IRVINE, Calif.—Teradek has introduced Prism Flex Mk II, the newest addition to its Prism Series. The new advanced model features a redesigned chassis with improved front panel controls for intuitive operation and superior cooling mechanisms. 

Additionally, it integrates analog audio IFB functionality, enabling seamless talkback communication between devices through the Teradek Core Cloud. Complementing its predecessor Prism Flex, the Mk II remains fully compatible with all Prism devices, representing an iterative upgrade that improves the original Flex's internals and software architecture.

"The Prism Flex Mk II is a bi-product of Teradek's commitment to continuous improvement," said Derek Nickell, product manager at Teradek. "In response to valuable customer feedback, we have carefully crafted enhancements aimed at better aligning with our customers' evolving needs. These improvements, spanning team communication, user-friendliness, and device performance, highlight our dedication to empowering seamless workflows and ultimately easing the demands of our customers' endeavors."

Key features of the Prism Flex Mk II allow broadcasters to: 

• Enable intercom with Teradek’s Core Cloud platform and other Prism devices.
• Navigate the OLED screen effortlessly with the newly introduced D-pad front control buttons, offering an improved tactile experience for users.
• Experience the fastest high-quality video streaming with the integration of the on-board ultra-low latency Teradek Reliable Transport (TRT) protocol, achieving latency as low as 100ms over WAN.
• Encode and decode concurrently with the optional “Decode” license available for Mk II encoders.
• Select from a myriad of protocols, including: SRT, TRT, MPEG-TS, RIST, RTMP, RTSP, HLS, and DASH.

The company also explained that the Prism Flex Mk II continues to offer the same robust live streaming capabilities as the rest of the Prism line, from live video contribution and remote production to post-production workflows. Users can still seamlessly upload recordings directly to leading camera-to-cloud platforms like Frame.io and Sony C3P, while also facilitating secure orchestrated video distribution feeds through Teradek's Core Cloud platform.

The Prism Flex Mk II is available for pre-order. More information is available at http://tdek.co/pfmkii-pr. 

NANJING, China—Magewell has launched the Pro Convert Audio DX multi-format IP audio encoder, decoder and capture device and will feature it at the 2023 NAB Show, April 15-19, in Las Vegas. 

The device, the company’s first to offer integrated support for Audinate Dante audio networking, enables users to convert audio between Dante, NDI and SRT transport technologies while also bridging analog audio, software and IP networks, the company said.

Pro Convert Audio DX can send and receive up to eight channels of audio in unicast or multicast Dante flows (audio streams). In addition to Dante, the device also supports uncompressed audio using the NDI media-over-IP technology or compressed AAC audio using the low-latency SRT protocol, it said.

With the ability to convert between Dante, NDI and SRT, the new device enables mixed-technology local and remote production workflows that combine best-of-breed products supporting different standards and formats. The Pro Convert Audio DX also can serve as a gateway to the IP domain for analog audio, encoding signals into Dante, NDI or SRT streams. Similarly, it can decode IP audio streams for analog output, it said.

Pro Convert Audio DX also can serve as an audio capture device when connected via USB to a laptop or desktop computer. UAC (USB Audio Class) compatibility provides plug-and-play ease of use and immediate compatibility with popular video conferencing, streaming, and production software, the company said.

See Magewell in NAB Show booth C5031.

More information is available on the company’s website. 

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.

NEW YORK—At NAB Show New York, Magewell will launch a new model in its Ultra Encode family of live media encoders. The Ultra Encode AIO builds on the the company’s original Ultra Encode models with expanded features including HDMI and SDI input connectivity in a single unit; 4K encoding and streaming from the HDMI input; simultaneous multi-protocol streaming; higher streaming bitrates; and file recording. 

Ultra Encode AIO supports multiple video encoding formats and an array of delivery protocols including RTMP, RTMPS, SRT, RTSP, RTP, HLS, and TVU’s ISSP technology. Video can be encoded at resolutions up to 4096x2160 at 30 frames per second from HDMI sources, or up to 1080p HD at 60 fps from the device’s 3G-SDI input. 

The single-channel Ultra Encode AIO can encode one live input source—either HDMI or SDI—or mix video from the HDMI and SDI inputs (picture-in-picture or side-by-side) into a combined output. Video can be encoded at bitrates up to 32 Mbps, while up to eight channels of audio can be encoded in AAC format. Two concurrent encoding profiles with distinct combinations of resolution, frame rate, and bitrate can be specified, and up to eight user-configurable overlays—including text, images, and a clock—can be applied to each profile. 

Configurable presets enable easy streaming to YouTube Live, Facebook Live, Twitch, or custom targets. Ultra Encode AIO can stream to up to six different target destinations simultaneously, including the ability to stream concurrently in multiple protocols. Inputs can also be recorded as files to an SD card, USB-connected storage device, or networked storage (NFS, CIFS or SMB).

For IP production workflows and AV-over-IP signal distribution architectures, Ultra Encode AIO supports NDI|HX 3, the latest version of the high-efficiency, low-bandwidth option in the popular NDI IP media transport technology platform. NDI|HX 3 improves video quality while enabling very low latency. Ultra Encode AIO also supports the earlier NDI|HX 2 for broad compatibility. 

Ultra Encode AIO can be configured, monitored, and controlled through its browser-based web interface—accessible through any computer or mobile device, with an optimized layout for smartphones—with centralized management of multiple units available through the Magewell Cloud software. In addition to manual control, scheduled streaming and recording are also available through the web UI, while the unit’s touchscreen LCD screen provides status information and snapshot previews. HTTP-based APIs are also available for systems integrators and third-party developers to incorporate Ultra Encode AIO into their solutions. 

Ultra Encode AIO devices measure 214.9mm (8.46 inches) by 128.2mm (5.05 inches) with a height of 44.55mm (1.75 inches). Pairs of units can be rack-mounted together with included mounting hardware. The device can be powered via PoE (Power over Ethernet) or the included power adapter. In addition to HDMI and SDI video input and loop-through connections with embedded audio support, Ultra Encode AIO also offers line-level analog audio input and output. For network connectivity, the encoder features built-in Wi-Fi and an RJ-45 Gigabit Ethernet port, as well as support for optional, third-party 3G/4G broadband modems. 

Magewell will be in Stand 933 at NAB Show New York, Oct. 19-20 at the Javits Center.

FRISCO, Texas—MediaKind has announced a number of new technology advances in its portfolio of edge products that enable live events to be captured and transmitted reliably to the cloud and distributed securely from the cloud to regional networks. 

These advances include: adding support of Zixi technologies alongside SRT on its modular CE1 and RX1 edge platforms; next-generation security and monitoring for MediaKind’s Director solution; increased link resiliency; superior IP discovery and control; and user experience advancements.

The edge portfolio combines all the decoding, encoding, transcoding, content replacement, content protection, and reliable IP transport technology developed by MediaKind, enabling the expansion of cloud-based linear workflows, the company said. 

“Some of the world's biggest brands have been requesting Zixi integrated into MediaKind’s CE1 and RX1 offerings,” said John Wastcoat, senior vice president alliances, and marketing, Zixi. “We are thrilled to partner with MediaKind and deliver best-in-class solutions to the market, allowing our mutual customers to seamlessly leverage proven architectures with market-tested technology.”

“By adding support of Zixi technologies to our pre-existing SRT and FEC options, we are enhancing the flexibility, security, and resilience of our CE1, RX1, and CE Mini products at a time when media companies increasingly need integration options for their video workflows,” added Boris Felts, chief product officer, MediaKind. “Advancing the MediaKind edge portfolio means our customers continue to receive access to industry-leading, resilient, cloud-ready, and highly secure live end-to-end workflow capabilities that tackle the most demanding live event coverage, now and in the future.”

MediaKind’s edge portfolio architecture combines an efficient cloud-native design, leveraging software containers and micro-services to expand its capabilities seamlessly, with a platform supporting hardware acceleration and broadcast video interfaces, the company said. 

This combination enables live video delivery within the most demanding live contribution and distribution environments. Thanks to this architecture, Zixi-protected congestion and network-aware protocols further expand the Secure Reliable Transport (SRT) and Forward Error Correction (FEC) options available on MK CE1 and MK RX1. The integration offers MediaKind customers greater flexibility and interoperability with cloud contribution and linear programming systems.

Additional edge portfolio development include:

• MK RX1 (receiver and media gateway) – now includes the latest evolution of MediaKind’s Director capability, enhancing security with 128-bit rotating keys, and maintaining the technology’s traditional key values, including over-the-air control and lifecycle management. RX1 also receives dual redundant transport streams for hitless switching with SMPTE 2022-7, enabling it to perform continuous, seamless decodes when upstream feeds lose integrity.
• MK CE1 (media contribution encoder) – an improved user interface and update of the CE1’s SMPTE ST 2110 capabilities aligning with Networked Media Open Specifications (NMOS) discovery and control. It also now offers a greater variety of workflows with the support of ASI input alongside IP input for remux use cases and the ability to interface with cloud platforms through its Real Time Messaging Protocol (RTMP).

In addition the company has launched the latest addition to the portfolio family, the MK CE Mini.

A high-performance, single-channel contribution encoder. CE Mini addresses the demands of live content contribution at temporary live events, such as college campus transmissions and ‘pop-up’ sports broadcasts, offering cost-efficient, low-power encoding in a portable, compact form unit.

MediaKind will showcase its edge devices' full spectrum of features at IBC2022 (#1.09). To book a meeting with MediaKind at IBC2022, click here.

Looking to a life after co-ax connected video signals has many wondering which path to take—SMPTE or NDI? How can it be we’re at a fork in the road for IP video production?

The simple fact is this: for decades, the evolution of digital video production was a fairly standard and uncompetitive process. The Society of Motion Picture and Television Engineers (SMPTE) took the lead and developed standards which the industry has relied upon for many years. With each evolution new higher resolution formats were supported but continued to use co-axial cable with BNC connectors. If you needed to throw a particularly long distance, then a baseband fibre alternative was also an option. 

So why are we at a juncture where system architects are left making a judgment call when developing new production facilities? The answer is simple: Neither NDI or SMPTE IP is “optimum,” and thus the right choice is much harder to select.

An Evolution
The first important IP format, SMPTE ST 2022, appeared in the last decade and was basically SDI packetized into an IP stream. Though not hugely flexible, it did—and still does, have uses. Then came SMPTE ST 2110; it provided greater capability by separating video, audio and metadata into individual IP streams, allowing designers to create facilities with simplified workflows and significantly less hardware. There are other advantages, too many to mention, but a critical one opened the door to remote production with cameras and production galleries located in different countries with a helpful telco in between; global televised sport never looked back.

The latter part of the last decade saw manufacturers, including ourselves, natively supporting SMPTE ST 2110. The choice was simple, the future was bright… wasn’t it? The reality is that SMPTE ST 2110 demands very high-speed IP infrastructure with cost to match. Away from the highly organized environments of studios and outside broadcast, SMPTE ST 2110’s fibre transport can show its fragility making decision makers nervous. Remember it took years to get location drama to stop using film!

This backdrop has been to the advantage of NDI, emanating from NewTek and now a commercial tech spin-off owned by Vizrt. Its mantra could be summed up as “keeping it copper—IP video should be transported over cheaper Cat5/Cat6 networks.” Here the cables are robust and familiar, and the networking infrastructure doesn’t require $40K of training to manage. 

There is, however, a big “however" the video is compressed. Purists in broadcast engineering dismissed this with a sniff and sharp turn of the head, so NDI sat in the dark longer than it should have. Nearly all routes to the consumer result in video being compressed so why should compression matter further up the workflow? Well, it probably doesn’t, thus we are seeing growing numbers of manufacturers supporting NDI. One of the “cons” of NDI was its limited acceptance but this is becoming historical. 

The compression itself can be confusing as the NDI brand has multiple types. NDI, often referred to as “Full NDI” is based on something known as SpeedHQ supporting variations SHQ2 and SHQ7 (both 4:2:2 video types), resulting in HD bitrates around the 100Mb/s. NDI’s other version HX is H264/H265 depending on whether it is HD or 4K (UHD). NDI-HX is a much lower bit rate and may rule itself out for more “premium” production environments wishing to avoid the cost of SMPTE ST 2110, but the non-HX NDI is pretty damn good, when you consider it wasn’t long ago the audience was “enjoying” interlaced Standard Definition.

More Complex Than It Looks
Those “purists” I mentioned will protest that I’ve oversimplified the issue and have clearly overlooked important factors such as compression latency. They’d be right of course; but the true picture is much more complex. Film, CGI and drama workflows are still going to demand minimal if not zero compression and I strongly suspect that in location production, baseband 12Gb/s SDI will have a long life to come. 

Eventually we will all implement IP and the hardware will only ever be present at the “edge” with all processing, distribution and storage being firmly in the cloud. Which format will win is of course difficult to predict. If the discovery model (how you identify and find multimedia IP devices) for SMPTE ST 2110 and its eventual successor matures, then an uncompressed video, standardized by SMPTE, may take the lead. 

For NDI, taking its place in the competitive market might come down to the commercial approach. Having spent some time talking with senior figures in the NDI team—past and present, I believe it’ll be the fee manufacturers must pay to wear the NDI logo that will dictate the take-up.

We are likely to see a battle over the next five years and the resulting uncertainty will make choices difficult. I won’t make a prediction, but I will say that having previously introduced support for SMPTE ST 2110 in our video technology, we are currently putting the final touches to our NDI support ahead of this year’s IBC.  

PARIS—Vitec has announced that it will feature its newest IP video products and services, including its new MGW Diamond+ OG encoder, during IBC2022, Sept. 9-12, at the RAI Amsterdam Convention Centre.

“Since the last IBC in 2019, Vitec’s IPTV and digital signage product portfolio has been strengthened by the acquisition of Exterity,” said Vitec senior vice president of sales Bruno Teissier. “This deal has opened a new chapter for Vitec and puts the company in a strong position to capitalize on the growth of businesses deploying IP video streaming solutions across their enterprises.”

Making its EMEA debut at IBC 2022, the MGW Diamond+ OG is a 4K/multichannel HEVC, H.264 and MPEG-2 encoder in an openGear (OG) card format. It is designed for a wide variety of contribution or point-to-point streaming applications via IP within production studios, broadcast facilities and corporate server rooms, the company said.

Among the encoder’s applications are site-to-site primary distribution; remote production over unconstrained networks, remote/at-home production over the internet, such as for REMI; and standard IPTV distribution, it said.

Offering support for Ultra-HD and high dynamic range (HDR), the encoder can capture and stream 4K 60p from its 4x3G-SDI or 12G-SDI inputs. The company plans to add SMPTE 2110 input support via 25Gbit SFP interface, it said.

The MGW Diamond+ OG supports 4:2:2 10-bit encoding, multichannel audio encoding and Zixi, SRT, RIST and Pro-MPEG transport protection technology for reliable video and audio transmission over lossy networks, Vitec said.

The company also will preview ChannelLink, a central hub that enables IP content delivery anywhere at any time with the same ease of use as legacy baseband video matrices. ChannelLink delivers reliable reception of IP channels from the field and live retransmission, thereby serving as an efficient gateway across any IP network, it said.

ChannelLink is well-suited to stream management, routing, rebroadcasting and IPTV stream reflection via WAN/internet connection. In a broadcast application, the new product simplifies content delivery of live channels from news agencies, sports venues, and entertainment halls.

More information is available on the company’s website.

See Vitec at IBC Stand 7.A39. 

The concept of remote production—moving the raw content generated at a site event back to the main facility for production and management—has been gaining popularity in the broadcast world. Mobile/site content has also been gaining wide popularity, with the ability to offer viewers a wide range of sporting events and other on-site broadcasts via traditional over-the-air, cable, and streaming options. 

When Covid hit, broadcasters were faced with a dual dilemma—their viewers wanted even more remotely generated content to make them feel more connected while they were staying at home, but the broadcasters needed to keep their own personnel safe and secure while generating that increase in content that the audiences demanded. 

Remote production quickly came into play as an option. The 2021 Olympics in Tokyo were a solid case in point. Broadcasters sent 39% fewer people than would be usual for such an event, with much of the production being handled back at their primary facilities or via a remote production company.

Sending fewer people not only kept broadcast personnel safe; broadcasters immediately noted a dramatic reduction in costs as the amount of on-site equipment plummeted and the need for transportation, housing, and other site expenses went down as well. Increasing the volume of on-site broadcasts for viewers also became more viable because of the ability to centralize production, which allows the use of the same production crew to handle multiple events on the same day. 

While remote production appears to be here to stay, many broadcasters are still puzzling over their options, because it isn’t as simple as many would have them believe. Everything depends on the telecommunications infrastructure that will be in play for each event. Traditional sports arenas are no problem: there will be dedicated fiber links with all the high-speed bandwidth you need. 

But what about the non-traditional locations? The problem is that not all sites are created equal: some still have highly reliable infrastructure, such as a pro team sports stadium with dedicated fiber, while others offer different types of connections that may differ wildly in the level of bandwidth and amount of equipment that can be connected at once.  

No one wants to plug their video and audio feeds into a shaky Internet connection and end up with an unusable product (and possible penalties for not providing the contracted coverage requirements). Obviously, a bit of homework is required before planning a remote event to determine how the feeds and backhaul will be handled.

Before planning an on-site production, ask what types of connections are available and what sort of bandwidth can be expected from each. If it’s IP based, find out whether backups exist in case the main feeds fail. Another critical step is to determine the level of security on those connections. If they’re visible to hackers, they can be easily disrupted.

The latency of the remote site connection is also an issue. 5G, for example, is an appealing prospect for video transportation, but it isn’t where it needs to be quite yet. If a site is offering 5G as its primary IP connection, ask whether the Ultra Reliable Low Latency Communications application is available with that connection.

One piece of equipment that can help mitigate your bandwidth issues is a good-quality encoder, which provides low-latency compression to make video easier to transport over IP. Some remote video equipment includes cursory encoders, but those encoders may not be up to the task when presented with varying IP speeds or other bandwidth issues, and they may not have a comfortable level of IP security. Stand-alone encoders, while admittedly increasing the amount of equipment going to the on-site location, are usually the best choice for equipment connection, IP connection, and high levels of security. 

When selecting an encoder, make sure it has the versatility needed to handle the available bitrate, video resolution capability, and equipment inputs needed for the available connection. A good encoder will also have robust firewall capability. Appear has made all of these needs a “must” in our encoder series. 

For more insight into the latest trends in remote production, be sure to register for TV Tech Talk: Remote Production, Aug. 31. 

MONTREAL—Haivision has added SMPTE ST 2110 input support to its Makito X4 encoder, giving broadcasters more options when deploying decentralized IP workflows, the company said today.

The addition of the input enables the Makito X4 to accept a SMPTE 2110 signal directly from cameras and broadcast equipment and encode it with minimal latency into highly efficient H.264/AVC or H.265/HEVC streams with audio and ancillary data, it said.

Using the SRT protocol, the Makito X4 can connect directly to central production facilities, cloud resources or remote locations over public internet connections, the company said.

The SMPTE ST 2110 suite of standards support multicast IP streaming of uncompressed video over local area networks, removing the need for SDI video cables in broadcast facilities, production trucks and OB vans. However, due to its high bandwidth requirements, SMPTE 2110 is not suitable for streaming to the cloud or to the internet. The Makito X4 bridges broadcast workflows to the internet or the cloud in real time, it said.

“Makito encoders and SRT have been the cornerstone of video workflows for broadcasters who are driving towards the economies of remote production and supporting production systems, staff and talent wherever they may be,” said Peter Maag, Haivision CMO and executive vice president of strategic partnerships.

“Now, with the Makito X4 bridging local SMPTE 2110 IP networks to SRT-based global networks, broadcasters can realize the benefits of being 100 percent IP-based," he continued.

Haivision’s Makito X4 encoder is a secure, reliable, ultra-low latency H.264/AVC and H.265/HEVC video encoder. It delivers high image quality, native SRT streaming and high-density 4K UHD and HD encoding. It is available as a standalone quad-HD/4K appliance or blade that provides up to 84 HD or 21 UHD inputs in a 4U rack module. The Makito X4 is well-suited for live broadcast contribution, remote production, enterprise video and mission-critical defense applications, the company said.  

The latest version of the Makito X4 Encoder software is now available. 

More information is available on the company’s website.

PARIS—ATEME has launched the CM5000e, its new-generation Kyrion encoder for UHD contribution in a sustainable manner.

Built with sustainability in mind, the ATEME Kyrion CM5000e encoder consumes less power, thereby reducing its carbon footprint and increasing its green credentials for adopters. Contributing to its environmental benefits are the encoder’s dense integration capabilities. The encoder offers UHD remuxing and satellite or IP outputs in a single device, eliminating the need for additional hardware, the company said.

The Kyrion CM5000e includes all of the necessary features for transmission of live events while being easily accessible and simple to use. Its short booting time and low latency encoding make the CM5000e well-suited for a sports, news and entertainment coverage, it said.

The encoder paves the way for IP migration in the future with Zixi, SRT and RIST solutions as well as SMPTE ST 2110. It enables content protection with the latest innovations, such as the BISS-CA standard and dynamic watermarking technologies, ATEME said.

“…[W]ith Kyrion CM5000e, we are … pioneering sustainable solutions in the contribution and distribution market, and we’re committed to making a positive environmental impact,” said Julien Mandel, contribution and distribution segment solution marketing senior director at ATEME.

More information is available on the company’s website.

VICTORVILLE, Calif.—KVVB-TV, an independent TV station about 90 miles northeast of Los Angeles, has turned to the Marshall Electronics VS-12-HDSI encoder to expand its ability to transmit data.

“As technology continues to evolve, we wanted to expand as well,” said Tim Harris, general manager and CEO of KVVB-TV.

“We were looking for a solution that would enable us to transmit data from one location to another. We talked to a few friends in our industry and the recommendation was overwhelmingly towards Marshall,” said Harris. “The best recommendation is when an industry peer speaks highly of a product. So, we took the leap, purchased the VS-102-HDSDI and have been very happy with the product.”

The VS-102-HDSDI is a high-definition video server. It supports real-time transmission of an SD/HD-SDI, HDMI or NTSC/PAL composite video signal along with bi-directional AAC encoded high-definition stereo audio over standard IP networks and the internet. The encoder supports H.264 and M-JPEG compression.

“We used Marshall to go from point A to point B via an IP stream,” said Harris. “By upgrading to Marshall, we were able to expand our system and we now have a good signal to remote locations and places that did not previously have a good signal. We spread out our signal over probably 70 miles in total.”

The VS-102-HDSDI also can be configured to operate as a point-to-point talent monitoring system. For example, the unit can operate as an encoder to compress and transmit A/V data over a LAN to another VS-102-HDSDI located in a green room or other location, Marshall Electronics said.

The other unit can act as a decoder, which receives the compressed data through the LAN and restores the data to its original high-definition state. Other computers or VS-102-HDSDI decoders connected to the same network can monitor both the audio and video in multiple locations throughout a venue. When properly configured, the VS-102-HDSDI may be simultaneously monitored through the internet, the company said.

Two features in particular stand out, said Harris. “User configuration and the quality of signal are absolutely amazing,” he said. “It’s so easy to set up, and we did not have to review manuals to figure out how to use it. In addition, the quality of transmission is wonderful.”

More information is available on the Marshall Electronics website.

SOUTHWICK, Mass.—Hitachi Kokusai Electric Comark (Comark) recently provided Delta Media Corporation, a locally-owned multimedia company with six TV stations serving Lafayette and Alexandria, La., with new ATSC encoding system software from Comark Digital Services (CDS).

Prior to working with CDS, Delta Media relied on hardware-based ATSC encoders for their OTA stations. These systems limited the number of simultaneous HD programs and were not compatible with ATSC 3.0/NextGen TV services, the company said.

To remedy this, CDS offered its Titan Live software-based ATSC encoding technology that provides three HD and three SD programs while delivering high quality video. The CDS powered Titan Live is a future-proof encoder that delivers ATSC 1.0 while also prepared to deliver HEVC for future ATSC 3.0 usage. As a server-based encoder, additional encoding licenses can be added at any time in the future.

The encoder system is deployed on two independent 1RU, high performance, on-premises server platforms. The servers are equipped with SDI input cards and ASI output cards. GigE Ethernet interfaces assure future NextGen TV usage. Also, Virtual Machine technology can transfer licenses to cloud-based deployment.

Titan Live currently provides simultaneous encoding for Delta Media DTV stations KLWB, KDCG-CD and KXKW-LD, with plans to add KBCA as well. Delta Media also provides a dedicated IP output of the encoder system via a point-to-point Ethernet circuit to their local cable TV operator.

“The new Titan Live system has convinced me that our stations made the best decision to purchase these units” states Lee Clardy, director of Engineering at Delta Media Corporation. “The Titan Live encoder system in conjunction with two new Parallax transmitters and three Hitachi-Comark low-power transmitters, has provided significant improvements to the overall broadcast quality of our programming and prepared our stations to move forward with the coming of ATSC 3.0.”

BERLIN—Spin Digital has released a new HEVC/H.265 software real-time encoder designed for 8K live video applications, the Spin Enc Live. With the new encoder, users can generate live UHD resolutions for broadcast and internet streaming applications.

Spin Enc Live can compress 8K content in real time at low bitrates. It features an optimized HEVC encoder, as well as modules for input capture and output streaming.

The new encoder fulfills the requirements for 8Kp60 broadcasting and streaming applications, per Spin Digital, including:

• Real-time operation mode
• HDR model compliance 
• Broadcast-level rate control 
• HDR and wide color gamut support 
• Input capture based on SDI 
• Simultaneous output for broadcasting (TSoIP) and internet streaming (HLS) 
• Audio encoding up to 22.2 channels 

Spin Digital also says that the encoder provides minimal latencies in both high-efficiency (long GOP) and low-delay (short GOP) operation modes.

The Spin Enc Live encoder is also able to be used for other live applications, like 4K with High Frame Rates or immersive live experiences with ultra-high resolution 360-degree video, according to Spin Digital. The company says that as more computing resources become available, higher resolutions and frame rates will be achievable.

Spin Digital is now offering the Spin Enc Live encoder for licensing, either as a complete application or as a module as part of the Spin Digital SDK. For more information, visit www.spin-digital.com. 

MONTREAL—Matrox is releasing its new Monarch EDGE 4K/multi-HD encoder and decoder, which is designed to help with next-level remote production (REMI) workflows.

Monarch EDGE is able to deliver low-latency 4:2:2 10-bit video at resolutions up to 3840x2160p60 or quad 1920x1080p60 over a standard one Gigabit Ethernet network. The platform includes next-generation connectivity, like 12G-SDI and SMPTE ST 2110 over 25 GbE connections, while also supporting MPEG-2, RTSP and SRT streaming protocols. It also features tally signaling and talkback functionality for two-way communication.

With the Monarch EDGE, users can transport up to four synchronized HD-/3G-SDI camera feeds or a single 12G-SDI signal with glass-to-glass latencies as low as 100 ms, Matrox says.

The platform’s compact design enables two units to fit into a single 1RU rack space. There are also two encoder options: the 4:2:0 8-bit H.264 encoder version for OTT programs or the 4:2:2 10-bit H.264 encoder model for broadcast productions.

The Monarch EDGE is now available. For more information, visit www.matrox.com.  

SAINT-GREGOIRE, France—Aviwest has unveiled its new RACK Series of next-generation video contribution encoders. Integrating a H.265/HEVC encoder and an H.264/AVC encoder into a compact platform, these new encoders are designed for live production, including contribution applications and multicamera remote/at-home production.

The RACK Series is meant to be deployed in fixed locations and directly connected on wired IP networks. It can be used on vans or trucks and connected to a roof-mounted Aviwest QUAD CellLink 3G/4G antenna or KA satellite transmitter.

With a user-friendly touch screen, the RACK encoder supports multiple operational modes including live, record, live and record, file forward and data hot spot for high-speed internet connectivity. There is also an SIP-based intercom for communication between the master control room on-premises and remote operators in the field. In addition, a video return function enables remote crews to receive on-air feed from the studio, receive teleprompting information and ensure the livestream is being delivered.

Additional features include the ability to synchronously backhaul multiple live feeds with genlock and lip sync across multiple cameras; embeds a full HD encoder; uses SST technology for transmission; and is encased in a 1U half rack form factor.

More information is available on www.aviwest.com.  

STATE COLLEGE, Pa.—Videon today announced its EdgeCaster Edge Computer Encoder is compatible with AWS Elemental MediaStore.

The compatibility means Videon customers can use AWS Elemental MediaStore as a direct ingest from the EdgeCaster H.264/HEVC video encoder in support of low-latency workflows for HLS and DASH outputs using the Common Media Application Format (CMAF). Support of the EdgeCaster’s ingest protocols makes possible worldwide latency of less than 3 seconds, Videon said.

"Live streaming should not come with a latency penalty as compared to traditional broadcast TV," said Todd Erdley, founder and CEO of Videon. "EdgeCaster's compatibility with AWS Elemental MediaStore is a strong step forward to making live streaming truly live—using standards-based, viewer-scalable and cost-effective solutions. Compatibility with AWS Elemental MediaStore represents an important development in our relationship with Amazon Web Services. AWS Elemental offers crucial insight into how streams can be ingested into AWS Elemental MediaStore and how Videon can optimize our platform."

Leveraging AWS Elemental MediaStore, the EdgeCaster encoder reduces the time and cost associated with live streaming, the company said. Rather than relying on the cloud to handle time-intensive computational processes, EdgeCaster attends to these tasks on the network edge, thus increasing efficiency.

Videon developed intellectual property based on Qualcomm’s Snapdragon system of a chip semiconductor. Using Snapdragon’s processing power, EdgeCaster streams at resolutions up to 4K at 30fps using H.264 or H.265/HEVC compression and supports up to six bit rates, ensuring low-latency workflows with MediaStore can be deployed, the company said.

More information is available on the Videon website.

Few could argue that MPEG-2 has not been a workhorse of professional media compression. Created in 1988, it helped to power the commercial success of DVD disc players and is still used daily by U.S. TV broadcasters as a vital –and mandated—part of their DTV transmission service.

But what if I told you H.264 Advanced Video Compression (AVC) will have a run that matches or exceeds that of MPEG-2? One that ensures AVC will be with us for the rest of our adult lives?

Perhaps, you are raising an eyebrow, smirking skeptically or simply saying to yourself “No way!” But keep an open mind and consider these three reasons why H.264 compression will be with us for a long, long time.

No. 1: Hitting the sweet spot. When you consider factors like processing power and cost, it’s hard to beat H.264 encoding. Sure, H.265, or High Efficiency Video Coding (HEVC), outshines AVC in terms of pure apples-to-apples compression.

A BBC Research & Development blog posting, “H.265/HEVC vs H.264/AVC: 50% Bit Savings Verified,” makes the case for HEVC in the title. The posting discusses subjective comparison testing of the two compression standards based on international recommendations for assessment of video quality.

“The overall average bit rate saving achieved by HEVC compared to AVC of the same subjective quality was found to be 59% as supposed to the 44% gain show with objective quality metrics,” the blog says. It also notes that bit rate savings were greater for larger picture sizes.

While impressive, the blog doesn’t address the cost of encoding. At this point in time, it’s not out of the ordinary for a professional quality HEVC encoder to cost four times as much as a comparable AVC encoder. Although HEVC encoders will likely drop in price with time, as do the vast majority of electronics, so too will AVC encoders.

Thus, in terms of bang for the buck, H.264 encoding occupies, and likely will continue to occupy, the compression sweet spot for a very long time.

No 2: Changing viewing habits. No one could argue that TV viewing hasn’t undergone a major transition. While the living room TV remains important, people now enthusiastically watch television, streaming entertainment and movies on their phones, tablets and laptops—something that would have been unimaginable a few years ago.

Helping to fuel this transition is H.264 compression. Equally adept at powering video streaming on a Raspberry Pi-based IoT device, an iOS platform or Android device, H.264 unlocks a world of possibilities for reaching people with video where they want to consume it.

Further, because of its flexibility, H.264 can be used to simultaneously stream a high school or college basketball game at 360p or 480p while encoding a 720p or 1080p version to be edited later and uploaded to a YouTube channel.

Not only has H.264 evolved into a web delivery format, it is widely used in high-end cameras as one of many supported output formats. It’s also the fuel powering a variety of affordable, yet-powerful production setups used to produce everything from corporate and government events to video game tournaments and club sports—all of which nurture changing consumer viewing habits.

No. 3: Archiving. Perhaps the biggest reason H.264 will remain relevant for decades is its role as an archival format. It’s widespread use for archiving by universities alone ensures H.264 will be around a long time. But it’s also widely used for first-time digitization of content to be archived outside of academia.

All of that HD content shot over the past 20 years –whether 1080i or 1080p— is going to be with us for the rest of our lives regardless of the growing adoption of 4K and maybe 8K. As long as it is, H.264 will remain a vital compression format to archive that content, assuring its longevity one day will challenge and likely surpass that of MPEG-2 as a workhorse compression format.

AMSTERDAM—Teradek will showcase its new Prism 4K HEVC encoder/decoder during IBC 2019, Sept. 13-17, at the RAI Amsterdam. The rack-mountable solution for broadcast, live production and Pro AV applications is the first in a new line of codecs, the company said.

Prism’s 2RU chassis can house up to nine blades, each of which supports up to eight channels of audio and is capable of four simultaneous 1080p60 video feeds. The unit can encode and decode up to 4Kp60 video with 10-bit 4:2:2 image sampling.

Offering redundant power and network connections, Prism’s genlock input provides frame sync on decoder outputs. The unit supports a wide variety of streaming protocols, including MPEG-TS, RTP and RTMPS, in addition to SRT and Zixi, Teradek said.

Prism can be connected to Teradek’s IP video management and production platform Core. Doing so, enables users to configure, route, transcode and record IP video streams in the cloud.

The company is planning a near-term release of software to enable support for REMI remote production workflows.

Teradek plans to make Prism available in the fall, and the company is pricing the unit at $2,990 for the 2RU chassis, $1,990 for the 1RU chassis and $2,990 each for the encoder and decoder cards.

“When we began development of Prism, we spent a lot of time working with our customers to produce a solution that would help them transition to a 4K workflow in a cost-conscious manner,” said Nicol Verheem, CEO of Teradek. “To achieve this, we built our platform from the ground up, using a completely new encoding technology stack and a new design philosophy that is better aligned with what our customers are looking for from a next-gen encoder.”

More information is available on the Teradek website.

See Teradek at IBC 2019 stand 12.E65.

CHAMPAIGN, Ill. – Aug. 13, 2019 – Cobalt Digital will showcase its card-based 4K and HDR workflow solutions for openGear® frames next month at IBC2019 in Amsterdam (Stand 10.B44). Product highlights will include its new decoders and encoders, RIST Main Profile, bi-directional SDR/HDR conversion solution for live production, and new multiviewers and distribution amplifiers. Plus, the company will debut a new 12G openGear router and RIST gateway solution.

The new 9992-DEC Series of HEVC/AVC/MPEG-2 decoders for openGear frames will be introduced at the show. Like the company’s 9992-ENC series of encoders, the flexible 9992-DEC features pay-as-you-go licensing, so users only pay for required features when needed. Designed to meet the most stringent requirements for today’s broadcasters, the 9992-DEC supports up to 4K resolution and offers a full complement of audio decoding capabilities. The series also includes the 9992-2DEC dual-channel decoder, as well as the 9992-DEC-4K-HEVC with single-channel 4K or dual-channel 2K and support for H.265.

Earlier this year, Cobalt was one of several companies to receive an Emmy® Award for its collaborative work on ARQ, the underlying technology powering RIST. At IBC, Cobalt will debut support for the RIST Main Profile, which adds features such as encryption (DTLS or PSK), tunneling, NAT traversal, point-to-multipoint distribution, low bit rate optimization, and reliable ST-2110 transport.

New advancements in HDR at the show include a complete end-to-end HDR workflow within Cobalt’s 9904-UDX-4K up/down/cross converter. Utilizing Technicolor’s suite of HDR tools, which can be bundled into a single ordering option, the 9904 can generate dynamic metadata when converting from HDR to SDR and back to HDR, preserving the full HDR picture information.

Cobalt continues to develop its popular 9971 Series of multiviewers, adding dual outputs and user controls. Delivering uncomplicated monitoring of asynchronous 4K and HD signals, all three models accommodate a variety of signals and applications. All models also include HDMI outputs for economical viewing on consumer-grade 4K monitors. One-button template presets simplify setup, but users can also create and save customized layouts. Up to five 9971 can be installed in one 2 RU openGear frame – and multiple cards in a cascaded chain can provide multiviewer layouts of up to 64 sources.

The new 9915 Series of DAs support 4K 12G-SDI sources and allow for copper runs long enough to reach most equipment within master control. One of four models in the series, the 9915DA-4x16-XPT-12G, includes four input channels that can be crosspoint-routed to 16 DA outputs in several configurations. Up to 10 cards can be installed in one openGear frame, allowing for up to 40 channels of input and distribution to up to 160 outputs.

“Broadcasters now accept 4K as the production norm, and Cobalt has an extensive menu of openGear-based solutions for studios and mobile production,” Chris Shaw, executive vice president of sales and marketing, Cobalt Digital. “Our products provide flexible and affordable ways to process, monitor, and distribute 4K and HDR content.”

Other products at the Cobalt booth will include a new 12G-SDI openGear routing card with a 12x12 routing matrix. Designed to fit into legacy frames, the card helps customers use 4K islands cost effectively. Demonstrating leadership of RIST technology, Cobalt is also launching SafeLink, an openGear solution that can take in multiple transport streams and provide a RIST wrapper to protect video links between two points.

About Cobalt Digital
Cobalt Digital Inc. designs and manufactures award-winning edge devices that help live video production and master control clients transition to IP, 4K, HDR, the cloud, and beyond. As a founding partner in the openGear® initiative and proud member of SMPTE, Cobalt also offers a best-of-breed interoperability platform that simplifies technological adoption. Distributed through a worldwide network of dealers, system integrators, and other partners, Cobalt Digital products are backed with a five-year warranty. Learn more at www.cobaltdigital.com. 

PARIS—France’s largest television broadcaster France Télévisions partnered with NEC Corp. and other 8K vendors to conduct a successful transmission of live 8K video over 5G at the French Open in May.

In the demonstration, NEC's "VC-8900" 8K material transmission encoder, which utilizes real-time video compression technologies, was used to transmit high-definition live 8K video of the tournament. The 8K signal was available on DTH platform Fransat and Orange TV and displayed on 8K video monitors and 5G smartphones and tablets in the France Télévisions showroom at Roland Garros.

"Building on the success of this initiative, NEC will further promote the realization and expansion of next-generation broadcasting services using high-definition video in 2020 and beyond," said Takeshi Inoue, General Manager, Broadcast and Media Division, NEC Corp.

More information on the test is available here. 

CHAMPAIGN, Ill. – April 18, 2019 – Cobalt Digital today announced its 9992-ENC series of HEVC/AVC/MPEG-2 encoders for openGear® frames received the Future Best of Show Award presented by TV Technology magazine last week at the 2019 NAB Show in Las Vegas, Nev.

Now in its sixth year, the Future Best of Show Awards at NAB program recognizes products based on innovation, feature set, cost efficiency, and performance in serving the industry. All nominated products are evaluated by a panel of engineers and industry experts, and are featured in a special Best of Show Awards Program Guide, which will be distributed digitally to more than 100,000 readers of seven Future publications.

“The program focuses attention on superb innovations in technology as seen around the million-square-foot exhibit floor of the industry’s top trade show,” explained Paul McLane, Future managing director, content for media technology titles. “The list of 2019 winners and nominees shows where media technology businesses are headed.”

“We are very proud to be recognized by TV Technology for our new 9992-ENC series of encoders,” said Chris Shaw, Cobalt executive vice president of sales and marketing. “We think it’s the Swiss Army knife of professional grade encoders, because it is flexible enough to be used in almost any broadcast application.”

A cost-effective choice for contribution, distribution, ENG, IPTV, and OTT solutions, the flexible 9992-ENC series offers customized I/O options and extensive audio support. It offers low-latency 8-bit and 10-bit 4:2:0 encoding, with optional license keys for HEVC and 4:2:2 encoding. Its pay-as-you-go licensing structure means users only pay for required features when needed. The 9992-ENC base model includes an 3G-SDI input, but can be upgraded to support four 3G-SDI (1080p60) signals or one 12G-SDI signal (4Kp60).

About Cobalt Digital
Cobalt Digital Inc. designs and manufactures award-winning edge devices that help live video production and master control clients transition to IP, 4K, HDR, the cloud, and beyond. As a founding partner in the openGear initiative and proud member of SMPTE, Cobalt also offers a best-of-breed interoperability platform that simplifies technological adoption. Distributed through a worldwide network of dealers, system integrators, and other partners, Cobalt Digital products are backed with a five-year warranty. Learn more at www.cobaltdigital.com. 

CHAMPAIGN, Ill. – April 3, 2019 – Between its 4K and HDR workflow solutions, as well as promotion of a new internet transport protocol, Cobalt Digital will demonstrate a number of technologies for broadcasters next week at the 2019 NAB Show in Las Vegas, Nev. The company will showcase its full complement of card-based solutions for openGear® frames for 4K and HDR workflows at Booth SL9111. Plus, on April 7 in Las Vegas, the company will receive an Emmy® Award for “Pioneering Reliable Transmission Method for Live Contribution and Distribution TV Links.”

The Emmy was awarded to several companies for their collaborative work on RIST, the Reliable Internet Stream Transport protocol, which allows for low-latency video transport of MPEG-2 content over the internet. Cobalt is also a founding company of the RIST Forum, which was established in late March to promote the standard. The RIST Forum will host a free panel discussion about the protocol on April 9 at NAB, and attendees are encouraged to register for the panel at www.rist.tv/register-for-nab-2019-panel.

“We are encouraged by the positive reaction to the new RIST protocol, and we are excited to share our new solutions for 4K and HDR production at NAB,” explained Chris Shaw, executive vice president of sales and marketing, Cobalt Digital. “4K has become the production norm, whether or not 4K is actually being distributed by broadcasters and other content providers, and interest in HDR continues to grow. Our openGear-based solutions provide affordable and flexible ways to process, monitor, and distribute 4K and HDR content.”

A cost-effective choice for contribution, distribution, ENG, streaming, and other broadcast applications, the flexible 9992-ENC series of HEVC/AVC/MPEG-2 encoders for openGear® frames offers customized I/O options and extensive audio support. It offers low-latency 8-bit and 10-bit 4:2:0 encoding, with optional license keys for HEVC and 4:2:2 encoding. Its pay-as-you-go licensing structure means users only pay for required features when needed. The 9992-ENC base model includes on 3G-SDI input, but can be upgraded to support four 3G-SDI (1080p60) signals or one 12G-SDI signal (4Kp60).

For uncomplicated monitoring of asynchronous 4K and HD signals, Cobalt offers the new 9971 Series of multiviewers. There are three models in the series designed to accommodate a variety of signals and applications. Up to five 9971 can be installed in one 2 RU openGear frame – and multiple cards can be included in a cascaded chain to provide multiviewer layouts of up to 64 sources. One-button template presets simplify setup, but users can also create and save customized layouts. All models also include HDMI outputs for economical viewing on consumer-grade 4K monitors.

Also at NAB, Cobalt will demonstrate its new 9914 Series of distribution amplifiers, which support 4K 12G-SDI sources and allow for copper runs long enough to reach most equipment within master control. The 9914DA-4x16-XPT-12G, one of four models in the series, includes four input channels that can be crosspoint-routed to 16 DA outputs in several configurations. Up to 10 cards can be installed in one openGear frame, allowing for up to 40 channels of input and distribution to up to 160 outputs.

Cobalt’s 9904-UDX-4K up/down/cross converter and image processor provides an economical SDR-to-HDR and HDR-to-SDR conversion for 4K ad HD live sports. The card allows production truck operators to convert legacy cameras, servers, graphics systems, and other SDR sources for HDR productions. As a result, the 9904-UDX-4K reduces the need for new equipment purchases to produce HDR footage, and eliminates the need for separate SDR and HDR cameras and processing paths.

About Cobalt Digital
Cobalt Digital Inc. designs and manufactures award-winning edge devices that help live video production and master control clients transition to IP, 4K, HDR, the cloud, and beyond. As a founding partner in the openGear® initiative and proud member of SMPTE, Cobalt also offers a best-of-breed interoperability platform that simplifies technological adoption. Distributed through a worldwide network of dealers, system integrators, and other partners, Cobalt Digital products are backed with a five-year warranty. Learn more at www.cobaltdigital.com. 

CHAMPAIGN, Ill. – March 14, 2019 – Cobalt Digital today announced a partnership with Starfish Technologies, a U.K.-based broadcast technology company, to provide transport stream splicing using the Starfish Technologies TS Splicer software and the Cobalt SCTE-104/35 insertion system. The new solution creates an affordable, automated ad insertion or media replacement system for broadcast, IPTV, satellite, and cable TV applications.

Designed to be a complete replacement for ad insertion or content blocking applications, the TS Splicer combines the functionality of an integrated ad server, SCTE-35 opt-out signal decoding, input stream switching, and transport stream splicing. It takes in transport streams with SCTE-35 triggers and inserts advertisements based on the embedded control signals. The fully configurable TS Splicer performs a technically clean media switch with minimal propagation delay.

Cobalt offers a range of MPEG encoders and decoders, as well as a series of frame synchronizers and scalers, with SCTE-104 injection support. Compatible units include the BBG-1002 Series of standalone encoders, 9902 and 9904 Series openGear® cards, and the new 9992-ENC-HEVC (H.265) card, which offers upgradable multi-channel MPEG-2/AVC encoding.

"Ad insertion is a vital part of any content distribution system, and we are excited to work with Starfish Technologies to add transport stream splicing to our offerings,” said Chris Shaw, executive vice president of sales and marketing, Cobalt Digital. “This partnership adds further functionality to meet the needs of our customers.”

“Starfish are delighted to be working with such a highly respected supplier. Forming this partnership allows both Cobalt Digital and Starfish Technologies to share their expertise and develop leading solutions which will undoubtedly benefit a wide range of customers,” added Peter Blatchford, sales and marketing director, Starfish Technologies.

About Starfish Technologies
Founded more than ten years ago, Starfish Technologies has an excellent reputation for meeting international broadcasters’ expectations with innovative products and systems. Starfish solutions are proven in service and have been implemented by an impressive list of international customers.

Starfish has developed a wide range of in-house expertise in technologies including: Transport Stream splicing, Transport Stream processing, Multi-platform delivery, Opt-out encoding/decoding, Video Encoding and Transcoding, Video Description and Compliance recording. With this broad software expertise and systems design experience, Starfish is ideally suited to build and operate automated systems for media suppliers across a wide range of applications.

Headquartered in Reading, UK, Starfish Technologies is an ISO 9001 registered company. Further product and press information can be obtained at www.starfish.tv.

About Cobalt Digital
Cobalt Digital Inc. designs and manufactures award-winning edge devices that help live video production and master control clients transition to IP, 4K, HDR, the cloud, and beyond. As a founding partner in the openGear® initiative and proud member of SMPTE, Cobalt also offers a best-of-breed interoperability platform that simplifies technological adoption. Distributed through a worldwide network of dealers, system integrators, and other partners, Cobalt Digital products are backed with a five-year warranty. Learn more at www.cobaltdigital.com. 

CHAMPAIGN, ILL.—Cobalt Digital has begun delivery of its 9992-ENC series HEVC H.265/H.264/MHEG-5 encoder for openGear frames.

The 9992-ENC, a dual-slot card, offers a variety of I/O options and extensive audio support for contribution, distribution, ENG, IPTV and OTT applications.

The base model supports MPEG-2 and H.264 (AVC) with low-latency 8- and 10-bit 4:2:0 encoding. Optional license keys offer H.265 (HEVC) support and 4:2:2 encoding.

The base model also offers 3G-SDI input supporting up to one 1080p60 signal; however, an upgrade that supports three more 1080p60 inputs or one 4Kp60 signal (four 3G-SDI or one 12G-SDI signal) is available.

Two independent ASI ports are available as outputs that can be interfaced directly to microwave modulators on ENG trucks. If licensed for multiple channels, an internal multiplexer can be used to build multi-program transport streams and direct individual encoders to either or both outputs.

Two Gigabit Ethernet ports support various protocols and stream replication with the same multiplexing capabilities as the ASI ports for distribution flexibility.

The encoder offers transport streams over standard UDP/RTP, RTMP and single profile HTTP live streaming (HLS), allowing it to be used for direct streaming to content delivery networks (CDNs).

Licenses for advanced protocols, such as SMPTE-2022 FEC and ARQ for packet loss protection, as well as RIST for reliable, low-latency contribution over the internet without the need for additional gateways, are available.

Audio support includes MPEG-1 Layer II, AAC-LC, HE-AAC (V1 and V2), Dolby Digital (AC-3), Dolby Digital Plus (E-AC-3) and 5.1 surround sound options.

More information is available on the Cobalt Digital website.

CHAMPAIGN, Ill. – Jan. 14, 2019 – Cobalt Digital today announced the availability of its 9992‑ENC series of HEVC/H.264/MPEG-5 encoders for openGear® frames. Designed for a variety of broadcast applications, the dual-slot card offers customized I/O options and extensive audio support for cost-effective contribution, distribution, ENG, IPTV, and OTT solutions.

The 9992-ENC base model supports both MPEG-2 and H.264 (AVC), with low-latency 8-bit and 10-bit 4:2:0 encoding. For high-end contribution, optional license keys provide H.264 (HEVC) support as well as 4:2:2 encoding. The base model includes a 3G-SDI input that supports one signal up to 1080p60, but can be upgraded to support three additional 1080p60 signals for high density workflows or one 4Kp60 signal (four 3G-SDI signals or one 12-SDI signal).

Outputs include two independent ASI ports, which can be used to directly interface to microwave modulators in ENG trucks. If the 9992-ENC is licensed for multiple channels, users can use the internal multiplexer to build multi-program transport streams and direct individual encoders to either or both outputs. Two Gigabit Ethernet ports support a variety of protocols and stream replication, with the same multiplexing capabilities as the ASI ports, for distribution flexibility.

The 9992-ENC supports transport streams over standard UDP/RTP, RTMP, and single profile HTTP live streaming (HLS), so it can be used for direct streaming to CDNs. Additional licenses support advanced protocols including SMPTE-2022 FEC and ARQ for packet loss protection, as well as RIST for reliable, low-latency contribution over the internet without the need for additional gateways.

For audio, the 9992-ENC supports MPEG-1 Layer II, AAC-LC, HE-AAC (V1 and V2), Dolby Digital (AC-3), Dolby Digital Plus (E-AC-3), and 5.1 surround sound options. The base model includes two stereo pairs per video signal, but the encoder supports up to 16 stereo pairs that can be assigned to any of the encoder channels.

“The 9992-ENC is so flexible it can be used in virtually any broadcast application, from contribution or distribution to ENG and live streaming,” explained Chris Shaw, Cobalt executive vice president of sales and marketing. “Cobalt has created the Swiss Army knife of professional grade encoders, with a pay-as-you-go licensing structure so you only pay for the features you require, when needed.”

About Cobalt Digital
Cobalt Digital Inc. designs and manufactures award-winning edge devices that help live video production and master control clients transition to IP, 4K, HDR, the cloud, and beyond. As a founding partner in the openGear® initiative and proud member of SMPTE, Cobalt also offers a best-of-breed interoperability platform that simplifies technological adoption. Distributed through a worldwide network of dealers, system integrators, and other partners, Cobalt Digital products are backed with a five-year warranty. Learn more at www.cobaltdigital.com. 

CLEVELAND—Video encoder developer ATEME today announced it is providing the HEVC encoder for the ATSC 3.0 test station being run by NAB and the Consumer Technology Association (CTA) in Cleveland.

The encoder, the software-based Titan solution, is enabling NAB and CTA to conduct tests of multi-channel HEVC encoding as well as advanced 3.0 features, such as UHD, high dynamic range (HDR), digital rights management (DRM), next-gen emergency warning, Scalable HEVC (SHVC) and digital ad insertion.

“ATEME is very committed to the ATSC broadcast industry, and we support several ATSC 3.0 field trials,” said Chad Hassler, VP North America for ATEME.

[Read: NAB-CTA Team On ATSC 3.0 Test Lab]

For broadcasters considering their transition path from today’s ATSC 1.0 service to 3.0, the Titan encoder offers a “blink-of-an-eye” migration path to both Next-Gen TV using HEVC or SHVC encoding, the company sad.

The encoder supports the entire ATASC 3.0 ecosystem and is server-agnostic, capable of running on any private or public cloud whether on premise or off.

“We collaborated to implement our advanced technology in the Next-Gen TV test station and to seamlessly demonstrate the delivery of new broadcast services and the real-world capabilities of the new ATSC 3.0 standard,” said Dr. Mickael Raulet, director of research and innovations.

For comprehensive coverage on ATSC 3.0, visit TV Technology's ATSC3 silo.

NANJING, China—Magewell today began shipping two new Pro Convert IP standalone encoders: the Pro Convert HDMI 4K Plus and a 1080p HD counterpart.

The encoders, which use NewTek’s NDI technology allow users to add traditional HDMI video signals into live, IP-based productions. The Pro Convert HDMI 4K Plus transforms sources up to 4K Ultra HD at 60 frames per second via an HDMI 2.0 input interface. The new Pro Convert HDMI Plus encodes HDMI source signals into full-bandwidth NDI streams up to 1080p60 HD. It can also accept a 4Kp60 HDMI input signal and downconvert it automatically to HD for encoding.

A third model is scheduled to ship in early 2019. Called the Pro Convert SDI 4K Plus, the new model converts 6G-SDI signals to 4K 30fps NDI streams.

All Pro Convert models are low latency and plug-and-play. They automatically detect the format of input signals and rely on DHCP-based network configuration, eliminating the need for manual setup. Greater control of the conversion process and device features is available through an intuitive browser-based interface. It provides access to status monitoring, advanced settings and FPGA-based video processing including up/down/cross-conversion, de-interlacing and image adjustments.

Magewell will exhibit at ISE 2019, Feb. 5-8, in Amsterdam.

More information is available on the Magewell website.

MONTREAL—Enterprise video and streaming technology provider Haivision had debuted the Makito X HEVC video encoder. The new system, which is designed for low latency video backhaul and transmission applications, expands the Makito X H.264 capabilities with dual-channel HEVC encoding and increases the quality of IP video streaming.

The Makito X HEVC has all the core features of the Makito X, including dual 3G-SDI inputs, support for up to 1080p60 HD video, multi bit rate streaming, KLV metadata support and networking capabilities like traffic shaping and optimized bandwidth performance. The new encoder also comes with Haivision’s Secure Reliable Transport technology for video delivery over public internet and firewall traversal. The unit is compatible with HEVC broadcast decoders, set-top boxes, soft players, Haivision HEVC/H.264 transcoders, and the Haivision Media Gateway.

Haivision is offering the Makito X HEVC as a compact appliance or within a 1U or 4U rack mount chassis to support up to six HEVC channels per rack unit. The company will also offer upgrade programs for customers to access the HEVC streaming technology without disrupting H.264 workflows.

SANTA CLARA, CALIF.—Raycom Media is making the transition to high-def news fields and has announced that it will go with Telairity’s BE8600 contribution H.264/AVC video encoder and BE5503 IRD for support. Raycom’s fleet of more than 1000 microwave and satellite ENG vehicles will now be equipped with the BE8600.

Telairity’s BE8600 Real Time Contribution encoder offers H.264/AVC video compression in a half-width 1RU form factor. It is capable of most encoding tasks, per Telairity’s press release, including low-latency applications, high-performance ENG, DSNG, mobile and studio encoding tasks. The unit offers high bit rate 4:2:2 contribution-mode encoding for HD and low bit rate 4:2:0 HD/SD modes for high-quality contribution links over crowded airways and direct-to-viewer distribution over MPEG-4 networks.

According to Eric Bergman, executive director of engineering at Raycom, the BE8600 also offers dual redundant power supplies, vibration-resistant construction and wide temperature tolerance.

Telairity is a provider of video compression technology and is headquartered in Santa Clara, Calif.

JACKSON, MO.—Link Electronics has introduced its CBE-493 3GB/HD/SD-SDI captioning bridge and encoder. The third unit in Link’s Chameleon series, and nicknamed “The Bridge,” CBE-493 is capable of taking captions from a SD input and encode them onto an HD input, or vice versa. It can also re-encode captions after they have been removed by another device.

CEA-608 captions from the bridge input are transcoded to CEA-708 captions; both 608 and 708 captions and then wrapped into a Caption Data Packet. The CDP is then embedded into the encoder output. CBE-493 outputs two closed caption encoded outputs of the same format as input with an option to decode one output.

The new system features four communication ports, including two serial RS-232 ports with adjustable baud rates and two ports that are tunneled to an Ethernet connector. This allows the CBE-493 to host two IP connections at one address. A menu is also available to allow users to resend or redirect data from the Ethernet port to the serial ports.

Additional features include re-clocked SDI outputs to perform re-clocking Distribution Amplifiers; field configuration from the front panel; XDS packet menus for V-chips and Transmission Station Identification; a GPI remote. The new unit also has the ability to raise the lower four lines up to the top four lines in order to comply with FCC mandates.

MONTBONNOT, FRANCE—Digigram is intending to expand to the South Korean market and has selected Huton Digital to serve as its reseller and integrator. Huton will supply Digigram’s AQORD 4K UHD HEVC encoder and AQORD multi-HD HEVC encoder to customers in South Korea.

AQORD 4K Ultra HD HEVC Encoder

The AQORD encoders support 4K UHD video and can be deployed in OB vans. It is capable of handling a single 4K feed or four simultaneous HD feeds from the shooting location to the studio, according to Digigram. The unit also provides recording and streaming capabilities.

Digigram bills itself as a company that provides systems for the contribution, production and safe distribution of audiovisual content.

LAS VEGAS—Video encoding and streaming technology provider Vitec has introduced its MGW Vision at the 2016 NAB Show. The new system is a 4K/UHD real-time HEVC hardware-based encoder for IPTV, broadcast and point-to-point distribution that integrates Vitec’s HEVC/H.265 compression and streaming technology.

The MGW Vision features a 1RU form factor and H.265 4:2:0 and 4:2:2 hardware compression chip for streaming broadcast video. It comes with a processing power of up to one UHD or four HD HEVC channels from four 3G-SDI inputs. With the system’s HEVC compression, Vitec claims that users can stream UHD/HD video with up to 50 percent bandwidth savings compared to H.264.

Vitec is located at booth SL6305.

SAN JOSE, CALIF.—Harmonic has announced a new set of features for its ViBE 4K encoder. Among the updated systems new capabilities is the delivery of UHD low-latency, high-bitrate HEVC 4:2:2 10-bit encoding for 4K contribution applications. The ViBE 4K encoder was acquired by Harmonic as part of the company’s recent acquisition of Thomson Video Networks.

With encoder latency at less than a second and encoding bitrate at 160 Mbps, the ViBE 4K can address latency and picture fidelity requirements for contribution applications, according to Harmonic. The encoder features a full-frame, full-GOP, 4:2:2 10-bit implementation for delivering artifact-free pictures.

The ViBE 4K supports HEVC UHD as well as 1080p 50/59.94 HEVC encoding, allowing customers to use a single encoder for both UHD and HD applications.

These new features for the ViBE 4K encoder will be available in June. Harmonic will showcase the encoder at its booth, SU1210, at the upcoming 2016 NAB Show.

MONTREAL—The University of Dallas wants its fans to be able to stay up to date with all the action from its sports teams, so it has added a Matrox Monarch HD encoder and announced a partnership with College TV Ticket to provide a live stream of all its games.

Matrox’s Monarch HD system allows the university’s athletic department to streams games to College TV Ticket while also recording video files locally on SD cards for back-up. The unit is able to record H.264 video files in either MOV or MP4, which enables them to be used in Adobe, Apple or Avid applications without transcoding and can be played back in free media players. The recorded content can also be used as a back-up in the event of a stream interruption.

The school uses the Monarch HD system at five venues across campus and is controlled through a laptop. The Monarch and laptop are then connected to a router to stream the encoded video over the Internet to College TV Ticket’s media server using RTMP protocol.

Based in Montreal, Matrox is a provider of HD and SD digital video hardware and software technology.

DALLAS—Kicking off a new line of hardware encoding systems and live-streaming products to complement its capture cards, Osprey Video has announced the Osprey Talon G1 three-channel hardware-based streaming contribution encoder. The Talon G1 is designed to ingest video from multiple formats, encode it to H.264 and deliver it over IP.

Talon G1

With the capability to ingest video through 3G HD/SDI, HDMI or analog composite inputs, the Talon G1 can encode up to three streams simultaneously, save to a .TS file, with frame alignment across all streams for multiple-bit-rate streaming. The encoder features a Web-based interface, small form factor, and low power consumption. The Talon G1 also features a Lecture Capture mode, which can capture a camera feed and a second resource and deliver it over IP.

Osprey Video will release the Osprey Talon G1 encoder as of March 1 at a starting price of $1,890. The company is currently accepting pre-orders.

3482TXE

BURLINGTON, ONTARIO—Based on the 3480TXE, Evertz has announced the launch of the 3482TXE software defined, hardware accelerated encoder. This new encoder adds support for ASPEN inputs/outputs and 4K HEVC encoding.

The Adaptive Sample Picture Encapsulation format provides a framework for transporting separated video, audio and metadata as independent IP multicast streams. With an all software stack with select hardware acceleration, the 3482TXE supports the ASPEN format and provides high video quality and density without compromising flexibility, according to Evertz.

RENNES, FRANCE—Dish HD Asia has gotten a good vibe from Thomson Video Netwokrs, as the DTH satellite pay-TV service has chosen to go with Thomson’s ViBE VS7000 HEVC encoder to handle the delivery of Dish HD’s new 4K/UHD and all-HEVC-HD satellite service to more than 120 channels throughout Northeast Asia. Powered by Thomson’s MediaFlex operating system, the ViBE is combined with the NetProcessor 9030 multiplexer/scrambler, MediaFlex suite, and FUZE-1 4K playout system for video quality improvement and HEVC compression.

Ideal Systems HK provided systems integration and installation of the ViBE system for Dish HD, which included new HEVC features. Among these are an interlaced mode and statistical multiplexing for variable bit-rate encoding to enable increased compression performance for 1080i video content delivery.

With the new system, Dish HD can now deliver 4K/UHD and HEVC channels to its viewers, as well as offer double channel capacity and have introduced a 4K/UHD HEC set-top box.

NEVADA CITY, CALIF.—While fanboys around the world are anticipating the release of ‘Star Wars Episode VII’ later this year, Telestream has announced its own Episode 7 is now available. The latest version of the digital video tools provider’s Episode video encoding software, Episode 7 features bigger performance gain, added format support and other new features.

Episode 7

These new features include 64-bit technology support for faster encodes and improved memory allocation; added format support for JPEG2000, DNxHD, DNxHR and DVCPro HD; name storage destinations from the Episode user interface; a new Audio Channel Configurator for mapping to standard input/output formats or customized audio channel layouts; and 4K video support.

The Episode 7’s 64-bit narrative transcoding engine helps the production workflow to maintain high quality files from the camera to final delivery. The system can encode and transcode quickly thanks to its ability to scale from a single seat to cross-platform workstations, as well as its Split-and-Stitch capability.

Telestream is now offering the Episode 7 in three levels: Episode, Episode Pro and Episode Engine.

MONTREAL—With three conferences occurring simultaneously at the Javits Convention Center in New York, Matrox is taking that opportunity to launch its new multi-channel 4:2:2 10-bit H.264 encoder card, the M264. The digital video hardware and software provider will also demonstrate its Monarch HDX dual-channel H.264 encoder and VS4Recorder Pro multi-camera recording app.

M264

The M264 is an encoder card for OEMs who are looking to add IP streaming capabilities to channel-in-a-box systems, video servers, broadcast graphic systems, multiviewers and switchers or create high-density encoders, transcoders and other broadcast media equipment. When used with Matrox I/O cards it can create hybrid systems with baseband and IP streaming support. Development tools in the Matrox DSX SDKs include versatile file reading/writing, memory management, IP streaming, synchronization mechanisms and selection of software codecs and effects. A prototyping tool also provides a graphical representation of all hardware components.

In addition, Matrox’s Monarch HDX is a H.264 encoding appliance with 3G-SDI and HDMI inputs with frame synchronization will be on display. As will the VS4Recorder Pro, which is designed for use with the Matrox VS4 quad HD capture cards and has the ability to capture up to four video and audio inputs to create files for editing in Adobe, Apple and Avid programs and for archiving.

InfoComm Connections, CCW and SATCON conferences all take place from Nov. 11-12 in New York. Matrox will be located at booth 1267.

MONTREAL—As part of Matrox joining Ross Video’s DashBoard Connect Partner Program, the Montreal-based company has added DashBoard Connect protocols to its Monarch HDX streaming and recording technology. This will allow DashBoard users to add dual-channel H.264 encoding for streaming and/or recording to their openGear broadcast or pro AV infrastructure.

The Matrox Monarch HDX is designed for workflow flexibility and features 3G-SDI and HDMI inputs with frame synchronization to compensate for unstable sources. The system generates two H.264 encoded video streams at bitrates from 200 Kbps to 30 Mbps from any SDI or HDMI input source. For streaming, the encoders use either RTMP or RTSP protocol to deliver live streams to local media servers or cloud-based CDNs. For recording applications, the encoders write MP4 or MOV files to local USB drives, SD cards or network-mapped drives for editing or archiving.

The Monarch HDX will be on display at IBC 2015 at booth 7.B29. The Monarch HDX will be available to the public in September at a starting price of $1,995.

RENNES, FRANCE—Thomson Video Networks has announced the latest upgrade to its ViBE EM4000 premium HD/SD encoder, which now supports the company’s Flexstream 2.0 statistical multiplexing technology. With its new Flexstream 2.0 capabilities, the EM4000 includes non-video components in a statistical multiplexing tool.

Earlier this year, Thomson announced the EM4000 would have new broadcast-grade SD-to-HD conversion capability to allow broadcasters to combine HD MPEG-4 compression with the ability to upscale SD video to HD. Now, the EM4000 enables operators to re-allocate bandwidth for service components like audio, teletext, subtitling and closed captioning. In addition, the platform offers a density of eight HD MPEG-4 AVC channels in a 1RU chassis.

The ViBE EM4000 is also designed for IPTV developments to maintain video quality when non-video components are present, including DVB subtitling and audio description. The system also features SCTE104 handling that allows identifications to go through, signal conditioning at the splice point, and queuing of SCTE104 messages for back-to-back ads.

Thomson Video Networks will release the new ViBE EM4000 in October. Current EM4000 customers will be able access the new features through a software upgrade.

SAN JOSE, CALIF. – Harmonic has announced that Japanese cable TV operator EHIME CATV is using the Electra X3 advance media processor to support the station’s live, full-frame 4K Ultra HD channel.

The Electra X3 encodes UHD content using the Harmonic PURE Compression Engine and HEVC Main 10 codec so EHIME is able to deliver 2160p60 video to subscribers. The video is transmitted to set-top-boxes at bit rates below 20-Mbps while maintaining video quality targets.

Harmonic will demonstrate the Electra X3 at the upcoming BIRTV 2015 and IBC 2015 shows.