WESTWOOD, Mass.—The combination of Telestream and Tektronix technology for an expanded range of offerings for customers is now complete, according to Telestream. Video test, monitoring and quality assurance technology from Tektronix is now able to be combined with Telestream gear for broadcast and digital media markets.

Telestream says that the goal of this combination is to “continue to invest in and market its entire integrated product portfolio, focusing each technology on customer applications they are best suited to.”

Some examples of the two companies’ work include the integration of Telestream’s iVMS ASM management system across all of its relevant video monitoring product portfolio, including Tektronix Sentry probes. The iVMS system allows operators to correlate all the alarms within a network in a single management platform.

Another example is Tektronix’s waveform monitoring portfolio and Aurora file-based quality control capabilities aligning with the Telestream quality management story.

Telestream is also exploring how to implement Tektronix’s Digital Rights Management assets within the Telestream iQ product range.

AMSTERDAM—Telestream will use the IBC Show platform to feature the latest updates to its live streaming, video encoding and transcoding, and video monitoring and analytics technology now that Tektronix has been integrated into the company.

For both live and file-based applications, Telestream is putting a lot of focus on cloud transformation and virtualization. For this, the Vantage Cloud Port uses Telestream cloud services for cloud execution of Vantage processing actions with on-prem deployments. Telestream also will have integrated video monitoring for distribution applications that are implemented on a consumption-based business model.

The latest updates in centralized, automated workflows for the Vantage Media Processing Platform help with media processing and workflow orchestration, offering new IMF workflows, file management for Vantage and UHD and HDR and live edit capability for remote production.

Additional products set to be on display at the Telestream booth include a European debut for the OptiQ system for monetizing short term opportunities in live sports and events, and the iQ video quality assurance system, which has new QoE and QoS enhancements as well as support for remote PHY networks.

IBC 2019 will take place once again at RAI in Amsterdam from Sept. 13-17. Telestream will be located at booth 7.C16 and 7.C14.

NEVADA CITY, Calif.—Telestream has partnered with Fortive to acquire Tektronix Video.

The financial details of the deal have not been announced, but the transaction means Telestream’s parent company Genstar Capital has entered into a co-ownership agreement with Fortive. Current Telestream CEO Scott Puopolo will remain CEO of the combined company.

Tektronix’s video test, monitoring and quality assurance solutions for the broadcast and digital media markets will be integrated into Telestream. Products that are part of the “integration” are Tektronix’s SDI waveform monitors, test signal sync generators, MPEG stream analyzers, picture quality analyzers, IP waveform monitors that are sold under the Prism brand, plus the Century brand and file QC.

Speaking exclusively to TVBEurope, Puopolo said that employees currently based at Tektronix Video will “for the most part” transfer to become Telestream employees. “Because this is a ‘carve-out’, we actually need to build some additional operational infrastructure, so in addition to the people transitioning over, we will be doing a fair amount of hiring in a number of functions that will make up some of the shared services functions that had been provided by the broader Tektronix organisation.”

According to Puopolo, Telestream plans to keep Tektronix’s Beaverton, Ore., location. “We’re currently in a Tektronix secured facility so we would have to move those individuals,” he said. “But the good news is that the Tektronix campus actually has other buildings and has space available. We’re very excited about the talent that we’re acquiring. We think of this as not only a fantastic portfolio augmentation, but it’s also a talent and innovation play for us.”

Puopolo continued: “So much of what we’re looking to do here is accelerate innovation and by bringing these two companies together we think we absolutely have the best core portfolio in the waveform monitoring business.

“With the existing strength of Tek Video and combining the stream monitoring capabilities and innovation talent with what we have on the IQ side, and then the file quality control that we are able to combine and build on with our Vidchecker product, we think we’ve got the best technology platforms, as well as the best innovation talent to really accelerate. Frankly, we see this as being incredibly positive for our customers. They want us to move quickly, they want us to innovate proactively. We are going to have the financial, the product portfolio and the personnel to really make that happen.”

According to Puopolo, Telestream is excited to be partnering with Fortive on the acquisition: “They recognize that Tektronix Video has been sitting a bit apart because Tektronix itself is not really a video company. The idea of bringing Tek Video to Telestream allows them, I think, better return on their investment because they’re inside a video company. They recognize obviously the historical strengths that we have both in media processing as well as monitoring.”

“Fortive is a fantastic company with a terrific history of strong operational effectiveness and strong business processes that really get the most value out of the businesses that they operate,” Puopolo continued. “I want to leverage that perspective and insight to continue to help Telestream be as effective as possible. In addition, they are very well connected because of the size of the company and the various industries that they serve. They’re also a great resource in terms of other technology contacts and frankly, strategic perspective.”

Telestream has been quite active in acquiring companies over the past couple of years. Puopolo admits this might not be the last announcement they have to make: “We are really focused on doubling down on our core media processing, monitoring and quality areas. We’ve been aggressively updating and refreshing and bringing the product portfolio to what I would characterize as the cutting edge. And so that’s all good. But the way that I think we’re going to continue to be able to move that pathway forward aggressively is with M&A,” he explained.

“I never want to be in a position where I’m competing with my customers. What I’m focused on is investing heavily in being the de facto standard for workflow automation, media processing, in all aspects of quality.”

Puopolo said he wanted to underscore that Telestream’s acquisition of Ineoquest in March 2017 “was our very first clear statement that we want to be in the QoE, QoS business.”

“We believe that the combination of both file and live, workflow automation and media processing with QoS and QoE is a killer combination and that is and will remain our strategy. In the future, look for us to continue to bolster our core positions, in the core markets that we that we operate in today. You’re not going to see Telestream get into the service provider business or anything like that. We are focused on being the de facto standard in the areas that we currently compete and all the work that we do both in terms of innovation and acquisition is driven by that.”

“We believe this industry is ripe for more scale out of the players that operate in our marketplace and what better company than Telestream to lead that charge?”

LAS VEGAS—Tektronix will showcase its entire suite of High Dynamic Range (HDR) tools, including its suite of media production, monitoring and analysis solutions, such as PRISM, Aurora and Sentry at the 2019 NAB Show in Las Vegas.

"Broadcasters seeking to address the HDR opportunity have been working with Tektronix to improve the HDR process and optimize HDR workflows,” said Charlie Dunn, general manager of Tektronix's Video Business. “In working together, we’re able to support them in delivering a better customer experience, mitigating churn and protecting their brand perception.”

Tektronix has developed a dynamic set of tools to enable producers to deliver HDR content with confidence to their customers, the company said.

The company’s PRISM media monitoring and analysis now offers comprehensive HDR measurement and displays to provide users with visibility into content dynamics and reduce how long it takes to isolate and remedy a fault. PRISM presents complex information via easy-to-understand graphical displays familiar to broadcast operations teams, technicians and engineers.

Supporting HDR and Wide Color Gamut (WCG) workflows, PRISM reduces the complexity associated with content creation for multiple HDR/WCG formats, especially for content created following Report ITU-R B.2408-1. PRISM with HDR support is built on software that is easy to upgrade in the field to enable the solution to evolve as IP and HDR standards evolve, according to the company.

Tektronix also has added HDR capabilities to its Aurora scalable, file-based QC system. Aurora displays HDR metadata in a QC report and can produce graphs to show measured Content Light Level and Frame-Average Light Level values. If these levels exceed the file’s metadata, Aurora flags the error in the QC report, the company said.

Sentry, Tektronix’s video quality monitoring solution for live streams from cable, broadcast and OTT providers, has been enhanced with HDR status monitoring to confirm HDR services are being delivered correctly, the company said. The monitor also detects incorrectly set or mistakenly modified HDR data and alerts operators. The product offers automation and tools for proactive prevention of issues.

More information is available on the Tektronix website.

See Tektronix at NAB booth SU5006. To register for the NAB Show, visit www.nabshow.com.

ALEXANDRIA, Va. — Rapid acceptance of IP video is driving many changes to traditional test and measurement equipment. There will always be the need for familiar quality control devices like waveform monitors and vectorscopes, but studios and content creators today also need the ability to examine the data they generate — and that data is increasingly distributed at blindingly fast speeds.

Couple that with the LCD/LED and microprocessor revolutions, and a lot of today’s test gear looks nothing like what was used 20 or 30 years ago. As dedicated video distribution facilities (think SDI) are replaced by IP networks, test gear manufacturers are sprinting to keep up with the new measurement realities — often coming up with innovations in the size, capabilities and performance of the latest test and measurement products.

“The test requirements for SDI systems are relatively well known and documented,” said Ian Valentine, business director for the video product line for Beaverton, Ore.-based Tektronix. “However, as the industry transitions to IP-based technologies, a whole series of new measurements is required to understand what is happening on the network during the transmission of packets containing video, audio and metadata. This includes packet loss, packet jitter, RTP sequence errors, and packet timestamp delay factors to mention a few.”

IP VIDEO TRANSPORT STANDARD

The recently developed SMPTE 2110 standard for IP transmission of professional video, audio and data is a big reason why there is a need for IP test gear in a television environment.

“There are a whole series of measurements around the timing of video, audio and data against PTP [precision time protocol] to keep the network synchronized,” Valentine said. “Timing is particularly important when dealing with the SMPTE 2110 standard where the video, audio and data essence is all sent in separate streams. Being able to test the integrity of the separate data paths is essential to ensuring that transmission reliability is maintained.”

With 12G-SDI and the latest high-speed Ethernet networks, even the most mundane basics have to be reconsidered. Take, for example, the BNC connector.

“As the industry transitions to IP-based technologies, a whole series of new measurements is required.” —Ian Valentine, Tektronix

“The BNC connector that the industry has used for more than 50 years is a spring-loaded bayonet — and using the real-time eye capabilities of the Phabrix Qx, you can see that this technology is right on the limit simply by touching and waggling the BNC connector and cable,” said Prinyar Boon, product manager for U.K.-based Phabrix. “Around 10mV signal amplitude variation is typically observed per connection. Return loss requires serious consideration and the extremely high rise and fall times specified can result in significant eye degradation with small changes in geometry. The good news is that correctly designed interfaces are very robust and reliable, and will operate at all SDI rates from SD through to 12G.”

‘DEVIL IS IN THE DETAIL’

BNC connectors are just the tip of the iceberg.

“At a very high level, going from 3G-SDI to 12G-SDI is the same, only faster — but the devil is in the detail,” Boon said. “However, the bandwidth change from 3 GHz to 12 GHz, or more typically 1.5 GHz to 12 GHz, means that 12G-SDI is much harder to implement. Components, printed circuit board material, stack buildup and physical layout all have to be remodeled, reselected and re-optimized. Even the bond wiring within an IC [integrated circuit] now has a significant impact on performance, and the latest generation of ICs are looking to use flip-chip technology to overcome this.”

Once the signal leaves the broadcaster’s facility and heads toward the viewer, IP distribution networks outside the studio are different in many ways from those inside.

“The main idea is to take a holistic view to analyzing the end-to-end content delivery chain, looking at the whole picture to determine the ‘cause-and-effect’ of any issues rather than simply isolated parameters here or there,” said Ted Korte, chief operating officer for Melbourne, Fla.-based Qligent. “Each method of content distribution — from ATSC 3.0 broadcasts to OTT delivery — has its own vital metrics, but it’s important to evaluate everything ranging from low-level quality-of-service metrics [which are very signal-specific] to humanly-perceivable QoE metrics.”

One popular way of television distribution has long been the cable TV industry, which has adopted hybrid-fiber/coax technology to deliver both traditional cable TV channels and broadband service. The standard for interleaving cable TV and bidirectional data on the same network is called DOCSIS (data-over-cable service interface specification), which is now up to DOCSIS 3.1 Full-Duplex.

[Read: NAB Show Product Review — Signal Processing & Analysis]

With cable networks supporting bandwidth from 0 Hz to 1.2 GHz, it is a tough job to test and validate their performance. Rohde & Schwarz is one company that has a test set that can be used to test and maintain performance on DOCSIS cable networks, going up to 1.8 GHz for downstream signals to the home.

WHAT’S IN THE FUTURE?

There is a lot going on with technology in the television industry, so what looks to be one of the trends for test and measurement gear in the next couple of years?

“From [our] perspective, ATSC 3.0 will gain momentum over that timeframe,” said Ralph Bachofen, vice president for sales and marketing at Princeton, N.J.-based Triveni Digital. “This, of course, will include HDR and other advanced technologies and protocols as part of the migration. This makes it critical using a flexible test and measurement solution that can adapt based on market changes and advanced applications.”

On the production side, it’s clear that 4K is the target standard for production and its associated test devices.

“We see a demand for UHD/4K 3G- and 12G-SDI based systems,” Boon said. “With the 2018 Winter Olympics, Royal Wedding and 2018 World Cup all being shot and now distributed live in UHD HDR, there is clear proof that the technology is viable. Simultaneously shooting live productions in both conventional standard dynamic range [ITU-R BT.709] and HDR [ITU-R BT.2100] with wide color gamut poses its own set of challenges. This is particularly true with a mix of SDR/709 and HDR/2100 sources, be they cameras, replay systems or graphics devices.”

Every part of the production chain will need to be monitored to maintain the pristine quality to which viewers have become accustomed.

“Successful production of HDR/WCG content requires the right tools and new measurement techniques,” Valentine said. “Camera setup, for example, is more crucial than in the past given the risk of creating issues (e.g., noise in dark areas) that can’t be fixed in post-production. New techniques are also required to monitor the various camera log formats and conversion to PQ (perceptual quantizer) or HLG (hybrid-log gamma). HDR/WCG content production is the future.”

This is just a quick look at the corner of the industry dedicated to test and measurement, but it demonstrates how new standards bring new methods to examine and maintain the quality of those standards.

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For broadcasters, video content creators, and production companies alike, there's a big change coming.

High Dynamic Range (HDR) and Wide Color Gamut (WCG) represent the next step of being “real” in the mind of the viewer with lighting that looks more natural, colors that are more saturated with vivid depth and realism.

When comparing a Standard Dynamic Range (SDR) image with HDR, the difference is staggering and you're left with a feeling that the SDR images you have been watching seem to be in a haze or fog, while HDR offers such a clear view, that it is almost a “window onto the world.”

Images come to life with detail visible in the bright specular highlights that previously would have been clipped, and smooth detail in the shadows that would have once been solid black. With WCG, colors appear more saturated with vivid depth and realism. Overall the trifecta effect of high resolution, HDR and WGC produce a visually stunning image that the latest display technologies can now provide.

With delivery to the home in this world of Netflix, Amazon Prime, YouTube and other popular video-on-demand type delivery systems, there has been a huge shift in how video content is monetized, delivered, and consumed. These over-the-top (OTT) distribution platforms have completely evolved customer expectations for content, driving greater demand for an ever-higher quality of experience.

[Read: HDR: What Is It And Why Do We Need It?]

Additionally, these systems have broken an important content delivery barrier, making it possible to not only distribute a wide range of content for different devices, like SD and HD in various resolutions (360p, 480p, 720p, 1080p), but also set a path for 4K, HDR and even 8K video content.

GET FUTURE READY

Production companies are now faced with the challenge of continuing to provide SDR, SDI, OTT, and HD formats, but also plan and provide for HDR and 4K productions—without breaking the bank.

As broadcasters and program providers work to upgrade and improve their systems and networks, and as display manufacturers continue to push the technology envelope with larger, higher-resolution displays that deliver a stunning experience, it becomes obvious that the jump to HDR content is going to be huge.

The good news is that most professional video cameras in use today have high dynamic range and that capability can be utilized with proper processing and monitoring. In fact, with the right tools in place, technology can enable broadcasters to optimize resources and prepare for HDR production now, while continuing to meet SDR and OTT requirements.

For instance, sports and live event production are developing workflows that allow 4K and HD along with SDR and HDR production to take place within one truck or studio that provides multiple outputs for distribution. Facilities that can provide these kinds of services will likely see an increase in business.

[Read: Capturing And Monitoring HDR Signals With A Waveform Monitor]

A TECH OPPORTUNITY

To develop an HDR and WCG workflow, the key is to understand that we are using the same set of digital data to create the image. However we are using these bits more efficiently by developing different curves to optimize the conversion of light from the cameras through the signal path to the displays. This involves developing a set of “Look Up Tables” that describe the curves optimized for the various Camera Log formats that capture the image. Then the conversion to SDR, or HDR using Hybrid Log Gamma (HLG) or Perceptual Quantizer is possible. Each of these different conversions varies the white point and 18 percent gray of the signal.

To manage this shift, manufacturers have integrated into waveform scopes something known as a “Stop Display,” a patented technology that provides a series of easy-to-use look-up tables that set curves where the camera video signal can be adjusted and properly converted. These adjusted stop points assure that the white point and gray point will always be at the same place, regardless of the format. The Stop Display takes the complexity of these various curves and allows the camera operator to relate them to a simple set of Stop levels.

By entering the appropriate configuration at the input stage, the conversion of the white and gray points for the SDR, HDR and Camera Log formats mean that the image being processed will always be at the same reference levels on the Stop Display, simplifying the operator’s task of monitoring the video levels. This type of log display allows operators to see the dynamic range of a camera by displaying the minimum and maximum of that range of the trace and then using parameters of the camera to adjust the levels to optimize performance for the shadows to the highlights.

The operator is no longer required to remember the various white points and that 51 percent is for PQ ST2084 and 61 percent is for S Log 3—one simply selects the camera curve being used, and then aligns the trace to the 90 percent reflectance white point and 18 percent gray that correspond within the image. The development of the Stop Display continues innovation in the development of displays that simplify the tasks of camera operators and colorists such as Diamond, Spearhead and Lightning displays that are offered on the series of waveform monitors.

The new capabilities within these types of waveform scopes can be easily added to production trucks and studios alike, extending their range of production workflow and can be extended to what future formats may be requested. With these capabilities in place, the producers and content owners can experiment with and deliver high dynamic range content to their customers.

FOLLOW THE MONEY

As with many breakthrough media technologies, the drive toward HDR content will be fueled—and often paid for—by live events. As visually impactful as any HDR content may be, live sports and live events are what will start the evolution. Outdoor sporting events have the action, natural lighting, and color dynamics that HDR and WCG can bring to life and get the audience more involved, as if they really are at the game.

Live events create shared experiences by bringing together exciting content to a sizable audience at a specific time. The live sporting event audience is not watching the big game on a smartphone. Early-adaptors and home theater owners want the larger-than-life experience by purchasing large, HDR displays and high-quality sound systems. These consumers invite their friends and family over on game day to share an experience.

Many global and national broadcasters have been experimenting with live sports/HDR content for a few years now, and we may see some major announcements this year. They have been working to iron out the process and technology, and to establish a look for their brand to establish market leadership as pioneers in this new area.

From live sports, to concerts, to other real-time events, there's no reason that regional and local production companies should not begin to leverage these new capabilities in their markets as well.

The challenge ahead is found in that the step up to HDR video production requires a new set of tools. The workflows need to be adapted to provide multiple outputs for SDR and HDR. If we're going live in a 4K HDR world, we must prepare and get our production infrastructure ready. But for production trucks, OB vans and studios, there's still the obvious need to serve the SDR content business. After all, SDR is still paying the bills—for now.

Mike Waidson is Application Engineer for Tektronix.

BEAVERTON, ORE.–Tektronix has expanded support for 4K/Ultra High Definition (UHD), High Dynamic Range (HDR) and Wide Color Gamut (WCG) across its full range of content monitoring platforms including the small form factor WFM/WVR5200 series waveform monitor, WFM/WVR8000 series waveform monitor and the PRISM IP/SDI monitoring and analysis platform.

Tektronix says it has added support to meet the demands of the video industry’s move to 4K, including the installation of 4K-compatible gear in mobile production trucks. With new formats comes differing demands, though. Camera setup, for example, is more crucial than in the past given the risk of creating issues (e.g. noise in dark areas) that can’t be fixed in post-production. New techniques are also required to monitor the various camera log formats and conversion to PQ (perceptual quantizer) or HLG (hybrid-log gamma).

[Read: Tektronix Adds ST 2110 Support To PRISM Media Analyzer]

The 4K HDR/WCG enhancements span the full range of Tektronix waveform monitors as well as the PRISM hybrid SDI/IP media analysis platform. HDR is available on the smaller, lower-cost WFM/WVR5200 with the purchase of the PROD option. Enhancements include new camera log graticules, HDR graticules for PQ and HLG and the ability to support 4K for a single link of a 2-SI (Sample Interleaved) signal. The WFM/WVR8300, WFM/WVR8200, WFM/WVR7200 now feature extended support for HDR with the inclusion of the HLG1000 graticules for use in live production as well as support for active picture area and Dolby E Guardband measurements against a black burst reference. Other enhancements include luma and gamut bright ups and user selectable HDR limits.

[Read: 2018 NAB Show: Tektronix To Highlight IP/SDI Media Analysis Solutions]

Tektronix waveform monitors and rasterizers provide flexible options and field-installable upgrades to monitor a diverse variety of video and audio formats. Support for video formats includes 4K/UHDTV1 (4096 x 2160 and 3840 x 2160), 3G-SDI, Dual Link, HD-SDI and composite analog. Support for audio formats includes Dolby E, Dolby Digital Plus, Dolby Digital, AES/EBU, embedded audio and analog audio.

Tektronix’s PRISM platform delivers broad connectivity capabilities for both IP and SDI systems as well as luminance setup and measurement of HDR signals coupled with automated conversion between a broad range of transfer functions and color spaces. The new STOP display simplifies HDR camera exposure setup for operators by helping them avoid unexpected clipping in highlights or excess noise in the shadows. The new software now adds support for conversion from ITU BT.2020 to ITU BT.709 as well as from S-Log, LogC, PQ and HLG to ITU BT.709 that can be applied to picture, waveform, vector, and diamond displays. This allows users to leverage their familiar displays in ITU BT.709 color space for HDR/WCG content creation.

The latest HDR/WCG capabilities can easily be added to PRISM and existing Tektronix waveform monitors are now available with the purchase of Option PROD (a field upgradable software-only option). Customers with a valid existing software option key license for PROD can upgrade their instruments free-of-charge with new firmware that can be downloaded from www.tek.com.

BEAVERTON, ORE.—Tektronix has added support for the SMPTE ST 2110 suite of standards for professional media over IP networks to its PRISM media analysis solution, the company announced today. It also has added new field-upgradable signal generation capabilities to the analysis tool for use in testing IP and 12G-SDI for hybrid/SDI networks.

As facility infrastructure evolves from SDI to IP, broadcast engineers and IT professional must manage hybrid SDI and IP environments. The addition of SMPTE ST 2110 signal generation to PRISM, which can be connected to any broadcast signal in a facility, means users now have a comprehensive measurement, network analysis and troubleshooting tool, the company said.

The new MP-GEN option module for PRISM can inject known good signals into the network to check signal paths and system redundancy, thus allowing users to identify where connectivity errors and other problems originate, Tektronix said. It does so by providing ST 2110-20, -30 and ST 2022-7 test patterns that can be used on IP networks and on 12G-SDI for hybrid/SDI networks.

PRISM’s new ST 2110 support provides generation, connectivity and analysis for: ST 2110-10, system timing; -20, uncompressed active video; -30, uncompressed PCM audio; -40, ancillary data; and -21, traffic shaping uncompressed video.

More information is available on the Tektronix website.

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LAS VEGAS—At the 2018 NAB Show, Tektronix will put the spotlight on hybrid IP/SDI media analysis solutions, as well as 4K/UHD with HDR video monitoring and quality assurance solutions for virtual or cloud environments. As the SDI to IP transition accelerates, there is a need for tools that identify, isolate and remedy SDI/IP workflow issues.

Tektronix Prism

With its broad range of measurements, trend graphs and session displays, the Tektronix Prism offers connectivity, monitoring and analysis for ST 2022-6, ST 2022-7 and ST 2110, and helps identify intermittent loss of video, audio or data content, and other network issues. Prism performs IP and SDI (12G/3G/HD/SD) measurements.

Tektronix also extended its Precision Time Protocol (PTP) timing analysis to include ST2022-7 timing for system setup and maintenance to synchronize facilities in a mixed packet, frame-accurate environment. The Tektronix SPG8000A master sync and PTP grandmaster clock generator offers PTP support for hybrid IP and SDI infrastructures.

Tektronix will also show solutions that capture and produce stunning content utilizing 4K/Ultra High Definition, High Dynamic Range, and Wide Color Gamut. The Prism platform helps setup cameras for live HDR using a proprietary STOP waveform and automated conversion support for various camera log curves adopted by top camera manufacturers and supports SMPTE ST 2084 standard and Hybrid Log Gamma (HLG) as per the ARIB ST B-67 standard.

Tektronix’s WFM8000 series waveform monitors support 4K and WCG, while WFM5200 series waveform monitors support those working with HD-HDR. Both support a wide range of camera log curves and HDR gammas. Customers who purchased a valid software option key license for Option PROD can field-upgrade their existing instruments free-of-charge with new firmware that can be downloaded from tek.com/downloads.

As content providers increasingly produce, encode and stream content in virtual or cloud environments, the underlying technology can be complex and introduce errors. The problem is exacerbated by the lack of visibility on the actual quality of delivered content, which can negatively impact brands and increase churn.

Tektronix Aurora file-based QC tools and Sentry scalable monitoring tools provide quality measurements of virtual and cloud programs so content providers can take corrective action before it detracts from the Quality of Experience (QoE).

The 2018 NAB Show takes place in Las Vegas, April 9-12. Tektronixwill be in boothSU5006. For more information, visit www.nabshow.com.

Read up on all of TVT's NAB Show Sneak Peeks and other 2018 NAB Show news here. 

BEAVERTON, ORE.—Tektronix has announced its video quality assurance solutions are interoperable with Amazon Web Services (AWS) Elemental MediaLive, AWS Elemental MediaConvert and AWS Elemental MediaPackage. When used with the AWS services, the Tektronix solutions provide pay TV operators, broadcasters and OTT providers with a scalable way to convert and package video content into various formats while ensuring quality throughout the video workflow.

Tektronix Sentry now can provide AWS customers with live streaming video monitoring across their workflow—from AWS cloud ingest to content delivery network. The company’s Aurora file-based QC can be used to ensure compliance of media files with quality, regulatory and workflow requirements on Amazon Simple Storage Service (Amazon S3). 

The Tektronix Sentry monitoring and diagnostics solution for the AWS Elements MediaLive video encoding service, MediaPackage origination, packaging and encryption solution and Amazon CloudFront CDN provides end-to-end measurement and reporting on issues with live streams that most affect the viewing experience. The software-based product also provides video quality of experience and picture quality analysis on encrypted networks.

Tektronix’ Aurora file-based quality control automates file QC on Amazon S3 for video providers using MediaConvert, a file-to-file video transcoding service. OTT service providers can rely on Aurora’s perceptual video quality and TekMOS picture scoring to unearth any encoding and alignment issues.

More information is available on the Tektronix website. 

BEAVERTON, ORE.—NBCOlympics has selected Tektronix audio and video test monitoring and network monitoring for its production of the Winter Olympics from PyeongChang, South Korea. NBC Olympics will use Tektronix WFM7200, WVR7200, WFM5200 and WVR5200 waveform monitors, SPG8000A master sync and master clock reference generators.

The equipment will be used to monitor and test video and audio quality in NBC Olympics’ production, post production, transmission and distribution workflows in NBC facilities. NBC will use WFM8300 waveform monitors for 4K HDRK applications. Tektronix Sentry products will be used for monitoring of the transport streams involved in its production.

A division of the NBC Sports Group, NBC Olympics is responsible for producing, programming and promoting NBCUniversal's Olympic coverage.

More information is available on the Tektronix website.

TORONTO—In mobile sports video production, cables live a rough life. They get tossed around, thrown in piles, pulled, stretched and walked on week in and week out. Despite their lowly status on the video production pecking order, cables are fundamental to success—and when problems crop up, tracking down the root cause can be a time-consuming endeavor.

Dome Production engineers use the WFM2300 to check video quality and audio delays.

For us engineers and technicians at Dome Productions, keeping tabs on cable health recently became much easier with the addition of nearly a dozen Tektronix WFM2300 portable waveform monitors. These compact battery-powered scopes mirror most of the functionality found in Tektronix rackmount waveform monitors, which we use extensively across our fleet of 18 multiformat production mobiles, including our three 4K/HDR trucks.

FAMILIAR TERRITORY
Setting up for live events is always a time-critical proposition, and having to learn or relearn how to use test and quality control equipment can slow you down. Since the WFM2300 uses the same interface as our other Tektronix waveform monitors, we essentially have the same QC tool to check signal quality outside as well as inside the truck.

The most typical use case is troubleshooting problems where signals aren’t getting from point A to point B as cleanly as they should. In such cases, I can put the scope at the end of a 10-line video mult, for example, and see the precise amount of dB loss. This makes it much easier to say, ‘yes, this cable is the problem,’ or the problem lies elsewhere. While most of the time we’re checking for video quality, the WFM2300 also lets us check for problems like audio delay.

With Dome’s HD and 4K capable trucks, it’s helpful that the WFM2300 has support for a wide variety of interfaces so we can use it across our entire fleet. The WFM2300 supports SD/HD-SDI, 3G-SDI, ASI, AES/EBU digital audio, composite black burst or tri-level sync reference signals as well as optical SDI and HDMI.

PROVEN DURABILITY
We often do a cable stress/margin loop test to count CRC errors, if present. This test can take some time to complete to ensure the signal is error free so battery life can become an issue. However, in our experience, the WFM2300 has given us more than enough time to run the necessary tests—the rechargeable battery can be swapped out if needed, but so far, we’ve had no issues.

Just as the battery’s longevity says quality, so does the rest of the instrument. Although I haven’t dropped one (and let’s hope I don’t), the overall design of the instrument is solid with a quality feel to the controls and case. Despite its relatively small size, the screen quality is excellent and I can work through the various displays such as eye pattern or picture and audio displays nearly as efficiently as I would on a full-size scope.

For video production environments that already use Tektronix waveform monitors, the WFM2300 is the ideal tool for performing QC checks outside the studio or mobile since it’s a natural extension to what you’re already doing. And, given the quality of the unit, its versatility and long battery life, it’s worth considering even if you’re not currently using Tektronix equipment.

Craig Moorman is a mobile broadcast engineering technician for Dome Productions. He can be contacted atCraig.Moorman@domeprod.com.

For more information, please visitwww.tek.comor call 1-800-833-9200.

BEAVERTON, ORE.—With new technologies like 4K/UHD, wide color gamut and HDR now available to video content creators, Tektronix is ushering in a new set of tools for its Prism software-based platform. The new toolset helps Prism address multi-format and multi-standard challenges for camera acquisition for mobile and studio productions.

Part of the new toolset is a Tektronix-patented Stop Waveform Display that operators can use to adjust camera exposure in a consistent manner without dealing with the optical to electric transfer function of a camera; it can also create scene of subject lighting. There is also a vector display with a 3D look-up table that allows the BT.709 vector to be used to evaluate skin tones, match colors to familiar reference marks and determine the degree of color gamut compatibility for BT.709 conversion. A combination of full, quad or vertical display modes are also available.

The updated Prism platform will be available at the end of September, after Tektronix displays it to IBC 2017 attendees.

Many of today’s cameras can capture a wide dynamic range that, unfortunately, will be clipped or blown out when shown on a standard dynamic range display. Addressing this problem and allowing High Dynamic Range (HDR) displays to utilize the bits more efficiently to produce more vivid images requires the use of nonlinear processing such as ST 2084 PQ (Perceptual Quantizer) HDR or Hybrid Log-Gamma (HLG) that is compatible with SDR displays.

This table shows the appropriate level for various curve types.

Click on the Image to Enlarge

When capturing raw camera images, the best results are achieved when the appropriate levels for black, 18 percent grey and 90 percent reflectance white are set up on a waveform monitor to ensure correct processing of the signal through the chain. The levels required vary depending on the type of camera and the curve applied. Table 1 shows the appropriate levels for various curve types. For example, if you were going to use a camera that captures an S Log 2 curve you would set the white point for 59 percent and the 18 percent grey point at 32 percent.

SETTING UP A TEST CHART

Once you have determined appropriate levels, start by setting up a test chart within the scene using one of the many available charts such as a Spydercube that has areas for 90 percent reflectance white, 18 percent grey, black and sub black. The chrome ball bearing on the top of the cube produces specular highlights from the reflection of the lights in the studio. The lights should be carefully adjusted so that both sides of the cube are evenly illuminated and the camera adjusted to the appropriate levels using ISO/gain, iris, shutter and white balance controls.

Fig. 1: The S Log 2 camera RAW image looks washed out with low contrast.

Once the lighting and camera are correctly adjusted, the next step is to use a waveform monitor to view the signal as shown in Fig. 1. The picture display of this S Log 2 camera RAW image looks washed out with low contrast. Fig. 2 is an RGB waveform display using a low pass filter to let you see the distinct video levels of the signal.

An easier way to view the signal levels is to use a set of Camera Log graticules that are optionally available on some waveform monitors and can further simplify these adjustments. In this case, an S Log 2 graticule is selected that shows 90 percent reflectance white at 2.3 Stops and 18 percent grey at zero Stops. Alternatively, cursors can be selected to a percentage scale, making sure that 100 percent is equivalent to the zero to 700mv scale. For this S Log 2 signal, the user should place the cursors to the correct white and grey points: the upper cursor would be set to 59 percent for 90 percent reflectance white and the lower cursors would be adjusted to 32 percent for 18 percent grey level. 

After capturing the material, the files can be ingested into editing applications and color correction tools to make image adjustments. Using an RGB parade display on the waveform monitor, the black and white levels can be adjusted so that the black level just touches the zero percent scale. The 90 percent reflectance is then adjusted so that the level is at a 100 percent on the waveform monitor for ITU-R BT 709. Then the 18 percent grey should fall at 41 percent on the waveform monitor. It will be necessary to apply color correction processing to the Camera Log content to adjust Lift, Gamma and Gain to correctly balance the image.

Fig. 2: A waveform monitor with S-Log 2 camera log graticules simplifies adjustments.

Alternatively, most color correction tools can use a look up table (LUT) that can be used as a starting point to grade the material. For this example, an S Log 2 to 709 LUT conversion was performed and then color correction tools can be used to make final adjustments. This process balances the image for a typical 100 nit SDR display. These same types of techniques can also be applied to adjusting content for an HDR display using an appropriate curve to make the transform.

REDUCING NOISE

Depending on the type of camera, you may find that after adjustment, noise will potentially start appearing in the image. This can be reduced by over exposing the image by one or two stops. This limits the dynamic range headroom but also reduces the need for post-production adjustments and the effective noise in the image.

For S Log2 over exposing by one stop will mean that reference white should be captured at 71 percent and 18 percent grey at a level of 43 percent. To do this, you first adjust the levels using an editing or color correction application to reduce the levels of the signal to 59 percent for white and 32 percent for 18 percent grey. Reducing these levels effectively reduces the noise from the camera sensor. Applying the S Log 2 to the 709 LUT produces an image that has white at 100 percent and 18 percent grey level at 41 percent. With this setup, you should notice somewhat less noise in the trace on the waveform monitor compared to the previous display.

RECOVERING SPECULAR HIGHLIGHTS

Fig. 3: This test scene has specular highlights from the coins that may be clipped or blown out in an SDR display.

Fig. 4: The paraded RGB display confirms that the test scene in Figure 3 will be clipped or blown out.

The techniques described for capturing camera RAW images were applied to the scene in Fig. 3 to produce a correctly balanced image in the 709 color space for a 100 nit SDR display. However, the specular highlights from the image will be clipped and blown out when viewed on an SDR display, as confirmed by the paraded RGB display in Fig. 4. To recover these highlights in the image, the content needs to be delivered in HDR and the white point must be set appropriately for the image. This can be accomplished by using a ST 2084 or HLG LUT to process the image and make general adjustments before final color correction.

Before capturing the scene, the Spydercube was used to set the reference levels of the camera for S Log 2 for the 90 percent reflectance white and 18 percent grey as described previously and a short clip was captured of the reference content (Fig. 5). Then the scene itself was captured and recorded to a file.

Fig. 5: The Spydercube ensures camera references levels are set correctly. Note that an HDR monitor is needed to view this image properly.

In post-production, a LUT was then used in the color correction software application to change the levels to the 10K ST 2084 PQ curve for a 1,000 nits reference monitor with 100 nits reference white. For our example, we used the camera scene levels of 51 percent for 90 percent reflectance white and 36 percent for the 18 percent grey. The specular highlights in the scene should be adjusted to 75 percent or 1,000 nits on the waveform display as shown in Fig. 6. Slight adjustments were made with the color correction tools to the image using a reference HDR monitor to ensure fidelity of the final image. Many of the software tools for HDR are still in the early stages of development and these tools are continuing to evolve for HDR applications.

Fig. 6: A waveform monitor is used to adjust specular highlights in the scene to 75 percent, or 1,000 nits.

Many of today’s cameras can capture a wide dynamic range that is typically clipped or blown out within traditional SDR displays. As shown, the available bits can be used more efficiently using nonlinear processing such as S Log 2, ST 2084 PQ or Hybrid Log Gamma. However, it is important when capturing the image from the camera that the correct white point and 18 percent grey levels are set up on a waveform monitor to ensure correct processing of the signal through the chain.

About the author

Educated in England where he received an Honors degree in Communications Engineering from the University of Kent, Mike Waidson started his career with a consumer television manufacturer as a research engineer in the digital video department, before moving into the broadcast industry. Waidson has more than 30 years of experience within the broadcast industry working for various video manufacturers. At Tektronix as an application engineer within the Video Business Division, Waidson provides technical support on video measurement products.

BEAVERTON, ORE.–Tektronix, Inc., an industry-leading innovator of video test and monitoring solutions, today announced that it will showcase end-to-end solutions that ensure content quality, signal integrity, and regulatory compliance while the industry is embracing the challenges of transitioning to next generation technologies and workflows at IBC 2017 in Stand 10.D41.

The premier annual event for professionals engaged in the creation, management and delivery of entertainment and news content worldwide, the IBC exhibition is being held 15-19 Sept., 2017 in Amsterdam and is expected to draw more than 55,000 attendees from 170 countries and will feature products from over 1,600 exhibitors.

“There’s never been a time like this in the broadcast industry with so many fundamental changes in technology and workflows coming together at the same time,” said Charlie Dunn, general manager, Video Product Line, Tektronix. “We encourage everyone in the industry to stop by our stand during IBC to see how we can help tackle these changes with our latest solutions for monitoring and analyzing Live IP workflows or monitoring and optimizing 4K, HDR, and OTT content.”

Here’s what Tektronix will be demonstrating at IBC to support critical broadcast industry transitions:

Transition #1: Live IP Production

The broadcast industry is undergoing a transition from an SDI infrastructure to an all-IP infrastructure that will ultimately impact all parts of the broadcast workflow. Tektronix PRISM offers broadcast and network engineers real time monitoring and analysis of IP streams and the associated content, enabling early identification and diagnosis of network or content issues including intermittent loss of video, audio, or data content.

Tektronix will be demonstrating new PRISM IP capabilities including analysis of PTP synchronization timing, support for SMPTE ST 2022-7 redundancy and SMPTE ST 2110, IGMP V3 and new API support for easy system integration into network management systems, and IP stream capture for deep dive analysis.

Alongside PRISM will be the SPG8000A hybrid master sync generator and PTP grandmaster clock that provides PTP (SMPTE ST 2059) timing for the SMPTE ST 2110 compliant IP video network.

Transition #2: 4K with HDR content

With the increasing adoption of 4K/Ultra High Definition (UHD) with High Dynamic Range (HDR) displays by consumers and the increasing drive from the content delivery companies to differentiate their product offerings, there is an increasing demand from content providers to produce more content with stunning 4K HDR picture quality.

At IBC, Tektronix will be introducing a brand new suite of 4K HDR features on the PRISM platform that enables high quality live production in OB vans / trucks or studios by ensuring consistent look of images in mixed and multi-camera HDR and SDR environments using different color spaces (BT.709 and BT.2020). Also introduced at IBC is the new single link 12G-SDI interface on PRISM including Eye pattern display capabilities.

The WFM8000 series 4K HDR waveform monitors that has become the go-to tool for high quality 4K HDR color grading or correction in post-production workflow will also be showcased in the Tektronix stand as well.

Transition #3: Live, on-demand OTT content

Ensuring the availability and quality of both live and file-based content is a critical task for content distributors moving to adaptive bit rate (ABR) delivery models. Tektronix’ Sentry's OTT streaming solutions provide real-time visibility and quality of experience measurements to ensure the content you are delivering is good. The software solution is able to decrypt the content and interface with different DRM systems (e.g. PlayReady) to provide monitoring and diagnostics for live streaming at key locations, including AWS Media, virtual private networks, and CDNs. 

As broadcasters prepare content for OTT delivery, Tektronix’ Aurora file-based QC solution will verify the correct encoding for all profiles, and ensure the packaging is error-free and perfectly aligned for a flawless viewing experience. Aurora offers perceptual video quality tests to reveal any encoding issues and its EBR and IDR alignment feature tests for seamless transitions between different representations for viewers.

Transition #4: Data-driven efficiency improvements for broadcasters

As broadcasters continue to drive for increased workflow efficiency across their media operations, the need to make data-driven decisions becomes critical. Knowing how the network and the associated operations are performing at the regional and national levels is vital.

Tektronix Sentry provides visibility of operational performance across the whole broadcast network at regional and national levels. Using a 90-day database of detailed operational data, Sentry can be used to support SLA and compliance reporting, and to explore network performance trends.

Technology Demonstrations

Tektronix will also showcase a number of technology demonstrations including scalable, end-to-end picture quality MOS scoring from content creation to delivery and the ability to monitor cloud workflows with Sentry monitoring an Elemental cloud workflow on AWS. 

LAS VEGAS—To support the broadcast industry through several critical technological transitions, Tektronix will be demonstrating new IP/SDI, 4K/HDR and ABR monitoring products at the 2017 NAB Show. For the SDI to IP transition, Tektronix will demonstrate PRISM, which provides real time monitoring and analysis of IP streams and associated content, particularly for early identification and diagnosis of network or content issues, such as intermittent loss of video, audio, or data content.

PRISM

The PRISM demo will cover analysis of PTP synchronization timing, SMPTE ST 2022-7 redundancy support, IGMP V3 and API support for system integration into network management systems, and IP stream capture for deep dive analysis.

With growing demand for 4K/UHD content with HDR picture quality, the Tektronix WFM8000 series of 4K HDR waveform monitors enables 4K HDR content creation, from acquisition through post-production. With the ability to view new HDR capabilities, WFM/WVR8000 products ensure that high-quality content with HDR images deliver a highly realistic viewing experience.

For the transition to adaptive bit rate (ABR) delivery models, Tektronix Sentry ABR and Aurora file-based QC solutions provide Perceptual Video Quality (PVQ) measurements that detect video compression artifacts that affect the viewer’s quality of experience. The Sentry ABR adds an end-to-end view of the Quality of Experience (QoE) for all profiles by decrypting and decoding the live video and audio from origin or caching servers for both encrypted and unencrypted content.

The 2017 NAB Show takes place in Las Vegas, April 24-27. Tektronixwill be in boothSU5006. For more information, visit www.nabshow.com.

BURBANK, CALIF.—The next exciting technology being developed within the video industry is HDR. Over the years, My Eye Media has seen technologies come and go, but based on the reactions from people who’ve seen it, HDR is one of the better advancements we’ve had. It’s better than 3D and even in standard high definition you can see a big difference in picture quality and detail as a result of the higher contrast you get with HDR.

ALL ABOUT THE NITS

For facilities like us that deal with mastering quality assurance, HDR is all about the nits. A nit is a unit of measurement of luminance, or the intensity of visible light, where one nit is equal to one candela per square meter. When our customers send over HDR content, one of our tasks is to precisely measure nit levels. We’re still at the very early stages of HDR and determining whether content meets the requirements of various standards and display devices is critically important.

Brightness, as measured in nits, is a big part of what makes HDR possible. To put things in perspective, standard Bluray and broadcast television content is mastered at just 100 nits. The open HDR 10 standard is mastered at around 1,000 nits while Dolby Vision targets 10,000 nits of brightness.

For us, measuring those nit levels accurately has been no easy task and we’ve struggled to find the right tools. One early solution was to use a photometer to measure the peak lumens coming from a display at the brightest locations, such as a reflection off a car windshield. There are problems with this approach though; it’s not real-time and the monitors themselves can be widely inconsistent.

The WVR8200 waveform monitors received HDR graticules in August.SCOPE HDR UPGRADE

Among the most important tools in our quality-assurance tool arsenal are the Tektronix WVR8200 waveform monitors, or scopes, as we often call them. Tektronix scopes help us establish a reputation as the leader in quality control, technical analysis and testing of all formats of digital motion picture content.

One of the more important aspects of Tektronix waveform monitors for us is field upgradeability. Our reputation is built on our ongoing ability to analyze and process content in the most cutting edge formats. Given the growing volumes of HDR content, as well as requests to verify the HDR readiness of Ultra HD and HDR displays, we were excited when Tektronix announced a set of HDR graticules (Hybrid Log Gamma or SMPTE ST 2084 PQ curves) for its WVR8000 series of waveform monitors and rasterizers in August.

Now that we’re up and running with the HDR upgrade on our four scopes, we can safely say that we’re ahead of the curve. We’re no longer at the mercy of display manufacturer ratings for nit levels. Our technicians use the tools to quickly evaluate the white levels between scenes while monitoring specular highlight details. Our main emphasis with HDR to date has been validating nit-levels, but the scopes offer more functions that are good to have, such as the ability to properly set up camera exposures for HDR using test charts.

Based on the momentum we’re seeing, HDR is here to stay. With tools like the Tektronix WVR8200 on hand, My Eye Media is on point for making sure our customers’ HDR content looks its best.

Ken Kiers leads the development of new digital workflows supporting quality assurance, quality control and testing of all formats of digital motion picture content. He can be contacted atkkiers@myeyemedia.com.

For more information, please visitwww.tek.comor call 800-833-9200.

BEAVERTON, ORE.—Tektronix’s Aurora automated file-based quality control (QC) system has received a new set of features to boost its test and monitoring capabilities. Among the enhancements to the system are a Perceptual Video Quality measurement tool, support on the Amazon Web Services cloud, and support for AS-10 PAD Delivery Specification.

Aurora 6.1

The new PVQ technology that has been incorporated into the Aurora system comes from Tektronix’s Sentry family of video network monitors. Aurora can now analyze video content using a proprietary algorithm for detecting video compression artifacts that affect viewers’ experience. It also uses a format akin to a Mean Opinion Score for graphically plotting video quality.

With the Aurora system now being supported on the Amazon cloud, the system can offer scalable automated analysis of file-based video content ingested from different sources, encoded at different bitrates and formats, and using different compression standards for SD/HD, VOD or IPTV delivery. Aurora on Amazon cloud performs checks quality compliance, playability of audio and video at ingest, after encoding, after transcoding and before playout. Files are processed of AWS S3 storage and optimizes EC2 compute instance resources usage on the AWS Cloud.

Now offering support for AS-10 PAD, Aurora can test content delivered to French broadcasters for compliance. With AS-10 PAD support, as well as UK-DPP, Tektronix provides post-production professionals a way to test content the ensure delivery specifications of regions are met.

Tektronix will showcase the upgrades to its Aurora system during IBC 2016 in Amsterdam at stand 10.D41.

BEAVERTON, ORE.—Globosat has turned to Tektronix to support its live IP media production of the 2016 Summer Olympics in Rio de Janeiro.

Prism

To do so, Tektronix is supplying the Brazilian-broadcaster with two of its SPG8000A master sync and PTP grandmaster clock generators that support both SDI-based and IP-based media infrastructures. Globosat is also utilizing a pair of Prism IP/SDI media analyzers for diagnosing and correlating SDI and IP signal types.

Globosat is producing 16 linear channels and 40 channels of audio ambience for the Games. Tektronix previously worked with Globosat on the 2014 FIFA World Cup as well.

Read more about how broadcasters are covering the Rio Games at our Live@TheRioOlympics social media hub.

AMSTERDAM—With the future of technology looking to include the likes of 4K, HDR, wide color gamut, video over IP and adaptive bit rate, Tektronix is preparing a range of products for IBC 2016 that will look to help incorporate these new technologies.

For live IP production, Tektronix will have its Prism software-defined platform, which is designed to assist in the transition to IP while preserving existing systems. It offers insights into hybrid SDI/IP production and can be updated as new technologies and standards emerge. Tektronix will also have its SPG8000A master sync and PTP grandmaster clock generator for PTP support for both traditional SDI-based and IP-based media infrastructure.

For HDR and WCG issues, the company will have a new set of HDR capabilities for its WFM/WVR 8000 series waveform monitors and rasterizers. Among these new features is the ability to set the correct white point and adjust levels to fully use the dynamic range of their content.

In addition, Tektronix will showcase updates to its Aurora automated QC solution and the complementary Hydra interactive player and analyzer for file-based content, which now has expanded codec and wrapper format support. The Sentry ABR platform for monitoring and quality assurance of multi-screen services is also set to be on hand.

Tektronix will be located at stand 10.D41 at IBC 2016. The IBC Show takes place at the RAI in Amsterdam, Sept. 8-13.

BEAVERTON, ORE.—NBC Olympics has selected Tektronix to provide audio and video test and quality monitoring equipment for its production of the Games of the XXXI Olympiad, which take place in Rio de Janeiro, Brazil, from Aug. 5 - 21. The announcement was made today by Terry Adams, vice president of IBC Engineering at NBC Olympics and Charlie Dunn, general manager of the Video Product Line at Tektronix.

NBC Olympics will use Tektronix WFM7200, WVR7200, WFM5200, and WVR5200 Waveform Monitors and Rasterizers, SPG8000A Master Sync and Master Clock Reference Generators, and Sentry Video Quality Monitors to support its coverage of the Rio Games. The equipment will be used to monitor and test the quality of video and audio content used in NBC Olympics’ production, post production, transmission and distribution workflows of NBC facilities for the Games. For UHD applications, NBC will use the WFM8300 Waveform Monitor which supports numerous UHD formats and ITU-R BT.2020 wide color gamut.

“NBC has been utilizing Tektronix products for its coverage of the last eight Olympic Games,” Adams said. ”While that’s most always been focused on sync generation and waveform monitoring, and a large part still is, the need for Transport Stream monitoring has grown exponentially in the past several Games. We will be utilizing 12 of the Sentry units located across the country to monitor the hundreds of live production and distribution streams generated in Rio. Tektronix has incorporated many new features based on requirements we identified during our coverage of the London and Rio Games. With the help of Tektronix, we look forward to another successful NBC Olympics presentation of the Games.”

The Tektronix waveform monitors and rasterizers will be used by NBC Olympics to monitor the full spectrum of video and audio formats. The models selected by NBC feature extensive display versatility and usability, along with full-featured audio monitoring capabilities, including audio loudness monitoring, and high-performance eye and jitter physical layer measurements. The instruments will be used for quality monitoring and compliance checking during content distribution and broadcast transmission and for quality control in content production and post-production. The units will also be used for equipment qualification and troubleshooting during installation and maintenance of the facilities at the Games.

The Tektronix SPG8000A Master Sync and Master Clock Reference Generators will be used by NBC Olympics to ensure stable and reliable timing and synchronization source to be available for mobile, studio, post production, and broadcast operations at the Games. The instruments provide multiple video and audio reference signals and 3G/HD-SDI test patterns for video equipment verification, facility link testing and display calibration. The SPG8000A units are also equipped with IEEE 1588 Precision Time Protocol support which offers solutions for system timing over IP for a gradual transition to hybrid SDI-based and IP-based infrastructure.

The Sentry Video Quality Monitors will be used by NBC Olympics to provide real-time Quality of Experience monitoring of its coverage of the Games, and to ensure the quality of the video transport back to the United States.

LAS VEGAS—Tektronix will demonstrate Prism, its new hybrid SDI/IP media analysis platform, at the 2016 NAB Show. Prism is a new test and diagnostic solution that enables a smooth transition from SDI-based to IP-based infrastructure. This software-defined platform’s graphical displays, coupled with historical data, help solve intermittent problems quickly.

Recognizing that the industry is likely to employ a hybrid SDI/IP infrastructure, and phase in new IP technology for some time to come, Prism provides packet interval histogram, trend graphs, and other intuitive displays to correlate SDI and IP signal types. It can then quickly identify and diagnose the root cause of packet loss and other errors, for example, whether they are in the IP or content layer.

Its timing display helps engineers quickly adjust the timing of the signal within a hybrid environment using PTP or black burst/tri-level sync as the reference source. With its many essential tools, Prism gives broadcasters, engineers and content creators the means to maintain signal quality and to build out their IP facilities with confidence.

The 2016 NAB Show takes place in Las Vegas, April 18-21. Tektronix will be in booth SU5006. For more information, visit www.nabshow.com.

BEAVERTON, ORE.—As Tektronix approaches 70, the provider of measurement tools has changed up its look, unveiling a new logo and brand strategy. The new logo has been instituted all across Tektronix’s digital and physical properties, along with a comprehensive redesign of Tektronix’s websites.

Tektronix President Pat Byrne unveils new logo

“The new logo emerged from work we completed on behalf of our customers,” said Pat Byrne, president of Tektronix. “Through this process we interviewed over a thousand customers, partners and employees worldwide to gain insight into buyer behaviors and trends. The result is a clear focus for our brand on why customers choose our products and services.”

This resulted in Tektronix’s new brand strategy, which involves creating a stronger customer experience and reinforcing an emphasis on collaboration, integration, insight, precision, simplicity and velocity.

Tektronix will celebrate its 70th anniversary of Feb. 2.

BEAVERTON, ORE.—Tektronix’s Sentry series of video network monitors are heading to the plains of Oklahoma to Oklahoma City’s CBS-Affiliate, which is owned by Griffin Communications. Griffin is using the monitors to monitor the video and audio quality of experience it delivers to its viewers and to demonstrate compliance with the CALM Act for audio loudness and closed captioning requirements.

Sentry

Tektronix provided Griffin with its Sentry Edge video network monitors for its broadcast facilities in Oklahoma City and Tulsa. The Sentry Edge is optimized for program content and provides full reporting and alerting capabilities as well as detailed statistics and simplified graphics. Tektronix’s Sentry systems also feature a 60-day system log.

The Oklahoma Association of Broadcasters recently used the Sentry system to conduct a mock FCC inspection of Griffin’s operation.

Tektronix is a provider of test, measurement and monitoring systems.

BEAVERTON, ORE.—Tektronix and Nexidia have announced that they will team up to provide automated analysis of closed caption content to Tektronix’s Sentry video monitor suite using the Nexidia Comply software.

Sentry

In its current model, Sentry can verify the technical elements of closed captions, like whether captions are present, appear at the right time or are properly placed. With Nexidia Comply software, Sentry will now have the ability to that the text in a closed caption is accurate with the spoken dialogue. This will make the Sentry compliant with FCC Title 47.

Nexidia Comply uses patented speech recognition technology to verify the validity of closed captions to the spoken word. No changes will be needed in workflow, monitoring or reporting processes with the integration to Sentry.

The Nexidia Comply software will be available in an upcoming release of Sentry.

Tektronix is a provider of test, measurement and monitoring technology based in Beaverton, Ore. Nexidia develops audio analysis applications for dialogue search and closed-captions and is headquartered in Atlanta.

AMSTERDAM—With the transition to an IP-based video infrastructure taking a more gradual pace, Tektronix has unveiled its new SPG8000A hybrid master sync generator to help broadcast facilities in that transition, by supporting both traditional SDI-based video and new IP-based video infrastructures in a single instrument.

SPG8000A

The SPG8000A hybrid master sync generator comes standard with multiple independent black burst and HD tri-level sync outputs that meet the synchronization needs of traditional broadcast or production facilities. It also features an optional, field-upgradable IEEE 1588 Precision Time Protocol grandmaster clock for synchronization of IP-based production workflow.

The SPG8000A comes with a robust hardware design, a hot-swappable dual power supply system, Stay GenLock and GPS Holdover and Recovery system.

Tektronix will showcase the SPG8000A at IBC 2015 in booth 10.D41. IBC 2015 takes place in Amsterdam from Sept. 11-15.

Tektronix has been making monitoring and test gear almost as long as I’ve been around and I’ve certainly used my share, beginning with their 535 lab oscilloscope and 529 waveform monitor; that was a long time ago! Tek has always kept up with, or been slightly ahead of, the times and their new model WFM2300 multiformat multistandard portable waveform monitor is a very good example of the good things that continue to emerge from Beaverton. I was fortunate enough to get to test drive this new model and here are my findings.

The WFM2300 is connected to a Blackmagic Design HyperDeck Shuttle 2 for evaluation in the author’s lab.FEATURES
First off, the WFM2300’s moniker “waveform monitor” is something of a misnomer. Yes, it is a waveform monitor, but it’s also much, much more. In addition to responding to just about every type of video signal you’re likely to encounter in a television facility, the WFM2300 is also a precision measurement device and a source of equally precise video—and audio—test signals. I’d use up all of the space allocated for this review if I tried to list everything the WFM2300 can do, but here are some of the highlights.

On the video side of things, it provides: waveforms, vector presentations, eyepatterns, “lightning” displays, timing information, external reference signals (color black or tri-level), exclusive Tek “diamond” and arrowhead color gamut displays, and a high-definition color picture. I should add that the WFM2300 supports SD/HD/3G SDI video. It automatically detects and responds to video formats under test and when an optional SFP transceiver module is installed it works with optically delivered signals.

Test signals delivered by the WFM2300 include color bars and a pathological signal. These are available in all formats—SD/HD/3G— that the instrument is set up for. Also, Tektronix announced (after I’d returned the evaluation WFM2300) some free updated software that significantly expands the number of video test signals available. Included are checkerboard, pluge and luma reference, ChromaDuMonde, clean aperture and more. Other additions include an option for displaying audio/video delay via a bargraph indicator and propagation delay measurement capability for checking codec latency and similiar applications.

As for audio, the WFM2300 is equally feature rich. It allows on-screen monitoring of up to 16 channels of AES audio and allows users to listen to this via a built-in speaker. In addition to bargraph level indications, the instrument offers multichannel surround and Lissajous audio displays. With suitable options, it can function as a loudness meter, Dolby Guard Band meter, and Dolby metadata decoder and peak level meter. The built-in tone generator provides both embedded and discrete digital audio signals. Dolby E audio signal generation is also available as an option.

The Tektronix WFM2300 displaying internally generated color barsIN USE
As this unit is so feature-rich and has so many menus to drill down through, I confined my initial bench testing to cabling up a “loop back” from the WFM2300’s output port to its input BNC. This allowed me to try out many of the unit’s signal generation and display features while ensuring that nothing could go wrong in terms of an outboard device under test not passing signals and causing confusion and consternation. In this early stage evaluation, I soon discovered there are so many displays and settings that I had to do my “test drive” in several installments. (I should mention here that once you’ve figured out the menu structure, the instrument allows you to store up to 32 test configurations for instant recall, thus saving a lot of time in calling up frequently used test setups.)

Once I felt that I’d mastered most of the WFM2300’s menus, I broke the I/O loop connection I’d set up and brought in an outboard device to take the place of the length of RG-6 coax I’d been using. This was a Blackmagic Design HyperDeck Shuttle 2 capture and playback device.

Once the Shuttle 2 was connected to the WFM2300 and powered up I proceeded to “lay down” several minutes of color bars and tone. Once this was accomplished, I went for playback and while this was in progress I walked through a number of the WFM2300’s display and measurement “pages,” including the very rigorous measurement of all of the SDI signal parameters. Like everyone else making the shift to digital video a number of years ago, I was taught that “digital is perfect,” however, even though the Blackmagic folks have a well-established reputation for perfection in their products, I was sort of hoping for one teeny-tiny parameter to be out of the box, but this wasn’t the case. Even though the Tek WFM2300 gave it a complete workout, nothing in the video output raised even the slightest flag when the “numbers” came in. I next tried the Tek pathological stress test and the Blackmagic box again passed with flying colors. Other testing included synthetically adding some extra cable, which is easily done with the WFM2300, to see if I could push things over the “digital cliff.” No such luck here either. The Shuttle 2 kept on precisely ticking!

Before shutting down the WFM2300 I also tried out its freeze frame capability with some “in motion” video previously captured on the Shuttle 2. I also tried out the cursor-select feature that allows you to very accurately perform measurements on a very small portion of a complex waveform. I won’t go so far as to say that the WFM2300’s measurement possibilities are “endless,” but the user manual is a very thick document.

SUMMARY
Following Tektronix’s very long tradition of building very high quality test gear, the WFM2300 is certainly no slacker. It represents Tek’s latest offering into the world of HDTV and provides just about everything that one could want in test generation and measurement capability. If you’re moving from SDI on copper to fiber, the WFM2300 is ready for this too. The instrument is also firmware-field-upgradable to handle video’s future as it develops. Although I didn’t perform a “drop” test, the device’s housing looks as if it could stand up to most of the abuse offered by studio and field use. The only downside I found was a slight bit of noise from the internal fan (there is a lot of silicon to cool in this compact package), but this was not particularly annoying and really didn’t mask any audio issuing from the unit’s internal speakers. The price tag may make some of us a bit apprehensive, but it’s a very true adage in the world of TV test gear that you get what you pay for. In fact, I still have a Tek 529 waveform monitor and 526 vectorscope in my lab that still perform perfectly despite their having been manufactured about half a century ago!

James O’Neal is a retired broadcast engineer and served as TV Technology’s technology editor from 2005 to 2015. He can be contacted atjonealnb@aol.com.

FAST FACTS

APPLICATION
Wherever a compact and multifeatured test generator and signal display is needed
KEY FEATURES
Compact size, wide variety of signals and displays available
PRICE
$9,950 MSRP
CONTACT
Tektronix
800-833-9200
www.tektronix.com

The Tektronix MTS4EAV7 HEVC/AVC Video and Compressed Audio Analyzer PC-based software package provides deferred time analysis of encoded video and audio elementary streams.

PADUCAH, KY.—It doesn’t really matter what is broken these days, it’s either deemed disposable or worthy of repair. Certainly with broadcast and media facilities, viewer QoE (Quality of Experience) and budget bottom lines are equally important. Whether it’s at a transmitter site, in the field, in the studio, at the tech core, at the end of a CDN, or edit suite, there are always problems about to pop up.

When those problems occur, someone has to identify the problem, notify someone, or resolve the issue. At those times, guessing just won’t work. Fortunately, test and measurement manufacturers are pushing their technologies ahead, just as other manufacturers, and in some cases, a bit faster.

For SDI, 4K and real-time video test instruments vary from WFM/vector to rasterizers, as witnessed by the recent release of Leader’s LV 7390 four-channel 3G/HD/SDSDI multistandard rasterizer that can measure up to four SDI signals simultaneously, and is compatible with 3G-SDI, HD-SDI and SD-SDI. At the 2015 NAB Show, Leader also unveiled the FS 3102 analyzer, which can perform real-time checking of up to four HD-SDI or SD-SDI signal streams, and for 4K, Leader offers the 5490 waveform monitor.

INCREASING ARRAY OF FEATURES

Leader Instruments LV 7390 four-channel 3G/HD/SD-SDI multistandard rasterizer
Paul Robinson, chief technology officer for Tektronix said that for broadcasters and related media, SDI is still going strong. Many later model Tektronix SDI WFMs in the field have the backbone for 4K built in, they just require a few firmware upgrades to accept the quad link cabling, according to Robinson. “For quad-link, timing is critical for proper operation,” he said. For transmission, Tektronix offers the Sentry product line for QoE/QoS.

In addition to manufacturing monitors with built in WFM’s and audio metering, Marshall has recently introduced the Titan 4K Generator, which has been very well received, according to Devan Cress, director of broadcast sales AV for the El Segundo, Calif.-based company. “The unit is currently HDMI only, but SDI is coming as an option in Gen 2 [scheduled for October release], along with a larger preview screen.” Marshall is also adding IMD [in-monitor display] for their WFM feature, allowing both video and WFM/audio metering to be viewed at the same time on their monitors.

Triveni Digital is no stranger to IP and file-based workflows, according to Ralph Bachofen, vice president, sales and marketing for the Princeton Junction, N.J.-based provider of monitoring technology. “Triveni will be offering video over IP management tools,” he said, adding that IP will fit right in, not only with the next-generation ATSC 3.0 standard, but with bandwidths exceeding 10 Gbps, of particular interest to cable providers. For today though, test tools like the StreamScope with closed-caption compliance measurements are as popular as ever, and very scalable, according to Bachofen.

IMPACT ON THE VIEWING EXPERIENCE
Tektronix’s Robinson said while SDI is still going strong, IP is gaining traction. IP “is the new way of doing everything [and] will impact the viewing experience more than ever,” he said. While IP products don’t heavily populate Tektronix’s product line yet, Robinson says that the company has several prototypes around the world in “proof-of-concept” facilities. According to Robinson, products in the wing also include hybrid sync generators with baseband, tri-level, and PTP (Precision Time Protocol IEEE 1588-2002) for IP, and analyzers for SMPTE 2022. Recently, Tektronix introduced the Aurora QC and Hydra player, featuring faster throughput, scalability, and improved usability.

At this year’s NAB Show, Leader unveiled their FS 3103 software package which allows MXF audio/video media files to be processed faster than real time. According to Young, a combined system incorporating an FS 3102 and FS 3103 can process up to four files simultaneously. The FS 3102 and FS 3103 provide automatic checking and analysis of image characteristics.

When it comes to evaluating the output of encoders and transcoders, Adam Schadle, vice president of Video Clarity, a Campbell, Calif.-based developer of monitoring technology has a couple of questions for broadcasters: “How will multiple resolutions look, in different display types, after having been transcoded multiple times? And how can you know ahead of time?” Schadle points to the company’s recently re-engineered RTM Manager for the answer.

“Our new RTM Manager has a new way of taking measurements in real time, and a better way to evaluate,” he said. In short, according to Schadle, Video Clarity tools provide real-time evaluation of quality between competing encoders and providers, using the human perceptual test (QoE), along with averages of QoS scores and new log graphing tools for Clearview and RTM.