FORECAST CONSOLES introduced the ImageMaster GCX-S Sit to Stand Workstation Edit Console now with electric height adjustable functionality. The company also introduced new features and accessories for MasterVision R2 including quick release mounting platforms for equipment and PCs and further refining and optimizing cable and power management, as well as Catalyst Continuum, a new line of Catalyst benching workstations that incorporate many of the improvements from the company’s GCX line, including removable and interchangeable turrets, quick access cable chassis, and now the ability to raise and lower individual section with the touch of a button.

TBC Consoles SmartTrac

TBC CONSOLES debuted TracWall v2, a custom monitor wall solution built with options for rack or CPU storage and height-adjustability. TracWall can support an unlimited number of monitors ranging from 24 inches to 90 inches with an adjustable range of 26 inches. The company also showcased a Double-Sided version of its IntelliTrac, featuring a back-to-back console configured for four operators and large screen displays. Also new is SmartTrac v2.1 with new accessories and finish options and ControlTrac LT, a lower price option to IntelliTrac.

Battery pack makers have recently faced not only the ongoing challenge of supplying larger and larger capacity powerpacks that weigh less and less, but also tightened up IATA (International Air Transport Association) regulations on lithium ion batteries traveling on airplanes.

Anton Bauer LPD Discharger

ANTON BAUER launched its LPD Discharger in order to handle IATA regulations for shipping lithium ion battery packs. The LPD Discharger can discharge up to four 90 Wh batteries in three hours or less, taking them down to 27 percent then back up to 29 percent of their capacity.

CORE SWX introduced the HC9 Mini, which maintains all the 98Wh capacity and features of the original Hypercore battery, but in a shrunken form factor to better fit smaller cameras. Also new was the HCM9, which can handle a 12A power draw, enough to keep a RED 8K camera going for more than an hour. Core also debuted its Fleet Micro digital series charger, which also handles discharging duties for shipping.

IDX unveiled the DUO-C98 98Wh battery, capable of outputting up to 10A draws and the high-capacity DUO-C198, capable of handling up to 14A draws for power-hungry cameras and lights.

PAG launched the PAGlink PowerHub, which can be used between two PL94 or PL150 PAGlink Gold Mount batteries and provides five output ports that accept interchangeable DTap, Lemo (2-pin), Hirose (4-pin) and USB connectors.

LIGHTING
Lighting equipment was interesting this year, as an eyeball estimate seemed like there were actually fewer lighting equipment makers exhibiting at NAB Show in 2017. Those who were at the show had plenty of new models, almost all of the LED-type.

ARRI introduced 3.0 firmware for its Sky- Panel family of LED soft lights, bringing 10 new features and numerous refinements. The free update allows users to choose and manipulate 12 effects without the need for a lighting console or hours of programming.

BB&S LIGHTING increased its lineup of Pipeline remote phosphor lighting fixtures to include 4-, 8-, 36-, and 48-inch sizes in 3200K, 4300K, and 5600K color temperature options.

CHIMERA, in cooperation with ZYLIGHT, has developed active diffusion panels that can supply variable opacity with dial-in control. The panels are filled with a metallic gel that renders them opaque when no charge is applied to them, and transparent when a full charge is applied.

Cineo Quantum C80

CINEO premiered its MavX color-tunable mid-power soft light, utilizing remote phosphor technology capable of color tuning from 2700K to 6500K, with presets at 3200K, 4300K and 5600K. Also highlighted was its Quantum C80 fixture, capable of producing 50,000 lumens of Cineo’s proprietary color-tunable white light.

DEDOLIGHT unveiled a new version of its DLED focusing dual-lens fixture with higher output. The daylight DLED10-D and bicolor DLED10-BI provide a long zoom range and high color rendering. Also shown was the Turbo Series DLED7 Bi-Color Focusing LED Light Head, which features an adjustable color temperature from 2700K-6500K.

FLUOTEC premiered its VEGALUX 300 12- inch color tunable StudioLED Fresnel fixture providing a color temperature range from 3200K to 5800K, and a focusable beam angle from 15 to 50 degrees. Also new was the Cinelight Studio long-throw LED panels, which are color tunable from 2700K to 6800K, and with new reflector louvers, can concentrate the light to reach more distance.

FREZZI introduced its ProLight, which replaces the company’s Mini-Fill fixture. It features a quick release and low-profile base that stays wired allowing for quick set up and strike. The SunLight fixture has been updated to an HMI 575, almost 1,000 foot candles at 10 feet.

IKAN debuted new Lyra Series soft light fixtures, available in a variety of sizes. Also new was the Stryder Fresnel fixture, with a color range of 2700K to 6500K. The front Fresnel can be removed entirely if desired.

Kino Flo Celeb

K5600 unveiled Kurve, a line of large parabolic reflectors available in 3-, 4.5- and 6-foot diameters. Also new is the Joker-Zoom 800, featuring a faceted open-face reflector capable of focusing from 15-55 degrees.

KINO FLO launched its Select LED 31 and 21 DMX Freestyle lighting systems, with all the features of the existing Select LED 30 and LED 20 DMX lighting system. The company also upgraded its Celeb line of lights with new software to provide a large pallet of colors, including the ability to dial in popular gel settings.

LITEPANELS rolled out new X models of its Astra fixtures, a 3X (which is three times stronger than the original Litepanels LED panels), and the 6X (six times stronger than the original, and three times stronger than the original Astra). Both new X models also draw less power. The same advances are being made in Litepanels’ SOLA Fresnel fixture line, with the SOLA 4+ and SOLA 6+ both putting out more light at less power.

LOWEL debuted a beefier model of its Blender bicolor LED lighting fixture, increasing the LED bulb count from 12 to 24. The company also showcased its Pro Power LED Fresnel, a bi-color lighting solution with focusable, dimmable output. The fixture is flicker-free up to 2350+ fps.

PHOTON BEARD unveiled its Highlight LED range of professional lighting fixtures. The Highlights ape their fluorescent tube predecessors where Photon Beard was a leading provider. Their color rendering and high television lighting consistency indexes is achieved through a proprietary phosphor coating process.

ROSCO showed v2 of its Silk 210 lighting fixture, featuring on-board, DMX and wireless dimming and color-temperature controls for maximum flexibility on location.

Zylight Pro-Cyc Color asymmetric wall washer

VIDESSENCE highlighted a pair of compact and portable 50W fixtures to their line, the Little VID Series LV050 and LV050-F. The LV050 is a fixed focus unit while the LV050-F provides variable focus. Both are available in daylight or tungsten color balance. Either onboard dimming or DMX control are provided.

ZYLIGHT demonstrated the Rayzr 7 series of light fixtures, in 300W and 200W daylight models, 150W tungsten or daylight model, and a 100W tungsten to daylight bicolor model. Also new was the Pro-Cyc Color asymmetric wall washer. The 350W Pro-Cyc Color produces a soft, even field with enough output to cover 25-foot cyc walls. The company also showcased its Pro-Zoom line of LED zoom ellipsoidals and the Pro-Palette color controllable Red/Green/Blue/White LED Cyc lights.

Lenses, as the co-equals to cameras in the capture of high-quality, high-resolution images, were in abundance at this year’s NAB Show.

Angenieux Optimo Style 48-130

ANGÉNIEUX debuted the Optimo Style 48-130, the third lightweight compact zoom lens in the Angénieux Optimo Style line. The company also exhibited its full anamorphic zoom lens line, including two lightweight compact zoom lenses, the Optimo 56-152 A2S T4 and Optimo 30-72 A2S T4, and a 10x, the Optimo 44-440 A2S T4.5.

Canon DIGISUPER 90

CANON answered the challenge for a 4K lens with enough zoom range for OB sports and entertainment events with its 90x UHD DIGISUPER 90 (UJ90x9B) broadcast lens. It features the world’s highest zoom ratio and wide 9mm setting, topping out at 810mm, the world’s longest 4K lens focal length for three-sensor 2/3-inch lenses. Also new was the 4K COMPACT-SERVO 70-200mm Telephoto Zoom.

COOKE OPTICS launched its S7/i Full Frame Plus prime lens range, designed to cover full frame cinema camera sensors. The company also announced it would once again manufacture its ’60s-era Pancro lenses; the new Pancro Classic Series will provide the Pancro look, with modern lens mechanics.

CW SONDEROPTIC debuted the Leica Thalia series of prime lenses, a set of nine spherical lenses that provides an image circle of 60mm diagonal. The range spans 24mm through 180mm, is available in PL mount, and offer /i Technology metadata contacts in the mount. These lenses provide a circular iris shape through the entire aperture range.

Fujinon UA27x6.5 wide angle 4K lens

FUJIFILM made a statement by bringing only 4K lenses to NAB, though the company will continue to sell HD lenses through the foreseeable future. The company showed 3-sensor 2/3-inch portable zooms, and added a 4K box lens, the wide-angle UA27x6.5. For full frame cine users, two overlapping Sony E-mount zooms, one 18-55mm and the other 50-135mm, were rolled out.

SCHNEIDER OPTICS premiered its Xenon FF-Prime Cine-Tilt lenses, which allow tilting of the camera’s plane of focus with respect to the lens. They have an identical form-factor to Schneider’s regular full-frame cine primes, but add the ability to tilt by plus or minus 4 degrees. The lens’ focus and iris also provide the standard 0.8 mod gears so that the lenses can also be used like a regular cine lens if the tilt is not engaged.

Zeiss CP3 prime lense

SIGMA CORP. OF AMERICA unveiled its Cine FF High-Speed 14mm T2 and 135mm T2 prime lenses, to expand its prime range to six lenses. They are compatible with the latest full-frame camera sensor technology. The company has extended the option to order Cine lenses in metric or imperial measurements as well as standard, or full luminous paint on markings. Existing customers can swap from one measurement system to the other for a fee.

ZEISS introduced a new range of prime lenses, the CP.3 and CP.3 XD. As with the company’s CP.2 range, the primes span 15mm to 135mm. They are smaller than the CP.2s with T-stops have been made more consistent, and all focal lengths cover full frame sensors.

 Helped along by the IP and cellular revolution, there are more ways than ever to get a broadcast-quality signal from Point A to Point B. Not only are there more options, but the gear used is smaller, lighter, more efficient and less expensive than ever.

VidOvation VidOsat portable Ku- and Ka-band satellite terminal

Vislink SatWare computing platform

Just as lowering the price of quality cameras put them into many more hands and multiplied program creators, new ways and applications are found daily for the new class of signal transport products. Whether they are in drones, ENG trucks, on camera backs or in backpacks, you can do things with signals today that were unthinkable 10 years ago.

SATELLITE
DAWNCO rolled out the CLNB20-PL02L high-stability C-band LNB for digital satellite downlink applications. The unit targets high-data-rate applications, and features +2 kHz stability and 20-degrees K noise temperature.

VIDOVATION rolled out VidOsat, a portable Ku- and Ka-band satellite terminal that includes features such as 3G/4G cellular bonding via the AVIWest DMNG Pro transmitter. The system targets DSNG coverage of live sports and entertainment events and on-location Wi-Fi connections among other mobile satellite applications.

VISLINK debuted its SatWare computing platform, which provides up to 4Mbps of bandwidth using SCPS-TP and streaming compression. This allows file-based workflow, data and voice communications to be easily accessed by remote reporters over Wi-Fi, enabling them to talk and share files across continents.

MICROWAVE
BMS highlighted its Video Assist Camera Kit that pairs a small camera-back microwave transmitter with the Carry-Viewer 4 (CV4) digital touchscreen receiver/monitor along with all the accessories needed to offer a complete broadcast-quality wireless solution—with license-free options—for covering video assist applications.

IMT DragonFly drone transmitter

INTEGRATED MICROWAVE TECHNOLOGIES debuted DragonFly, a tiny microwave transmitter for applications (such as drones) where weight and size are critical. Featuring 50mW of power, COFDM modulation and weighing less than 1.2 ounces (34g), the DragonFly can transmit broadcast-quality HD video up to two miles.

MOSELEY showcased its Event HD ENG microwave transmitter, which can carry multiple HD- or SD-Video over DVB-ASI with data rates up to 155 Mbps. The Event HD allows the user to specify its occupied spectrum according to the operational data rate.

VISLINK featured ViewBack, a low-power, dual-channel diversity receiver/decoder, supporting Vislink’s LMST demodulation and operating in the 2 GHz licensed band, designed to return video from the studio to a field location. This allows camera operators to check the final studio production of their shots, combined with any graphics or text.

AMT ENGenesis 2/7 GHz BAS band radio system

IP & STREAMING
ACCELERATED MEDIA TECHNOLOGIES (AMT) showcased ENGenesis, a 2/7 GHz BAS band radio system that leverages LTE technology to connect bidirectional video and IP data between broadcast trucks and television stations. A single high-capacity radio channel supports simultaneous two-way data communication. AMT also rolled out its Nissan/Ford High Top conversion ENG/DSNG vans.

AVIWEST announced that its DMNG PRO video uplink series has been extended with the new PRO180+. In addition to eight universal cellular modems, the PRO180+ features an internal custom antenna array, built-in Wi-Fi modem, and two broadcast-quality video encoders, enabling broadcasters to stream live HD video with minimal delay.

Bluebell Opiticomm Edgwhere

Comrex Opal IP audio gateway

BLUEBELL OPTICOMM launched the Edgware SMPTE 2022-7 IP encapsulator, which interfaces 3G-SDI signals directly with IP networks. Edgware consists of a compact pair of encapsulator/decapsulator modules that transport SD/HD/3G-SDI signals for adaptive IP transport with hitless IP routing, for use in broadcast facilities, remote trucks, sports arenas, ingest operations and news studios.

COMREX introduced Opal (short for Opus Portal), an IP audio gateway that creates a studio internet audio portal. Once installed, Opal serves a web page to anyone who accesses it through a computer or Android device, which allows users to broadcast from their computers or phones in high fidelity, with a return link for a guest.

JVCKENWOOD ProHD Portable Bridge

LiveU LU600 portable transmission system

DEJERO rolled out its EnGo Vehicle Mount Kit that simplifies mounting a LIVE+ EnGo mobile transmitter inside newsgathering or production vehicles. The EnGo Vehicle Mount Kit connects to an array of roof-mounted high-gain antennas to enhance its RF performance while driving, or in locations where cellular connectivity may be challenging, while providing a quick-disconnect to permit backpack operations.

DVEO launched Tablet Streamer for mobile live streaming of events by journalists and other professionals who need a compact field unit that is compatible with industry-standard receivers. The company also released TV App Maker, which lets any organization create its own cellphone app for the organization’s video channel.

JVCKENWOOD announced the PBCELL200 ProHD Portable Bridge, a bonded LTE hotspot that streams signals from the company’s ProHD, 4KCAM and PTZ streaming camera models for live broadcasts or webcasts. The system livestreams from multiple cameras to HD-SDI decoders or servers at a central location, as well as CDNs like JVCVideoCloud and Facebook Live.

LIVEU showcased the LU600, a new portable transmission system for newsgathering, live sports and events coverage. Field upgradable to H.265 HEVC, the LU600 delivers up to 20 Mbps connections, and is set to offer 80 Mbps file transfer and 100Mbps high-speed bonded internet connection. The company also showed its LiveU LU710 hybrid ENG vehicle.

Persistent Systems MPU-5 mobile ad hoc networking system

PERSISTENT SYSTEMS featured the MPU-5 mobile ad hoc networking system that connects critical data sources in real time. The MPU5 is a Mobile Ad hoc Networking (MANET) System, where the MPU5 radios automatically discover each other and instantly form and maintain an IP Mesh Data Network called “Wave Relay.” This robust network is then utilized to stream video directly from ENG cameras to the production studio.

TVU One mobile transmitter

TVU NETWORKS introduced the TVU One with HEVC mobile IP newsgathering transmitter, which supports the H.265/HEVC video compression standard. The system uses TVU’s Inverse Statmux Plus transmission algorithm, transmitting HD video with half-second latency. Also new was the TVU Router, which provides over 200 Mbps of internet connectivity from virtually any remote location and acts as a network accelerator.

WIRELESS
IDX highlighted its CW-F25 wireless 3GSDI transmission system that transmits H.264 High Profile video at up to 25 Mbps, and supports intercom, return video and tally. Targeted at live on-air applications, the system’s range is enhanced by the use of beam-forming technology.

SILVUS TECHNOLOGIES highlighted its StreamCaster 4400 MN-MIMO 8W radio that comes with advanced 4x4 MIMO antenna configuration and transmit beamforming. Beamforming automatically focuses signal energy in the desired direction to provide up to 2x increase in range, allowing operators to reduce hardware and eliminate lengthy cable runs while achieving greater throughput and minimal transmission latency.

Teradek Link Wi-Fi access point

TERADEK introduced the Serv iOS monitoring platform, which features the company’s free VUER app to monitor HD real-time video on iOS devices via Link, a high-performance 802.11ac Wi-Fi access point built for the video industry.

VIDOVATION unveiled the VidOwave 60G 750 PA, a 60GHz millimeter-wave broadband and wireless data connectivity solution. It delivers low-latency and full-duplex GigE transport at speeds up to 1.25 Gbps in a small, rugged and easy-to-install enclosure.

Broadcast test gear has traditionally been discrete devices, such as waveform monitors, vectorscopes, spectrum analyzers and field-strength meters. However, these functions—and many more—have for some time been migrating to the IP world, where discrete devices are replaced by probes and software.

With broadcast signals themselves shifting from dedicated SDI feeds to IP streams, there’s less need for probes and more reliance on the capabilities of the software. There is still the need for discrete test devices, but the 2017 NAB Show continued the trend to software-defined test & measurement.

IPTV AND TRANSPORT STREAM
AXON DIGITAL showcased the latest version of its Cerebrum control and monitoring software now with support for products from Evertz, AJA Video, Axia, Allen & Heath, Panasonic, Ross Video, Yamaha, Rohde & Schwartz, Quintech and Blackmagic Design.

DEKTEC highlighted StreamXpert 2.1, which features off-line analysis of files that include HEVC, Dolby AC3 and AC4. StreamXpert 2.1 can be combined with a DekTek DTU-245 USB plug-in and a notebook to create a portable transport-stream analyzer.

INTERRA SYSTEMS showcased Baton , a hybrid QC solution for file-based workflows that checks content for quality throughout a plant. The company also featured Orion- OTT, a software-based OTT monitoring solution for delivery of live and VOD streaming content.

NEVION showed the latest update to its Virtuoso software that adds support for JPEG2000 encoding of UHD/4K video, 2K resolution format for film production, audio embedding and de-embedding, frame synchronization, audio processing and PTP synchronization. Virtuoso also monitors SMPTE 2022-6, JPEG2000 and SD/HD/3GSDI and AES encryption.

Qligent Vision-ATSC-3

QLIGENT unveiled Vision-ATSC-3, which provides broadcasters with an easy-to-use workflow to correlate and analyze multilayer data from nine points along a signal path. Since Vision-ATSC3 is software-based, it can be deployed now for ATSC 1.0 performance, and provide oversight during the migration to ATSC 3.0.

SENCORE featured its CMA 1820 compressed media analyzer that supports HEVC/H.265, H.264, MPEG2 and VC-1 video, along with AC-3, AAC and MPEG audio.

Ralph Bachofen (L) of Triveni Digital describes the performance of the company’s StreamScope XM MT broadcast stream analyzer to Patrik Lannto of Wisi Norden in Sweden.

TORQUE VIDEO SYSTEMS debuted Incremental File Transfer for DVStor, for compliance recording, disaster-recovery and playout applications. It targets news organizations that monitor overseas news broadcasts and want full-resolution clips back at their home studios, as DVStor can remotely acquire full-resolution content and efficiently transfer it to a central “catcherˮ machine.

TRIVENI DIGITAL demonstrated its ATSC 3.0 “Starter Kit,” which includes the company’s Stream- Scope XM MT, without any physical inputs, for file-based analysis. A step-up version of the starter kit adds the company’s GuideBuilder XM, ROUTE/MMTP encoder, and a live source simulator.

Blackmagic Design SmartScope Duo 4K with measurement features

VIDEO & AUDIO
BLACKMAGIC DESIGN announced new scopes operating on the Blackmagic Video Assist 4K model, including waveform, RGB parade, vectorscope and histogram that can be viewed full-screen for evaluating video signals in up to 4K resolution. They will be available in June as a free software update for Blackmagic Video Assist 4K customers.

HENRY ENGINEERING demonstrated its Systems Alert Monitor (SAM), which monitors the systems of a typical broadcast facility and provides visual, audible and email indication if anything goes wrong or needs attention.

IMAGINE COMMUNICATIONS showed its Videotek MSA-100 multisource analyzer that couples confidence monitoring with testing of compressed video conformance, audio level, data services and ETR-290 on any terrestrial broadcast, cable headend, satellite or telco network.

Marshall Electronics OR-185-3GSDI master confidence monitor

LEADER INSTRUMENTS introduced updates to its LV5490 test set, which now offers 4K, UHD, 3G, HD and SD test and measurement features. Waveform, vector, five-bar and picture display can all be viewed at the same time on the LV5490’s 9-inch LCD monitor.

MARSHALL ELECTRONICS introduced its OR-185-3GSDI master confidence monitor that includes a range of professional production and analysis tools in an 18.5-inch IPS panel. The monitor includes built-in waveform, vectorscope, histogram, and 3D monitoring functions along with robust audio analysis tools.

OMNITEK showcased its Ultra TQ waveform monitor, which features a range of displays such as picture, waveform monitor, vectorscope, video status, video timing, audio meters, audio status, timecode logging and line pattern generator.

PHABRIX rolled out the Qx 12G test set that performs signal generation, analysis and monitoring across SMPTE 2022-6 IP and HD, 3G, 6G and 12G-SDI formats. For HDR/WCG applications, the Qx 12G provides new generator patterns plus a CIE 1931 X-Y chart with Rec.709 and Rec.2020 overlays for measuring chromaticity.

ROHDE & SCHWARZ highlighted the Prismon, a monitoring and multiviewer system designed to support present and future content transport and media format standards. In addition to supporting classic and IP-based SDI signals, it also offers a comprehensive set of protocols for OTT/streaming scenarios.

Tektronix Sentry ABR

TEKTRONIX featured its Sentry ABR test system that works with adaptive bit-rate streams and measures perceptual video quality (PVQ). In addition to providing PVQ measurements, Tektronix’ Sentry ABR also gives an end-to-end view of the Quality of Experience (QoE) for all profiles by decrypting and decoding the live video and audio from the origin or caching servers for both encrypted and unencrypted content.

TELESTREAM spotlighted Vidchecker, an automated quality control software package that the company acquired last year. Vidchecker is optimized for checking file-based video before and after distribution, and for use by broadcasters for checking files received from post-production and content distributors to ensure that file, video and audio parameters and levels are ready for broadcast.

VIDEO CLARITY debuted the ClearView IP system that allows users to play, record and test quality of video that travels over IP networks using the latest video-transport standards.

RF
AVATEQ featured its AVQ1020-ActiveCore RF layer monitoring receiver and signal analyzer that works with all major digital broadcasting standards, including proprietary modulation schemes.

HITACHI-COMARK showed its QoS-1000 RF layer monitoring receiver with the latest ATSC 3.0 software. The QoS-1000 is a quality-of-service tool for transmitter RF signals, and provides near-real-time user metrics including symbol and constellation diagrams as well as RF spectrum, RF shoulders, MER/SNR, and frequency response/group delay.

360 Designs Flying EYE VR

Where the past couple of NABs have seen all sorts of drone camera platforms, some little more than toys, the 2017 exhibit floor saw fewer but more targeted unmanned aerial vehicles.

DRONES
360 DESIGNS demonstrated its Flying EYE VR drone, designed to fly the company’s MiniEYE 3 and other three-camera VR rigs. Its ground station provides stitched 4K SDI, 6K NDI, and 6K H.265 (HEVC) outputs. The maximum distance for receiving live video from the flying drone is three to six miles.

DJI RONIN 2

DJI’S new flagship RONIN 2 camera drone represents a major reworking of almost everything seen in its previous version. A handy carbon fiber ring on the drone allows the operator to easily set the drone down. Payload has been increased to 30 pounds, and telescoping arms allow for much larger cameras and zoom lenses than previously possible.

DRONE VOLT showed the tethered drone Hoverfly system. Where an untethered unmanned aerial vehicle may provide more freedom in terms of where the aircraft goes, flight time is limited to what the system’s batteries will handle.

FREEFLY SYSTEMS unveiled the Pilot System, a modular version of the MoVI Controller. The system allows users to configure in a variety of setups based on their specific needs. Modules are available for a single axis lens controller as well as a handle module for complete control of focus, iris, zoom and MoVI settings.

POWER VISION showcased its Power Ray, an underwater tethered drone. It can operate and image to a 64 GB SD card for four hours on a battery, and dive to a 100-foot depth. It can stream HD video to the surface, while recording 4K on the drone in the depths. Tethering cables for control are available in 150 and 210 foot lengths.

CAMERA STABILIZERS
FREEFLY SYSTEMS rolled out its MoVI Pro, providing a number of improvements over the original MoVI family, including hot swappable batteries. Also new is an integrated stand to allow quick parking and retrieving the MoVI. Also featured are stronger motors, integrated RED camera control and a built-in LCD screen allowing for auto-tuning and further adjustments.

GLIDECAM launched its Tru-Horizon stabilizer, which facilitates a move from low mode to high mode, and back again, in one single fluid shot while the camera automatically remains level and horizontal at all times.

STEADICAM premiered its Volt stabilizer, designed to stabilize GoPro and smartphones. It uses internalized gyro technology to allow the user’s hand to be the driving mass to stabilize the shot, while the unit does all the leveling.

Cartoni Master 65 fluid head

TRIPODS/MONOPODS
CARTONI introduced the Master 65 fluid head, designed to support heavy camera packages with large zoom lenses. It uses a new drag system, has a payload range of 44–143 pounds, and includes Cartoni’s Magnum counterbalance system, which provides perfect balance throughout the full +/- 90 degree tilt range with no dead spots.

LIBEC USA presented its HFMP (Hands-Free Monopod), specially designed for free-stand operations. The free-stand base located at the bottom of the monopod allows users to instantly switch the monopod’s function from shooting mode to a locked vertical position in a single step.

MILLER CAMERA SUPPORT introduced the arrowFX 3, arrowFX 5 and arrowFX 7 fluid heads that feature integrated robust, high-resolution magnetic encoders, allowing precise monitoring and communication, in real time, of the exact position of the fluid head with zero latency. Miller also featured its Skyline 90 Fluid Head, a heavyduty head designed for outside broadcasting with counterbalance control ranging from zero to 165 pounds, and 300mm of sliding range.

ROBOTICS
GEARHOUSE BROADCAST, in conjunction with its partners TELESCOPIC LLC and Big Shot Camera Cranes, introduced the SkyTechno Inverted Telescoping Camera Crane. Targeting AR/VR production requirements, the 24-foot crane employs the latest encoding technology to ensure that 3D graphics are inserted into the live camera feed exactly where and when needed.

Ross Furio SE rail-based dolly system

ROSS VIDEO introduced the Furio SE rail-based dolly system, the next generation of its Furio robotic camera system. The new system incorporates more than 40 new features, enhancements, or performance improvements, and includes a number of new technologies. The carbon-fiber lift is more than 20 percent.

Also new is the Furio SE BlackBird, a smooth-rolling, ultra-stable base for the Furio SE lift and VR100/VR600 heads.

RUSHWORKS demonstrated its LOCKED ON object tracking solution that controls one or more PTZ or PTX fixtures, allowing them to follow on-air talent with no operators required. The technology utilizes predictive motion and acceleration/deceleration data to emulate the camera work of skilled and well-trained camera operators.

SHOTOKU partnered with jib-arm maker CamMate to develop the Graphica series of VR/AR tracked camera cranes. Graphica calculates positional data output from embedded physical rotary encoders designed specifically for VR. Also new is the Free-d2 Absolute Tracking System, which uses advanced video processing algorithms and ceiling markers to precisely determine the exact position and orientation of the studio camera.

TELEMETRICS launched its PTHP-55 Robotic Pan/Tilt Head, a lower-cost addition to the company’s robotic camera support equipment. The head can accommodate a 40-pound camera and lens payload, and is fully 4K-ready with embedded fiber as standard. The company also debuted its Televator EP7 Series, available in three sizes to accommodate virtually any camera and height position.

VINTEN’S Vantage compact robotic head has been added to the VitecEV all-new Creative Studio, a fully integrated video capture and streaming solution designed for use in an enterprise setting. Vinten also debuted its micro VRC controller, designed to be paired with Vantage to provide a complete robotic camera solution.

PROMPTING
AUTOSCRIPT unveiled Intelligent Prompting, its completely IP-enabled teleprompting solution. The system avoids the use of video-over-IP and ensures that much less data is sent over the IP network. The intelligence needed to generate the script has been incorporated inside every Intelligent Prompting monitor, enabling the monitor to produce the video output directly.

Cuescript PTZ Prompter System

CUESCRIPT debuted its PTZ Prompter System, in which the PTZ camera mounts upside down in the top of a specially designed prompter hood, providing greater movement for the camera and eliminating the need for expensive tripods. The company also demonstrated CueiT, a complete IP-based prompting solution, along with the CueB engine that provides connection via Ethernet or USB, allowing nearly limitless scroll controllers that can also be connected over IP.

MIRROR IMAGE demonstrated its IP10 iPad teleprompter, which features the same wide-angle mirror, heavy-duty lens hood and fully adjustable camera mount as the company’s high-end teleprompters.

MISCELLANEOUS
MATTHEWS STUDIO EQUIPMENT unveiled the Elevator, designed to allow productions to create vertical camera moves on a budget. It features a counterbalanced elevation tower that provides 25.5 inches of smooth vertical movement with simultaneous 360-degree panning. Also on display at MSE was the My Way Rigging System, a two-part interchangeable rigging system designed to speed setups.

With OTT now the fastest-growing method for distributing news and entertainment, the technology for streaming was everywhere on the NAB Show exhibit floor.

STREAMING/MOBILE/IPTV
ARTEL introduced ARG’s 8000 ARQ, which provides an easily configurable solution for the distribution of high-quality video over unconditioned IP networks, including wireless, internet, and satellite. It’s available as a 1RU rackmount or a small compact unit.

BROADPEAK unveiled the nanoCDN Multicast ABR 2.0 low-latency solution for live video streaming. It’s high scalable, reduces latency by employing adaptive bitrate technology, and provides support for satellite, telecom and cable networks.

COBALT DIGITAL launched its FASTSTREAM OTT (Frame Accurate SCTE Trigger insertion and enhanced H.264 Streaming) system that integrates Cobalt’s baseband SDI processing technology with the company’s compression expertise for a complete linear playout to VOD and OTT processing and encoding package.

DVEO unveiled several new H.264 HDMI encoders and decoders for streaming applications, including the single-channel Ministreamer HDMI/IP and Mini D-Streamer.

EDGEWARE has enhanced its Edge TV Repackager to allow users to repackage and re-encrypt content at the edge of their distribution networks. This reduces backhaul bandwidth requirements, as well as the amount of network-attached storage and caching required for most VOD service by a factor of two to three.

HARMONIC introduced advancements to EyeQ along with a new packaging solution designed to improve performance in constrained delivery networks, allowing operators to deliver higher-quality video and viewing experiences with DSL connectivity and 3G/4G network-connected mobile devices.

LYNX Technik yellobrik PEC 1864 H.264 encoder

Matrox Monarch HD

JVCKENWOOD showed its GY-HM200HW house of worship streaming camcorder that offers graphic overlays without the need for an external character generator.

LYNX TECHNIK launched the yellobrik PEC 1864 H.264 encoder, which allows users to simultaneously stream and record content. It features dual encoders, allowing selection of different quality settings for streaming and content archiving. It accepts SDI or HDMI inputs and supports a variety of streaming outputs, including RTMP, RTP/ RTSP, and records to either a USB stick or micro SD card.

MATROX showcased Monarch HD for simple installations where only a single HDMI feed needs to be webcast to Facebook Live or YouTube Live while simultaneously recording a master-quality recording for post event editing.

MOBILE VIEWPOINT featured their LinkMatrix management platform tool in conjunction with its WMT Multicam bonded transmission system for simultaneously encoding four streams simultaneously; WMT QuaddroLink transmitter for bonding up to six links; and the WMT Agile LiveLink H.265 wearable transmitter that bonds up to eight 3G/4G connections for high-quality live streaming.

OSPREY VIDEO introduced USB 3.0 HDMI and 3G-SDI versions of its Talon encoding/ decoding product line. They provide hardware scaling, status display and UI to enable streaming from laptops and are compatible with Windows, Mac and Linux.

SAM unveiled IQMIX25, a multichannel video-over-IP transceiver developed for use in low-latency and high-bandwidth Ethernet IP networks. Using RTP VSF TR-03, TR-04 and SMPTE 2022-6 encoding and encapsulation schemes, along with either Clause 74 or Clause 108 FEC, the IQMIX25 can encode or decode up to 16 SDI signals and transport them over redundant 25GbE links. The IQMIX25 is also upgradeable to support SMPTE 2110.

STREAMBOX extended its 360 HD cloud streaming service beyond YouTube to include Facebook and Twitter/Periscope. The new capability allows users to provide high-quality live video to all three major social media networks via Streambox Cloud Services.

Telestream Wirecast Gear

TELESTREAM introduced Wirecast Gear, a portable computer workstation fully configured for live event production and streaming. The system allows anyone to broadcast professional live productions in a matter of minutes with a fully-configured system built for live event streaming. Wirecast Gear comes installed with Wirecast Pro live streaming production software.

V-NOVA demonstrated Perseus 2, the next-gen version of the company’s video processing technology. The new codec release provides optimization of several parameters, including an increase in per-channel density, support for HTML5, more accessible encoding, enhanced operating efficiency, extension of H.264 support to include HEVC and VP9 base layers and more.

VERIZON DIGITAL MEDIA SERVICES showed their new Live Streaming Solution for simultaneous delivery of hundreds of live events, and also announced that encoding and playback of Dolby Audio is being integrated into its Uplynk Video Streaming service.

MONITORING/QC
INTERRA SYSTEMS spotlighted their new VEGA ABR technology for analyzing, debugging, verifying and troubleshooting ABR streams and systems. It provides in-depth information all the way down to video elementary streams and compressed audio to help online video operators, cable systems and satellite enterprises deliver high-quality services.

PRIME FOCUS TECHNOLOGIES introduced the IMF Player and Mastering Automation solution as part of its CLEAR Media ERP flagship product. The IMF Player allows users to preview, playback, review and distribute over a streaming proxy a Composition Playlist (CPL) with all its essences, including video, audio and captions.

Less than four years ago, a well-regarded expert on the subject of coaxial cable told me that creating affordable and practical 12G coax was not going to happen. The data rate was too high and coax would not support the high frequencies necessary to send 12G data down the thin pipe of flexible coax cable. He recommended fiber.

At NAB Show, it was not hard to find vendors selling coax cable (and the necessary connectors) rated to send 12G data down 100 meters of RG6-diameter coax cable. The impossible was done, and it renewed my faith in the skill of the engineers and technicians working in the broadcast industry.

COPPER CABLES
BELDEN featured its 4794R coax, which supports 12GHz bandwidth and enables a single-link configuration to transmit 4K. With a tri-shield (foil/braid/foil), 4794R’s inner foil is bonded to the core to simplify installation.

Canare 12G BNC Plug

CANARE rolled out a new line of coaxial cable and connectors that are specially optimized for performance at 12 Gbps. The company’s L-5.5 CUHD coax cable has enhanced attenuation characteristics that allow transport of 12G signals at distances up to 100m when used with the specified BNC connectors.

DAWNCO highlighted its low-loss DAWNflex.6QF cable to improve signal quality on satellite downlinks. DAWNflex.6QF coax passes signals to 3 GHz, and is flooded for direct burial, quad shielded for protection against signal ingress, has a 2.5-inch bending radius, and 0.61-inch overall diameter.

FIBER OPTICS
ARTEL debuted the DLC 454 fiber transport module that terminates four bidirectional fiber assemblies and can combine the four to two bidirectional fiber trunks. The DLC 454 works with video up to 4K/60. The company also demonstrated IP- and fiber-based capabilities in its new, fully integrated InfinityLink IL6000, a 1RU, four-slot chassis with active routing and SNMP management system. The company also showcased its FiberLink 3500 Series, which transmits 4K/UHD video at up to 60 fps one way.

BARNFIND highlighted the BarnMini-07, a four-channel CWDM mux that transports 4K over different mediums. This compact mux fits into the BarnMini BTF-Mini-16 frame, and two BarnMini-07s can be cascaded to build an eight-channel CWDM mux.

Camplex CMX-3GSDI-LCF 3G-SDI over singlemode fiber transmission system

BLUEBELL OPTICOMM highlighted its BCX-760 Series 10G Ethernet point-to-point fiber link, a camera-back interface that provides signal transport between a camera and an outside broadcast truck or base station.

CAMPLEX spotlighted its CMX-3GSDI-LCF, a compact 3G-SDI over singlemode fiber transmission system for long-haul video extension up to 20km (12.4 miles). The product supports all standard resolutions and data rates up to 3 Gbps, (1080p60), and both ends feature looping connectors for local monitoring or recording.

GRASS VALLEY debuted the CopperHead 3050 system that provides a fiber link between a camera and ENG vehicle. The system simultaneously transports both digital (SDI or HD-SDI) and analog (NTSC or PAL) program video, plus audio, IFB and intercom signals between the camera and the base station.

Joseph Electronics Tote Caddie portable fiber-optic signal-acquisition system

JOSEPH ELECTRONICS introduced its Tote Caddie series of portable fiber-optic signal-acquisition systems for ENG and other OB applications. Built using rugged Pelican cases and offering a mix of modules to meet the user’s requirements, the Tote Caddie is a weather-resistant fiber solution for field crews working in real-world environments.

LINK ELECTRONICS featured the PFO-100T/R, a miniature and 3G/HD/SD-SDI fiber transmission system with built-in EQ and re-clocking features. It works with either single-mode or multimode fiber cable and supports SMPTE 424M/297M (1080p-2.97Gbps); SMPTE 292M/297M (HDTV-1.485Gbps); SMPTE 259M/297M (SDTV-270/360Mbps).

LYNXTECHNIK launched new yellowBrik interfaces for fiber transmission of 12G video. The compact modules transmit/receive 12G (4,096x2,160 @60 Hz), plus 6G and 3G signals if required, all with uncompressed video quality. All modules support a maximum distance of approximately 10 Km (6.2 miles) using LC single-mode fiber.

Multidyne LightBrix VB-3800 fiber transport series

MULTIDYNE rolled out its LightBrix VB-3800 fiber transport series, which offers several models designed for mounting to POV box cameras and robotic PTZ heads. Each model can transport a range of multichannel camera signals, including 4K quad-link and 12G, as well as optional power from the base unit to the transmitter and camera via SMPTE hybrid cable. The company also added support for 12G to its SilverBack camera-mounted transceivers and unveiled FiberSaver-12G optical remapper/multiplexers that enable as many as 36 signals of up to 12 Gbps each to be transported over just two fibers.

STUDIO TECHNOLOGIES highlighted its Model 400 and 410 SDI-over-fiber transport systems. The Model 400 consumes a full rack width, while the Model 410 uses a half-rack mount.

SWIT showed its Optical Fiber Camera System, which mounts on the back of a camera and supports up to 1080p/60 transmission. The system supports Sony and Panasonic remote protocols, and communicates with a base unit using Lemo or Neutrik cables.

CONNECTORS
AVP showed its DIN 1.0/2.3 75-Ohm connector series for patch panels, which permits dense packing and makes them ideal solutions to applications where space is limited. The connector supports high data rates up to 6 Gbps.

BITTREE introduced the 12G+ Mini-WECO coaxial patchbay family, accented with bright green to differentiate it from other systems in a busy control room. The performance of the 12G+ patching system enables reliable handling of 4K over a single 12 Gbps link, and the components are compliant with SMPTE 292M, 424M, ST2081-1 and ST2082-1 standards.

CANARE unveiled new 12G connectors specifically designed for the company’s new 12G cables. Available in RG59, RG6 and RG11 sizes, Canare also has the installation tools to ensure that the connectors don’t compromise the 12G performance of the cable.

CLARK WIRE & CABLE introduced the DT12 37-pin connector for indoor and outdoor broadcast environments. The connector features all-metal backshells that resist crushing and corrosion.

LEMO unveiled the Anglissimo elbow plug that allows for strain-free routing of cables when connected to cameras or other field gear. Each connector can be orientated during its assembly into any of eight different cable exit angles, and the connector then remains securely positioned in that orientation.

NEUTRIK debuted opticalCON MTP24, a 24-channel fiber-optic connection system based on MTP data connectors. The chassis connector accepts a standard MTP breakout cable at the rear, facilitating adaptation to LC, SC or ST optical connectors.

SWITCHCRAFT debuted the Ultra VideoPatch, a family of 24 GHz video patching products and accessories that use mid-size Mini-WECO single jacks in a 2x32 1RU patchbay. The 75-Ohm system features low return-loss and can handle uncompressed 8K video.

We’ve now arrived at the doorstep of another big era of change in the television industry, ushering in UHD imaging, wider color gamuts, high dynamic range and virtualization. Plant infrastructures are changing also; this time from SDI to IP. There’s one element that won’t change though, and that’s the requirement for signal processing.

EAS/CAP
DIGITAL ALERTING SYSTEMS (DAS), a division of Monroe Electronics, partnered with TRIVENI DIGITAL on an ATSC 3.0 Advanced Emergency Alerting (AEA) starter kit for TV broadcasters. It combines DAS’s DASDEC emergency messaging platform and AEA Content Management with Triveni’s Digital GuideBuilder XM signaling and announcement generator, Route/ MMTP encoder and a live source simulator to allow stations to deliver advanced emergency alerts and auxiliary public safety information in both ATSC 1.0 and 3.0 environments.

CLOSED CAPTIONING
COMPROMPTER showcased the latest version of its Caption Central Multi (CCM), featuring a new Speech Engine that provides fast and accurate live voice captioning, with synchronization to the spoken words within two seconds.

EEG introduced the Lexi cloud-hosted automatic speech recognition captioning system which operates automatically in connection with EEG captioning encoders and captioning software to receive program audio, translate it into captions, and provide updating of names, current news events and topics via its cloud environment.

ENCO spotlighted enCaption 3R4 for their enCaption speech-to-text voice technology. It can distinguish between multiple speakers within a single environment, helps to eliminate errors in identifying voices of individuals, saves time and operates without human supervision in live captioning environments.

TELESTREAM announced that its entire suite of captioning and subtitling products now supports IMSC 1.0, the new OTT standard for subtitling and captioning. IMSC 1.0 Timed Text is a requirement for major networks and content distributors standardizing on the IMF file-based delivery format.

VOICEINTERACTION launched the fifth-generation of its Audimus Media system for automatically generating captions for live productions. It provides a cost-effective means for delivering highly accurate captions and ensuring that closed-captioning legal requirements are met.

ENCODERS/DECODERS
AXON DIGITAL DESIGN introduced their eight-channel Synapse NIO440, an Ethernet/SDI bridge that can help broadcasters negotiate the SDI to IP transition. It’s software-upgradable and supports S2059 PTP timing and synchronization.

BBRIGHT debuted their UHD-Decode high-bitrate HEVC contribution decoder, which accommodates 10-bit 4:2:2 signals at up to 120 Mbps, and features TSoIP inputs and quad 3G SDI outputs.

DTC Domo Broadcast Encipher dual-channel encoder

DTC DOMO BROADCAST introduced the Encipher dual-channel encoder for IP that bundles high-quality video, dual HD encoding capability, a compact form factor, operation in a variety of bandwidths, power-over-Ethernet, builtin camera control and options for cellular network integration.

EVERTZ rolled out both the evRemote and 3606FR IP transport streams, designed for remote production. The evRemote provides 120 Gbps switching capability along with up to 12 JPEG2000 encoders and decoders. The 3606FR, meanwhile, supports simultaneous dark fiber and IP transport for multiple signal formats including video, audio and serial data.

For-A Fujitsu IP-HE950 encoder

FOR-A launched the Fujitsu IP-HE950 real-time H.265/HEVC encoder/decoder, which supports 4K contribution feeds, as well as SD and HD video. It automatically identifies signals and adjusts encoding formats, provides real-time HDTV transmission at low bitrates via broadband IP networks and DVB-ASI, offers low latency and robust network error correction, and is contained in a space-saving 1RU half-rack package.

HAIVISION introduced its Makito X encoders and decoders in action, which support HEVC/H.265 and AVC/H.264. They feature low latency and secure transport of HD signals over networks with unpredictable capabilities. Haivision’s HaiGear Labs group also demonstrated encoding software running live 4K60p video via off-the-shelf servers.

HARMONIC targeted ATSC 3.0 at its booth by demonstrating how its Electra X media encoding and new ProStream X stream processing systems can compress broadcasters’ existing ATSC 1.0 channels with greater efficiency, as well as transition to ATSC 3.0 advanced services via a simple software license.

LIVEU showcased its new 4K HEVC Pro Card hardware encoder developed for the company’s LU600 portable video transmission unit. It offers high-quality 1080/4K video, very low-power consumption, easy dynamic bitrate and resolution changes, HEVC and H.264 encoding, can make high-quality copies of the content being transmitted.

Matrox Maevex 6150 quad encoder card

Nevion Virtuoso

MATROX debuted its new Maevex 6100 series of multistream 4K products, including the 6150 quad encoder appliance which allows users to stream or record as many as four 4K signals at low bitrates. It features zero-latency pass-throughs to workstations, media preview, built-in display for examining device IP and stream addresses and more.

NEVION demonstrated their latest Virtuoso software update for JPEG2000 encoding of 4K and 2K UHD, frame synchronization, PTP synchronization of SMPTE 2022-6 and more.

PRONOLOGY debuted StreamFile Core, a cross-platform standalone application that encodes the multitude of evolving media standards, bridging the gap between IP-based video and legacy file-based workflows.

SOLITON SYSTEMS teamed up with systems integrator and distributor Palma International to develop and exhibit a new H.265-based mobile contribution encoder, which it billed as the world’s smallest. The Smart-telecaster Zao-S is designed to provide reliable HD video transmissions via 3G and 4G cellular networks, and easily fits in users’ pockets with a footprint just slightly larger than that of a smartphone.

VITEC unveiled its new GEN2 HEVC second-generation codec, which the company claims surpasses performances of the next leading contender by some 20 percent.

PROCESSING
AJA demonstrated v13 software that adds HDR support to its Kona 4 desktop I/O card. The company also demo-ed new firmware to support input and real-time encoding of JPEG2000 streams by the Kona IP desktop card.

AudioVideo BrandBuilder WonderLook Pro

AUDIOVIDEO BRANDBUILDER showcased the IS-miniX LUT device for the color management of 3G/HD SDI video signals as well as the WonderLook Pro (WLP) a newly developed color management software solution based on FujiFilm technology and designed to help DITs and colorists to resolve any issue in color creation and color management.

AXON DIGITAL DESIGN introduced their software-upgradable eight-channel Synapse NIO440 Ethernet/SDI bridge. It supports eight channels of video, S2110 (TR03), S2059 (PTP) synchronizing and timing, AVB/TSN, and operates bidirectionally.

COBALT DIGITAL debuted their 9991-SDI-to-10GE Encapsulator that offers SDI-to-IP processing as well as AES/analog audio embedding/de-embedding. Cobalt also launched the 9923-DSK-3G downstream keyer/logo generator that works with 3G/HD/SD-SDI and mixes any two SDI key/fill inputs and eight on-board logos.

D2D TECHNOLOGIES introduced the D2Flex 6000, a next-generation MPEG digital video multiplexer and IP gateway. Service components can be selected from any input to create each output.

DVEO unveiled their new miniature low-latency H.264 HDMI encoders and decoders, the Ministreamer HDMI/IP and the Mini DStreamer IP/HDMI.

ERICSSON introduced their fully virtualized video processing platform, the MediaFirst Management Controller. It streamlines control of processing most platforms, provides increased operator flexibility, enables transition to an agile software architecture, and lays the groundwork for expansion into services including UHD, VR/AR, dynamic ad insertion and others.

FOR-A debuted the FA-9600 multipurpose signal processor, featuring dual-channel operation and support for 4K with 12-SDI and HDMI connectivity, along with bidirectional dynamic range conversion between PQ, HLG, S-Log 3 and SDR log curves. The unit also performs color gamut conversions. The company also spotlighted the MCC-4K motion-compensated frame rate converter, which was developed by InSynch Technology and is exclusively distributed by For-A. It facilitates simultaneous HD and UHD transmissions, as well as integration of HD content into UHD programming.

LYNX TECHNIK showcased its greenMachine titan, a four-channel hardware device that complements the company’s existing greenMachine callisto, a two-channel signal processing hardware appliance. The green- Machine titan simultaneously processes four 3G/HD/SD-SDI video streams or a single 4K/UHD video input.

MATROX introduced its DSX LE4 IP video card, the latest addition to company’s DSX line of developer products. DSX LE4 IP is a low-profile, half-length PCI Express card offering multichannel (4-input/4-output) HD video over 10 GbE, with the added security of ST 2022-7 redundancy, and guaranteed bursting free packets with zero CPU usage.

MEDIA LINKS launched its enhanced MD8000 Media Over IP transport platform, which allows “hitless” carriage of 10 Gbps signals via IP networks. It features Media Links’ new 8 Port/4 Port x 1 GbE line cards operating in concert with the company’s 10 GbE trunk modules, and provides uninterrupted data transport across long distance networks.

MAGEWELL launched a new line of PCIe input/output cards, the Flex I/O series. The SDI 4i2o model features four input channels and two outputs with 3 Gbps SDI interfaces and supports frame sizes of up to 2048x1080, including 2K digital cinema.

PESA featured its new Fusion hybrid IP/SDI advanced connectivity platform that supports SMPTE 2022-6/2110 standards and provides single-port 4K/60 SDI video. Fusion was designed with redundancy and easy upgrading in mind, and is available in both 9RU and 18RU versions. They can be respectively populated to 288x288 and 576x576.

zLense three-dimensional zKey (3D) keying system

RENEWED VISION debuted its PVP3 playout device, which incorporates a best-in-class processing engine, allowing the device to serve as a video processor in addition to functioning as a media server and screen control system.

ZLENSE debuted a three-dimensional zKey (3D) keying system that uses the distance from the camera to determine the silhouette of the talent in real time, allowing the creation of the alpha channel or image mask without chroma or luma keying, with no special lighting required. With this approach, new options are possible for both creative executions and for operational and business tasks.

AJA’s 12GM 12G-SDI to/from 3G-SDI Muxer/DeMuxer

CONVERSION
AJA previewed its FS-HDR for HDR workflow conversion. Based on AJA’s flagship FS4, and incorporating the latest HDR technology Colorfront, FS-HDR provides HDR and Wide Color Gamut (WCG) processing and conversion for real time 4K/UHD and 2K/HD workflows.

Several new mini-converters also debuted at the show, including the 12GDA 12G/3G/SD-SDI Re-clocking Distribution Amplifier, a miniature 1x6 12G-SDI re-clocking distribution amplifier. Also new was the 12GM 12G-SDI to/from 3G-SDI Muxer/DeMuxer, a compact SDI transport converter that enables 12G-SDI to Quad 3G-SDI and Quad 3G-SDI to 12GSDI conversion. The company also introduced the FiDO Multi-Mode Fiber SFP Option that supports multi-mode fiber optic cable at distances up to 700M (OM4) or 300M (OM3).

For the IP environment, AJA launched a new line of IP receiver converters, which convert HD video to VSF TR-01 (and other JPEG2000 formats). IPT-1G-SDI provides one 3G-SDI input with a loopthrough SDI output, and IPT-1G-HDMI has a standard HDMI type A input.

COBALT DIGITAL unveiled its 9904-UXD- 4K format convertor that accommodates 4K video over a single 12 Gbps SDI connector, or processes four independent 3G SDI channels. Cobalt also demonstrated its new 9902-UXDDSP- CI Channel Integrator that provides signal processing and conversion to conform analog and digital A/V signals and associated metadata to meet channel delivery requirements. In addition, Cobalt showed their 9415- SFP openGear card for converting SDI to HDMI or vice-versa.

DECIMATOR DESIGN launched its MD-LX, an extra small, “lite” version of the company’s MD-HX bidirectional HDMI/SDI converter and scaler. Like the MD-HX, the MD-LX is a bidirectional HDMI/SDI converter for 3G-A/3G-B/HD/SD (minus the scaling/frame rate conversion available on the MD-HX).

EMBRIONIX displayed the emSFP Gateway, an HDMI/DVI to SDI video converter, which can convert from HDMI/DVI to SDI as well as SDI to HDMI. The Gateway has a 10GE port that can be used directly with 10GE video switchers and routers.

EVERTZ demonstrated their enhanced 7814UDX-4K line of UHD/3G/HD up/ down/cross conversion gear, which facilitate SDR/HDR conversions between several formats, including SDR, HLG, SMPTE-2084 and S.Log3. BT.709, BT.2020 and S.Gamut3 color space conversions are also accommodated.

FOR-A debuted the LMCC-8000 8K/4K linear matrix color convertor which was jointly developed with NHK. It converts between ITU-R BT.709 and ITU-R BT.2020 gamuts, and also accommodates dynamic range conversions.

Grass Valley Densité 3

GRASS VALLEY unveiled its Densité 3 UHD-3901-UC dual-channel HD/3G to 4K UHD upconverter. The 4K UHD signals generated by the platform are output on quad link 3G SDI as per SMPTE ST-425-5 and supports two sample interleave and square division quad split outputs.

MULTIVIEWERS
APANTAC debuted their new MX-32-4KDP UHD multiviewer, which allows monitoring of up to 32 sources, including UHD/3G Level A and B/HD/SD-SDI video, and includes a custom on-screen display showing audio metering, custom labels and overlays, tallies and under-monitor displays.

COBALT DIGITAL introduced the 9971-MV-4K, a cost-effective option to drive professional-grade monitors and 4K prosumer/consumer monitors. All versions support six 12G-SDI inputs and there are options to expand the input count to 18x 12G-SDI, or add 4x HDMI 2.0 inputs.

DECIMATOR DESIGN unveiled its DMONQUAD, a low-cost one- to four-channel professional SDI multiviewer/quad-split with SDI and HDMI outputs for 3G-A/3G-B/HD/SD.

FOR-A spotlighted the MV-4300 multiviewer which accepts up to 68 inputs, provides eight outputs and accommodates SDI signals up to 12G, as well as DVI-A, HDMI and composite analog.

Lawo V__matrix Multiviewer

LAWO introduced the new V__matrix vm_mv24-4 and vm_mv16-4 virtual modules (VM), which add high-quality multiviewer functionality to the V__matrix ecosystem when loaded onto a c100 core processing module. Capable of handling both IP and SDI sources, these VMs can monitor uncompressed 4K/UHD, 3G, HD and SD video as well as both embedded and discrete audio while generating pixel-perfect mosaics with ultra-low latency.

MEDIAPROXY introduced some major updates to its Monwall multiviewer, including data monitoring panels for real-time analysis and monitoring of OTT streams, closed captions, DVB subtitles, loudness information and more.

Reidel’s MediorNet multiviewer app

RIEDEL introduced their new MediorNet multiviewer app that’s based on MediorNet MicroN high-density media distribution hardware. The app allows users to enable multiviewer hardware anywhere on the network that it’s needed, while at the same time removing additional hardware and complexity that would be required with a large router.

Rohde & Schwarz Prismon

ROHDE & SCHWARZ introduced the R&S software-based Prismon monitoring and multiviewing system for automatic monitoring transported broadcast and streaming media content while allowing for simultaneous viewing of multiple sources. It’s available for both standard IT platform applications and cloud-based systems.

SAM unveiled its Orbit next-generation applications, which include the MV-800-DT multiviewer and configuration application.

Video monitors as seen at the 2017 NAB Show are no longer just display devices. They are now crucial components that are an integral part of the production chain.

AEQ-KROMA presented their Series 9000 Broadcast Monitors using 10-bit processing ready to meet the need for 4K (UHD) signal monitoring. Two models: 24-inch with 3840x2160 resolution and 31-inch with 4096x2160 pixels were featured.

Atomos Sumo monitor-recorder

ATOMOS had their 19-inch Sumo monitor-recorder that delivers 4Kp60 HDR to the set and the studio. It’s the first production monitor that also records 4K 12-bit RAW, 10-bit ProRes/DNxHR, plus 1080p60 live switching and recording.

BENQ’S latest 31.5-inch 4K SW320 UHD monitor was seen featuring HDR at 4K UHD resolution and a 96 percent DCIP3 color gamut. The SW320 comes with BenQ’s Palette Master Elements software for hardware calibration (14-bit LUT) with a compatible device.

BOLAND COMMUNICATIONS introduced the BVB07DB and BVB17DB DayBrite displays that feature full 1920x1080 native resolution LCDs, built-in scopes, and anti-glare screens for sunny daylight viewing use. They also premiered the new 4K24-12G model in 24-inch size with 12G SDI single link. All of Boland’s 4K monitors 24-inch and larger support HDR.

Flanders Scientific DM240 color-critical professional broadcast monitor

FLANDERS SCIENTIFIC featured its DM240 color-critical professional broadcast monitor in an all-metal chassis. The company’s third-generation Color Fidelity and LUT Interpolation Engine (CFE3) houses multiple 4,913 point (173) calibration and DIT LUTs for highly accurate color reproduction.

IKAN showcased their model OBM-U550L 55-inch native 4K HDR broadcast monitor with 12G-SDI Single Link 4K, 3D LUT, waveform, vectorscope, color space and gamma comparison. The OBM-U550L supports UHD/Full DCI 4K.

JVCKENWOOD’S new DT-V G2 multiformat LCD HD production monitors are designed for critical image evaluation, offering improved gamma and grayscale for accurate colors and new technology to eliminate digital aliasing. Models include the 16.5-inch DT-V17G25Z (a near EBU Grade 1 LCD monitor) and 24-inch DT-V24G2Z with 10-bit IPS panels, plus the 21.5-inch DT-V21G2Z and 16.5-inch DT-V17G2Z.

Leyard LED MultiTouch video wall

LEYARD AND PLANAR, a Leyard Company, debuted the Leyard LED MultiTouch video wall, the industry’s first completely seamless interactive LED video wall enabled by patent-pending Leyard PLTS (Pliable LED Touch Surface) technology. It allows up to 32 touch points enabling multiple people to simultaneously interact with the video wall without affecting other users.

OSEE AMERICAS LTD. unveiled three production monitors: the LCM156-E 15.6- inch wide gamut/color correction accuracy model; LCM170-E 17-inch wide gamut/high contrast/color correction accuracy model; and the LCM230-E 23-inch high contrast/color correction accuracy model intended more for the video village or post.

PLURA BROADCAST displayed their new PBM-4K monitor series, available in sizes 24-84 inches, with support for SMPTE 2036-1, 2x12G/3G/HD-SDI inputs with active loop, and 1xSFP slot to support multiple IP and fiber I/O standards. Plura also featured their new UNB-4K “Ultra Narrow Bezel” series which can control up to 100 monitors via LAN IP network and/or RS-232 daisy chains.

SmallHD 1703-P3

SMALLHD debuted the 1703-P3, its first reference grade monitor. The billion-plus color 17-inch display covers 100 percent of the DCI-P3 color space, features a 1500:1 contrast ratio and 179-degree viewing angle, along with SmallHD’s Pagebuilder OS. Each 1703- P3 monitor comes precalibrated for DCI-P3 mastering with a Delta E average of 0.5.

SONY did have dazzling 4K OLED monitors on display, but the screen they wanted to highlight was their new LMD-B240LCD HD production model. It features natural ventilation that doesn’t need a cooling fan and a unique Sync-Free Side by Side function. It can be configured for SDI and HDMI, as well as HD, SD, different frame rates, interlace, PsF, and progressive inputs.

TV LOGIC showcased their LUM-310R, a 31-inch 4K HDR reference monitor with 2,000 nit peak luminance supporting multiple HDR formats, as well as multiple color gamuts including Rec.709, DCI-P3 and Rec.2020. TV Logic also had their LEM-550R, a 55-inch UHD OLED monitor with multiple HDR format support and their LVM-171S, a 17-inch HD LCD display for broadcast QC and on-set critical viewing.

April’s major themes in this evolving category were cloud, IP and orchestration. Multiple vendors stood ready and willing to make “sweet music” of their clients’ cacophonous workflows. Clouds (i.e.: “not my hardware; not my CapEx”), were ubiquitous, though not always silver-lined. Ditto “IP”—whether to control devices or deliver video—was invoked with abandon. As the sheer number of media assets grows exponentially, so will the workflow offerings to catalogue, monetize, and securely store them.

MASTER CONTROL AUTOMATION & CHANNEL PLAYOUT
AVECO debuted a sports-oriented addition to ASTRA master control, enabling on-the-fly sponsorship of game highlights by activating an alternate playlist whenever a home run, touchdown, etc. occurs. Also, “self-healing” system reconfiguration if a connected device fails.

Bitcentral Central Control

BITCENTRAL advanced its Central Control with dynamic alternate Join-in-Progress (JIP) playlists and synchronized redundant playback for instantaneous failovers. Also, several new application-specific versions, including Light Edition, Ad Insertion w/Graphics, Channel Branding and Studio, were introduced.

BROADSTREAM SOLUTIONS offered new OASYS Integrated Playout Platform capabilities, including UHD/4K and high-bitrate XAVC file support, plus virtualized cloud operation with playlist-managed live inputs, graphics, file playback, and SCTE triggers for programmatic ad insertion.

CINEGY enhanced its all-in-one Air PRO video server/multichannel automation package with Dolby E encoding, loudness limiting, EAS, Nielsen watermarking and Cinegy Type for branding. Also, Cinegy Open, a comprehensive end-user knowledge base.

CRISPIN —whose acquisition by Sony was announced at the show—boosted Loading- Dock, its automated content acquisition, prep and distribution center, with Dock-to- Dock transfers either within or between groups, plus a web uploader for use by external agencies and production clients.

DNF CONTROLS advanced IP-infrastructure with GTP-30, scalable device management for video/KVM routers, switchers, multiviewers, servers, tally systems and more, plus software-only Virtual GTP-30. Also new were the ST600-KIPRO for Ethernet- based control for AJA DDRs, and USP3- TSA, enabling any touchscreen panel to become a virtual Anywhere Interface Box or Universal Switch Panel.

ENCO demonstrated live channel branding using graphics integrated within Media Operations Manager (MOM); also, support for Newtek NDI connectivity, the ability to mix live cameras with NDI inputs, and multiple automation systems running on a single IP-virtualized ENCO1 server.

EVERTZ showcased OvertureRT LIVE VM, a scalable playout solution deployable from video appliances to private or public clouds. It supports SD, HD, 3G and UHD applications, enabling baseband to IP infrastructure migration. Also, DreamCatcher, an IP-Based live production system, deployed new tools: DC-LIVE-EDIT, advanced video/audio editing with render-free publishing, and DC-MG, an advanced media gateway for content management.

Grass Valley iTX

GRASS VALLEY unveiled iTX v2.11, supporting IP workflows and cloud virtualization. New iTX On-Demand auto-packages for VOD platforms as content airs; it operates on-premises or cloud-based, and features 8x real-time mastering with 40-plus languages subtitle support. On-Demand is part of the iTX Integrated Playout ecosystem.

IMAGINE COMMUNICATIONS featured a Unified Playout, Scheduling and Distribution solution, combining xG Schedule—cloud-based planning and scheduling for linear, on-demand and digital platforms—with cloud-native Versio playout, the evolution of legacy ADC and D-Series automation platforms. Also, an integration of Imagine’s dynamic ad insertion with Microsoft’s Azure Media Services and a secure “cloud onramp” for delivery to Azure.

NVERZION showcased its NFinity media server with on-the-fly up/down/cross-conversion, transcoder-free playout of encoded formats, unlimited record or playback I/Os, playback from shared file systems, and A/V industry-specific “RAID-N” redundancy. Its NCommand automation suite gained a monitoring app to view or interact with multiple channels remotely, plus automated creation of content-specific secondary events.

PEBBLE BEACH demonstrated a full-featured HD channel complete with clips, live, graphics and captioning running on IBM’s Bluemix public cloud under control of its software-defined Orca virtualized IP channel solution. Orca’s template-based channels expedite creation and deployment of new IP-based services, as well as cost-efficient disaster recovery plans. Also, XPression, the Ross 3D graphics render engine, is now a Pebble playout plug-in.

Pixel Power StreamMaster

PIXEL POWER highlighted its StreamMaster Media Processing Platform playout over Amazon Web Services. Utilizing off-the-shelf hardware, it runs on-premise, in a datacenter, or the cloud, and enables authoring, transcoding, logo/graphics manipulation, content rendering, real-time master control, graphics, and DVE delivery. New virtualized tools in Gallium Workflow Orchestration automate media prep, packaging, graphics, branding and playout.

PLAYBOX TECHNOLOGY featured live CloudAir playout through Amazon Web Services. Included are browser-accessible scheduling and other needed content channel functions. Built-in transcoding handles the gamut of media formats. Also, enhanced graphics preparation templates; improved playlist editing; advanced export to EPGs; and automated stored asset linking.

PRIMESTREAM integrated its Dynamic Media Management software with Telestream’s Vantage transcode platform and Vidchecker QC system. Users gain access to both company’s third-party solutions network for building advanced workflows. Also, a new FORK production automation edition boosts Content Navigator with task-oriented views, higher throughput, and improved Xchange synchronization.

RUSHWORKS updated A-List automation with new interfaces to Myers ProTrack BXF and BroadView XML traffic; also, 4/6/8-channel audio playback and pass-through support and a MultiZone mode for up to four channels per chassis.

SAM Morpheus UX

SAM unveiled Morpheus UX, a highly configurable web interface for its automation and channel-in-a-box solutions. Tools help operators define unique, facility-specific and cost-efficient playout interfaces. New ICE SDC provides full-functionality in a software-defined ecosystem for virtualized IP playout. Also, Orbit, a new unifying interface for users to manage and view control, configuration and monitoring functions via one autonomous system.

SONY featured Managed Media Distribution Center, developed jointly with Crispin. The scalable Ci cloud solution reduces workflow redundancy by automating syndicated media preparation and distribution processes across station groups.

TSL augmented its Tallyman Advanced Broadcast Control system with support for IP infrastructure and 4K platforms, plus a pushbutton or virtual control panel for routers, under-monitor displays, multiviewers, switchers and similar devices.

NEWSROOM SYSTEMS & WORKFLOWS
AP announced an integrated newsroom acquisition workflow developed jointly with TVU NETWORKS. Metadata-based, it directly links content to specific story assignments at the point of acquisition and accelerates the transfer and ingest of linked content to studio and newsroom production systems. Also, enhanced API integration within ENPS for creative platforms such as WordPress and Slack.

AVECO’S ASTRA Studio 25th Anniversary Edition added breaking news capabilities, plus enhanced interactivity with iNews, ENPS, Octopus and others. Also, extended MAM integration with federated search and instantaneous playback of results across all managed assets, local or remote, within the broadcast enterprise.

AVID advanced the efficiency of its Story- Centric Workflow by integrating multiple company solutions, such as MediaCentral | UX (unified experience), a cloud-based, web front-end that facilitates media and project access from virtually anywhere. New Dialogue Search within MediaCentral locates clips across archives and asset management systems using spoken words or phrases. Also, a new HTML5 API interface for use by third-party development partners.

BITCENTRAL rolled-out an “All-in-One” edition of its flagship Core:News for smaller market stations, along with multiple third-party integrations, including Apple Final Cut Pro and Adobe Premiere for editing; JVC, Panasonic, and Sony for wireless field camera uploads; and with Ross Video’s Inception NRCS. Also, Continuum enhancements streamline online, mobile and OTT publishing workflows.

CINEGY showed its all-inclusive NEWS system with writing, review and approval functions; automated feed handling; integrated audio/video editing; voiceover recording; rundown creation; graphics; template-based titling; and teleprompting. Also in the workflow, Cinegy’s Asset Management, Archive, and Desktop with NRCS client.

Dalet Galaxy

DALET demonstrated Unified News Operations, an agile, scalable newsroom solution. Complex media packaging and automated distribution workflows can be designed and implemented via Dalet’s Orchestration layer, a component of its Galaxy platform that enables task and process customization from planning through to multiplatform distribution and social media integration.

GRASS VALLEY showed Ignite v10 with greater flexibility to handle breaking news and unscripted productions; also, a new UI lets users configure unique layouts for every show. Ignite PT (Persistent Templates) allows last-minute changes to production events within the Ignite rundown, rather than the NRCS; its redesigned playlist can update changes in under-a-second, regardless of rundown size.

MASSTECH enhanced MassStore for News with expanded MAM functionality in its HTML5-based NRCS plug-in; automated speech-to-text tagging and content categorization; plus, new cloud storage options. Also, integration with SAM’s VIBE platform lets journalists archive, search and restore stories or media from within their newsroom interface.

NewsMaker NewsCaster Control

NEWSMAKER introduced NewsCaster Control, a bridge between MOS-enabled newsroom systems such as iNews, ENPS, Inception and Octopus, and NewTek’s TriCaster and IP Series. Driven in real time by the news rundown, operators control news production elements via an Active-X plugin that grants access to the full range of NewTek capabilities.

OCTOPUS highlighted v8 of Newsroom with enhanced NRCS functionalities, including task and workflow automation, easy-to-edit rundowns, real-time social media integration, multiple news agency sourcing, simultaneous broadcast and web publication, and a virtual assignment desk.

Ross Overdrive Automated Production Control system

ROSS VIDEO added new features to its Overdrive Automated Production Control system including FloorDirector, custom multiviewer DashBoards with clip, shot and countdown timers, shot information; QuickCustoms, to add macros to any shot via the NRCS; and QuickRecalls, to search and add content to any open rundown.

SONY showed Media Backbone Hive, a comprehensive news production ecosystem optimized for multiscreen distribution with modules for planning, ingest, browse, edit, remote edit, playout, distribution and archive. “Hyperconverged Node” architecture permits multi-formatted elements to reside on a single, off-the-shelf server.

VIZRT offered a range of options: Opus newscast automation with real-time graphics and video playout—commercials included—for online and on-air production; and Mosart, a robust, NRCS and device-agnostic control system with template-based automation, MAM and graphics integration, and customizable interface.

VSN displayed advanced News workflows developed jointly with Ross Video, as well as improved integration with Microsoft’s Azure cloud platform. Enhanced functionalities include speech-to-text, auto-cataloguing and keyframe detection.

TRAFFIC, BUSINESS & RIGHTS MANAGEMENT
ARVATO showed Avatega, its cross-platform intellectual property and rights management suite with scheduling workflows ranging from content acquisition through license administration, program planning, material management and distribution to linear and VOD channels.

BROADVIEW SOFTWARE premiered v8.0 of its eponymous traffic, media and program management solution. New Program Campaign Manager module replots schedule changes and exports to automation with “set-and-forget” functionality to assure the accuracy of last-minute changes and promos.

MYERS unveiled several new components of ProTrack v7.0, including a commercial-grade sales platform, revamped, browser-based UI, management dashboards, and more. Also, an API for third-party interoperability, plus sneak-peeks at the next-gen of ProTrack codenamed “Zipline,” and the FIMS-based “Myers Platform” for cloud-shared content, program information and metadata.

SINTECMEDIA continued to expand the capabilities of OnBoard, a unified platform for TV, digital and programmatic ad sales. It also announced the acquisition of Operative Media, creating the largest independent ad sales platform for both traditional and digital media companies.

SONY showed Ven.ue, a managed end-to-end service platform for cloud distribution, OTT and e-commerce; it’s deployable as a single solution for avails management, content prep, ingest and digital distribution.

VERIZON DIGITAL MEDIA SERVICES introduced Media Xperience Studio, an all-inclusive cloud-based Content Intelligence System (CIS) for orchestrating digital asset and metadata movement from production through approval, distribution, monetization and OTT consumption. It comprises seven functional modules: MX: Orchestration manages workflows; MX: Apps customizes the OTT experience; MX: Subscriptions administers users and entitlements; MX: Programming creates schedules and playout policies; MX: Syndication streamlines publishing; MX: Personalization accommodates user preferences; and MX: Vision runs metrics and analytics.

WIDEORBIT announced the availability of local inventory from 650-plus stations using WO Programmatic on Google DoubleClick. Ad buyers will select spots from the same interface used for digital display and video campaigns, and agencies apply programmatic automation, campaign metrics, and data-driven targeting to TV buying. Also, WO Traffic has combined linear with digital streams and added mobile order entry and email approvals to the workflow.

ARCHIVE, WORKFLOW & MEDIA ASSET MANAGEMENT SOLUTIONS
ARVATO added Platform content management & workflow orchestration to its Video Production Management Suite. New MediaPortal module gathers content from newsfeeds, social media, internal and external databases, and MAM systems for sharing and collaboration among journalists and news organizations; the web-based, platform-agnostic application includes preview, video, audio and text editing features.

AXLE VIDEO unveiled Video 2017, a “search and share” tool able to track two million video, image, and audio files. An Advanced Transcode option encodes proxy and sub-clips; expanded metadata includes multi-select tag clouds, pop-up date fields, elastic search, and extended text. A Mirror option copies to the cloud for clients to securely search low-res previews.

DALET debuted Galaxy-powered Orchestration, adding business intelligence and empowering users to analyze operations and make informed decisions; it automates configurable processes, combines system services and customized user tasks, and leverages rich assets to enable complex tasks such as EDL, playlist and package creation. Also, a new Business Continuity and Disaster Recovery solution employs an independent backup production system hosting selected content from the primary Dalet platform.

EDITSHARE showed its Flow production asset management (PAM) platform with new intelligence layer to shared storage solutions, extensive content indexing, search and workflow automation capabilities. It includes web-based AirFlow to remotely access content, and Flow Story for collaborative finishing, delivery and playout.

MASSTECH unveiled MassStore for Disaster Recovery. It automates the replication of program content, ads, and playlists to a secondary playout site, thereby protecting station uptime, revenue and reputation. Among enhancements to MassStore MAM, cloud management, processing and storage support, automated metadata creation, and Avid Media Central integration.

PRIME FOCUS TECHNOLOGIES launched CREATE, a mobile-first, screenplay-to-production planning and management solution; also, Interoperable Master Format (IMF) support, including a Media Player and collaborative Mastering Automation tools. Both, plus Cloud MAM, fall under its end-to-end CLEAR Media ERP (enterprise resource management) Suite for orchestrating content lifecycles from concept to archive.

PRONOLOGY debuted StreamFile Core, a cross-platform standalone application that allows for encoding of IP standards such as Aspen, NDI, NMI, SMPTE 2022 and SMPTE 2110. It enables facilities and studios moving to an IP-based platform to utilize their existing NLE, graphics and digital system infrastructures. The company also featured its CenterPoint asset management solution, offering simultaneous remote web-browser access for an unlimited number of users to acquire, manage, approve, log, distribute, transcode and archive content.

SGL debuted an entry-level FlashNet Lite archive solution with facility-specific configurations for disk, tape, optical, and hybrid storage systems. FlashNet’s Infinity dashboard added Navigator for deep-dives into archived asset pools via web-GUI regardless of source or location; a new analytics tool monitors system-wide metrics. Also, increased interoperability with Amazon and Sony Ci cloud services, and an EditShare collaboration.

Tedial Evolution Augmented Storage

TEDIAL featured Evolution Augmented Storage (AST), a new concept for cloud and hybrid workflow scenarios. Built around a resiliently scalable “cloud first” design, virtual file locations track content regardless of physical whereabouts; it facilitates timecode-based editing and enables efficient management of large files across multiple worldwide sites. AST transparently identifies duplicate content at multiple sites, automating task assignments and data transfer as needed.

TELESTREAM announced TrafficManager Syndication for its Vantage Media Processing Platform. Templates drive the handling of syndicated content from delivery services such as Pitch Blue and Pathfire, as well as locally produced programming. It automates the process of arranging and previewing content and break running order, while allowing maximum flexibility for day-to-day media file management. Show-specific templates can process automatically without user intervention or be applied manually for segment editing, review and approval.

TMD rolled out three new “bolt-ons” to its MediaFlex-UMS line: MediaPackages, a workflow manager for creation and delivery to nonlinear/OTT platforms; MediaMiSR, automatically builds workflows based on third-party scheduling systems, reports missing content and manages media cache storage for playout; and MediaLines captures scheduled live feeds.

VSN showed its enhanced VSNEXPLORER BI. The broadcast-centric business intelligence tool extracts information on assets, quality, traffic, transcoding and related activities from VSN and third-party sources, then presents it in graphics-rich, customizable reports to help decision-makers analyze performance, detect inefficiencies and make revenue decisions.

XYTECH unveiled MediaPulse Sky, a mobile interface for its MediaPulse facility management platform, along with 400-plus new features. Sky’s mobile device interface is fully configurable, optimized for cellular networks, and incorporates new dashboards and charts. Users can place orders, confirm and review crew assignments, provision video feeds, and schedule sessions from virtually any device and location.

It’ll hardly come as a surprise that the cloud is booming—as a secure archiving repository, as a host for live and linear channel playout, as a way to sync clients and to manage VOD depositories. Back here on earth, on-premise storage is also experiencing a boom. Storage devices are taking on multiple new roles (sometimes as encoder, converter, recorder and player all wrapped into one) as well as workhorses collaborating in shared hybrid partnerships and managing ever-growing TBs of data.

CLOUD
AKAMAI TECHNOLOGIES debuted liveOrigin, part of its cloud Media Services Live system, designed to deliver 24/7 live/linear online video capabilities for OTT video service providers and broadcasters.

Amagi CLOUDPORT 3.0 Cloud-Based Channel Playout Platform

AMAGI launched SKYLIGHT, a cloud-managed broadcast services platform that offers TV networks cloud-led, end-to-end services encompassing content preparation, channel playout, content delivery and monetization for both linear TV and OTT. The company also announced a new scheduling feature for its CLOUDPORT 3.0 Cloud-Based Channel Playout Platform.

ELEMENTAL TECHNOLOGIES announced its rebranding to AWS Elemental, finalizing its integration with Amazon Web Services and showcased several cloud-based video solutions for HDR, live channel playout for linear 24/7 broadcast channel creation, and the management of VOD libraries.

ASPERA demo-ed its new streaming platform service, which allows streaming providers to make modifications across a variety of clients using Aspera Files and Aspera Transfer Service SaaS platforms. Other pieces of the puzzle include Aspera FASPStream technology for transporting live broadcast quality-video and data feeds, Aspera Drive 3.0, Aspera Shares 2.0 and Aspera Orchestrator 3.0.

Dejero LIVE+ Control

BROADPEAK showcased its cloud PVR solution, which enables operators to launch multiple recordings on various channels simultaneously without constraint on the available bandwidth or number of tuners on their reception device.

Management up in the cloud was the name of the game for DEJERO, which highlighted LIVE+ Control cloud-based management system for managing transmitters, servers and content from a web browser.

FLORICAL debuted Acuitas Cloud, optimized for rapid OTT deployments; its Smart Central suite enables Acuitas IP operations in virtualized, private or traditional environments. Enhanced client apps Remote Air- Boss, Supervisory Monitor and Order Entry permit on-air control and oversight from any connected site. Flash Forward added Signiant and Isilon workflows for centralized ingest; enterprise-level AirBoss upped “channels managed” to 50.

HARMONIC introduced new techniques for transitioning broadcasters and OTT video providers to the cloud with the VOS Cloud software and VOS 360 SaaS solutions.

NETAPP showcased its App Cloud Media Services, including a NetApp Private Storage feature, which allows for data management across IT environments.

NET INSIGHT unveiled new cloud-based media services within its Connector Marketplace, which allows cloud-service providers to offer services such as transcoding and encoding, graphics insertion and live-streaming. The company also introduced Sye 360°, a live and synchronized 360-degree OTT streaming solution that offers broadcasters the ability to synchronize the live OTT feed with a linear broadcast.

Prime Focus Technologies DAX Production Cloud software

PRIME FOCUS TECHNOLOGIES launched DAX Production Cloud software, designed to improve workflow efficiency by centralizing assets into a single repository that can be accessed by authorized individuals throughout the content lifecycle. It enables editorial, creative agencies, VFX and localization vendors to collaborate, service and distribute media on the same software.

QUANTUM showcased how its StorNext solution supports an artificial intelligence platform from Veritone. Veritone’s aiWARE on-premise and cloud AI platform is now an integrated solution with the StorNext workflow storage system.

ROSS VIDEO introduced Inception. cloud, designed for live productions, and the Inception Discovery research tool. Inception Social, Inception Live and Inception News now include a new MOS gateway designed specifically for the cloud.

SIGNIANT showcased how its cloud-centric accelerated transport technology architecture is being used to deliver multi-Gbps throughput to cloud storage.

SQUARE BOX SYSTEMS launched the CatDV Archive to Cloud in response to customer demand for the ability to leverage cloud services in their MAM operations.

STREAMBOX showcased Streambox Cloud, which resides globally on Amazon AWS and Microsoft Azure Cloud to deliver a broadcastcentric environment for newsgathering, live video contribution, video monitoring, internal/external video distribution, and live transcoding.

STREAMGUYS showcased new video features within its cloud-based SGrecast live stream repurposing platform at the show. The recording capabilities allow broadcasters to transform live, linear video streams into podcasts and side channels.

Video switching solutions provider THE SWITCH showcased its first cloud-based TV production service, Cumulus, at the show. The company demonstrated how a live television production environment can be set up and controlled via production control surfaces located anywhere in the world using Cumulus and the company’s FiveNines transmission network.

TERADEK announced a series of upgrades to its Core and Sharelink cloud platforms that are designed to expand the capabilities of their H.264 and H.265 codecs by introducing multiplatform delivery, transcoding, third-party encoder support and remote management of VidiU encoders.

VIDOVATION showed its advanced cloud-based live video IP mobile journalism solution—otherwise known as MOJO.

SERVERS AND RECORDERS
360 SYSTEMS introduced the TSS Mini 2100 and 2200, which offer two channels of record or playout as well as encoding, decoding, up and down conversation, and remote control capability. Also new was the TSS-4000, a four-channel SD and HD playout server; VTH-2280, which offers two bidirectional HD and SD channels and up/down/cross conversion; TSS-3100, a three-channel SD and HD system with up to 8 TB of storage; and the new TSS-2470 Time Delay, a single-channel delay server that delays from 30 seconds to 40 hours in HD or 80 hours in SD.

AJA showcased its Ki Pro Ultra Plus, which offers either 1-, 2-, 3- or 4-channel simultaneous HD recording up to 1080 50/60p, and full HDMI 2.0 for 4K/UltraHD workflows.

Blackmagic Design UltraStudio HD Mini

BLACKMAGIC DESIGN debuted UltraStudio HD Mini, a portable Thunderbolt 3 broadcast-quality 10-bit YUV and 12-bit RGB capture and playback solution, specifically designed to enable customers to perform archive, edit, and monitor live broadcast graphics.

CHYRONHEGO introduced the Virtual Production Server (VPX) platform that can host end-to-end live production workflows, allowing broadcast news operations to run critical content creation and playout software in a virtualized, IT-based environment. This allows for the creation of highly efficient, cost-effective, and easy-to-manage live production workflows for news, sports, and other programs, all from virtual instances running on a single server.

DELL EMC ISILON showcased its Isilon All-Flash storage solution.

DIGITAL NIRVANA launched a new automated sports clipping service that analyzes sports broadcasts and creates publishable clips of game highlights.

Targeted toward smaller organizations like small telcos, educational organizations or houses of worship, the TV App Maker from DVEO allows users to create an OTT or IPTV private channel icon for Roku or Android set-top box and obtain a new channelized line-up of content that is served via the DVEO ATLAS packaging server.

EVS XT4K server

EDITSHARE unveiled the new XStream EFS 200 and XStream EFS 300, which offer scalable single node capability that includes the Flow Media Asset Management and Ark Media Archive applications.

EVS debuted the XT4K server, which offers four channels of uncompressed UHD-4K on a single 12G-SDI wire or 12 channels of HD/1080p as well as native IP integration.

Magewell USB Capture Plus

FOR-A showcased its MBP-500VS multichannel video server.

MAGEWELL unveiled new 4K models in its USB Capture Plus series of plug-and-play external video capture devices.

MEDIAPROXY featured its LogServer TSoIP software solution, designed for monitoring, multiviewing and capture of live video from broadcast and OTT sources.

QUANTUM launched StorNext 6, including new advanced data management features that encompasses flash, spinning disk, object storage, tape and the cloud.

ROHDE & SCHWARZ showcased a storage combination that includes the IBM Spectrum Scale file system solution alongside the R&S SpycerBox Cell and R&S SpycerBox Ultra TL storage options, a file system that enables users to more efficiently utilize different storage tiers based on their needs.

Ross Graphite

ROSS VIDEO launched Abekas Tria 2, a two-channel clip server with an input record channel, synchronous playback of key/fill pairs or independent playout of two separate video channels with audio. Abekas Mira now offers Mira Connect GigE networking, and Mira Express, a smaller integrated replay system that records video and audio from up to four cameras onto removable SSD media, with slow-motion replay from two PGM channels.

Ross also crossed into multifaceted territory with the introduction of Graphite, a solution that pulls together a two-channel clip server, capabilities from a production switcher, features found in a 3D motion graphics system and the capabilities of an audio engine in a single 4RU chassis.

SAM showcased its sQ Servers and its connection to VIBE, the company’s real-time news and sports production solution, as well as the company’s LiveTouch 4K highlight and replay system.

SONY featured multiple storage and recording options including the PWS-4500, a 4K/HD multiport AV storage unit that includes Sony’s NMI IP technology. Also new is the second generation of its Optical Disc Archive System, with support for new high-capacity optical media and introducing an 8-channel optical drive unit; and an expanding line of professional storage technologies, including new 4 TB and 6 TB RAID systems and two new G Series solid state drives.

SLOMO.TV premiered the Dominator AT/3G, a 10-channel 3G/HD/SD slow-motion and replay server that supports up to 10 3G/HD/SD recording channels, four playback channels and search capabilities on up to 10 channels. It also showed its Super Slo-mo bundle, which combines its Simple RII video server and Panasonic AKH5000 4X SuperMotion camera.

SUITCASETV showcased its MediaStor File System, which aggregates multiple storage servers into a single structure, providing tracking and auditing of file histories as well as metadata handling capabilities to empower even the most complex of workflows.

TEKTRONIX debuted Hydra Player, a video playback system with universal de-multiplexer and decoder engine.

XENDATA showcased its FX-Series, an all-in-one storage system that combines shared disk storage and archive in a single system.

If there were any television transmitters on the NAB Show floor that used IOTs or other tubes, I did not see them. The industry has completed its transition to solidstate VHF and UHF transmitters, and is now working to increase their efficiency—which is already about as good as the best MSDC IOT devices.

Meanwhile, ATSC 3.0 was at the forefront of transmission products at the show. Even passive components such as antennas had claims of improved performance with ATSC 3.0, and the standard looks to be inevitable in at least some form.

TRANSMITTERS
ABE ELETTRONICA highlighted its MTX transmitter series, which uses solid-state Doherty designs to achieve higher efficiency. Each component of the transmitter is equipped with a display and keypad for local control, and the system has an IP interface through to permit control remotely.

GatesAir Maxiva VAXTE VHF transmitter

CONTINENTAL ELECTRONICS showcased its CTX Series UHF TV transmitters, the first utilize the advanced energy efficient GaN devices in each of its liquid and air-cooled transmitters. This can result in up to 50 percent efficiency for UHF channels.

EGATEL spotlighted the TLWH7900 Transmitter series that include a liquid-cooled 2RU amplifier for output power up to 17 kW per rack. The TLWH7900 uses Doherty amplifier design and the latest LDMOS 50V transistors for maximum efficiency.

Hitachi-Comark Parallax VHF B3 solid-state liquid-cooled VHF DTV transmitter

GATESAIR featured its Maxiva ULXTE liquid-cooled UHF transmitter with PowerSmart Plus, which includes the XTE software-defined exciter with advanced real-time adaptive correction and a simple upgrade path to ATSC 3.0. The company also highlighted the features of its efficient Maxiva VAXTE air-cooled VHF transmitter.

HITACHI-COMARK featured its Parallax VHF B3 solid-state liquid-cooled VHF DTV transmitter that provides up to 50 percent efficiency using Doherty amplifier design. The system can provide up to 23 kW in a single-rack system, or more than 25 kW per rack in a multi-rack system.

ONETASTIC launched its MultiTastic C2 VHF 7+1 ATSC transposer, which combines up to 7+1 (or 6+2) transmitter modules in a single 4RU chassis. Each transmitter module can be equipped with various input interfaces (satellite receiver, ASI, ETI, EDI, GigE or RF), and an internal matrix switches a spare transmitter module automatically to take the lead in case one fails. RF amplification system can be independent per each transmitter or also common.

Rohde & Schwarz SDE900 software-defined ATSC 3.0 exciter

ROHDE & SCHWARZ launched the SDE900, a plug-in rackmount module for the R&S Tx9 generation of transmitters, creating an upgrade path to ATSC 3.0. The SDE900’s software-based encoder generates the I/Q modulation data on its high-performance IT server. The company’s TCE900/TCE901 exciter generates the COFDM waveform based upon the I/Q data.

RVR-ELETTRONICA featured its Blue-Video television exciter, which can provide up to 10W (with an external precorrector) and can be used independently as a translator or low-power transmitter. Blue-Video covers the UHF band, and can select its channel with 25 Hz precision.

Teamcast Vortex II Dualcast ATSC1.0/3.0 exciter

TEAMCAST showed its Vortex II ATSC 3.0, a new dual-cast ATSC 1.0/3.0 exciter that can be switched between either standard. The Vortex II exciter meets all requirements for upgrading a DTV transmitter to ATSC 3.0, while preserving the ability to operate in the legacy ATSC1.0 format.

ANTENNAS
Dielectric ATSC 3.0-ready APT panel antenna DIELECTRIC unveiled its APT panel antenna. Designed with the spectrum repack in mind, the APT features adjustable vertical polarization. It also features Dielectric’s FutureFill technology, which makes it ATSC 3.0-ready.

ALIVE TELECOM showed its ATC-BCSE, an elliptically polarized cavity slot antenna, with a UHF wide-band antenna option that allows multiple pattern configurations at various elevation gains and beam tilt designs. Custom designs are available for unique azimuth, null fill or beam-tilt requirements.

RADIO FREQUENCY SYSTEMS (RFS) announced a customized planning tool to help broadcasters build their new television antenna systems in preparation for the U.S. spectrum repack. RFS’ Antenna and Analysis System Planning (AASP) software package allows users to configure their TV broadcast system and file with the FCC.

JAMPRO showcased its Prostar high-power UHF slot antenna. Featuring power ratings up to 5 MW, the Prostar can have custom patterns, and horizontal, circular and elliptical beam polarization.

RF COMPONENTS
DELTA MECCANICA discussed its range of filters, combiners, switches and other RF components, including an eight-pole UHF mask filter capable of handling 5kW. Compared to a more typical six-pole mask filter, the eight-pole version can be used in adjacent-channel situations and allow less interference to the channels above and below it.

ELECTRONICS RESEARCH INC. (ERI) introduced the UF35000, a tunable waveguide UHF band pass filter with power handling capability of up to 50kW for the liquid-cooled version. All ERI UF series band pass filters include multiple cross couplings to increase rejection of transmitter out-of-band emissions, and six- and eight-pole designs are available for 8VSB, ISDB-T and COFDM applications.

MYAT introduced the DT Star UHF Gysel power combiner, which eliminates expensive phased lines and complex switching schemes needed to maintain output during faults. The result is substantially better fault tolerance than other systems, so users maintain greater signal strength and can often perform on-air maintenance in the event a component fails.

V-SOFT COMMUNICATIONS featured its TVStudy for Windows software, which combines the FCC’s program for determining interference between TV stations with an easy-to-use Windows launching vehicle. The basic TVStudy program was developed by the FCC for assigning channels during the repacking process, but it runs only on Linux or Mac. V-Soft modified it to run on Windows 10 and simplified the install process by providing the program and its data on a flash drive.

International Tower Lighting’s ILS-3600 tower light and its controller

TOWERS AND STRUCTURES
DAVICOM introduced the DVLC-1 Lightning Strike Counter that detects and counts lightning strikes sustained by transmission towers, thereby giving site operators better situational awareness of the conditions at their sites.

INTERNATIONAL TOWER LIGHTING highlighted its ILS-3600 dual-LED lighting system that uses LEDs and precision optics to provide a low-power, low-light pollution, dual-tower lighting system. The system’s electronics are accessible at ground level reducing the need for costly tower climbs, and the flash head contains only LEDs and a multistage surge-suppression network.

Portability, flexibility, scalability: There were lots of “abilities” to be found at NAB Show when it came to technologies in the switching, routing and KVM space. A growing number of technologies are offering the ability to provide control from nearly anywhere via control-over-IP technologies via a tablet or panel, while other solutions are offering M&E users a set of integrated all-in-one production systems that combine switcher/graphics/server into one package.

Blackmagic Design ATEM Television Studio HD

Broadcast Pix BPSwitch

SWITCHERS
BLACKMAGIC DESIGN debuted the ATEM Television Studio HD, a portable live production switcher for broadcast, professional and AV users. The system includes eight inputs, re-sync in each input, built-in DVE, aux out, chromakey and flash-based media store.

BROADCAST PIX introduced the BP-switch family of integrated video production switchers, which feature what the company says is the industry’s first control-over-IP from anywhere by tablets, phones and panels. The new switchers include BPNet hybrid SDI and IP I/O capability, streaming, and optional robotic camera control. The company also showcased the Broadcast Pix Commander, a new series of live production systems featuring a streamlined touchscreen interface.

DATAVIDEO released the HS-1500T HDBaseT portable video switcher, which features a joystick, knob and preset buttons for controlling pan, tilt, zoom of up to three PTZ cameras, and a built-in 17.3-inch monitor for Multiview.

EVS showcased its DYVI IT-based switching solution, which offers distributed live production and new scalability features. 

FOR-A unveiled the HVS-2000, a six M/E video production switcher as well as an expansion of its 1 M/E HVS-100 video switcher. The HVS-100 Express, for example, is controlled via tablet, handheld or laptop with a web browser as opposed to a traditional hard control panel.

Grass Valley K-Frame V-Series switcher

GRASS VALLEY is targeting the smaller end of the market with the 3RU IP-capable K-Frame V-Series. The frame is designed to complement the company’s GV Korona switcher panel by fitting into locations with limited space. As part of the K-Frame family, the V-series can be used with any Grass Valley switcher panel, and broadcasters can run multiple panels and shows off the same frame simultaneously.

JLCOOPER ELECTRONICS showed the compact Proton broadcast switcher panel, designed for use with Blackmagic’s ATEM.

Newtek TriCaster TC1

NEWTEK launched TriCaster TC1, a multicamera production system that offers switching, streaming and recording in HD, 3G and 4K UHD 60p; multisource video mixing with including 16 external inputs; and integrated video servers allowing for playback, replay and live editing. The company also highlighted the NewTek IP Series with a four-stripe control panel; scalable, multisource live video mixing of 64 4K UHD 60p source channels; and stored media playback capabilities.

PANASONIC unveiled the AV-HLC100 Live Production Center, which combines a 1 M/E switcher, remote camera controller and audio mixer functions. Designed to enable live streaming with one-person operation, the live production center is targeted at university sports, webcasting, live streaming and live event video production.

ROLAND rolled into NAB with new firmware and software upgrades for its VR-4HD AV and streaming switcher and V-1SDI 3G SDI video switcher.

ROSS VIDEO introduced a range of new features and functionality for its Carbonite and Acuity production switcher lines, including Carbonite UHD software. For Acuity, Ross showed Acuity software v6.0, which adds LiveEDL and soft panel operation. Ross also used NAB as a launching point for a new all-in-one production solution, Graphite, which includes a Carbonite production switcher, XPression 3D motion graphics system, two channels of clip server, and audio engine within a single 4RU chassis.

RUSHWORKS released a new control panel that incorporates a T-bar for manual transitions with numerous short-cut keys for multiple effects. The VDX T-Bar Control Surface integrates with the company’s VDESK and REMO multicamera production systems.

TV PRO GEAR introduced its fifth-generation FlyPak, an integrated remote production center that can be shipped in specially designed cases or installed within custom production vehicles. Moving into support of virtual reality, TV Pro Gear also debuted their VR Truck designed for 4K live streaming.

US BROADCAST DISTRIBUTION showcased the Production Bot Switch 8, a portable live production system that allows users to switch up to eight HD-SDI sources (or two 4K UHD sources) and professional XLR/TRS audio.

ROUTING
With an eye on HDR and UHD, EVERTZ showcased a series of 12G-SDI solutions including a 12G-SDI router.

FOR-A launched the MFR-4000 12G-SDI-supported routing switcher, adding to its existing MFR-3000, MFR-5000 and MFR-8000 models.

GRASS VALLEY introduced GV Node v2.0, an all-in-one IP processing and routing platform that also supports advanced SDI-based workflows to leverage existing systems while making way for live telecasts over end-to-end IP. The company also showed GV Convergent v1.3, which offers IP fabric/SDI router control and configuration capabilities.

IMAGINE COMMUNICATIONS showcased its Platinum IP3 router, which provides multiformat signal distribution capabilities including support for HD, 3G and 4K/UHD.

Utah Scientific 400 Series 3 hybrid digital router

PESA debuted SmartView, an app for Android-based tablets that provides monitoring and control of PESA routers.

ROSS VIDEO was on hand with new routing solutions including the new RCP-QE Series remote control panel, which offers 18 or 36 colored backlit graphic LCD keys with multiple menus. The company also showed the new Ultrix 12G router/audio processing engine and multiviewer.

UTAH SCIENTIFIC unveiled the 400 Series 3 hybrid digital router, designed to accommodate SMPTE ST-2110 and SMPTE 2022-7/6/5 IP standards, along with 3G SDI, analog HD and SD, as well as myriad audio formats, including analog, digital AES3, MADI, TDM and AES67 all in a common frame.

Adder CCS-PRO8 system

KVM SWITCHES
ADDER introduced the Adder CCS-PRO8 system, which allows operators to control up to eight machines across eight displays using one mouse and keyboard. The company also demo-ed AdderLink XDIP, an IP-based KVM extender/matrix.

BLACK BOX showcased the Boxilla KVM and AV/IT system management platform, which manages KVM, KVM over IP, virtualized end-points and AV/IT devices on one centralized command center. Also on the IP train, the company showcased how its InvisaPC solution can be used alongside media transport platforms to demo IP interoperability and full KVM access for remote production.

G&D NORTH AMERICA showed the KVM extender DP1.2-Vision-XG, designed to transmit 4K or 8K video at 60 Hz up to 10,000m over as many as four synchronous video channels. The company also showcased the DP1.2-Vision, which transmits computer signals via fiber or CATx, as well as the DP-Vision-IP system, which provides access to computers over IP.

IHSE debuted the new Draco OPS+ KVM extender, a 4K DisplayPort KVM module designed for larger UHD displays that incorporate Intel’s OPS+ open pluggable specification. The company also launched Tera Viewer software, which provides an IP-based preview of video signals passing through Draco Tera KVM matrix systems. Also on tap, the new Matrix Grid board, designed to simplify interconnection between Draco tera enterprise KVM matrix switches and the Draco vario KVM USB 3.0 extender system.hinklogical showcased a new uncompressed private cloud solution that provides zerolatency video, KVM and UI control, and supports 4K DCI 4:4:4 video sequences at up to 60 fps. The company also demo-ed TLX24, an uncompressed 4K KVM non-blocking 24-port uncompressed KVM matrix switch that supports both premise and cloud-based editing workflows.

 The spectrum of editing systems on display at the 2017 NAB Show reflected the changing demands of today’s post production. Notice how often one of those demands is for free training versions of high end systems.

A major update for video in ADOBE Creative Cloud delivered new features for graphics, titling, animation and sharing assets in addition to supporting HDR, VR and 4K. We also saw Premiere Pro 11.1.0 using editable motion graphics templates and the ability to create positionally-aware ambisonic audio for VR.

EditMate from ARVATO SYSTEMS can manage Adobe Premiere Pro CC projects and related media files by giving editors the option to “check out” projects and associated media for offline work on their local devices.

Avid MediaCentral

AUTODESK Flame 2018 update 1 includes new action paint improvements such as 16-bit floating point depth support, scene detect and conform enhancements. It also features Batch, a node-based procedural compositing environment and an Editorial Timeline that oversees projects to create consistent looks and correctly match graded and 3D VFX shots.

AVID MediaCentral was given new cloudbased applications reflecting their justannounced partnership with Microsoft. Pro Tools can now mix Atmos multichannel sound natively, and ScriptSearch and PhraseFind are back on Media Composer. For budding editors there is a “freemium” version of their NLE called Avid Media Composer | First to learn on gratis.

Blackmagic Design’s DaVinci Resolve with Fairlight Audio post-production suite

BLACKMAGIC DESIGN debuted DaVinci Resolve 14, now with Fairlight audio postproduction suite, 10X performance improvement and collaboration tools that let multiple people edit, color and mix audio from multiple systems. Earlier versions of DaVinci Resolve can now be downloaded for free on the Blackmagic Design site.

The Lightworks NLE Pro v14.0 from EDITSHARE has a new look and extensive new features including a simplified user interface, user-defined “Auto Effects,” and intuitive support for GoPro cameras. A free version is also available with output limited to Vimeo and YouTube 720p max.

GRASS VALLEY introduced EDIUS v8.5, which can now handle HDR PQ Gamma and an improved H.264 encoder, H.265 (HEVC) decode capability and Hi DPI monitor support. Grass Valley also has separated their Mync content management/media player from their GV Browser as a standalone product, free-of-charge for a limited time.

ROHDE & SCHWARZ unveiled v6.2 of its CLIPSTER finishing system with UHD HDR mastering and 32-bit floating point processing. This enables the generation of 4K/UHD HDR masters including mapping of the extended luminance range into ST2086 (PQ), directly from an uncompressed linear light digital source.

SAM VIBE

SAM introduced the Vibe post production system, which offers a variety of editing options, including Rio (formerly “Quantel Rio”) high-end craft NLE, Premiere Pro CC plug-in, or SAM’s Go! news editor in a browser. It can output either into a newsroom or directly to social media. Vibe uses a hybrid of off-the-shelf IT storage and SAM’s own sQ servers managed by a unified orchestration layer.

GRAPHICS
Graphics systems took center stage at the NAB Show both in on-screen displays and by gathering crowds in the exhibit halls.

The AUTODESK Maya 2017 update 3 encompasses several enhancements to character creation tools such as interactive grooming with XGen, an all-new UV workflow, and updates to the motion graphics toolset including a live link with Adobe After Effects CC. Autodesk 3ds Max 2018 offers Arnold 5.0 rendering thanks to a new MAXtoA 1.0 plug-in.

BORIS FX demonstrated Mocha VR, which the company says is the first plug-in to bring native 360-degree optimized planar tracking, masking, object removal, and horizon stabilization tools to Adobe Premiere Pro CC and Adobe After Effects CC. Sapphire, their high-end VFX plug-in collection, will be offered in eight separate categories called “Sapphire Units.”

BRAINSTORM MULTIMEDIA unveiled their InfinitySet 3 AR/VR system, which not only seamlessly integrates Aston projects, but can edit, manage and create 2D/3D motion graphics. A highlight of their exhibit was the VideoCAVE, a Mixed Reality application using monitors in a real set.

CHYRONHEGO brought out Click Effects PRIME, a turnkey graphics authoring system for live arena- and stadium-based A/V presentations. They also showed updates to the CAMIO Universe newsroom ecosystem, and v5 of NewsTicker.

NEWBLUEFX had a new version of Titler Live Broadcast, now with After Effects CC project import, tear-away panels in both the Playout and title Designer interface, revamped workspace controls, and animated updates as new data comes in.

PIXEL POWER, in partnership with Amazon Web Services, demonstrated a premium channel playout complete with sophisticated graphics and automation. Pixel Power’s Gallium Workflow Orchestration enables broadcasters to execute workflow tasks based on media content while their StreamMaster Media Processing manages processing functions executed to media content.

Ross Xpression 7.0

ROSS VIDEO debuted XPression v7.0, which adds support for Microsoft Windows 10. This will help users building or providing their own hardware for XPression Designer, XPression Studio GO!, XPression Prime GO! and XPression Live CG. We also saw XPression’s INcoder transcode engine, which now passes the original timecode from QuickTime media source clips.

TELESTREAM announced an update to the Vantage Post Producer Titler Engine, powered by NewBlueFX. This update will enable the automation of Adobe After Effects CC version rendering by providing the means to replace After Effects CC project layers in rendered versions to be used in Post Producer automated outputs.

VIZRT featured the biggest augmented reality and virtual reality display at show. Vizrt’s new story creation tool, Viz Story, enables journalists to edit video, add graphics and publish to social media within minutes. Vizrt also demonstrated a standalone weather alerts system to manage, control and automate the display of critical weather advisories.

Audio vendors released a slew of new products at this year’s NAB Show, especially IP-enabled gear, perhaps due to the boost given to the AES67 streaming interoperability standard by its inclusion in SMPTE’s ST 2110 standards suite, which is moving quickly towards publication.

AUDIO MIXERS
CALREC launched Artemis Ray, with 456 fully featured input channels, 128 program buses, up to 72 faders, plus a new fader/monitor panel, in a shorter frame than its Artemis predecessors. New v8 software introduces improved RP1 support, switchable 48/96 kHz sample rates, and further integration of Calrec’s AoIP interface across its product range. New features for Brio include stereo- and 5.1-path spill leg access and independence controls, plus multiple sample rate support.

DIGICO’S SD12, new at the NAB Show, includes the latest SD Series Stealth Core 2 software and features 72 inputs and 36 aux/group buses, a 12x8 matrix, and multiple main output buses, all with full processing.

Lawo’s mc²96 Grand Production Console

Logitek’s Helix TV Audio Console

LAWO’S new flagship mc²96 Grand Production Console, intended for IP video-production environments, supports multiple IP protocols and is available with 24 to 200 faders. The large touchscreen displays are complemented by mini-color TFTs on each channel strip that can display an associated video feed.

LOGITEK’S Helix TV Audio Console combines console hardware (up to 36 faders) and multitouch screens that support 5.1/stereo master and 24 mix-minus outputs, offers remote control from smart devices (any OS), and is driven by the company’s JetStream AoIP routing system. Helix Surface is a large format virtual console for the 28-inch Microsoft Surface Studio that fully mirrors physical Helix consoles, for second control rooms, remote locations, or as a physical console replacement. Logitek’s new vMix Touch enables presentation of custom layouts across multiple devices and screen sizes.

ROLAND’S Go:Mixer is now shipping; the compact, 8-input, USB-powered device is designed to complement on-the-go capture of video on iOS and Android smartphones.

SOLID STATE LOGIC released additions to its System T AoIP infrastructure product range, including the Tempest Control Rack (TCR), which allows broadcasters and integrators to build modular systems from System T components where a traditional broadcast console is not required or not appropriate. SSL also launched the new lower-power and lower-cost T25 Tempest Engine option.

YAMAHA’S new CS-R10-S control surface is approximately two-thirds the size of the existing CS-R10 and operates in a dual-console mode or as sidecar with the CS-R10. Firmware update v1.5 for Yamaha’s Rivage PM10 includes Eventide H3000 Live Ultra-Harmonizer and Dan Dugan Sound Design automatic mixer plug-ins. Yamaha also released EQ presets for its Rivage PM10, CL, QL, and TF Series digital mixing consoles specifically designed to provide optimum performance with Ultimate Ears IEMs.

WHEATSTONE introduced the DMX console, its first PR&E product. It is a complete, standalone studio system offering IP audio networking without the need for an external Ethernet switch and with optional 8- or 16-fader console surfaces.

AUDIO RECORDING & PLAYOUT
AATON DIGITAL unveiled the CantarMini 16-track digital portable mixer-sound recorder based on—and lighter than—the company’s CantarX3 and compatible with the add-on Cantarem2 mixer/fader panel.

AVID introduced Pro Tools enhancements, including support for Dolby Atmos 7.1.2 audio stems with built-in fold-down logic; on-the-fly switching and automation between surround and object outputs; and synchronization of audio and automation punches between input and playback modes in conjunction with the Dolby RMU.

Sound Devices’ MD-4 audio interface

SOUND DEVICES’ new 3-input/5-track MixPre-3 and the 6-input/8-track MixPre-6 both incorporate new custom-engineered Kashmir mic preamps with analog limiters and new 32-bit A-to-D converters. Sound Devices’ new 1RU MD-4 audio interface connects four analog mic or line inputs to Dante audio networks and may be battery powered.

ZAXCOM launched its smallest and lightest recorder, the ZFR400, in a beltpack form factor incorporating an IFB receiver and recording to an internal micoSD card while offering a dynamic range of 128 dB.

AUDIO MONITORING & METERING
EVENTIDE has doubled the delay time in Precision Delay mode for the BD600+ broadcast delay, which features USB and RS-232 for remote control and improved audio performance. The BD600W+ offers Wheat-net IP integration. The BD600E+ features extended remote capability for integration with automation systems.

Marshall’s Dante-capable AR-DM61-BT multichannel audio monitor

MARSHALL’S Dante-capable AR-DM61- BT audio monitor features a 10-inch LCD touchscreen and built-in live video preview confidence monitor and can display up to 64 audio channels from multiple signal types, including four dedicated 3G-SDI inputs.

RENEGADE LABS’ M3G-XT multi-input/multichannel audio monitoring system supports SDI, Dante/AES67, analog or digital inputs and also offers a surround sound downmix.

TSL’s MPA1 Solo SDI Audio Monitor

TSL PRODUCTS announced the all-new 1RU MPA1 Solo SDI audio monitor that enables users to view all 16 embedded channels simultaneously while allowing any channel to be selected for monitoring.

MONITOR SPEAKERS & HEADPHONES
GENELEC released GLM (Genelec Loudspeaker Manager) v2.2, adding Distributed Bass Management Filters for legacy Smart Active Monitoring products and seamless integration with the new 7300 range of Smart Active subwoofers.

NEUMANN’S new 4-inch KH80- powered broadcast monitors support auto calibration through Precision Alignment software, which will be available by the end of the year.

Point Source Audio’s CM-i5 in-ear broadcast headset

POINT SOURCE AUDIO’S new CM-i5 in-ear broadcast headset weighs less than 2 ounces and features a slimmer, lighter condenser mic mounted on an “unbreakable boom;” available summer 2017.

AUDIO DISTRIBUTION, ROUTING & CODECS
AEQ’S third-generation Olympia 3 Dante/AES67 commentary unit operates in three different ways: as a standalone audio mixer connected to a control PC, as part of an AoIP intercom system, or as part of a large-scale commentary system.

AUDINATE announced its new Dante Broadway networking chip in 8x8 and 16x16 channel options, enabling OEMs to add Dante audio networking to small mixers, power amplifiers, DSPs, hardware interfaces and other solutions.

JK AUDIO’S Interchange LTD is a 1RU interface allowing remote access to existing party-line intercom systems and features a digital hybrid for connection to analog phone lines.

LAWO’S Seamless Orchestration and Unification Layer (SOUL) provides a single point of control that manages the generation and routing of audio and video streams in any multi-vendor IP setup, and is compatible across individual interfaces and technical solutions.

RENEGADE LABS’ D3G converts eight channels of SD/HD/3G SDI audio to Dante and includes confidence monitoring, audio delay and sample rate conversion.

STUDER demonstrated its new DIOS (Digital I/O System), automation software that routes and manages complex signal flows—including third-party platforms—in broadcast applications, transparently re-routing connections in the event of a failure.

MICROPHONES
DPA MICROPHONES’ d:screet lavalier mic series can now be paired with the new SCM0013-B4-way clip, with multiple cable management mounting options.

MARANTZ PROFESSIONAL expanded its microphone and accessory lines with the addition of the CM-200 camera-mount shotgun mic and the ZP-1 blimp-style mic windscreen and shockmount.

Sennheiser’s GoPro-verified MKE 2

POINT SOURCE AUDIO introduced a precision-matched, dual-element microphone offering redundancy in a single housing. The mic will also be available as the CO2-8WL standalone lavalier and will be offered within the Embrace category of ear-mountable lavs.

SENNHEISER’S waterproof GoPro-verified MKE 2 elements microphone is designed to pair with GoPro’s HERO4 Black and Silver cameras and features a special windshield that works even when wet.

WIRELESS
ALTEROS unveiled its fully digital 24-channel GTX Series Ultra-Wideband (UWB) wireless microphone system, delivering 48 kHz/24-bit low-latency, un-companded audio at 6.5 GHz with automatic failover/redundant switching and MADI, fiber, Dante and AES67 digital outputs.

AUDIO-TECHNICA introduced its 6000 Series, a spectrum-efficient High Density Wireless System that provides 31 simultaneous channels at 944-952 MHz within 4 MHz of bandwidth, using advanced IMD suppression methods to enable its channels to be spaced at 125 kHz intervals.

LECTROSONICS introduced Duet, a new digital wireless IEM system comprising the M2T dual-stereo half-rack transmitter and M2R diversity belt pack receiver, covering 470-608 MHz UHF and accepting analog or Dante digital inputs.

NEUTRIK unveiled new cable-free transmission via its new Xirium Pro digital wireless audio system, operating at FCC license-free 5 GHz with extremely low latency.

Shure’s Axient Digital Wireless System

SHURE’S new Axient Digital Wireless System features a receiver compatible with its AD Series and ADX Series transmitters. Axient Digital ADX Series transmitters feature ShowLink, offering interference detection and avoidance and real-time control of all transmitter parameters.

ZAXCOM introduced the rackmountable RX-12R wideband receiver with a tuning range across 512–698 MHz with a 35 MHz tracking front-end filter. Zaxcom’s new lightweight ZMT3-Phantom transmitter is designed for boom pole placement behind the mic and records internally onto a microSD card using the lossless Mobile Audio Recording Format. Files are instantly copied to BWF or mp3 via free ZaxConvert software (Mac/PC).

TV Solutions Group’s Linear Acoustic AMS Authoring and Monitoring System

PROCESSING
TV SOLUTIONS GROUP’S Linear Acoustic AMS Authoring and Monitoring System combines Linear Acoustic real-time audio processing with Minnetonka Audio software engineering on Telos Alliance AoIP architecture in an ATSC 3.0-compliant hardware and software solution for immersive 3D audio that includes control of the interactive features of MPEG-H.

ORBAN’S iMix 5.1 headphone monitor renders 5.1 images in the user’s headphones without the use of artificial ambience or special encoding. The new openGear OTV-22 card offers dual, discrete stereo instances of Orban’s exclusive OPTIMOD TV ITU-BS.1770-compliant loudness control. OTV-M2S supports four instances of Orban’s newest Mono2Stereo algorithm, creating artifact-free stereo audio from mono feeds. OTV-5.1 Live is a suite of ultra-low-latency 5.1 surround processors, including the 257 Decoder, 752 Encoder and the iMix 5.1. OTV-510 is an ITU-BS.1770-compliant low-latency 5.1 surround loudness monitor and controller for production and transmission. Orban’s OTV-MUX HD and OTV-DMX HD cards offer embedding/de-embedding of up to eight AES audio channels into a 3G/HD/SD SDI signal.

WHEATSTONE’S Air-Aura X4 digital spectral processor for FM and HD shares information between all stages: the iAGC, 31-band limiters and clipper.

Clear-Com’s V-Series Lever Key-Panels

INTERCOM & REMOTE CONTRIBUTION
CLEAR-COM released two new V-Series Lever Key-Panels, a 32-key intercom panel (V32LD) and a 16-key expansion panel (V16LDE), offering higher key density and advanced programmability in the same panel space as current models. The new EDante64-HX interface card is compatible with the Eclipse HX-Omega, Median, and Delta matrix systems, and allows users to transport up to 64 audio channels.

RIEDEL’S Bolero is an expandable DECT-based intercom system running over an AES67 IP network (and Reidel Artist compatible) that can uniquely be applied three ways: as a wireless beltpack, wireless keypanel and walkie-talkie radio. Riedel’s new HandsFree App (iOS/Android) for its SmartPanel enables routing of phone audio through the Artist digital matrix intercom system via Bluetooth.

RADIO ACTIVE DESIGNS released a firmware update for the UV-1G base station and the RAD body packs to offer more headroom and improved audio quality. The company also introduced v2 of the RAD Pack that provides greater battery life and a reduction in overall temperature.

RTS INTERCOM SYSTEMS’ Roameo DECT-based wireless intercom system integrates with all RTS digital matrices and provides user-friendly, intuitive operation with icon-based setup and buttons with tactile feedback.

SONIFEX introduced the AVN-TB10AR 10-button intercom. The DHY-04HD is an HD Voice/GSM hybrid for handling high-quality voice calls. Sonifex’s new PC-AD2 is a dual stereo analog and dual stereo AES-3 I/O half-height PCIe sound card.

STUDIO TECHNOLOGIES launched its Model 5422 Dante Intercom Audio Engine, a 32-bit digital solution for creating party-line (PL) intercom circuits when used with Dante-compatible products.

FILE-BASED WORKFLOW
IZOTOPE released RX 6, the latest update to its flagship audio repair and enhancement software, and available in four versions: RX Elements, RX 6 Standard, RX 6 Advanced and RX Post Production Suite.

DOLBY LABORATORIES made two software packages available to Avid Pro Tools 12 users. Atmos Production Suite replaces the Local Renderer plug and provides editorial and premix functionality for film and TV content, and an end-to-end VR content workflow. Mastering Suite additionally includes Dolby HT-RMU software, enabling mastering for digital delivery or Blu-ray.