SEATTLE—The COVID-19 pandemic has forced TV stations to re-assess and re-invent many elements of the production chain as well as the tools they use to deliver the news and forcing news anchors to set a good example by socially distancing and working from home. Teleprompters were among those important elements that did not go untouched.

Demand for more systems increased as soon as the pandemic broke in mid-March, according to Chris O’Brien, president of Telescript International. “We got calls from some of the networks that were familiar with our equipment and they said ‘we need to get stuff so we can anchor from all over. Can you get us as many systems as possible?’“

‘CONTACT-FREE’

After the initial scramble, O’Brien and his staff immediately noticed problems with remote anchoring. “We saw the quality wasn’t that good,” he said. “So we asked ourselves, ‘how do we get this good for prompting? How do we get it good for production?”

But it wasn’t just the news stations that had issues. For corporate clients using prompters to communicate to their associates, the scripts may contain proprietary secrets, so a certain amount of security was needed, he added.

Using existing web technologies along with Telescript’s hardware and software, “we created this whole system we call ‘Contact Free Recording with Prompting,’” dubbed “CFR,” he said. Not only does CFR provide high quality prompting, it enables a high quality video and audio recording of the camera output so that later repackaging of the content can edit from the best quality source material.

The CFR kit is designed for non-technical users, O’Brien added. “All the talent has to do is connect to the internet. Once that happens, the prompter operator—or it could be a video technician, whoever it might be—can actually take full control and get that back to the station.” 

NETWORK PROMPTING

According to John Veenstra, president and chief engineer for Tekskil Industries, prompting solves only one part of the information puzzle inherent in remote anchoring. “The loneliest people on TV are the guys in front of the camera,” he said. “Everybody on a show knows what’s going on except them. So any help you can give them is huge.”

In 2019, the Vancouver, B.C.-based company introduced the network-based “Floor Manager” that includes a prompter for a PTZ camera, talent monitor, three different digital clocks, three levels of tally, and camera ID. Finally there’s “ad hoc messaging,” where text messages can be sent to the anchor.

Currently very little “true network prompting,” exists, Veenstra said. “Some vendors will tell you they’re doing network prompting, but what they’re doing is sending the video down the CAT cable,” he said. “They’re streaming the video down the CAT cable. That’s not network prompting. Network prompting is when you send the data down the cable, and then you compose the video on the prompter monitor itself.”

The kit was developed to “support the talent on the other end,” Veenstra said. “We’ve integrated the platform with the PTZ cameras as well. We’ve got a product called ‘the hub’ that sits on a server or a laptop, or a desktop, whatever you want. And the application can control all of that stuff, including the Floor Manager.”

NO VIDEO, JUST TEXT PLEASE

Vitec Production Solutions, parent company of long-time prompter providers Autoscript and Autocue, also received some panicked phone calls asking about remote prompting during the early days of the lockdown, according to Aaron Brady, technical sales manager.

“We had engineers who needed to get prompters in the field that day,” he said. “Often they would look to have a solution later that week, but we were able to deliver it that same day. That was a shock to many an engineer.”

Several years ago Autoscript updated its WinPlus-IP software to include an iPad interface license.

“That allows us to prompt directly to an iPad,” he said. “We’re not going to be streaming video, we’re just sending text to the iPad, and the iPad generates its own video,” he said. “The specific advantage there is that we don’t have to wait for all the bits to arrive and be assembled into an image.”

Three versions of iPad mounting configurations are provided by Autocue and include the camera plate and the iPad mounting hardware itself, Brady said.

“The most common deployment is one that allows you to read straight off the iPad, with the camera mounted just below the monitor,” he said. “The other two are through-the-glass configuration, with beam splitter glass, so the talent can be looking directly into the camera while they’re reading the iPad. We have them for both small camera deployments, and for full-sized ENG camera deployments. Most people are going in with small camera deployments or PTZ cameras.”

QUALITY, EVEN FROM A BASEMENT

Cuescript President Michael Accardi said he never thought he’d be selling teleprompters for use in anchors’ basements, but that’s been a big part of their business right now.

“With social separation, you still need a prompter,” he said. “The funny part is you’d think they’re going to put a cheap prompter in the house. Well, just because you’re in somebody’s house it doesn’t mean the anchor’s eyes are going to get any better. In some cases you can go smaller because the distances are shorter, but you still need a decent quality unit that has the brightness, the contrast and scrolling smoothness to it.”

In hindsight, Cuescript’s introduction of its CueTALK network prompting system at the 2019 IBC Show proved timely, providing seamless operation through standard CAT5/6 IT infrastructure.

“A lot of people didn’t know that they already had that capability with our equipment. CueTALK, which provides IP capability, was something we had already added to the standard product line,” Accardi said. “So that was really a winner for us.”

He added that, with the company’s CueMe tablet application, users can take an iPad and preview their scripts. “You can be anywhere you want and you’re getting the rundown from the studio, they’re constantly updating, letting the talent keep fresh and ready for what’s about to happen.”

PAN-TILT-ZOOM

JT Meidl, owner of Mirror Image Teleprompters, said his company saw a little uptick in small prompter sales for anchoring from home. “But to be honest, the bulk of people went cheap and didn’t put a mirror in front of it, just a camera clipped on top of a monitor. It hasn’t been a super big influence.” Overall prompter sales started off well in 2020, he said, until school budgets got slashed.

One of Mirror Image’s most popular sellers is the PT-160 OS, a camera prompter specifically designed for the new all-in-one robotic pan-tilt-zoom cameras manufactured by Sony, Panasonic and others. HD wide-angle glass beam splitter mirror allows for maximum camera movement. “People who try them really like them.” Meidl said.

Home, however, is not always where the news reports originate. One variant from anchoring from the house is a show anchored from a van parked on the street each morning. The talent hops out of his Washington, D.C. home and into the van complete with background, lighting, camera and audio, cellular modem for connectivity and of course a prompter.

If and when COVID-19 eventually gets tamed, there’s little thought that anchoring from home will disappear along with it. People are getting too used to it.

No one goes to an event like the annual NAB Show without doing their homework first. As the show expands its umbrella to cover more advanced media technologies, the need to prepare becomes ever more crucial. Whatever your taste, TV Tech’s experts are here to help; here’s their advice for 2018:

KARL PAULSENStorage Technology

Standout trends will likely center on evolving workflows in cloud-based solutions and emerging applications for IP infrastructures. This is the first NAB since the adoption of new SMPTE ST 2110 standards for Professional Media Networks so don’t miss the IP Showcase (in the rear of Central Hall) where working examples of the new standards plus integration of the NMOS interface specifications will be shown in an educational showcase environment. Potential IP adopters will be looking at how manufacturers address software defined networking and new tools aimed at diagnostics and operational management for IP implementations.

The enormous prominence of virtual and augmented reality and artificial intelligence and machine learning at the Consumer Electronics Show will be evident at NAB. Expect to see evolving products necessary to support the industry’s mandate to create, manage and deliver content to these emerging platforms. eSports is now attracting inventive players and changing production techniques that may show promise for aspiring venues.

The continual industry churn of what is now Belden’s growing empire should attract users to see what new products they collectively offer. Everyone is curious how the combined companies of Grass Valley and Snell Advance Media will address the changes in infrastructures that appear to be moving away from pure hardware and into virtualized, software-based environments. We’ll see what comes out of these mergers and acquisitions—and who will be next in line.

JULIA SWAINLighting Technology

The 2018 NAB Show promises to be a big one! Excited to see more lighting units capable of RGB and DMX, which so many of us have been utilizing more and more on set. Being able to move so quickly between colors and qualities of light has opened up a lot of possibilities. I’m very much hoping for LEDs with great outputs as well. The climb toward stronger, more versatile LED units has been an exciting and consistent one, so I’m looking forward to seeing what this year brings in the world of lighting.

On the camera side, I anticipate some new monitor options with a gamut of exposure tools. Lots of apps to control and learn camera settings are also on the horizon.

AL KOVALICKCloudspotters Journal

Look for all things cloud including SaaS apps for your daily operations. Don’t settle for installed apps unless there is a performance need. Ask vendors what their cloud strategy is, including what clouds they support for media services, apps and processing. Go to NAB with a list of “cloud questions” for your preferred vendors specifically around hybrid cloud local operations integrated with cloud services. Understand there is a place for local services but these are being eclipsed by cloud operations. Understand what mix will work best for your facility. Expect to use one or more clouds to meet your business needs. This multicloud approach will give you more flexibility for business operations. Look for 24x7 cloud support and operational services possibly from specialty companies.

JAY YEARYFocus On Audio

This is the year where we really start to grasp the full scope of the changes that IP-enabled technologies are bringing to television, from ingest all the way to delivery. HD-SDI video and discrete audio chains will see fewer implementations as they are passed over for IP-based alternatives, even though the road to an all-IP facility remains a bumpy one. With ATSC 3.0 now rolling out in the U.S., IP is now a reality for new and remodeled television facilities.

In audio, we’ll certainly see an increasing number of personalization options for consumers, along with products for immersive audio that are designed to be shoehorned into residential environments. At least for now however, it looks like personalization, whether mono, stereo, or emulated surround, has piqued the interest of the end user more than additional surround channels in the living room. This could change if the costs of immersive audio products for the consumer become a little more accessible. The preference for personalization is partly VR-driven but is really a continued outgrowth of the de-cades-old personal device boom—which is likely to continue with or without a VR element.

User interfaces for Next Gen technologies are particularly worthy of scrutiny this year, since presenting complicated options in an easy-to-understand package is an art form that will make the difference between success and failure for some products. Finally, anyone hoping to stretch out their use of 600 MHz wireless devices appears to be out of luck now that T-Mobile has accelerated their rollout.

CRAIG JOHNSTONCorrespondent

We’ll see the rollout of ready to use 4K and some 8K camera systems. These new cameras have spawned attendant equipment such as enhanced lenses and high bit rate signal transmission equipment.

A whole host of 360 degree virtual reality camera systems and stitching software will be presented. An Immersive Storytelling Pavilion will help newcomers to 360 degree technology figure out how it will fit into their business.

Look for cellular liveshot gear that is futureproofed by including 5G capabilities, even though 5G at present is a small blip on the cellular radar.

And speaking of futureproofing, a lot of black boxes being bought at the show will have IP connectors on them, even though they will initially be connected via coaxial and fiber optic cable.

CAMERAS

The NAB Show exhibit halls will see 4K and a few 8K cameras, as well as an array of specialty cameras.

ARRI will showcase its ALEXA LF 4K camera. Rather than miniaturizing pixels to deliver full 4K resolution from a Super 35 sensor, ARRI has chosen to put its proven “optimal” size pixels on a larger than Super 35 sensor.

BLACKMAGIC DESIGN will demonstrate its URSA Broadcast camera, designed for both studio programming and live production. URSA Broadcast works with existing B4 broadcast HD lenses, supports both HD and Ultra HD production. It features a 4K sensor, extended video dynamic range, traditional external controls and buttons, built-in optical ND filters, dual CFast and dual SD card recorder.

GRASS VALLEY will demonstrate its line of multiformat (HD/3G/4K UHD) and multispeed (1X/3X/6X) cameras that offer outstanding image performance, excellent light sensitivity, and the ability to use standard HD lenses. The newest camera, the LDX 86N Series, delivers native HD, 3G and 4K UHD images for the highest possible resolution and image clarity as well as full support for HDR with up to 15 f-stops.

HITACHI KOKUSAI will showcase a firmware update for its SKUHD4000 Ultra HD Camera, allowing separate video shading adjustments for HDR/SDR outputs. The company will also unveil its CU-HD1300FT-S2 HDTV Camera Control Units with UHD/4K 12Gbps outputs.

IKEGAMI will show the UHK-435, a 2/3-inch 3-CMOS sensor, 4K/HD full studio camera and an updated, more compact and lightweight SHK-810 8K UHDTV camera developed in collaboration with NHK.

JVCKENWOOD will show its 800 Series camera connected directly to JVC’s ProHD Dockable Bridge, a wireless bonded IP uplink.

LUMENS INTEGRATION will introduce its VC-A50PN Full HD PTZ IP camera with support for NewTek NDI, allowing it to provide video, audio, PTZ control, tally and power over a single Ethernet cable.

MARSHALL ELECTRONICS will present its Marshall CV502-U3, a USB-powered, HD POV camera with an ultra-wide 126°-angle field-of-view lens, offering simple plug-and-play connectivity.

PANASONIC will introduce its AKUC4000 4K/HD high-speed studio camera, designed for live sports production and high-end event broadcast with high-speed 240fps. Also on display will be Panasonic’s entire NDI PTZ camera line-up: AW-HN38, AW-HN40, AW-UN70 and AW-HN130 as well as the AU-EVA1 5.7K handheld cinema camera.

RUSHWORKS will premier its 3n1 Multi-Function Video Camera, an HD-SDI PTZ with 20x or 30x lens and the ability to auto-track single targets.

SONY will show its CineAlta VENICE motion picture camera, capable of 6K resolution (6048x4032) in Full Frame mode. It features an industry first—a user-interchangeable sensor that requires removal of just six screws, enabling future upgrades and production flexibility. Sony will also showcase its FDR-AX700, NXCAM HXR-NX80 and XDCAM PXW-Z90 4K HDR Palm Cameras.

LENSES

ARRI, as part of its complete large-format acquisition system, will showcase its Signature Prime large format lenses. The lenses are purpose built to cover the larger-than-Super 35 sensor the camera utilizes.

CANON will showcase its CJ45ex9.7B and CJ45ex13.6B lenses, designed for use with broadcast cameras and featuring 2/3-inch sensors. The CJ45ex9.7B provides a high zoom ratio, while the CJ45ex13.6B provides the same zoom ratio and a long focal length.

COOKE OPTICS will feature its new S7/i Full Frame Plus lenses, the first purpose-built full frame lens set on the market, designed specifically to cover the emergent full frame cinema camera sensors up to the full sensor area (46.31mm image circle) of the RED Weapon 8K.

FUJIFILM will present its Fujinon UA24x7.8 lense, sporting a 24x zoom. At 8.6" (220.5mm) length and 4.4 pounds (1.98kg), it’s the smallest, lightest broadcast lens supporting 4K, according the company. Lenses zoom range is 7.8mm–187mm.

SIGMA CORP. OF AMERICA will showcase its Sigma 14mm T2 FF Cine Prime lens, which provides a fast T2 at this ultra-wide angle focal length for full frame sensors. The lens offers cinematographers the opportunity for robust cinematic expression.

CAMERA SUPPORT

In addition to cameras and lenses, shooters ranging from news photographer to motion picture cameramen need camera support equipment to add usability and utility.

TELEPROMPTERS

AUTOSCRIPT will highlight its all-new Intelligent Prompting family, together with new controllers and additional monitors. The system includes the EPIC-IP17 teleprompter displaying scripts sent over IP from WinPlus-IP prompting software.

CUESCRIPT will present its complete IP-based teleprompting system, future-proofed for an IP workflow, but included as standard are HD-SDI and Composite video connections that many studios still use, and USB or BNC CAN bus connectivity on all scroll controls also. Included in the system is CueiT Software, the CueB connectivity hub, and the CueScript PTZ Prompter and IP CSM Prompter Monitors.

TRIPODS & FLUID HEADS

LIBEC has added the AP-X adapter plate to its TH-X H fluid head and tripod system, providing more convenience and utility. The adapter plate design allows detaching the quick release plate with one hand while holding the camera with the other. The plate is also compatible with select Manfrotto and Sachtler heads.

MILLER CAMERA SUPPORT will show its CompassX series (CX2, CX6, CX8, CX10 and CX18), featuring the company’s CB PLUS technology, delivering 16 positions of counterbalance in all models, providing accurate balance.

SACHTLER and VINTEN will demonstrate their jointly developed flowtech 75 tripod, featuring unique quick release brakes and easy adjust levers that enable camera operators to set up and begin using the tripod in an instant. The two brands will showcase a pair of optional flowtech accessories, a detachable carry handle and a compact and lightweight dolly. The flowtech 75 dolly features an integral carry handle and foot-operated brakes for smooth and easy operation.

CAMERA ROBOTICS

RUSHWORKS will demonstrate its PTX Universal PanTilt Heads, available in two sizes. They allow use of VISCA and DMX controllers to remotely control most cameras from AJA, ARRI, Blackmagic Design, Canon, Datavideo, JVC, Marshall, Panasonic, RED, Sony and others. Also new is the RUSHDOLLY for PTZ & PTX Production, a tiny but powerful self-propelled dolly that is designed to interface with PTZ and PTX cameras.

SHOTOKU USA will show its Enhanced ECI Automation Interface that brings efficiency and responsiveness to its TR-XT robotic camera control system. In addition to quick recall of pre-set camera positions during live broadcasts, enhanced ECI supports full joystick trim control to adjust and restore presets from automation systems or vision switcher panels.

TELEMETRICS will demonstrate its RCCP-1A Remote Camera Control Panel with reFrame Automatic Shot Correction, which intuitively and smoothly tracks the movement of on-air talent at a pace equal to that of a manned camera.

VINTEN will showcase its Vantage lightweight robotic head and and μVRC Controller. Vantage enables customers to choose the camera and lens that meet their requirements, and supports a wide range of pro-video camcorders from a variety of manufacturers. The μVRC is designed to complement the Vantage, giving the camera head even greater versatility and flexibility for enterprise video capture.

LIGHTING

When LED lighting was first introduced it provided energy efficient and high output illumination, but with an undesirable color cast. Today’s LED technology has arrived a near perfection of color rendering.

ARRI returns with its popular line of SkyPanel LED soft lights, including the new S360-C. The many creative features built into SkyPanels will be demonstrated through a lighting show in the ARRI booth at the top of every hour.

BB&S LIGHTING will introduce its Force 7 LED LEKO lighting fixture, which delivers 750W equivalent output while drawing just 165W at maximum, with 97 CRI. BBS will show 3- and 4-foot Pipeline Free lighting fixtures, which deliver 4,000 lumens at 98 TLCI in a rugged aluminum-backed cylindrical pipe.

CINEO will introduce its NBCUniversal LightBlade Series, a versatile production lighting system featuring reference-quality tunable white light combined with a separate Rec.2020 saturated color system.

DOPCHOICE will introduce its RABBIT-EARS, which allow users to gang a pair of Litepanels Astra fixtures to a DoPchoice light softening and shaping tool. The system provides fast mounting of Snapbags and Snapgrids.

FLUOTEC will introduce its Cinelight Studio Long Throw LED Panels, designed for use in high-altitude studios. The line features high >97 CRI-TLCI color rendering indexes and a concentrated 50-degree fixed light beam. Also featured are the Vegalux Auralux Studio LED Fresnels. The Auralux 200 provides a motorized zoom variable beam; the Auralux 100 sports a manual zoom. Both are available in Tungsten 3200K and Daylight 5600K.

FREZZI will feature its LED ProLight and Combo Filter, a bright, light and feature rich camera-top light. It includes a quick release head, articulating extension arm, integrated USB charge port and passthru PT connector for piggy-backing another accessories.

K5600 will demonstrate its Joker2, a newly designed variant of the company’s long established Joker line of lights. Advanced features include wireless dimming, plug-in ignition with tungsten option, improved braking mechanism, and quick swap lamp mount.

LITEPANELS will showcase Gemini, an accurate and versatile 2x1 soft panel lighting fixture. Gemini’s latest firmware upgrade allows for a variety of cinematic features such as emergency lights, Fire TV, and hue bursts that are fully customizeable and can be easily saved to presets. Gemini eliminates the need for color correction by offering full-spectrum white light that’s ideal for lighting talent and rendering exceptional color.

MATTHEWS STUDIO EQUIPMENT will demonstrate the K-Stacker, a soft light solution that turns Kino Flo LED panels and fluorescent fixtures into larger soft light sources.

PHOTON BEARD will introduce its Solo Kit, designed around the company’s PB80 LED redhead. The Solo Kit, with three light heads, supplies convenient lighting accessories including three light stands, a soft box, battery plates and a soft case. Also new is the Edukit, designed to provide a professional quality, affordable lighting kit for basic broadcast use.

BATTERIES AND POWER SUPPLIES

Battery and power supply makers continue to move their art forward with lighter weight, greater capacity batteries and faster chargers.

ANTON/BAUER will showcase its V-Mount Digital Battery Series, designed to power at 40 percent greater efficiency in a sleek, ergonomic design with an easy-to-read LCD display.

BHV BROADCAST, in the CueScript booth, will launch its Video Ghost dx, providing dc power, SDI video (ranging from SD to 4K) and a bidirectional data link over a single coaxial cable. The data link covers VISCA and Pelco protocols to drive PTZ cameras for fit-and-forget operation.

CORE SWX will premier its Nano-VBR98, designed for select Panasonic Camcorders such as the EVA. Also new is the Hypercore SLIM 98, which combines the compact design of the Hypercore SLIM HC8 with a 98Wh capacity and USB power output.

FREZZI will demonstrate its next iteration FLB battery, which features a new, built-in Power Tap connector to power lighting. It also sports an integrated USB charger port for smartphones and USB accessories. The FLB is available in 100Wh and 240Wh capacities, in both V-Mount and Anton-type mount.

PAG AMERICA will introduce its PAGlink PowerHub, which provides all outputs needed for camera accessories. Designed for use between two PAGlink Gold Mount batteries, it maintains continuous power to accessories while hot-swapping batteries. It features five ports for interchangeable D-Tap, Lemo, Hirose or USB output connector units. Also new is the PAGlink Micro Charger, an ultra-compact travel charging kit for PAGlink batteries. Gold Mount and V-Mount models are available.

LAS VEGAS—TV Technology asked a cross-section of NAB Show-goers a series of five questions regarding what they considered the main themes, evidence of those, whether or not these initiatives will take hold, and what promising technologies from past NAB Shows did not see daylight. (A complete list of quotes from respondents and links to their full 5Qs is at “NAB 2016 in 21 Quotes.”)

Craig Johnston, TV Technology correspondent:
Q1. How many NAB Shows have you attended?
C.J. 33 in a row, from 1983 on.

Q2.What, in your opinion, were the main themes of the show this year?
C.J. ATSC 3.0, IP infrastructure, HDR.

Q3.What were some examples of these themes?
C.J. I think ATSC 3.0 was the over-arching theme of this NAB, with lots of sessions and lots of buzz. Many new products had IP connectivity as a feature. Where 4G may not be delivered from cable or satellite companies for some time to come, HDR can be delivered via these pipelines, and it the difference it will make to the home viewer will kick of another round of viewers wanting to get the same great pictures their neighbors are getting.

Q4.Do you foresee any or all of these technologies or initiatives taking hold?
C.J. All.

Q5.What technology that impressed you most at a past show didn’t see the light of day?
C.J. Mobile TV.