HUDSON, N.H.—My role at Game Creek Video focuses on the design, maintenance, and long-term evolution of our mobile production trucks. In live production, especially at the scale we operate, broadcast technology must be flexible, dense and, above all, reliable. Over the last several years, MultiDyne has become a core technology partner for us, with several of their products playing distinct and critical roles in our workflows.

We heavily rely on three MultiDyne product lines: the VF9000 fiber-transport platform, the HUT camera acquisition system and SilverBullet miniature fiber-transport devices. Each one serves a different purpose, but together they allow us to move large amounts of video efficiently, both inside the truck and across stadiums.

All-in-One Design
The VF-9000 has become the backbone of our inter-truck fiber transport. Over the past several years, we transitioned to this platform after using other solutions, and it’s now installed across six of our mobile units, with multiple frames per truck. What drew us to the VF-9000 was its compact footprint and all-in-one design. Previously, we needed separate products for fiber transport and copper video conversion. The VF-9000 consolidates that into a single, dense and extremely stable platform.

From a production standpoint, we use the VF-9000 to move large volumes of SDI video between trucks. In a typical configuration, we’ll take up to 32 video signals from one truck, transport them over just a few strands of fiber and break them back out in another unit. That level of density allows us to share signals efficiently without running excessive fiber, which is especially valuable on large, complex shows. We primarily use the VF-9000 for video transport with embedded audio, and its CWDM (coarse-wavelength division multiplexing) capabilities allow us to maximize bandwidth while keeping our infrastructure clean and manageable.

Monitoring and troubleshooting are also major strengths of the VF-9000. The platform exposes SNMP (Simple Network Monitoring Protocol) data, which allows us to integrate it directly into our broader monitoring environment. Instead of walking into racks or checking front-panel indicators, our engineers can see real-time status, alerts and performance metrics through dashboards and web-based tools. We can even monitor the far end of a fiber link from another truck, which saves time and reduces on-site coordination during live events.

Out in the field, camera acquisition is handled primarily by the MultiDyne HUT system. HUT has proven to be one of the most universally compatible camera-transport solutions we’ve used—we haven’t encountered a camera platform in our fleet that it doesn’t support. Using SMPTE connections at the camera and single-mode fiber back to the truck, HUT allows us to leverage a venue’s existing fiber infrastructure while maintaining signal integrity and flexibility.

Alongside HUT, the SilverBullet plays an equally important role. While HUT focuses on camera transport, the Silver Bullet is our go-to solution for moving individual video feeds long distances throughout a venue. We frequently deploy them to carry monitoring feeds, auxiliary signals, or other video paths that need to travel alongside camera signals. Many venues are moving away from copper entirely, and the Silver Bullet allows us to run tactical fiber everywhere and convert back to SDI exactly where we need it.

NBA Cup Coverage
This gear was recently deployed together on high-profile broadcasts, including Prime Video’s NBA Cup coverage in Las Vegas, and it’s also in regular use on major productions like “Monday Night Football,” “Thursday Night Football” and Fox primetime football. These are demanding shows with zero tolerance for
failure. The HUT and SilverBullet are rugged, field-ready devices that just work. The VF-9000, despite its density, is modular enough that we can replace individual components without taking an entire system offline.

Our goal is to build trucks that are flexible today and ready for tomorrow as we support a variety of live productions for sports and live events. MultiDyne’s technology has helped us achieve this through reliable transport, smart monitoring, and the confidence to deliver world-class live broadcasts.

More information is available on MultiDyne’s website.

NASHVILLE, Tenn.—As the founder of TNDV, a Nashville-based live event and broadcast production company specializing in multicamera television, music specials and large-scale live events, I know how recording and capturing content is one of the most crucial tasks we face on any project.

For more than two decades, our team has supported everything from concert broadcasts and awards shows to network television and corporate productions. As our company has grown, our technology choices have always been driven by reliability, efficiency and the ability to scale alongside increasingly complex productions.

Practical and Affordable
My relationship with AJA’s Ki Pro line goes back to the very beginning. I was an extremely early adopter of the original Ki Pro in 2009, and it fundamentally changed the trajectory of my career and my company. At the time, recording HD content meant relying almost exclusively on tape-based HDCAM systems that could easily cost six figures per unit, and it was preventing me from moving beyond an SD-SDI workflow. The Ki Pro introduced a practical, affordable way to record broadcast-quality HD using a file-based, disc-based workflow, arriving at exactly the moment our industry was ready for change.

We quickly recognized that the Ki Pro was not only just a recorder, it was a workflow solution. As our young company expanded from a single HD production truck to three and eventually to 12, we purchased as many Ki Pro units as we could. They became a core part of our technical infrastructure and a key differentiator when pitching new clients.

As the industry transitioned away from tape formats, we were already prepared to deliver file-based media that quickly entered postproduction pipelines in file formats our clients were asking for, like ProRes.

Deployment was straightforward. Ki Pro units integrated cleanly into our trucks, worked seamlessly with a wide range of cameras and switchers and proved themselves reliable in demanding live environments. On a typical production, we use Ki Pro recorders for ISO recording, program capture, backup recording and deliverables. The ability to hand off high-quality media immediately after a show without real-time tape transfers saved hours on every production and helped our clients move faster.

When AJA introduced the Ki Pro Rack, we immediately began purchasing dozens of units. The rack-mounted form factor was a natural evolution for mobile production and control-room environments. It allowed us to consolidate recording systems, improve cable management and expand channel counts without increasing complexity. The Ki Pro Rack was built upon everything we appreciated about the original Ki Pro while offering greater flexibility for larger shows.

Ready for the Future
A few years later, we were just as eager to adopt the Ki Pro Ultra, followed closely by the Ki Pro Ultra Plus. As our productions moved into higher frame rates and 4K workflows, these units provided the performance and consistency we needed. Today, we own and operate over 100 different Ki Pro recorders across our fleet. They are trusted tools for both HD and 4K shows, whether we are covering a live concert, televised awards show or high-profile corporate event.

Over 15 years after the original Ki Pro was introduced, the Ki Pro family remains a crucial part of our workflow. We have evaluated and tested many alternative recording solutions over the years, but the Ki Pro continues to stand out for its reliability, image quality and ease of use. In live production, failure is not an option, and AJA’s recorders have consistently delivered dependable performance show after show.

For our team, Ki Pro is not just a piece of gear—it represents a turning point in how we work and how we serve our clients. From our earliest HD productions to today’s multi-truck, multiformat broadcasts, AJA Ki Pro recorders have helped us grow, adapt and stay competitive in an ever-evolving industry.

More information is available on the AJA Video Systems website.

HUDSON, N.H.—Game Creek Video is a leading provider of mobile production facilities for major sports and entertainment broadcasts across the United States. Known for its state-of-the-art fleet and engineering expertise, the company supports high-profile events for networks such as Fox, CBS, ESPN and NBC. With a commitment to innovation, reliability and top-tier workflows, Game Creek builds and operates some of the most advanced remote production trucks in the industry.

We’re always looking for ways to modernize our fleet, and one of the most transformative steps we’ve taken has been deploying Riedel’s MediorNet FusioN gateways directly behind the monitors inside our trucks.

Frees Up Much-Needed Space
Previously, our monitoring designs were limited to 1080p by hybrid SDI workflows wrapped around centralized gateway racks that swallowed up valuable space and added weight. Those traditional systems also constrained how creatively we could lay out our control rooms.

When we evaluated Riedel’s FusioN platform, especially the compact FusioN 3B, the lightweight form factor immediately stood out. These devices are small enough to mount behind monitors yet powerful enough to manage the SDI-to-IP and IP-to-SDI conversions that drive our ST 2110 workflows. Balancing capability with mobility is essential, and these units offered the best of both worlds.

Placing these lightweight gateways at the edge completely changed how we build and wire our trucks. Instead of routing every monitor feed through large, centralized gateway conversion, we now mount a FusioN device directly behind each pair of screens.

This has two major advantages. First, removing large blocks of centralized hardware frees up significant space in our engineering racks. That reclaimed space gives us more flexibility in equipment layout and helps reduce overall truck weight. Since every pound affects transportation logistics and compliance, having conversion handled by lightweight devices rather than heavy racks is a major operational benefit.

Second, we drastically reduce the amount of cabling required, with no more long SDI runs snaking through the subfloor of the truck to feed every display. That reduction allows the FusioN 3B to deliver UHD to each monitor with only a six-foot run of 12G-SDI per display. This has a massive positive impact on the user-monitoring experience.

The day-to-day impact of this shift is obvious during live broadcasts. As we get into playoff runs toward the end of the football or basketball seasons, production often needs to scale up quickly, with operators requesting additional monitors or other out-of-the-box signal assignments. Because adding monitors now only requires a network link to an additional
FusioN converter, we can respond rapidly without major rework through a central point.

The monitor walls and operator workstations become far more dynamic and almost modular. The FusioN devices manage UHD and HDR conversion right at the monitor, eliminating multiple layers of processing that used to add latency and complexity. Handling conversion at the edge keeps the operator experience smooth.

Small Devices, Big Improvements
In our IP-native trucks, where ST 2110 forms the backbone of the system, this approach is incredibly valuable. The core IP fabric handles routing, but the FusioN devices allow us to drop back into SDI seamlessly whenever needed—whether we’re extending to a crowded courtside announcer table inside the venue or providing a world-class monitoring experience inside one of our mobile units. Leveraging NMOS, we can dynamically scale our broadcast infrastructure to suit the needs of our clients on any given day.

When I look at how our trucks operate today versus just a few years ago, the improvement is dramatic. By adopting these small, lightweight FusioN gateways, we’ve decentralized conversion, reduced cabling, saved space and built more flexible and responsive production environments.

What might seem like a subtle change has fundamentally redefined how we design monitor systems and control rooms. It’s a shift that improves reliability, adaptability, and day-to-day workflow and it pays off every time we roll into a new venue.

More information is available on Riedel’s website.

NEW YORK—The live sports broadcasting industry is grappling with a significant technological shift. Productions are becoming larger and more complex, and the demand for wireless cameras has outpaced the capabilities of traditional microwave RF systems that operate on increasingly crowded and limited frequency spectrums.

There’s a constant challenge to efficiently broadcast content wirelessly, which has created a strong industry-wide push to find viable next-generation solutions like 5G. All the traditional solutions still perform well, but when Sony demoed for us its 5G-powered live remote-production offering, comprised of a CBK-RPU7 encoder paired with the PDT-FP1 portable data transmitter and the NXL-ME80 media-edge processor to achieve ultra-low latency, our reaction was, “Why wouldn’t we look at it?”

Low Latency, High Quality
Sony’s solution presented an option offering ultra-low latency and high video quality, plus the ability to send back return video and control the camera and tally.

We’re always limited on the amount of RF cameras we can run on a large-scale event—at a golf major, we typically have around 120 cameras. Over the last four or five years, we’ve been creating one giant camera-control network. If we have six different trucks, the person physically shading cameras can be there, or we can extend the network to New York and have somebody paint it from there.

Our teams have also started virtualizing RF camera control with Sony Camera Control Network Adapters (CNAs), which show up as just another CCU on the network. Now, even if we have 25 video operators, they can be anywhere, in any truck, controlling anything. Having another Sony device on the system allows us to add control to the network more easily.

It’s important we continue to look for ways to transmit more content using the same number of frequencies available. Spectrum is in short supply, so being able to leverage new transmission technology is certainly an advantage, and 5G is obviously, for now, the next solution.

Typically, public networks are specified at about 80% allocation for download and 20% for upload, making it difficult to stream higher bit rates—we need much higher upload bandwidth to transmit live video reliably and smoothly. The video quality and low latency achieved through Sony’s 5G encoder are production-ready and comparable to wired fiber, making it a viable option for primary broadcast cameras.

We’ve even done side-by-side tests of the 5G feed against hard-wired fiber feeds, revealing minimal differences in quality and latency. The video quality from Sony’s 5G encoder was so high when compared to a wired fiber camera that we often could not tell the difference, even when using a high-grade broadcast monitor.

Public 5G Slicing
Production always wants more RF—that’s one of the biggest requests at major events. While private 5G networks provide excellent, dedicated bandwidth, deployment is still challenging enough to warrant further simplification for broader adoption. The potential for carriers to offer guaranteed bandwidth (slicing) on public 5G networks could be the next necessary step towards simplified deployment. Plus, the availability of a public 5G slicing option means you don’t always have to deploy a completely separate 5G system.

Even if there is some trade-off between robustness, latency and quality, it’s worth it for the ability to get more coverage easily and over a large area. The future of wireless broadcasting, at least for the near term, is likely a hybrid model with traditional RF cameras supplemented by 5G cameras placed in strategic locations or in areas difficult to reach with other technologies.

We’re definitely rounding the corner, and as we do, it will be this 5G-powered remote production technology’s time to shine.

More information is available on Sony’s professional products website.

MONTREAL—Matrox Video has begun shipping its ConvertIP SMPTE ST 2110 converters for HD/4K broadcast monitoring.

With multiple connectivity options, uncompressed and JPEG-XS support, a fanless design and NMOS control, these standalone devices offer broadcasters flexibility and reliability to display ST 2110-20 and ST 2110-22 signals on HDMI or SDI monitors in any ST 2110 environment, it said.  

ConvertIP converters support uncompressed and JPEG-XS HD/4K video over 10 GbE and 25 GbE ST 2110 networks. These devices also include PoE+ and PSU power options and host an independent control network port for in-band or out-of-band operations, said Matrox.

The new converter’s fanless design and dedicated media port for 2022-7 redundancy support ensure smooth, continuous operation and maximum uptime. As part of the 2022 Joint Task Force on Networked Media (JT-NM) testing program, ConvertIP successfully tested for the SMPTE ST 2110-22 and the NMOS/JT-NM TR-1001 specifications, assuring broadcasters that ConvertIP can interoperate seamlessly within multi-vendor ST 2110 ecosystems, the company said.

“Broadcasters managing SMPTE ST 2110 infrastructures are looking for an easier approach to broadcast monitoring, and Matrox ConvertIP does just that,” said Matrox Video technical marketing manager Daniel Maloney.

The company will demo the Matrox ConvertIP Series at a number of upcoming industry events, including InterBee 2022, Nov. 16-18, in the IP Showcase and Japan Material booth 5401, and at the Taenam DVI seminar, Nov. 22.

More information is available on the company’s website.

GRASS VALLEY, Calif.—AJA Video Systems has announced the expansion of its lineup of openGear compatible 12G-SDI Fiber Converters with a pair of new OG-FiDO 12G cards for receiving signals from LC Fiber or ST Fiber and converting those signals to baseband 12G-SDI. 

The OG-FiDO-R-12G-ST is a Fiber receiver that supports single-channel conversion from ST Fiber to 12G-SDI. 

The OG-FiDO-2R-12G offers dual-channel conversion from LC Fiber to 12G-SDI. Both new models receive 12G-SDI signals from standard Fiber video sources, including AJA FiDO Mini-Converters.

“Fiber solutions are critical for facilities looking to reduce cable runs while also having the ability to securely send high-bandwidth signals very long distances, and we’ve witnessed a surge in demand from customers looking to upgrade to 12G-SDI infrastructures,” said Nick Rashby, president, AJA Video Systems. “In response, we’ve released two new robust and powerful OG-FiDO 12G openGear receiver cards – joining the OG-FiDO-TR-12G Fiber transceiver – that offer reliable conversion within a compact, high-density, rack mountable form factor.”

In addition to the new OG-FiDO 12G cards, AJA has also released a collection of new firmware updates for select AJA openGear card models, including OG-ROI-HDMI, OG-ROI-DVI, OG-ROI-SDI, OG-HA5-4K and OG-12GM. 

More information is available here.  

HAUPPAUGE, N.Y. – Fiber-optic cable provider MultiDyne is bringing a quartet of new products to Amsterdam for IBC 2015, focusing on bringing higher resolutions videos to broadcasters faster and sending uncompressed signals further over a single fiber-optic cable.

MultiDyne will have its new SMPTE Hybrid Universal Transmission Extender on hand, which works with any SMPTE-based HD camera. The HUT system allows users to separate their cameras from their CCUs by distances over 10km with single mode fiber. The new HUT is about half the size of the previous edition and includes a backup battery option.

Mini eXchange converters

A trio of MultiDyne’s SilverBack transceivers will also be on display. The two new products are the SilverBack-III and the SilverBack-III 4K6 camera back transceivers. The SilverBack-III offers all of the same features as the SilverBack 4K5, but is designed for high-quality, multi-camera 1080p/30/60 fps HD productions. The SilverBack-III 4K6 provides six 3Gbps signals to a base station up to miles away. New features for the SilverBack 4K5 will also be demonstrated.

In addition, the new Mini eXchange Converter for HDMI-to-Fiber/Fiber-to-HDMI conversion and the EOS 4000 and 5000 optical electrical switches for video file delivery over an IP infrastructure will also be at IBC 2015.

These products and more can be found at MultiDyne’s booth, D.940. IBC 2015 takes place from Sept. 11-15 in Amsterdam.