions and business operations. “Kaleidoscope will be a major highlight of our virtual reality educational programming—we can’t wait to see what this next generation of artists brings to the NAB Show floor.”

The 2016 NAB Show will take place from April 16-21 in Las Vegas.

WASHINGTON—As we are now officially three weeks into 2016, the 2016 NAB Show is in sight, and with that comes the announcement that Ben Sherwood, co-chairman of Disney Media Networks and president of Disney | ABC Television Group, has been tapped to give opening remarks at the show.

Ben Sherwood

Sherwood oversees ABC Studios and the ABC Television Network. He also oversees Disney Channels Worldwide, which includes TV and Radio Disney brands, as well as Freeform (formerly ABC Family) and Disney’s equity interest in A+E Networks, Fusion and Hulu. He previously worked for ABC News, where he would eventually serve as president.

Sherwood will give his presentation on April 18, after NAB President and CEO Gordon Smith’s “State of the Broadcast Industry” address.

The 2016 NAB Show will take place from April 16-21 at the Las Vegas Convention Center.

LAS VEGAS—Registration for the 2016 NAB Show in Las Vegas is now open. The annual conference for the broadcast industry is now offering its free exhibits pass as well as a 50 percent discount on a Session-3 Pack from now until Oct. 31. The 2016 NAB Show will run from April 16-21, with exhibits open from April 18-21, at the Lasa Vegas Convention Center. To register, or to find out more information, click here