MAHWAH, N.J.—Ikegami will launch the ultra-compact UHL-X40 4K-UHD/HD 3-CMOS camera. Also on show will be the established UHK-X600 camera and HQLM-3125X monitor and show its UHK-X600 camera and HQLM-3125X monitor during the 2024 NAB Show New York, Oct. 9-10, at the Javits Center in New York City.

The UHL-X40 is box style UHD camera measuring 4.7 x 5 x 4.4 inches and weighing 2.4 pounds. It is designed for applications requiring an inconspicuous camera with uncompromised UHD performance. The head is powered locally with 12 volts DC (just 23 watts) and connects with the compact CCU-X40 via up to 6.2 miles of duplex single-mode fiber carrying uncompressed RGB raw pixel data. Included with the fiber link is a 1G Ethernet trunk for external data, such as pan/tilt/zoom control, the company said.

Incorporating three high-quality 2/3-inch UHD sensors with a global shutter pixel architecture, the camera captures natural images even when shooting LED screens and is clear of geometric distortion during still frame replay. The global shutter imagers also minimize artifacts when televising flash/strobe-illuminated stage environments. The UHL-X40 achieves F10 sensitivity at 2160p59.94 and a signal-to-noise ratio of 62 dB in HD. HDR and BT.2020 color reproduction are available as standard, it said.

The CCU-X40 can output two formats simultaneously, such as 2160p UHD and 1080i HD. Selectable output signal resolutions and scanning rates include:

• 3840 x 2160 at 59.94p and 50p
• 1920 x 1080 at 59.94p and 50p
• 1920 x 1080 at 59.94i and 50i
• 1280 x 720 at 59.94p and 50p
• 1920 x 1080 at 29.97psF and 25psF

A supplementary HD monitor output from the CCU includes information such as menu, characters and markers. Focus assist can be enabled via this output, providing viewfinder video to a remotely located robotics operator, it said.

Features also include automatic vignetting correction and F-stop ramping zoom lens compensation, minimizing dark corners and overall loss of light when the lens is in telephoto mode and the iris is open. An optional tally light can be attached to the upper front of the camera head, it said.

The UHL-X40 can be operated from any Ikegami OCP and MCP physical or virtual control panel. At NAB NY, Ikegami will use the new OCP-500, a compact, but full-function control panel with joystick control of iris and master black, it said.

See Ikegami at 2024 NAB Show booth 1027.

More information is available on the company’s website.

GRUP MEDIAPRO has released details of its role in the production of the 37th America’s Cup Barcelona.

Selected by the competition’s organiser, America’s Cup Events, GRUP MEDIAPRO is responsible for the design and rollout of the onshore broadcast logistics for this year’s series, which will be broadcast in 4K HDR for the first time in its history. The company is also providing technical support and equipment for the duration of the event.

More than 70 broadcast professionals have been deployed by GRUP MEDIAPRO, along with a control room, two audio control rooms, replay capability, camera control and an editing suite. The group will produce three hours of content every day of the two-month competition. Camera feeds are received from 64 on-water and airborne cameras, placed both onboard the boats and at strategic points around the course, generating the international broadcast feed.

A further six cameras will document on-shore proceedings. One camera provides a panoramic course view with another inside the umpire booth. Inside the village, two fixed cameras, one Steadicam and a GRUP MEDIAPRO crane cam will capture daily activities.

The Louis Vuitton 37th America’s Cup is taking place August 22-Oct. 27 in Barcelona.

This article originally appeared on TV Tech's sister brand TVBEurope.

NBCUniversal has released new details of its 4K HDR coverage plans for the Paris Olympics with the announcement that USA Network’s 24/7 coverage of the games will be available in 4K HDR with Dolby Atmos audio and that it will be providing a record 400+ hours of 4K content. 

Partners exhibiting USA Network’s 4K programming include Altice, Comcast, Cox, DirecTV/DirecTV Stream, Dish, Fubo, Verizon, YouTube TV, and select participating NCTC members, NBCU reported. 

Olympic programming on USA Network will focus on Team USA and team sports like basketball, soccer, beach volleyball, volleyball, and water polo. Other sports like track and field, 3x3 basketball, cycling, and swimming will also be featured on USA in 4K.

Programming will be 24/7 beginning at 8 a.m. ET on July 24th and end at 5:30 p.m. ET on August 11th.

NBCU also noted that its Olympics UHD programming provides pictures in ultra-high resolution (4K) that is four times that of current HD and that its High Dynamic Range (HDR) video will provide viewers with wider contrast and a richer range of color. NBCUniversal’s UHD coverage will also include Dolby Atmos, which provides a fully immersive overhead surround-sound experience (on certain distributor platforms).

To watch this UHD coverage, viewers will need a television and set top box/streaming device that supports 4K HDR.

More information on how to view the Olympics is available here. 

CBS Sports has announced that for the first time, it will deliver Super Bowl LVIII on Sunday, Feb. 11, 2024, in 1080p High Dynamic Range (HDR) and 4K HDR. 

CBS Sports said it will make the 1080p HDR feed available across most platforms and will supply the 4K HDR feed to various MVPDs and vMVPDs.

The CBS Television Network and Paramount+ will air over ten hours of CBS Sports coverage on Super Bowl Sunday, all of which will be available on all feeds offered by the Network. In addition to Super Bowl LVIII, CBS Sports’ pregame, halftime and postgame coverage will also be delivered in 1080p HDR and 4K HDR.

HDR expands the ability of a television set to better display detail in shadow and bright scenes. Wide Color Gamut (WCG) enables a display to present a broader and more vivid range of colors. Together, HDR and WCG offer viewers a brighter and more colorful viewing experience, the network said. 

Fox Sports was the first to offer 4K and HDR feeds in 2020 and 2023 of the Super Bowl. Those feeds were upscaled from 1080p HDR feeds.   

SYDNEY—Sony is adding 14 professional BRAVIA 4K HDR displays to its portfolio of displays with the launch of the BZ50L, BZ40L, BZ35L and BZ30L series.

The displays, which are optimized for commercial environments where reliability, picture quality and broad compatibility are required, will be on display at InfoComm 2023 on Sony’s booth, #1701, from 14-16 June in Orlando, Florida, USA.

Options for the displays cover high-end, mid-range and standard needs, and range in sizes from 43 inches to 98 inches.

The bright BZ40L series features a state-of-the-art panel treatment and the BZ40L’s Deep Black Non-Glare Coating offers both high haze and low reflection, while maintaining deep blacks and high contrast. 

The latest professional BRAVIA display series consists of the following models:

• The flagship BZ50L with Sony XR processing and unrivaled picture quality boasts 780 nits of brightness in a larger sized display with the FW-98BZ50L (98 inch). Additional highlights of the 98-inch BZ50L include a 22% reduction in weight and 28% slimmer bezel width when compared to Sony’s professional BRAVIA BZ40J series. To help make the large model more portable and installation friendly, ergonomic horizontal handles are incorporated into the bottom of the display, while vertical handles are featured on the top.
• The high brightness, non-glare BZ40L series with X1 processing achieves 700 nits at a high 47% haze with anti-reflection (except for the FW-85BZ40L, which achieves 650 nits at 58% haze), without loss of contrast. It is available in FW-85BZ40L (85-inch); FW-75BZ40L (75-inch); FW-65BZ40L (65-inch); FW-55BZ40L (55-inch).
• The enhanced BZ35L series features increased storage and 550 nits of robust brightness and an X1 Processor and is available in FW-75BZ35L (75-inch); FW-65BZ35L (65-inch); FW-55BZ35L (55-inch)
• The complete BZ30L series offers a full range of sizes, X1 processing (except for the FW-98BZ30L, which is equipped with an XR Processor) and 440 nits of brightness in the FW-85BZ30L (85-inch); FW-75BZ30L (75-inch); FW-65BZ30L (65-inch); FW-55BZ30L (55-inch); FW-50BZ30L (50-inch); FW-43BZ30L (43-inch)

All 14 models incorporate sustainability elements – from the use of SORPLASTM recycled plastic and less ink usage on the cartons to an optional stand for less waste and ECO Dashboard for better understanding power consumption based on settings configuration.

Additional common features include 24/7 operation, one step setting of pre-sets for easy configuration and customization, mirroring capabilities, Pro Mode technology for simplifying operations, a uniform bezel design, flexible installation for portrait and tilt mounting, as well as support for multi-display installation to enable tiling and a side logo for blend-in design purposes.

The BZ50L, BZ40L and BZ35L series include an increased internal storage of 32GB for more flexibility and ease of use. All models, feature a new center alignment rail kit for easy mounting, while the 98-inch options come standard with center aligned VESA patterns. The portfolio also incorporates a common chassis design for easily choosing suitable brightness models without requiring installation re-design. 

The new professional BRAVIA display line-up will also support Sony’s Alliance Partner Network, allowing for even further integration and compatibility with established and emerging solutions providers across corporate, education, transportation and retail applications. 

In Australia and New Zealand, the new BZ40L, BZ35L and BZ30L series will be available from October 2023 through authorized Sony Professional Resellers.

For more information on Sony’s professional display technologies, please visit:

https://pro.sony/en_AU/products/professional-displays

IRVINE, Calif.—Teradek has launched Prism Mobile, a camera-back video encoder with integrated cellular bonding, delivering 4K HDR live video from the toughest network environments.

Teradek says it developed Prism Mobile “to provide better connectivity, seamless portability, and more reliable video contribution for professionals in the field.” It features two built-in high-performance cellular modems, and support for nine simultaneous network connections across WiFi, Ethernet, and Cellular offering the connectivity required for going live at sporting events, political rallies, and conferences, the company said. 

“Prism Mobile solves three of the most common complaints we’ve heard from camera operators in the field: product size, power usage, and feature set,” said Michael Gailing, General Manager of Teradek’s Live business. “This is a no-compromise solution, allowing camera operators to stay nimble without sacrificing quality and functionality.”

Prism Mobile’s milled aluminum chassis weighs 1.9 lbs (864g) with Gold- or V-mount battery plates, which Teradek says is the lowest-SWaP (Size Weight and Power) encoder in its class, allowing camera operators to go live for long periods of time without the additional strain that heavy backpacks can produce.

When paired with Teradek’s Core Cloud orchestration platform, Prism Mobile enables users to remotely collaborate, control, archive, monitor, and distribute streams from virtually anywhere for quicker and more efficient production workflows.

Prism Mobile + Core Key Product Features and Benefits: 

• Integrated Cellular Bonding. 2 internal modems, with support up to 9 total connections. 
• C2C Integrations. Record content locally and upload footage to multiple camera-to-cloud platforms like Teradek Core, Frame.io, Sony’s Ci, and PIX. 
• Up to 4K HDR: Deliver 10-bit broadcast-quality video and audio at a fraction of the cost.
• Remote Management. Remotely control device settings, monitor, and route your video feeds to unlimited destinations. 
• Ultra-Low Latency Monitoring. Core TV allows stakeholders to monitor live video feeds in real-time on iOS, Android, Mac OS, and AppleTV devices.

DOHA, Qatar—Qatari broadcaster Al Araby TV has installed a comprehensive IP HD/4K-ready Live Production studio for Al Araby TV in Doha, Qatar in partnership with Ideal Systems Group in advance of the 2022 FIFA World Cup next month. 

Sony Middle East & Africa has delivered The solutions include Sony’s Live System Management (LSM) and IP Control Software for signal routing and control, and configuration of the IP live production system. Sony also provided 11 4K HDC-3500 system cameras, delivering new levels of image quality, portability and creative flexibility for live production environments; and two XV-S7000 multi-format video switchers, delivering operability for mid-range productions. Modern Home supplied 130 65-inch BRAVIA XR TVs for IPTV distribution within the premises.

Al Araby will be the first major network in the Middle East to be equipped with IP HD/4K-ready technology across its three studios, it said.  The IP system enables studios, control rooms and production equipment to be shared within a facility for more efficient use of production resources. Sony’s full IP HD/4K-ready ecosystem will strengthen the state-of-the-art Al Araby studio at its new headquarters in Lusail City in Doha.

The IP Live System will provide a variety of configuration functionalities across a 430 sq mt newsroom, 290 sq mt morning studio and a 235 sq mt Blackbox studio, so the user can build several production systems under one networked system of AV devices.

Jobin Joejoe, Deputy Managing Director, Sony Middle East & Africa said: “We are delighted to work closely with Al Araby studios in Qatar to deliver optimized use of studio facilities, control rooms and the most suitable solutions to maximize programming output. Broadcasters and production companies can transform their live operations with Sony’s IP solutions, which are especially useful in busy news broadcasting environments. Our goal is to make live production more agile, flexible and cost effective through our end-to-end IP solutions. As we execute more projects in the region, we are upskilling our local partner Modern Home to support customers with after-sales services.”

Koichi Murakami, Head of Professional Division at Sony Middle East and Africa, added: “We thank the Al Araby team for placing their trust in Sony IP solutions. We also want to thank Ideal Systems Group for their contribution and partnership during the implementation. This was a challenging project; however, we had the full support of the engineering team at Al Araby, which was a key factor for success. This, coupled with strong contribution from Sony HQ (Japan) and the local engineering team, helped us to successfully deliver this prestigious project.”

Ali Husseini, Director of Broadcast Operations & Visuals, Al Araby TV, commented: “Being an IP implementation, this was a challenging project both in terms of the latest technology and strict delivery timelines to be ready in time for FIFA World Cup Qatar 2022. Sony’s pioneering development of practical IP Live Production Solutions and their vast experience in delivering similar projects helped us at multiple levels during the various stages of the project. It was a collective effort which ultimately contributed to the success of the project.”

Telewizja Polsat, one of Poland's largest broadcast media companies, has chosen Leader reference signal generators and hybrid IP/SDI test and measurement instruments for a recently completed IP-based 4K HDR outside broadcast camera truck. 

The instruments were supplied by Leader channel partner 4Vision.

"This new vehicle is a powerful and flexible production capability for capturing entertainment and sports events right up to HD-HDR and UHD-HDR," said Pawel Fila, 4Vision's Project Manager. "Leader's LV5600 and LV7600 test instruments support Sony's SR Live for HDR workflow and operational practices. They can analyze and display the SR Live metadata, allowing productions to ensure all HDR sources and SDR conversion products are correctly configured. The LV5600 and LV7600 can also display multiple HDR transfer characteristics with the waveform, vectorscope and picture."

The 14 meter long vehicle conforms to the latest SMPTE ST 2059, SMPTE 2110, SMPTE 2022 and AMWA NMOS suite of standards, enabling interoperability with current and future systems that Telewizja Polsat will create around this truck. 

It incorporates Leader’s latest technologies including an LT4610 IP/SDI video sync generator, LV5600 IP/SDI waveform monitors, an LV7600 rasterizer and an LT4448 emergency changeover unit. LV5600 waveform monitor displays have been integrated into the vision engineering positions plus the LV7600 rasterizer for the engineer in charge.

Leader's LT4610 IP and SDI video sync generator will be used to generate traditional black-burst/tri-level sync and PTP reference. These signals remain locked together even if external GPS reference is lost. The LT4448 emergency changeover unit adds resilience for traditional SDI and audio references and the PTP best master clock algorithm.

"An OB vehicle built on the basis of IP technology is for us, as one of the largest video content producers in Poland, an entry into a completely new area of production technology," explained Jacek Sierpiński, responsible for the 4K HDR IP OB van project from Telewizja Polsat. "In this exciting challenge, we are glad to have a helping hand from the Leader company which has proved to be strongly committed to the development of IP technology along with its standards."

"Being able to monitor IP and SDI within a single test and measurement environment is a big advantage," added Kevin Salvidge, Leader Europe's Sales Engineering Manager. "Broadcast production teams have long experience with SDI-based test equipment. The LV5600 waveform monitor and LV7600 rasterizer can display IP and SDI video sources simultaneously. They provide the same monitoring and measurement resources irrespective of whether the video signal is IP or SDI. They also give engineering staff the tools they need to monitor and analyze IP network activity."

The 4K HDR IP OB truck's crew additionally have access to Leader’s CINEZONE which uses the color spectrum to represent luminance values. Luminance levels can be confirmed quickly without need for waveform representations. Levels over the adjustable maximum are displayed in white, highlights in red, mid-grays in green, shadows in blue and levels under the adjustable minimum in black. CINEZONE also reveals variations in luminance levels across dark areas.

STAMFORD, Conn.—NBC Sports is using the Harmonic Edge media processing solution for its production of the ongoing XXIV Olympic Winter Games from Beijing.

The broadcaster is relying on the software-based Edge solution to deliver live 4K HDR broadcasts with immersive audio to local stations and affiliates. The distribution of UHD HDR spans the duration of the games.

The Harmonic Edge solution, used to enable live 4K HDR broadcasts of the Opening Ceremony and nightly primetime coverage, is streamlining Olympic feeds from Beijing while ensuring the high-quality HDR. Edge is deployed at participating NBC affiliates, automatically switching between UHD HDR coverage of the Olympics and HD local news.

"With only half a year separating the Summer and Winter Games, Harmonic's ability to optimize XOS to reduce the number of staff needed to operate commercial integration across participating stations while maintaining high video/audio quality and system stability was critical," said Anil Abraham, senior director or architecture and engineering at NBCUniversal

"Harmonic helped NBC Sports deliver the first-ever broadcast distribution of UHD HDR at scale and is proud to be part of this next important milestone for the industry," said Bar. "It's yet another way that our video technology is pushing forward innovation to bring immersive experiences and even greater impact to live sports events."

More information is available on the Harmonic website. 

NASHVILLE, Tenn.—High End TV has launched a new full 4K HDR production truck called Symphony. Built to provide uncompromising cinema-grade picture quality, the company is billing it as the only truck in the U.S. outfitted entirely with Sony 4K HDC-5500 cameras and Fujinon 4K lenses, plus Grass Valley Kayenne XP 4K loaded, all with 100% 12G, 4K throughput and monitoring.

While production trucks with complete 4k/HDR production capability from camera to recording and monitoring are still unusual, High End TV has a history of being an early adopter of high quality formats. 

“High End TV started in 2006 to do those rare `high end' projects that required high definition,” explained production coordinator Adam Mills. “Of course as HD became the norm, our company grew to support that demand. Most of our work is concerts, including touring video for IMAG and broadcast/theatrical release. With COVID-19, that evolved into virtual concerts for drive-in movie theaters and web release.”

When asked about their decision to go all 4K HDR, Mills explained that “every piece of gear on this truck is 4K and HDR compatible—every lens, camera, monitor, and recorder. Why? It reminds me of back in the day when a truck's entire monitor wall was black and white…for a color broadcast. Likewise, now, so many `4K-capable' trucks have no 4K monitors, no 4K glass, and HDR monitoring is completely impossible. Was that shot in focus? Is that overexposed picture OK to take - still in range for the HLG acquisition? You could keep your fingers crossed, but the directors I know like to see what they're doing, and the camera operators like to have the best tools for the job. We just wanted to build it right.”

The demand for 4K productions, along with all types of productions took a big hit during the pandemic but is now improving. 

“All the projects we had planned for this truck, originally set for its debut in March 2020, were cancelled due to COVID-19,” Mills said. “I am seeing more and more reasons to justify HDR and 4K distribution now though, so hopefully those projects will come back soon. For example, the resolution map of LED walls, especially with a 3mm product, can exceed 4K and beyond quite easily, even at a moderate size concert or festival. If an event is `just for streaming,’ well...most platforms can handle 4K; many even require it. Furthermore, even if a production is intended for HD broadcast, a 4K truck in HDR provides you a ton of latitude in post, makes for a future proof program, and will simultaneously produce the best HD picture. I have to say, once you see real 4K in HDR, it's tough to go back to REC.709/1080i.” 

One of the key technologies in delivering that look, Mill said is the Sony 4K HDC-5500 cameras. 

“The global shutter 4:4:4 sensor of the Sony HDC-5500 is a game changer, especially with high-motion, LED-heavy (and sometimes 24p) production that great concerts demand,” he explained. “With HLG, live HDR range and simultaneous SDR output, literally every resolution/frame rate/color space is possible with these cameras. And with a 35mm version of the same camera on the horizon (otherwise same CCUs and accessories), I think Sony has hit a homerun. When you bundle them with Fujinon UA glass - magic happens. Extra-low dispersion glass with fluorite elements of the lens, plus ALAC and flare compensation of the cameras make for the purest, most consistent color I've ever seen in a lens family. Add to that breathing and ramping compensation, crazy sharpness, and the huge exposure overhead of HDR, it's a shader's dream.”

Going to a full 4K HDR truck wasn’t easy however.  

Putting it together “was more difficult than you would think,” Mills said. “For example, in the planning stage, a real 4K switcher (one that did not half or quarter the resources in 4K mode) didn't exist - though every major manufacturer was promising one soon, only not yet. So our plans centered around a switcher that didn't exist. In the meantime, the native 12G models have come out, and we ended up integrating a Grass Valley Kayenne K-frame XP to fit the bill.”

“For 100% 4K and HDR, I think we were and are a little ahead of the curve,” he continued. “With new standards and new protocols, we've had our share of `isms’ in the testing phase, and we've helped a few companies find some `known issues’ along the way.  We've had some vendors re-write firmware to make their products function as advertised, their tech support saying things like `wait, you're actually using that in 4K, HLG already?’ I don't want to call anyone out, but I am comfortable saying at this point, we've rounded the corner where everything is doable in 4K/HDR as you would expect - no band aids and duct tape, just a slightly higher price tag.”

PHILADELPHIA, Pa.—Comcast today announced plans to deliver new viewing experiences for viewing the Olympics to its Xfinity customers on X1, Flex and the Xfinity Stream app.

“For years, X1 has set the bar as the most innovative and technologically-advanced Olympics viewing experience,” said Rebecca Heap, Senior Vice President, Video and Entertainment Services, Comcast Cable. “This year, new features make navigating the Games even easier and more personalized, taking the Olympics experience to a new level. And now with Flex, we have the opportunity to leverage some of the best features of X1, like our voice remote and aggregated guide, to introduce the Olympics and all its passion, exhilaration and glory to even more Xfinity customers.”

On the Xfinity Flex streaming offering for broadband customers, Comcast will offer streamers a robust X1-like Olympics destination that brings all the Olympics-related programming available to stream on the platform into one integrated experience easily accessible by saying “Olympics” into the Xfinity Voice Remote, the company explained. 

Anchoring the destination will be all of Peacock’s free live and on-demand programming, including six themed channels; four live-studio shows; live coverage of gymnastics, track & field and the US Men’s Basketball Team, hundreds of short-form highlights and trending news clips; and several original docuseries and documentaries. 

Peacock’s programming will be curated alongside other Olympic-related programming from streaming services such as YouTube, HBO Max, Prime Video and more, Comcast reported. 

X1 will offer Xfinity TV customers with all 7,000 hours of NBCUniversal’s live, on demand, and streaming coverage of the Games on the TV and across mobile devices with the Xfinity Stream app.

Saying “Olympics” into the Xfinity Voice Remote will take customers to the Olympics destination, while special voice commands for athletes, sports, teams and featured nations will allow customers to get to their favorite Olympics content quickly. 

The X1 destination will feature Comcast’s first-ever fully-personalized experience across devices. With X1’s new personalization capabilities, customers can choose their favorite sports in just a few clicks to customize their Olympics destination, making it easier to find the live coverage they care about most alongside highlights of each chosen sport curated into their own personalized playlist. Any favorited sports will carry over to the Xfinity Stream app, so customers will see the same personalized experience when accessing the Games on the go.

XI users can also get notifications for must-see moments; 100 editorially-curated playlists; sport, athlete and nation pages; NBCU’s 300 hours of Spanish-language coverage; and live coverage in 4K HDR.

The Olympics will mark the first time the games will be available live in 4K HDR with Dolby Atmos immersive audio.

X1 will offer customers full access to that coverage and for the first time, X1 customers with compatible devices will be able to experience all HDR coverage in Dolby Vision HDR. 

Live coverage will be available in most markets and include every night of the NBC primetime show, the Opening and Closing Ceremonies, along with popular sports like gymnastics, track & field, swimming, diving, beach volleyball, golf, and tennis.

ORANGE COUNTY, Calif.—4KUniverse, a 4K HDR TV network and streaming service, has launched a new all access VIP subscription tier called 'Chief of Staff Access'. 

The plan is notable in that it is one of the few instances where a streaming service offers a plan that also gives users access to in-person benefits and entertainment.

'Chief of Staff Access' is 4KUniverse's most expensive tier costing $360 a year. 

In addition to the programming offered on the $10 a month Basic Plan or the $100 a year Family Plan, the tier includes: the ability watch MPA Rated R movies on 4KUniverse; a VIP All-Access Pass to all in-person events hosted by 4KUniverse, including red carpet movie premieres, screenings, parties, concerts, and 4Kniverse's future theme parks; free 4K merchandise; and the ability to watch 4K HDR resolution movie premieres 6 months before Basic Plan and Family Plan subscribers.

Founded in 2016 by Matthew Mancinelli, 4KUniverse offers a 24-hour general entertainment 4K Cable TV channel and a direct-to-consumer Ultra HD streaming service priced at $10/month. 

DENVER—High dynamic range (HDR) video gives sports producers the latitude needed to capture the fan excitement and emotion of a baseball game in a way that’s just not available with standard dynamic range, says Brad Cheney, vice president of field operations and engineering at Fox Sports.

That’s exactly what the sports network is planning to capture tomorrow with its production of the MLB All-Star Game here from Coors Field. This year’s All-Star Game is the first the network will offer in 4K HDR.

Fox Sports began covering some sports in 4K standard dynamic range (SDR) about four years ago. A couple of years ago, it made the switch to HDR for league championship play and the World Series. This year’s All-Star Game is the natural progression in offering “tentpole” MLB events in 4K HDR, says Cheney.

However, not one of the 50-plus cameras Fox Sports will use for the game will be native 4K. Rather, the broadcaster will use 1080p HDR cameras and upconvert to 4K for its distribution partners that are delivering the game to viewers in 4K.

On the audio side of the production, Fox Sports has upgraded its buried base microphones. The new models offered a wider dynamic range and more closely approximate the actual sound around the bases, says Cheney.

In this Q&A with the Fox Sports vice president, Cheney discusses how high dynamic range improves video and makes it possible to convey more accurately the emotions of fans in the stands, why the broadcaster is producing in 1080p rather than native 4K, the effect of HDR-to-SDR conversions on the standard-def product, newly upgraded mics, the network’s second use of wireless mics and IFBs to converse with players on the field during the game and the crowded wireless mic environment and how it is being addressed.

(Editor’s note: Fox Sports coverage of the All-Star Game begins Tuesday, July 13, at 7 p.m. EDT on Fox. The broadcaster’s 4K HDR coverage will be available on the Fox Now/Sports apps, Comcast (Xfinity and FiOS) DirecTV, DISH, Verizon, Altice in New York, RDN Grande, Fubo, YTTV, MTC Cable, Armstrong Cable and Service Electric Cable. This is an edited transcript.)

TVTech: Fox Sports will use more than 50 1080p HDR cameras to cover the All-Star Game for its 4K HDR production. Will there be any native 4K cameras used? If not, why?

Brad Cheney: There won’t. As we continue to produce the largest events in HDR, the best format to use is 1080p. It’s most flexible to be able to do 50 cameras and 36 replay channel playbacks and all of the other enhancements that we put into the show. 

So, we’re really tied to that. We hope that in the coming years that that will change. But for now, that’s where we’re at technology-wise.

TVT: Tell me about the conversion of 1080p HDR to 4K HDR. You must like the results you are getting. What flavor of HDR will be used?

BC: We're doing our show in HLG [hybrid log-gamma]. We've been doing HLG since the beginning—you know, back four-plus years ago.

We really feel the added pixels and the added color, really pop on the screen. The benefit is not just for people who are watching on their home sets—on a 4K HDR set. It also really does make a difference in the way the cameras look and for the videos presented to people at home in regular 720p HD.

TVT: What about the difference in color space between the Rec. 2020 and Rec. 709 when converting from HDR to SDR? You must have done extensive testing to make sure the majority of viewers watching in SDR would not be negatively affected by the conversion. Were there issues?

BC: I will definitely say it's an evolution. We're on our fifth evolution of conversion control processing over the last couple years. We're really at a point now where what we test and see is that when an SDR source goes up to HDR and comes back down to SDR, it’s matching. [A total of] 99.9% of every part of that matches.

We're really seeing a true, A-to-A comparison at the end on conversion. We're able to get more obviously out of an HDR source—having an HDR source and giving you better picture quality on the SDR side. But our comparisons are now showing just such an absolutely high level of A-to-A comparisons when you go from SDR through HDR and back down to SDR again, from that side.

That's the real benefit of what we're doing is that we're protecting the real images we're capturing and the color space that is there for what it would normally be. But we're also protecting anything that's done in SDR to make sure that it comes back exactly the way we designed it or the way our commercial providers and those people have provided their information to us.

TVT: Pardon the pun, but this question might seem like it’s from out of left field. Most if not all of today’s 4K TV sets have powerful upconverters built in. Why not simply produce and distribute a 1080p show and let the audience’s 4K TVs do the heavy lifting to convert the 1080p feed while also distributing a down-converted 720p show for the mass audience?

BC: That’s a great question. For us, our goal is to provide 4K. That’s what the distribution networks are looking for as they continue to provide this kind of programming. 

So, our goal is that when we switch over to full 4K production that it is transparent to the home viewer. 

TVT: You’ve gained experience with 4K HDR at these “tentpole” Major League Baseball games. What lessons have you learned about working in 4K and HDR?

BC: I think that as we look at this, the thing we've learned is that it does matter as much as possible to have true imagers that are capable of doing 1080p HDR HLG capture. That is noticeable.

It is especially noticeable as you go from day to night. That's where we're at with the All-Star Game. We’re making that color transition. It's a lot harder to do that if you were mixing in SDR cameras, which is why being as [4K HDR] native a show as you can be, is really important. 

That's one of the things we learned early on.

The other thing we've learned is that, honestly, it helps some of these ballparks. When you're in places that have older configurations or different lighting changes, the HDR helps it. That bit of dynamic range that you get can really make a park sparkle and pop. I think that's really great with baseball, that you get to some of those images of pushing into the crowd and doing those things after a homerun, after a great play or after a strikeout in the in the eighth inning on a close game. 

When you start to push into the crowd past the pitcher and you can actually see the fans at the same time you're seeing the pitcher, to be able to do those things really has helped us. That goal of being native HDR across the board, especially in captures, has been really beneficial.

TVT: I’ve heard others say that while having the extra resolution of 4K is nice, it’s the HDR that makes the biggest difference to viewers. Your comments seem to indicate that. Do you agree?

BC: I completely agree with that, and because we did 4K SDR for almost two years [we know] moving to HDR made an absolutely large difference.

I talked about the day-and-night transition in baseball. The ballparks out there, they’re not really lighting the crowd. There’s just the ambient light coming off the field. 

To be able to get the shot you want, have the emotion of the game and really kind of raise the level of excitement as you head into commercial and coming back into starting an inning, [is what HDR makes possible].

But it’s the same in football, especially college football. You get those games where the stadium darkens half of the field, and all of a sudden with HDR you can see the other half of the field and the other half doesn’t look like you’re standing on the sun.

That kind of process is really helpful to all of the viewers. It helps all of the viewers in the end because that translates to SDR very well. But if the imager can’t handle it, it doesn’t matter whether or not you have it there. So, that’s what we found to be very important that it really does improve the image quality across the board.

TVT: Besides 4K and HDR, what other technologies or production techniques will be new or different for the All-Star Game?

BC: One thing we really pride ourselves on at Fox is the audio side of the world. We’re continuing that process of providing phenomenal audio across the board.

Obviously, we’ve been buying mics, and we’re just actually launching a new version of our in-mic base system. That will be upgraded for the All-Star Game and ready for the post-season as well.

Then the other thing that’s really exciting about the All-Star Game for us is that because it is an exhibition, we have mics and IFBs on some of the players. You know, Joe [Buck] and John [Smoltz] will be talking to them in-game and in-inning. It was something that was really exciting two years ago, and we’re excited to continue that this year.

TVT: How have you updated the base mic system?

BC: We’ve changed out our transmitters and the mic elements themselves to provide better sound quality. 

Spectrum’s been reduced, and we’re moving on to some new digital mic systems that allow us a greater dynamic range to pull in sound that just makes it sound as realistic as possible.

We get a little longer runtime out of them, which is always good with better batteries and use a little less RF power and get a new cleaner mic.

TVT: You touched on RF. How is the loss of spectrum for wireless mics and other devices affecting how audio will be produced?

BC: You know, as the [wireless] systems have gotten better over the last 10 years, there was a much greater desire to use them. 

Now that the spectrum is being reduced, for a lot of games we’re changing out microphones and finding spectrum where we can and making priorities of things. 

That’s what a lot of this is becoming—the list of priorities. What is more important? Is it that the RF reporter is more important, or can we put him on a hard wire because we want to put in some buried mics near the mound?

It’s just a continuing balancing act. As we continue to lose spectrum, there’s a gap we have to work through and work with the vendors on to figure out solutions. That could be cellular-related as those latencies come down.

There’s a lot out there we need to test and figure out while we have to cut back on a microphone or two, or three.

KUALA LUMPUR, Malaysia—Pay TV operator Astro is offering the first 4K High Dynamic Range (HDR) feeds of live sports in Malaysia for some of its biggest sporting events, including the UEFA Euro 2020 coverage and the upcoming Summer Games in Tokyo, reports Stephane Cloirec, vice president, video appliance product management at Harmonic in a bog post. 

To deliver the feeds, Astro teamed up with Harmonic and is using Harmonic’s XOS software-based advanced media processing solution for the feeds. 

“We are trailblazing a new, state-of-the-art viewing experience for sports fans in Malaysia by bringing 4K HDR DTH services to market,” said Mauro Di Pietro Paolo, chief technology officer at Astro. “Harmonic’s XOS software-based appliance simplifies HDR delivery and ensures pristine 4K video quality, taking our sports offering to the next level.”

In the blog post, Cloirec noted that Harmonic’s XOS advanced media processing solution simplified delivery of 4K HDR channels via the Astro DTH platforms and provided on-the-fly SDR-to-HDR upconversion through an extensive HDR toolset.

It also helped reduce bandwidth requirements by leveraging the latest in AI technologies.

Harmonic’s XOS software-based appliance is deployed in a containerized cloud architecture, offering Astro an easy-to-upgrade solution for years to come. The XOS solution also gives Astro the ability to process video streaming and DTH services from a single appliance, simplifying operations, he explained. 

STAMFORD, Conn.—In a groundbreaking move for U.S. Olympic coverage, NBCUniversal will be producing and providing 4K, high dynamic range (HDR) feeds with ATMOS sound to viewers during the Tokyo Olympics. 

NBCUniversal will distribute the 4K HDR coverage to U.S. distribution partners, who will individually choose how to make the content available to their customers.

In addition, live competition coverage of all Tokyo Olympic programming on Golf Channel and Olympic Channel: Home of Team USA will be made available in 4K HDR throughout the Games. 

Events which will be featured in 4K HDR during this summer’s Games include gymnastics, track & field, swimming, diving, beach volleyball, golf, tennis and other sports, the company said. 

“The Olympics have been a consistent driver of technological advancements, and even with the challenges of the past year, Tokyo will be no different,” said Gary Zenkel, president, NBC Olympics. “With the rich cultural backdrop of Tokyo combined with the world-class competition of the Olympics, we’re excited to provide the American audience a look at the Games and, for the first time, the live Olympics primetime show with this impressive new 4K HDR technology.”

NBC Sports’ 4K UHD programming will offer pictures in ultra-high resolution (3,840 x 2,160 pixels) that is four times that of current HD (1,920 x 1,080 pixels) and the HDR images mean will provide wider contrast and a richer range of colors. Finally, Dolby ATMOS provides a fully immersive overhead surround sound experience.

NEWARK, N.J.—Panasonic will begin shipping its new AJ-CX4000 4K/HDR shoulder-mount camcorder by the end of December, the company announced today.

With a suggested list price of $25,000, the camera is equipped with a B4 lens mount and can be used with interchangeable lenses. Panasonic is targeting the camera at applications in network news, sports, blue-chip nature films and travel documentaries.

The camera offers many of the features and formats supported by Panasonic’s handheld AG-CX350 camera, the company said. It also shares key imaging features with the company’s AK-UC4000 flagship studio camera.

As with the AK-UC4000, the AJ-CX4000 uses a large 4.4K image sensor to achieve UHD resolution (horizontal, 2,000 TV lines), high sensitivity, low noise and a wide dynamic range, the company said. Another commonality between the cameras is LSSIEL technology, which allows a 2/3-inch lens to be used without an external adapter, with the internal lens designed for large sensors.

The camera supports Hybrid Log-Gamma (HLG) for high dynamic range (HDR) recording in compliance with BT.2100 and BT.2020 standards. It also offers HLG recording assist functions, including SDR Monitoring Gamma, HDR/SDR Parallel Output, VF/LCD HDR/SDR Selector and eight-mode Gamma selection, Panasonic said.

The camera supports a fast, connected workflow, which includes Real-Time Messaging Protocol (RTMPS) and Real-Time Streaming Protocol (RTSP) for live streaming and NDI|HX for live production. The NDI|HX mode allows video transmission and camera control via IP connection without an external converter.

The camera’s HEVC codec provides for extended recoding of 4K/10-bit video with high image quality while reducing bitrate and storage demands. This file format also supports long file names with up to 20 characters, which makes it easier to manage recorded clips, the company said.

It also supports the MXF P2 file format from broadcasting, enabling AVC-Intra or AVC-LongG HD recording on expressP2 cards, microP2 cards or SDXC memory cards. With 24-bit/48 kHz four-channel digital audio, the camera allows an audio source to be selected for each channel. A LAN terminal with a lock mechanism for IP remote control is provided, the company said.

The camera can be connected to a Panasonic AV-HLC100 Live Production Center. When used together with the production center and the HN/UN PTZ cameras, the camera contributes to an end-to-end live video production as well as web distribution, Panasonic said.

The camera’s standard 12G-SDI output terminal delivers UHD 60p (50p) 10-bit 4:2:2 output. Also provided are XLR audio input (2CH) terminals compatible with +48-V phantom power supply, as well as HDMI OUT, TC IN/TC OUT, GENLOCK IN, USB3.0 (DEVICE) and USB2.0 (HOST, wireless module) terminals.

More information about the camera is available on the company’s website.

Sony Electronics unveiled a prototype of its new 24-inch 4K LCD professional picture monitor for the first time at the International Broadcast Equipment Exhibition 2019 (Inter BEE 2019) in Japan. The portable monitor offers high grade picture quality and accurate color reproduction and is ideal for 4K HDR productions - giving professional content creators a reliable tool for versatile applications such as on-set monitoring, non-linear video editing, studio wall monitoring, rack-mount monitoring in OB trucks or machine rooms.

The professional monitor prototype has been developed to offer the industry a solution with unrivaled 4K HDR picture quality, accuracy and consistency.

Boasting an ultra-high definition resolution (3840 x 2160 pixels) and an all-white luminance of 1000 cd/m2, the monitor reproduces images in exceptional detail. For optimum color verification, its wide color gamut offers consistent and faithful color reproduction. Additionally, the monitor’s wide viewing angle, 12G-SDI input and HDMI connection provide even greater flexibility and efficiency for creatives out in the field and for live production needs, as well as for cinema and commercial content creation.

Additional details and specifications of the new monitor will be released at a later date. Sony is showcasing a prototype of the monitor at the International Broadcast Equipment Exhibition 2019 (Inter BEE 2019) in Japan from November 13-15, 2019.

For more information about Sony’s professional business, please visit http://pro.sony.

LOS ANGELES—It’s October, meaning it is time for some playoff baseball. Fox Sports will once again be in charge of bringing much of the playoff action to fans, including the American League Championship Series, which the network says will be available in 4K HDR for the first time.

This is the second major sporting event that Fox Sports has announced it would be offering in 4K HDR, following the network’s first Thursday Night Football game of the NFL season on Thursday, Sept. 26. However, there were issues with the broadcast that led many fans and services not able to access the game in 4K HDR. That is not detering Fox Sports now, who will have until Oct. 12 to prepare for the first game of the ALCS.

The 4K HDR offering will be available through the Fox Sports and FOX NOW apps, using Apple TV 4K and 4K capable Roku devices. The 4K broadcast will also be available through certain Fox Sports distributors, including DirecTV, Altice Optimum, Verizon Fios, TVision and fuboTV.

In addition, Fox Sports has announced a number of other production technologies that it will feature during the broadcasts. Fox will work with Sony Broadcast to have an 8K Sony HDR camera for World Series games; there will be multiple Fox Sports “Dirt Cams” placed in the infield; a point-to-point FlyCam system, which debuted at this year’s All-Star Game, for select World Series games; 4D replay that utilizes more than 30 cameras around home plate; and Virtual Eye 3D rendering along with MLB Pitchtrax and MLB Statcast tracking data to display the flight of balls.

Fox Sports will also have two sets of five mobile production units that will be strategically placed around the country to make it easier for the broadcast to be setup in time for games as they go from city to city.

Fox Sports coverage of the 2019 MLB Postseason begins on Friday, Oct. 4, with the ALDS on FS1.

The Week Four Thursday Night Football game on Fox between the Philadelphia Eagles and Green Bay Packers was supposed to be exciting beyond the game—which came down to a goal line stand in the final minute—as it was meant to be the debut of the NFL in 4K HDR. But Fox’s gameplan failed for a variety of reasons, allowing for only a limited audience to experience the game in the hi-res format.

As pointed out by both The Verge and Forbes, one of the key issues was formatting. Fox said that the game would be available in HDR on Apple TV and Roku devices, but the live broadcast for the game supported the HLG HDR standard, while streaming devices like Apple TV and Roku support the HDR10 standard, making it incompatible.

The 4K and HDR broadcast was available on DirecTV, Altice Optimum and Fios, and response from viewers was positive about the quality of the image.

Other issues with fans watching the game revolved around networks dropping the coverage. Fox officially blacked out on Dish last Thursday prior to the game over a carriage fee dispute, while Comcast removed the 4K HDR stream from its cable lineup for a still unspecified reason.

For more information, read the full articles from The Verge and Forbes.

STAMFORD, CONN.—Making its Olympic debut at February’s XXIII Olympic Winter Games in PyeongChang, South Korea, is the distribution of 4K HDR to cable, satellite and telco providers, NBC Olympics announced in a press release. Xfinity will serve as the presenting sponsor of NBC’s 4K HDR coverage.

NBC Olympics said that this is the first offering of Olympic coverage in 4K HDR in the U.S. NBC Olympics provided 4K coverage for the 2016 Summer Olympics in Rio de Janerio, but that coverage was distributed in 4K UHD.

The 4K HDR coverage will be provided by Olympic Broadcasting Services and Japan’s NHK. NBC Olympics will then distribute the content to U.S. distribution partners, who will make their own decisions on how they will make the content available to their customers.

Events at the 2018 Winter Olympics that will include 4K coverage are the Opening Ceremony, hockey, figure skating, short track speed skating, ski jumping and snowboard big air competitions. The 4K HDR coverage will be made available on a delay. Up to four events from the previous day’s competition will be provided daily from Feb. 9 through Feb. 26.

NBC’s coverage of the 2018 Winter Olympics will take place from Feb. 8-25.