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WASHINGTON—NAB is taking steps to reduce the cost of exhibiting at the NAB Show in Las Vegas by unveiling a significantly lower drayage fee covering transport of materials offloaded from shipping containers outside the exhibit halls, moved to vendors’ booths and at the close of the show returned to the containers.

In a memo from NAB to exhibitors last week, the trade organization said it dropped the “material handling rate” by nearly 40 percent, from an average of $6.35 per square foot of booth space to $3.85. The new, simple, flat rate plan covers all items an exhibitor brings into the show — regardless of quantity, weight or volume, according to NAB.

In a survey by Tradeshow Logic, NAB Show exhibitors had identified this material handling/drayage fee as the biggest challenge they faced “due to the high cost and unpredictability of the expense,” according to NAB.

Not only did the survey reveal that the material handling/drayage fee accounted for about 13 percent of what exhibitors spend to participate in the trade show, but NAB also learned exhibitors brought less product and “less desirable displays” to mitigate “excessive material handling fees,” it said.

[Read:Mixed Reality Lab Demo To Go Immersive At IBC 2018]

When asked about the new, lower material handling fee by TV Technology,Chris Brown, executive vice president, Business Operations for NAB said, “we are grateful that our long-time partner Freeman, our General Services Contractor, was willing to work with us to make this unique material handling program possible. It is a truly unique model that will yield immediate savings for our exhibitors, driving better return on investment while at the same time giving them budget certainty.

We understand that participating in events like NAB Show require a significant investment in time and money, and we are committed to doing all we can to address major pain points to ensure the NAB Show remains the best value in the business.

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NAB 2018, Las Vegas, USA - April 9, 2018 - Blackmagic Design today announced Cintel Scanner 2, a new second generation model of its popular real-time film scanner. Cintel Scanner 2 features the incredible speed of Thunderbolt 3 and PCIe host computer connections, as well as a new skid plate for 35 mm HDR film scanning and timecode output. The new Cintel Scanner 2 will be available in June for US$29,995 from Blackmagic Design resellers worldwide.

The new Cintel Scanner 2 features entirely new high speed interfaces for connecting to Mac and Windows computers. With incredibly fast 40Gb/s Thunderbolt 3 technology, the Cintel Film Scanner 2 can connect to the latest Mac computers for realtime 4K film scanning. In addition, there’s also an external PCIe interface for connecting to Windows and Linux based computers that don’t have Thunderbolt 3.

The new bi-phase sync and timecode output connection lets customers sync the Cintel Film Scanner 2 with external equipment. This is ideal for use with devices such as audio followers that playback mag sound track reels in sync with the film and that often don’t have timecode inputs, as they use an electronic tach pulse to follow sync. When used with equipment that supports timecode, the scanner can provide a timecode output to allow the audio device to match both position and sync. The addition of bi-phase sync support makes the Cintel Scanner 2 compatible with a wider range of historical audio devices than ever before.

The Cintel Scanner 2 also features a new skid plate that enables HDR (high dynamic range) film scanning of 35mm film. This makes it possible to meet the growing demand for 4K HDR content. Since the native resolution of 35mm is 4K with high dynamic range, customers can scan their existing film libraries with the Cintel Scanner 2 and recover vibrant 4K high dynamic range images for distribution on the latest streaming services such as Netflix and Apple TV. Support for 16mm HDR scanning will be added in a future update.

The HDR scanning features of Cintel Scanner 2 are available through DaVinci Resolve 15 Studio, which will be included with the scanner. DaVinci Resolve 15 Studio features full GPU accelerated color grading and mastering support for DolbyVision, HLG, HDR and HDR10+. In addition, DaVinci Resolve 15 Studio adds new ResolveFX Revival tools for automatic dirt removal, dust busting, spot patch replacement with smart fill technology, and advanced temporal and spatial noise reduction.

“The combination of Cintel Scanner 2 with DaVinci Resolve 15 Studio gives customers the most advanced film scanning and restoration tools in the world,” said Grant Petty, Blackmagic Design CEO. “The new Cintel Scanner 2 is exciting because it lets customers make their existing film libraries available in Ultra HD for HDR broadcast and streaming through services such as Netflix and Apple TV!”

Availability and Price

Cintel Scanner 2 will be available in June for US$29,995 from Blackmagic Design resellers worldwide.

Press Photography

Product photos of the Cintel Scanner 2 and accessories, along with all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

NAB 2018, Las Vegas, USA - April 9, 2018 - Blackmagic Design today introduced Blackmagic Micro Converter BiDirectional SDI/HDMI, an incredibly small pocket size, broadcast quality video converter that simultaneously converts SDI to HDMI and HDMI to SDI in all SD and HD formats up to 1080p60. Blackmagic Micro Converter BiDirectional SDI/HDMI is available now from Blackmagic Design resellers worldwide from only US$65.

Blackmagic Micro Converter BiDirectional SDI/HDMI will be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.

The Blackmagic Micro Converter BiDirectional SDI/HDMI converts signals between professional SDI broadcast equipment and HDMI sources such as computers, projectors and big screen televisions. The converter can send different video formats in both directions at the same time. For example, customers could use it to convert NTSC format video from SDI to HDMI in one direction, while simultaneously converting 1080p60 video from HDMI to SDI in the other direction.

Blackmagic Micro Converter BiDirectional SDI/HDMI features professional 3G-SDI connections for working with all SD and HD equipment and formats up to 1080p60, including Level A and B devices. Unlike other small video converters, Blackmagic Micro Converters feature the highest quality broadcast technology, miniaturized into an industrial strength durable metal enclosure. Customers get the same broadcast quality 10-bit video processing found in full size converters. In addition, Blackmagic Micro Converter BiDirectional SDI/HDMI also has SDI re-clocking on the 3G-SDI input which regenerates the SDI video signal, reduces SDI jitter and improves SDI eye pattern before the signal is processed. This allows longer cable lengths and makes them incredibly reliable for use in professional broadcast.

Blackmagic Micro Converter BiDirectional SDI/HDMI can be powered via micro USB from a laptop computer, big screen television or mobile phone battery back. It can also be powered using an optional DC plug pack which supports 110 to 240V AC and comes with 4 different international AC socket adapters so customers can plug them into outlets anywhere in the world.

“The new Blackmagic Micro Converter BiDirectional SDI/HDMI is exciting because it gives customers full 10-bit broadcast quality video processing in an incredibly small design they can take anywhere,” said Grant Petty, CEO, Blackmagic Design. “Plus, it works in both directions with different video formats at the same time, so it’s like getting two converters in one!”

Blackmagic Micro Converters are part of a large family of professional broadcast converters that includes even more advanced models with a massively increased range of features. This range includes 3G, 6G and 12G-SDI models that are compatible with SD, HD and Ultra HD all the way up to high frame rate 2160p60. Blackmagic Mini Converters and Teranex Mini converters feature support for a wide range of connections such as balanced analog and AES/EBU audio, redundant inputs, analog video, optical fiber and more.

Blackmagic Micro Converter BiDirectional SDI/HDMI Key Features

• Full size HDMI and 3G-SDI connections for working with all SD and HD formats up to 1080p60.
• Durable metal enclosure designed to be rugged enough to use anywhere.
• Professional Blackmagic Design broadcast quality 10-bit video processing.
• SDI re-clocking on 3G-SDI input to reduce SDI jitter and improve SDI eye pattern.
• Blackmagic Micro Converter BiDirectional SDI/HDMI powers via micro USB connection from devices such as laptop computers, phone chargers, and televisions. Optional DC plug pack with external 110V - 240V AC power supply is available.
• Blackmagic Micro Converter BiDirectional SDI/HDMI wPSU also powers via micro USB connection or from the included DC plug pack with external 110V - 240V AC power supply.

Availability and Price

Blackmagic Micro Converter BiDirectional SDI/HDMI is available now from US$65 from Blackmagic Design resellers worldwide.

Press Photography

Product photos of the Blackmagic Micro Converter BiDirectional SDI/HDMI, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

NAB 2018, Las Vegas, USA - April 9, 2018 - Blackmagic Design today announced Blackmagic Mini Converter Optical Fiber 12G, a new bi directional SDI to optical fiber converter that lets customers extend SDI connections up to 10 miles away. Blackmagic Mini Converter Optical Fiber 12G is available now from Blackmagic Design resellers worldwide for US$155.

Blackmagic Mini Converter Optical Fiber 12G will be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.

Blackmagic Mini Converter Optical Fiber 12G is a compact converter that extends SDI connections over massive distances by converting SDI to optical fiber and optical fiber to SDI in both directions at the same time. Using the new Blackmagic Mini Converter Optical Fiber 12G is an affordable way to increase camera coverage at live events because it lets broadcasters place cameras up to 10 miles away from their switchers, routers, and decks using low cost optical fiber cable. That makes it perfect for placing cameras around any studio, for use at outdoor sporting events or even concerts and theatrical performances in large venues.

The converter is also bi directional which means that it can simultaneously send different video formats in different directions at the same time. Depending on the video format being used, signals can be sent up to 10 miles away from the source. Plus, the advanced 12G-SDI connections on Mini Converter Optical Fiber 12G are multi rate. That means they automatically detect the video signal and switch speeds so they are compatible with all SD, HD and Ultra HD formats and equipment up to 2160p60, including Level A and B devices.

Mini Converter Optical Fiber 12G features a standard SFP type socket that lets customers add any SMPTE compatible 3G, 6G or 12G-SDI SFP module. It also works with the same of low cost optical fiber cables that are commonly used for computer networks. This type of optical fiber cable can be run much longer distances and is much more affordable than copper SDI cable.

For power, Mini Converter Optical Fiber 12G includes a universal power supply with 4 international socket adapters so it can be used anywhere in the world. It also features a screw lock connector that prevents the power cord from being accidentally disconnected.

“The new Blackmagic Mini Converter Optical 12G is exciting because it gives customers an incredibly reliable and cost effective way to extend their SDI connections,” said Grant Petty, CEO, Blackmagic Design. “Now it’s possible to connect equipment such as remote cameras to decks and switchers up to 10 miles away plus it’s a true 12G-SDI design so it’s ready for the future. Best of all, it works in both directions so you can convert different SD, HD or Ultra HD video standards in each direction. It’s like getting two converters in one!”

Blackmagic Mini Converters are part of a large family of professional broadcast converters that includes incredibly affordable Micro Converters as well as advanced models with a massively increased range of features. This range includes 3G, 6G and 12G-SDI models that are compatible with SD, HD and Ultra HD all the way up to high frame rate 2160p60. Blackmagic Mini Converters and Teranex Mini converters feature support for a wide range of connections such as balanced analog and AES/EBU audio, redundant inputs, analog video, optical fiber and more.

Availability and Price

Mini Converter Optical Fiber 12G is available now from Blackmagic Design resellers worldwide for US$155.

Press Photography

Product photos of Mini Converter Optical Fiber 12G, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

NAB 2018, Las Vegas, USA - April 9, 2018 - Blackmagic Design today announced Blackmagic MultiView 4 HD, a new multi viewer that lets customers monitor 4 completely independent SDI video sources on a single display. Customers can monitor any combination of SD and HD formats and frame rates at the same time. Blackmagic MultiView 4 HD features both SDI and HDMI outputs so it can be used with both professional SDI broadcast displays or big screen consumer HD televisions. Blackmagic MultiView 4 HD is available immediately from Blackmagic Design resellers worldwide for only US$185.

Blackmagic MultiView 4 HD will be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.

Blackmagic MultiView 4 HD includes four completely independent multi rate 3G-SDI inputs that are compatible with existing SD and HD equipment, including Level A and B devices. All inputs feature automatic frame re-synchronization, so customers can mix and match any combination of video standards and frame rates, including referenced or non-referenced NTSC, PAL, 720p, 1080i and 1080p60 frames per second, all on the same display at the same time.

With Blackmagic MultiView 4 HD, customers no longer have to connect multiple monitors, dozens of cables or run extra power to view all of their sources. They simply plug in cameras, decks, switchers, routers and feeds into the SDI connections on Blackmagic MultiView 4 HD and can see everything on a single HD display. That means there’s less equipment to carry around and set up.

Blackmagic MultiView 4 HD features both HDMI and 3G-SDI outputs so customers can connect to either a professional SDI broadcast monitor or a low cost big screen HDMI television. When combined with an HDMI television, Blackmagic MultiView 4 HD gives customers the world’s most affordable professional multiview solution, making it perfect for use in control rooms, outside broadcast trucks, or on location shooting at live events.

Designed to be plug and play, connected sources will instantly be displayed in a standard 2x2 grid layout. Customers can use the mini switches to turn on audio meters, choose which audio to output, as well as create custom labels, and more.

“The new Blackmagic MultiView 4 HD is exciting because there has never been a more professional multiview solution with features such as on screen labels and audio meters at this affordable price,” said Grant Petty, CEO, Blackmagic Design. “It’s like having 4 completely independent broadcast monitors on a single display. Customers can use it to view mixed video formats with different frame rates at the same time on a single screen so it’s very flexible!”

Blackmagic MultiView 4 HD Key Features

• Display up to 4 SDI sources on a single HD display via SDI or HDMI.
• 4 multi rate 3G-SDI inputs.
• Compatible with all SD and HD equipment and formats up to 1080p60.
• Automatic frame re-sync allows simultaneous display of mixed SD and HD formats.
• Standard quad split 2x2 view or SOLO.
• 1920 x 1080 supported output resolution.
• 90V-240V DC power supply with international AC adapters for use worldwide.

Availability and Price

Blackmagic MultiView 4 HD is available now from Blackmagic Design resellers worldwide for US$185.

Press Photography

Product photos of the Blackmagic MultiView 4 HD, as well as all other Blackmagic Design product, are available at www.blackmagicdesign.com/media/images/p>

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Fourteen leading developers of the NDI video/IP protocol joined together at NAB 2018 to exhibit their latest products and solutions. NewTek, the developer of the royalty-free standard, hosted the event from the NDI Central Pavilion. Those who couldn’t make it to NAB can watch the coverage on NewTek’s Twitch livestream. The stream showcases NDI developers and creators who are at the forefront IP video production.

Since its introduction in 2015, NDI has become a popular industry standard for sharing video on a standard Ethernet network. The protocol is now in use by thousands of products and millions of users worldwide and is potentially the most widely used protocol of its kind.

 “These fourteen companies represent some of the best innovators among the roughly 1,000 companies incorporating NDI into their products. NAB attendees will be able to explore the NDI ecosystem and discover the amazing devices and applications powered by NDI,” said Michael Kornet, executive vice president and general manager of NDI for NewTek prior to the show. “These developers share our vision of the end-to-end all IP workflow that is a reality today and we’re excited to bring them together at the NDI Central Pavilion.” 

· AJT Systems 

· Boinx Software 

· Changsha Kiloview Electronics 

· Production Bot LLC 

· Easy Media Suite 

· Etere 

· FingerWorks Telestrators 

· LiveXpert by 3D Storm 

· Medialooks 

· NewsMaker Systems 

· NIXUS · Panasonic 

· RT Software 

· Stream Circle

For more coverage on Newtek, visit the TV Technology/NDI Central Hub. 

New York City, NY – March 27, 2018 –Frame.io, the leading workflow management platform for video teams, will preview the all new Frame.io at NAB 2018, in anticipation of the full release early this summer. The next generation of the company’s media review and collaboration software, the all new Frame.io will be reengineered for speed. Large projects can load up to 100X faster and uploading media now supports Gigabit speeds and beyond. Broader media support, better version control, new commenting tools, and enhanced search top the list of over 150 new features and improvements coming to Frame.io.

What’s New in Frame.io
The all new Frame.io sets a new industry standard with a never-before-seen set of collaboration tools for content creators. Used by all types of creatives – from freelancers working with individual clients to small internal teams and massive distributed organizations – Frame.io offers both professional and enterprise solutions to meet the unique needs of anyone creating video.

New features in the all new Frame.io will include:

• Advanced media browser with enhanced search and a new uploader with nested folder support. The new Frame.io will be up to one-hundred times faster with a new media browser that enables users to fly through thousands of assets at lightning speed. New sorting and search options make it easier for users to find exactly what they need in less time. The all new uploader can support speeds above 1 Gigabit and retains full nested folder structures during upload.
• Revamped core video playback and state-of-the-art media experiences for video, audio, images, multi-page PDFs and animated GIFs. The Rebuilt Core Video Playback Engine means faster/smoother playback with less buffering, at up to 4K resolution.
• Rich, range-based commenting. Comments that support attachments and new range-based feedback. Range-based comments unlock a whole new level of communication. Users simply drag the comment handle over the timeline to create a range and better reference the underlying content.
• Presence. See who's currently watching (live) and who's already watched with clip history. Clip statistics show you play count, historical views, and even let you set up a notification when a specific person or group of people start viewing.
• New version control. The new version manager in the all new Frame.io lets users add, remove or rearrange versions from the stack.

And over 150 additional features and improvements:

• All new apps and integrations for enhanced workflows
• Improved playback performance with HLS and DASH streaming
• Visual watermarking
• Media lifecycle management
• Dozens of security features in support of a commitment to offer the most secure platform available for video review

http://blog.frame.io/2018/03/27/all-new-frame-io/

In addition to these brand new features, Frame.io shipped a completely redesigned player experience in February 2018 that laid the foundation for the new Frame.io and many more features to come. The new player page supports 360-degree VR content with spatial annotations so users can highlight a specific target within the frame. With a polished design and improved performance on mobile browsers, the player page allows users to an easily add descriptions to files, clearly see what date and version they are working on and collaborate even more quickly with their teams and clients.

Meet with Frame.io at NAB 2018
The Frame.io team and product demos will be hosted at the Western Digital booth (SL6316) in the South Lower Hall at the Las Vegas Convention Center. To request a private meeting, please contact sales@frame.io.

Schedule a Press Briefing with Frame.io at NAB 2018
Members of the registered press attending the 2018 NAB Show are invited to request a press briefing with a representative from Frame.io. To schedule a briefing, please contact Megan Linebarger at megan@zazilmediagroup.com.

About Frame.io
Frame.io powers the future of creative collaboration. Today’s leading media companies use Frame.io to streamline their video review and collaboration process with teammates, clients and a variety of other stakeholders. Frame.io is all about what happens before distribution, before you reach the finish line. They make getting there faster, smoother and more efficient with a single platform that works seamlessly across web and mobile. Frame.io for iOS is the winner of a 2016 Apple Design Award.

Frame.io is backed by industry heavyweights including FirstMark Capital, Accel Partners and Jared Leto. To learn more please visit www.frame.io.

Press Contact
Megan Linebarger
Zazil Media Group
(e) megan@zazilmediagroup.com
(p) +1 (617) 480-3674

###

New York City, NY – April 5, 2018 –Pond5, the world’s leading content marketplace for high-quality royalty-free video and other media, today announced the expansion of its patent-pending AI-based Visual Search platform to include groundbreaking browser-focused and mobile applications.

Allowing users to search by images instead of words, the artificial intelligence that drives Pond5 Visual Search gives customers the ability to show, rather than tell, what they’re looking for. Eliminating the difficult task of trying to put a visual concept into words, Visual Search delivers instant results for licensable media with a similar look to any file a customer chooses.

“Our team used state-of-the-art deep-learning techniques to build and train a neural network that allows users to search Pond5 using visual assets that inspire them,” explained Lawrence Lazare, Sr. Director, Product Management at Pond5. “By adding AI-based search into our industry-leading search experience, we also vastly reduced the amount of time it takes to find the perfect video clip, photo, or illustration.”

With the continued evolution of the internet into a primarily visual medium, video has continued to gain prominence at an exponential pace, making Pond5’s introduction of Visual Search for video a game-changing development. On the site, customers can use the feature, which recognizes patterns in imagery, either by scrolling over a search result in the Pond5 marketplace or uploading a file from their own computer.

Further utilizing the neural network-based technology, the first of the new Visual Search applications is a browser extension available for Chrome, Firefox, and Safari that lets users search using any video or image they find on the web. With the extensions, customers can select any visual web result and use it to find similar video and image results on Pond5. The extensions even include the ability to erase parts of the selected image before searching, for more refined results.

Early adopters of Pond5 Visual Search have already found it to be extremely liberating. "Pond5’s new Visual Search features make it much easier — and faster — to pinpoint clips that are exactly what we need,” said Michele Kurtz, Vice President of Development at Half Yard Productions.

The second new application of the technology is an industry-first mobile web Visual Search. Giving users the ability to search for media using the camera on their mobile device or media uploaded from their camera roll, it’s an ideal solution for location scouters, traveling producers, and creators in search of ideas. By utilizing this on-the-go functionality, customers can capture imagery any time that inspiration strikes and immediately find similar results on Pond5.

“Visual Search is absolutely the future,” said Pond5 CEO Jason Teichman. “It’s a new yet familiar way to find exactly what you’re envisioning for your project. And inspiration can strike at any time, so it’s important that you’re not limited to a single method of searching. By expanding on our custom neural-network engine, Pond5 can now always give you a way to find what you’re looking for, regardless of whether you’re on the site, browsing the web, or walking down the street. It’s just the latest example of our commitment to making content discovery as easy and intuitive as possible, and to constantly innovating on behalf of both our artists and our customers.”

To learn more about Pond5 Visual Search and how each of the new features works, as well as to download the browser extensions, visit pond5.com/visual-search.

Meet with Pond5 at NAB
Professionals attending the NAB Show can book a private meeting and demonstration with the Pond5 sales team at the 2018 NAB Show in Las Vegas. To request a meeting, please contact NAB2018@pond5.com.

Schedule a Private Press Briefing with Pond5 at NAB
Members of the NAB registered press are invited to schedule a private briefing with a member of the Pond5 executive team. To request a briefing, please contact Megan Linebarger at megan@zazilmediagroup.com.

About Pond5
Pond5 is transforming the role of video in the creative process by connecting producers, creative directors, and editors to more than 60,000 filmmakers and creators in over 150 countries. The company strives to improve creative production through its innovative artist technology, easy-to-use platform, and ever-growing library of more than ten million royalty-free video clips, plus millions of music tracks, sound effects, photos and other high-quality media. Pond5 is a venture-backed company funded by Accel Partners and Stripes Group with offices located in New York, Dublin, and Prague.

For more information, please visit https://www.pond5.com.

Press Contact:
Megan Linebarger
Zazil Media Group
(e) megan@zazilmediagroup.com
(p) +1 (617) 480-3674

####

A queue formed outside N249 where FCC Chairman Tom Wheeler spoke Wednesday morning at the 2016 NAB Show.

LAS VEGAS—Federal Communications Commission Chairman Tom Wheeler said the commission will take up ATSC 3.0.

“ATSC 3.0 is significant,” he said. “We need to move with dispatch to get that into the public debate. I intend to put that out for public notice before the end of the month.”

He congratulated engineers for creating 3.0, but he said policy would be another matter.

“I’ve been hearing about 3.0 for a long time, and they’ve pulled it off technically. The question is, you’ve got the technology part licked, now we’ve got to figure out the impact on the market and on the consumer,” he said.

The chairman spoke at the NAB Show on Wednesday with Marci Burdick, NAB board member and former chair of Schurz Broadcasting. In addition to the ATSC 3.0 Public Notice, he said the spectrum optimization plan, which will “give us an idea of the size and the scope of who is showing up,” and the clearing target, also will be released before the end of the month.

“We’ll know the band plan, then we’ll start the reverse auction in May,” he said.

“Wireless providers keep saying they need more spectrum,” Wheeler said. “There will be a very significant chunk of it before the end of the month. Then we’ll know how badly they really needed the spectrum. Then we’ll find out how much they’ll bid, and if they don’t bid enough, we’ll do it again, and again…” He said the auction would go through as many stages as necessary to achieve market balance.

Wheeler previously called the auction an “extravaganza,” which Burdick took to imply that a large number of broadcasters would be participating. Meaning what, Burdick asked. “Meaning people will show up,” Wheeler replied. When she pressed him for more information, he said, “it’s bigger than a bread box.”

“What’s important is putting spectrum to its highest and best use through marketplace forces. That has to be goal one, but, that should not overlook the fact that after the final gavel goes down, that’s when the work begins,” he said.

The commission needs to make sure those licensees who continue to stay in broadcasting can go through that transition, he said.

“There has been an attitude that this is a one-and-done kind of thing when the bidding starts. Not so. Commissioner [Ajit] Pai and I disagreed talking about the FCC budget, when he was suggesting that the auction budget, which is supported by the auction revenues, should be cut because the auction’s over, but the auction’s not over. When the bidding is done, the heavy lifting begins.”

Wheeler said he recommended delaying the DTV transition because “we weren’t ready for it.”

“We’re putting together a team for informing the public post auction,” he said.

Burdick asked about the vacant channel plan, which would leave a UHF channel open for unlicensed devices. He said to watch what happens in the clearing plan.

“The question of how many vacant channel instances there will be, will come soon,” he said.

The vacant channel plan concerns LPTV and translator operators, who have no assurance of a channel in the repack. Burdick said LPTVs and dot-twos have been important to diversifying broadcasting. She said this was even more of a reason to wait until after the repack to take up the vacant channel plan.

Wheeler replied that LPTV folks are already raising the same types of issues with ATSC 3.0. He said funding for post-auction activities, “may include all stations,” but did not elaborate further.

Burdick asked what assurances could be given to the broadcasters in the room that if they cannot make their channel change within 39 months, that they would not have to go dark. Wheeler was indefinite, but he did say that if the $1.75 billion allocated by Congress for the repack was not enough, “I’ll lead the parade to get more.”

Burdick asked Wheeler if the retransmission process was broken, and he said no.

“It has worked well for a long time,” he said. “Retrans has existed for more than 20 years. A few things have changed. ATSC 3.0—what’s the impact on retrans? We’re living through lots of changes.”

Burdick asked why the retrans battle was so focused on broadcasters, since cable nets have the same issues with carriers. He said the statute covers broadcasters. Burdick said they all compete in the same arena, and viewers don’t know the difference. Burdick said that in smaller markets, there may be fewer stations doing news, “so I think that gives rise to the importance of exclusivity.”

Wheeler did note that, “if there is a place where the internet has fallen down, it’s ultra local. And that’s where [broadcasters] are.”

Burdick asked about the tardy ownership reviews. Wheeler said the 2010 and 2014 reviews would be completed by June.

“There will be a proposal on the floor that will garner at least three votes,” he said.

Burdick asks why there has not been meaningful change in ownership regulations.

Wheeler said his predecessor tried to find consensus and could not. He said consensus on ownership regulations was difficult. Burdick asks if it will have to be hashed out in court. Wheeler said probably not, that post-auction, broadcasting would be a different world.

Burdick noted that millions of people listen to radio and asked Wheeler what it saw for it in the future.

“I’ve got something that’s portable and free. With two criteria like that, never sell them short,” he said.

Wheeler said he listens to NPR all day in his office. He’s also a fan of satellite radio and listens to Broadway show tunes. He also said the AM revitalization had led to 500 applications for AMs to transmit on FC frequencies, and “that speaks for itself,” he said.

He also said wireless carriers increasingly are unlocking FM chips in cellphones.

“I think the marketplace is succeeding,” he said.

LAS VEGAS—LG Electronics is demonstrating a new wireless network antenna designed to receive and process ATSC 3.0 television broadcast signals and redistribute them via Wi-Fi throughout the home to connected devices such as smart TVs, tablets, laptop computers and smartphones.

After a two-year development process, the company is demonstrating the 3.0 smart antenna for the first time at the NAB Show. It is a featured product in the “ATSC 3.0 Consumer Experience” exhibit, co-hosted by the NAB, the Consumer Technology Association and the Advanced Television Systems Committee.

The ATSC 3.0 wireless network antenna is based on an LG-developed unidirectional antenna array with electronic steering logic designed to optimize indoor reception. LG is integrating a chip-based ATSC 3.0 tuner-demodulator with the antenna, which can be placed anywhere in a home—the attic, in a window, in a closet—wherever reception is best.

The steerable network antenna is coupled with a network interface to communicate with the in-home WiFi router to allow connected devices to blend ATSC 3.0 signals and services with over-the-top Internet-delivered content. The Wireless Network Antenna also is designed to receive current ATSC 1.0 DTV transmissions and similarly route them to an array of consumer devices.

Development of the LG ATSC 3.0 wireless network antenna, which began in 2014, is a joint effort of LG’s Zenith R&D Lab in Lincolnshire, Ill., and the office of the Chief Technology Officer, LG Electronics, in Seoul, Korea.

Expected to redefine TV broadcasting for decades to come, the next-generation ATSC 3.0 broadcast television system is being designed to deliver 4K UHD services, robust reception on mobile devices and improved spectrum efficiency. LG and Zenith are key contributors to ATSC standards activities, including development of core technologies in the majority of the ATSC 3.0 Physical Layer transmission system.

LAS VEGAS—LG Electronics and Sinclair Broadcast Group conducted their first over-the-air broadcast of advanced emergency alerting using the emerging ATSC 3.0 standard.

Sinclair and LG are demonstrating how “AWARN” technology would enhance communications with the public and first-responders during emergencies. AWARN—the Advanced Warning and Response Network—is the first implementation of advanced emergency alerting for ATSC 3.0.

Developed by various Advanced Television Systems Committee members in parallel with the ATSC standardization process, AWARN leverages ATSC 3.0’s higher data throughout, more robust transmission and improved indoor reception. Using a standard alerting protocol, AWARN alerting can wake-up a device and includes rich-media features such as video, evacuation routes and HTML pages.

In this week’s AWARN broadcast (a “first,” according to Sinclair and LG) rich-media emergency alerts, including video and public safety information related to a severe weather emergency, are being transmitted by Sinclair from Las Vegas’ Black Mountain on Channel 45, under an experimental FCC license obtained by ONE Media, Sinclair’s joint venture. ATSC 3.0 broadcast equipment was provided by GatesAir and Triveni Digital.

The ATSC 3.0 signal carrying AWARN data is being received with a simple antenna at the Las Vegas Convention Center and the new ATSC 3.0 chip tuner/demodulator from LG Electronics. In addition to embedded ATSC 3.0 upper-layer ROUTE and DASH firmware, the LG Ultra HD TV features an intuitive user interface that enables simple navigation between rich-media elements. Simulated emergency program information is provided by Capitol Broadcasting’s WRAL-TV.

LG and Sinclair, along with ONE Media and LG’s U.S. R&D subsidiary Zenith Electronics, are key contributors, both to the ATSC 3.0 standard and to AWARN. ONE Media technology is in the newly standardized bootstrap signaling system, while LG/Zenith technology is included the ATSC 3.0 physical layer transmission system Candidate Standard, which is moving toward final standard status in the coming weeks.

These companies, together with Pearl TV and Pilot (formerly NAB Labs), are joining other broadcasters and technology companies in the AWARN Alliance, a new technology and public policy group, whose primary mission is to accelerate deployment of ATSC 3.0 emergency alerting.

“Combining robust transmission, single-frequency networks and rich media alerts will mean reaching millions of Americans simultaneously during emergencies, regardless of device,” said Mark Aitken, Sinclair’s vice president for Advanced Technology.

Dr. Jong Kim, LG senior vice president president of LG’s Zenith R&D Lab said, “After years of development, ATSC 3.0 and AWARN are ready for prime time, as demonstrated by the successful test ATSC 3.0 broadcast in Las Vegas. Advanced emergency alerting represents a core benefit of Next Generation TV for broadcasters and viewers alike.”

The AWARN broadcast demonstration can be seen at the NAB Show in “ATSC Consumer Experience” exhibit, LVCC South Hall, upper level.

LAS VEGAS—Panasonic grew its 4K acquisition line—from handhelds to the studio to cine—for this year’s NAB Show.

The new UX series of 4K handheld camcorders represent the successor line to the AVCCam HD series. Two models are in development now for a fall release—the premium AG-UX180 and the standard AG-UX90. The UX180 features a one-inch MOS sensor, 20x optical zoom, 60p recording and an expected list price of less than $4,000. The UX90 features the same sensor, 15x zoom and 30p recording for under $3,000. Both will record up to 4096x2160 and 3840x2160 to SD cards. The UX180 does dual-codec recording in UHD and HD. Variable frame-rate recording is planned for HD mode.

For the studio, Panasonic announced the immediate availability of the AK-UC3000 and the AK-UC5000 cameras. The UC5000—Panasonic’s new flagship studio camera—features two-thirds 3-CMOS sensors andwill output 1080/239.76p. It’s priced at $42,000. The UC3000 uses a single MOS sensor with an internal conversion lens for 4K 60p output, features a B4 lens mount and a dynamic range of -6 to 36 dB. High dynamic range will be support with a future firmware update. The UC3000 is priced at $37,000.

A new camera control unit, the AK-UCU500, provides power up to 6,600 feet over hybrid fiber and outputs 4K and HD simultaneously. The CCU is priced at $19,000.

Panasonic also announced the immediate availability of sub-six pound VariCam LT 4K cine camcorder, capable of handling 4K, UHD, 2K and HD, as well as high dynamic range. The LT also features new codecs that enable capture at up to 240 fps.

The vendor also announced a collaboration with Canon to support IP interoperability. Panasonic, which joined Alliance for IP Media Solutions in March, is demonstrating video-over-IP on the NAB Show floor with a 10 GbE switch connecting the Canon and Panasonic booths. In addition, the company adopted the TicoAlliance codec with an eye toward 4K and 8K transmission.

Panasonic also is teaming up with Teradek to create switcher bundles with Teradek’s Cube encoders to enable streaming out of the switcher over IP to cloud-based streaming services.

On the storage front, Panasonic brought its freeze-ray optical disc-based data archive platform for cold and warm applications with IOPS and transfer speeds of 360 Mbps to 1 Gbps per rack. Panasonic is accepting alliance freeze-ray partners to disseminate the technology.

ROSS VEGAS— Ross Video is in the camera game. Ross introduced the new Acid camera system at its NAB presser Sunday. New versions of the Carbonite switchers and the XPression graphics platform were rolled out, as well as new IP features for the Acuity production switcher and vendor collaborations.

Par usual, Ross Video CEO David Ross launched the presser with the Ross financial summary. He said Ross marked 24 years of consecutive growth at the close of 2015.

“Average growth is getting to be higher than 17 percent… it was 21 percent last year,” he said. “It was all internally financed growth…. We are up 24 percent year-to-date so far in 2016.”

Acid was the big news. The new Acid camera, along with a stand-alone chroma key, were designed with the virtual green screen environments in mind.

Acid cameras include a new signal format developed by Ross to overcome the difficulties of creating decent chroma keys. These cameras output standard SMPTE 4:2:2 video signals as well as a special 0:4:4 full bandwidth color signal combined with the primary output within the new Carbonite UltrachromeHR system to generate a full resolution 4:4:4 signal. The Acid H200 has the highest resolution and performance specification of any 1080P camera system from any manufacturer.

Ross said Acid Z50 is a “moderately priced performer for slightly less demanding applications,” that fits mid range production systems and teams up with Ross camera robotics.

Acid follows the Ross line in its use of DashBoard control. All camera operation, setup and shading can be performed from DashBoard panels, including the transfer and recall of scene files from one ACID camera to another.

The companion Carbonite UltrachromeHR multichannel chroma key processor, based on the Carbonite, incorporates features that permit the automatic generation of solid key composition with little or no operator intervention. It takes HD-SDI inputs, and can output a second signal that contains full resolution chroma information not available in standard 4:2:2 signals.

The new Carbonites include Black Plus and Black Solo. The 36 inputs of Carbonite Black Plus come equipped with frame synchronizers, format converters, color correction and proc amps, with the same features on 12 of its 25 outputs.

The new Black Plus processing engine powers five multiviewers with up to 16 configurable windows each. This provides 80 windows in total. All 36 inputs, 22 outputs, the media stores, three MEs and four MiniMEs and aux buses can be monitored. The processing engine includes three new outputs dedicated to MultiViewers, so that main outputs aren’t sacrificed for monitoring.

Also, all 16-input Carbonite models now get two more inputs for free. As of NAB, any Carbonite systems ordered with 16 inputs will now be shipped with 18 active inputs and existing Carbonite customers will have these extra two inputs unlocked with version 12 software. XPression Live CG software also comes with every Carbonite production switcher.

Carbonite Black Solo is a compact switcher with nine inputs and six outputs, designed for smaller productions. On the input side, Solo has six SD/HD-SDI connections and three HDMI inputs, and there are six floating

frame synchronizers with format converters that can be assigned to any input. For outputs, there are five SDI and one HDMI, all assignable.

Solo will come in three versions. The first is an all-in-one control panel and electronic processing. The second is a rack-mount electronic frame with soft control panel. The third comprises a control panel plus separate electronic frame is for installations where it is desirable to separate operation from electronics.

XPression Tessera is a multi-display real-time graphics designer and controller for sport venues and studio video walls. Tessera enables users to link together multiple XPression engines to create a scalable matrix of channels for seamless output of scenes across large or irregularly assembled display panels. Perfect for sports scoreboards, ribbon boards, and studio video walls, Tessera’s resolution can scale by adding more XPression engines or “Tessera nodes.”

Acuity is now using vers. 4 software. Version 4.0 expands the capabilities of the multifeed functionality with added split ME controls. It is possible to set up an Acuity ME as two MEs with up to eight keyer assignments. A fully loaded eight ME machine can now be configured as a massive 16 ME system, or a full four ME UHD (4K) switcher. New warp effects and lighting engines are also included.

In a collaborative effort with Evertz, Acuity can now be equipped with IP (10Gb) I/O signal management. The new Acuity IPBlades work with ASPEN and SMPTE 2022-6 protocols and also provide standard SDI connections. These new IP I/O cards can coexist with standard Acuity I/O cards permitting hybrid IP/SDI system configurations.

On the show floor, IP interconnect with Acuity will be demonstrated in the ASPEN Community booth, the Evertz booth, and the Ross booth; all with IP signal management under control of the Evertz Magnum control system.

Ross also announced collaborations with Grass Valley and Hitachi. Ross and Grass are teaming up to integrate the Grass Valley Stratus production and management system into the Ross Inception News editorial system.

The Hitachi alliance is a “non-exclusive” partnership created to focus on high frame rate production systems for 4K, 8K, HDR and IP connectivity. Both companies are members of the ASPEN IP interoperability effort, and both will have cameras and production switchers on the show floor demonstrating IP connectivity between capture and production devices.

LAS VEGAS— LAS VEGAS—Grass Valley went back to its roots this year with a new production switcher. The new GV Korona offers the same feature set as the Kayenne and Karrera switchers, but with a smaller, space-efficient control surface. Available in one and two M/E (stripe) panels, Korona is packaged with the compact K-Frame S-series video processing engine, though it is compatible with all Grass Valley K-Frames for production flexibility. Additionally, the K-Frame S-series frame is compatible with all larger Kayenne and Karrera panels should the need arise.

The new GV Korona K-Frame S-series supports multiple HD formats, and can be upgraded to 3G/4K with a software license. The GV Korona two-stripe panel supports 20 assignable buttons on each M/E row and has an 80x88 I/O matrix with optional IP SMPTE ST 2022-6 I/O.

GV Korona’s surface features a built-in touchscreen interface that enables operators to work quickly and intuitively to produce compelling content for a variety of applications. It also features a menu integrated into the panel, and uses the same OLED and color technologies as the larger Grass Valley panels.

Grass Valley also brought out the newest range of its LDX 86 camera family that enables native 4K capture, the LDX 86N Series.

Built using Grass Valley’s newest UHD 2/3-inch imagers, the LDX 86Nis said to provide native 4K resolution in 16:9, using lenses intended for broadcast with no cropping or zooming effects. The cameras allow the choice of native 4K or 3G/HD.

Each camera uses three next-generation native 4K XensiumHAWK CMOS imagers that support full native 3840x2160 4K resolution, with dynamic pixel management dubbed “DPMUltra.” Grass Valley said DPMUltra enables the camera to do native 1920x1080 HD acquisition inside the imager without the intrinsic downsides of 4K acquisition, such as rolling shutter and decreased sensitivity.

Grass Valley also made a couple of announcements in the IP arena. The first involves entry into a memo of understanding with Cisco to develop IP workflow platforms for broadcasters. The MOU creates an environment for widespread collaboration between the two companies, covering IP networking, virtualized computation and security technology. Grass Valley emphasized an immediate plan to develop a platform that combines Grass Valley’s Broadcast Data Center architecture with Cisco Media Blueprint technologies comprising IP-based, virtualized, and media-aware network infrastructure and applications based on open IP standards.

Grass Valley’s Broadcast Data Center offers vertically accurate switching for multi-camera, live productions and features GV Node and GV Convergent—critical pieces of the collaboration with Cisco.

Grass also announced a major collaboration withSony to develop industry-wide IP interoperability based on the two companies’ IP-based technology and devices. As a result of the agreement, Sony will become a full member of the Alliance for IP Media Solutions, known as “AIMS.” Grass Valley is a founding member of AIMS, which launched in December to promote and advocate for widely accepted, open IP standards based on SMPTE ST 2022-6 and TR-03 and TR-04, proposed by VSF and AES67.

Grass Valley plans to implement an IP-to-IP gateway card compatible with its GV Node Real Time IP Processing and Edge Routing platform. This card will ensure compatibility between Sony’s Networked Media Interface (NMI) and Low Latency Video Codec (LLVC) technologies and systems based on standards supported by the AIMS roadmap.

Sony’s NMI, a key technology of Sony’s IP Live Production System, packetizes, transmits and clean-switches HD and Ultra High-Definition 4K video, audio and metadata in real time over standard network infrastructures.

Grass Valley is exhibiting in booth #SL106.

LAS VEGAS—Sony is introducing a new 4K high frame rate camera, a new 55-inch HDR OLED monitor and a 3.3 TB optical disk storage cartridge among other pro media technologies at the NAB Show this year.

Sony’s new HDC-4800 camera system combines 4K resolution with high frame rate capacity of 8x at 4K and up to 16x in full HD. The HDC-4800 coupled with the BPU-4800 baseband processor unit/replay server creates a networked, live 4K ultra-high speed production workflow, Sony said.

It supports PL mount lenses and has its own built-in colorist in the form of a new Super 35mm 4K CMOS sensor that does both UHD’s BT.2020 and HD’s BT.709. High dynamic range support is “under development and will be available in the near future,” Sony said.

XDCAM now supports 4K. The PXW-Z450 is the newest addition to the XDCAM shoulder-mount camcorder lineup. It captures 3840x2160 from a new 2/3-type Exmor R CMOS sensor, with what Sony says is exceptional weight balance and low power consumption alongside networking features. Another addition, the PXW-Z150, has a 1.0-type sensor that delivers low-light performance and networking features.

Sony is enhancing its interoperable IP Live Production system with Networked Media Interface.
Also on the IP front, Sony said Grass Valley has joined its IP Live Alliance, which now has 49 members. (Sony previously joined the AIMS Alliance.) Additionally, TV Globo will use a Sony-equipped, IP-based OB truck for the Olympics in Rio this year.

Sony is unveiling the second generation of its Optical Disc Archive System, which adopts new, high-capacity optical media developed jointly by Sony and Panasonic. This new media is rated with a 100-year shelf life and doubles the capacity of a single cartridge to 3.3 TB. The system also introduces an 8-channel optical drive unit, doubling the read/write speeds of the previous generation. Currently, 42 companies have announced their support for Optical Disc Archive, Sony said.

On the monitor front, Sony is bringing out a 55-inch, high dynamic range OLED monitor with 12-bit signal processing, the PVM-X550. The PVM-X550 is a quad-view, which allows customized individual display settings across four distinct views in HD. It also supports the BT.2020 color gamut for UHD.

Sony will exhibit its wares in booth C11001.

LAS VEGAS—Digital Alert Systems, Dolby, GatesAir, Harmonic, LG Electronics, Triveni Digital, and Zenith are teaming up to demonstrate live end-to-end ATSC 3.0 workflows for a range of the broadcast capabilities such as 4K and high dynamic range at this year’s NAB Show. Multiple programs of live and prerecorded streams will be displayed in 4K resolution with HDR, delivered at a frame rate of 60 fps, along with next-generation audio. The demonstrations will be the first time that broadcasters can observe eight of the nine core ATSC 3.0 technologies being standardized to provide advanced electronic programming/service guides, HDR-to-standard dynamic range conversion for legacy DTV, and other new services and media types supported by the next-generation broadcast television system.

Pilot (formerly NAB Labs) will assist with providing a live camera feed. The live content will be generated with a state-of-the art camera and then encoded, encapsulated, packaged, and signaled using ROUTE/DASH and MPEG-DASH protocols. Prerecorded content for the demonstrations will be supplied by Harmonic and other ecosystem partners. AWARN emergency alert content will come from WRAL-TV, the NBC affiliate television station based in Raleigh, North Carolina, with rich media content provided by a combination of LG Electronics, Zenith, and Triveni Digital.

Prerecorded content will be streamed from Harmonic’s Spectrum X 4K/UHD media server, encoded in HEVC and MPEG-DASH, via the Harmonic ViBE 4K and Electra X2 encoders, and then prepared for OTA and OTT multiscreen distribution. OTT content will be forwarded to a Harmonic ProMedia X Origin media server for distribution to the Internet.

Triveni Digital is providing several essential components of the ATSC 3.0 ecosystem, including its new GuideBuilder XM signaling and announcement generator with unified functionality per ATSC 3.0 A/331 candidate standard along with support for legacy standards such as ATSC 1.0 PSIP and DVB-SI, and the SkyScraper NRT data transmission system.

The DASDEC-II emergency messaging platform from Digital Alert Systems, a division of Monroe Electronics, will be integrated with Triveni Digital’s GuideBuilder XM and SkyScraper NRT to highlight how broadcasters can deliver advanced emergency alerts and auxiliary public safety information in the ATSC 3.0 environment. The DASDEC-II provides support for EAS/CAP requirements, station multimedia, and first responder communications in both legacy and future ATSC environments. Tight integration between the DASDEC-II and Triveni Digital’s systems offer broadcasters a streamlined package for ATSC 3.0 advanced emergency communications capabilities.

Dolby will demonstrate how broadcasters and consumers can benefit from the immersive and personalized features of AC-4, the next-generation audio codec that is in ballot process for the ATSC 3.0 A/342 candidate standard. The demo will feature the world’s first fully compliant ATSC 3.0 signal with 4K/HDR video and AC-4 audio received by and decoded in an LG 4K/UHD television. In addition, Dolby will demonstrate how broadcasters can capture and deliver HDR video for ATSC 3.0 and derive high-quality SDR video to support current broadcast infrastructure.

GatesAir is providing an ATSC 3.0 modulation system and exciters for the demo. The GatesAir Maxiva XTE is a software-defined platform with exceptional signal processing power and native IP connectivity to optimize multichannel signal transport and delivery for ATSC 3.0 broadcasts. The XTE also integrates high-performance signal correction to address signal imperfections.

The demo equipment will be used in conjunction with LG Electronics 4K UHD TVs, which have been configured to show faster channel change times using both the up/down remote keys and an advanced ESG user interface. The television sets to be used for the demo are built around the world’s first ATSC 3.0 tuner-demodulator chip, recently announced by LG Electronics.

The televisions will be located in the Futures Park as well as in the Consumer Showcase areas of the Las Vegas Convention Center at the 2016 NAB Show so that visitors can fully experience the end-to-end system. Both areas can be found in the upper level of the South Hall, with the Consumer Showcase situated in the lobby, and the Futures Park pavilion at the east end, booth SU15709.

LAS VEGAS—Advances and trends in both advertising technology and consumer engagement will be in the spotlight at the NAB Show this week, organizers said. The Advanced Advertising Theater, located in the North Hall, will bring together key content leaders using the latest advertising technologies to build a multi-screen content environment. These innovations will allow broadcasters, digital publishers, and online influencers to leverage new forms of media, monetization and audience behaviors to achieve business goals. Companies participating in the theater include NextRadio, DanAds International AB, Renewed Vision, Vidillion, Psychability, AdMonsters, Alphonso, Optimized Markets, zypmedia and LOTAME.

On Monday, April 18, the NAB Show will host the Super Session “Unleashing the Live Experience: How Sports Television Engages Today’s Fans,” which will address how the latest advances in mobile and broadcast technology are being used to drive increased levels of engagement around live television events. The session will feature Andrew Daines, CEO of FanVision Entertainment; Stephen Espinoza, executive vice president and general manager at Showtime Networks Inc.; Danny Keens, head of North American sports partnerships at Twitter; and Marshall Zelaznik, executive vice president and chief content officer of the UFC.

“With more avenues for content consumption than ever before, there is no shortage of ways for content owners, creators, and brands to reach their audiences on a global scale,” said Chris Brown, NAB executive vice president of Conventions and Business Operations. “From mobile, to broadcast to OTT, we’re pleased to present attendees with insight on the latest trends, best practices and technologies that advertising professionals are leveraging in today’s quickly-shifting marketplace.”

Also on Monday, April 18, the Super Session “Where’s All the Ad Revenue: Media Strategies Unleashed in a Dynamic Multiplatform Environment” will tackle how creative is being adapted to new and traditional content platforms in response to the advent of programmatic technologies. Chris Ariens, TV & Media editor at Adweek, will moderate a panel featuring Dan Ackerman, senior vice president of programmatic TV at AOL Platforms/Adapt.tv; Zachary Soreff, president and partner at Sawyer Studios, and Jason Schragger, CCO of Saatchi & Saatchi LA.

NAB Show will also examine programmatic advertising starting with two Online Video Conference sessions on Monday, April 18. “Get With the Program(matic): How TV Is Embracing Big Data” will explore how big data can be used to address the challenges and opportunities present in online video. “TV and Video Advertising in Transition” will provide attendees insight into how advertisers, agencies, and content owners are using different types of audience measurement to keep up with the latest viewing trends. At the Media Finance and Investor Conference on Tuesday, April 19, “How Programmatic is Changing the Advertising Industry” will delve into the impact automated advertising will have in both radio and television broadcasting.

Additional sessions within the Broadcast Management Conference, Broadcast Engineering Conference, Multicultural TV & Video Conference and Media Finance and Investor Conference will focus on topics such as political advertising, advertising technology innovations and best practices for reaching a broad range of demographics.

Key NAB Show exhibitors in the advertising, analytics, and media solutions space include: Actus Digital, Anvato, Audible Magic Corporation, Brightcove, Broadpeak, Broadview Software Inc., Casting Frontier, Crystal, Cxense, DeltaCast Sport Graphics, Equinix, Ever, Evolphin Software, Field 59, FilmTrack, Flyswipe, Frankly, iBlossom, IDenTV, Imagine Communications, IneoQuest, joiz Global, Marketron Broadcast Solutions, Mirror Image, Ooyala, OwnLocal, Rovi Corporation, RSG Media Systems, SeaChange International, Starfish Technologies Limited, Telestream, Triad-Orbit, TVadSync, TVision Insights, Verizon, Videa, Viviso, WideOrbit, Zhuhai Jili Development Co., Ltd.

In announcing the recipients of its annual Engineering Achievement Awards, the National Association of Broadcasters notes that the awards go to “individuals who are nominated by their peers for significant contributions to advancing the state of the art in broadcast engineering.” But for Dr. Richard Chernock, the recipient of this year’s Television award, one could also surmise that recognition is being given for what will be done in the future, as well.

Dr. Richard Chernock For those of us in the broadcast technology community, Chernock, chief science officer for Triveni Digital, has been a familiar face in the development of the next generation television broadcast standard, ATSC 3.0. He currently serves as chairman of the Advanced Television Systems Committee (ATSC) Technology Group on ATSC 3.0, a prominent position, especially in light of the fact that, unlike many of his predecessors, Dr. Chernock is a relative newcomer to the broadcast community, having come onboard in the late 90’s after a career in materials engineering with IBM.

“IBM had formed a group to study this new thing called ‘digital television’ to see if it might be an interesting business to go into,” Chernock said, adding that he found the technology behind MPEG “very very interesting.”

Although IBM did not follow through in its plans for digital TV, Chernock had caught the bug and transitioned to Triveni Digital about a dozen years ago.

Along the way, he came in contact with numerous individuals who helped him better understand and implement the technology and get involved in standards development. Top of the list early on was Pete Schirling, a former senior program manager for IBM who represented the company on the international MPEG Committee in the 1990s and someone Chernock characterized as an “MPEG police purist.” Another big influence was Bernie Lechner; “Bernie helped me quite a bit to understand what the standards activities were all about,” Chernock said, adding that ATSC President Mark Richer “has always been very helpful.”

What has surprised him most about the broadcast business? “Some of it was getting rid of the naivete,” Chernock said. “Early on, not having worked in standards, I had this sort of naïve idea that the best idea always wins or is going to win. I came to understand that there’s a lot of other pressures, there’s compromises that are made.”

Three months in, 2016 has already been a significant year for the emerging ATSC 3.0 standard, with signal testing in South Korea and last month’s approval of the physical layer. What does Chernock believe it’s going to take for the standard to exceed?

“Broadcasters need to start using it and take advantage of the new capabilities that go beyond the old business model,” Chernock said. “I think embracing it is an important thing. Another important thing is to actually educate the viewers of what kinds of services are possible.”

A few pieces of the standards puzzle remain to be resolved, including audio and interactivity, but much of the heavy lifting has been completed on ATSC 3.0, which remains on track for completion in 2017. Will the transition to 1.0 to 3.0 and the fact the new standard is not backwards-compatible be a help or hindrance to consumer acceptance? “I think it’s going to help,” Chernock said. “The amount that you can go as far as taking advantages of new technologies and moving forward is seriously limited because of backward-compatiblity. So by choosing to drop it as a requirement, you can make huge steps forward into new technologies.”

With folks like Chernock at the helm of ATSC 3.0 development, this year’s award not only honors past performance, but recognizes the important role that ATSC 3.0 will have in the future potential success of broadcasting.

Chernock will receive his award at the NAB Show Television Luncheon on Monday, April 18.