IRVINE, Calif.—Teradek has launched RF-X Auto Switcher, an appliance designed to simplify and secure high-stakes wireless video workflows and deliver flawless, uncompromised signal integrity for demanding mission-critical broadcasts.

RF-X is engineered to provide smarter redundancy, stronger signal and superior quality, allowing technical directors, camera assistants, digital image technicians and video engineers to replace complex, expensive manual failover solutions with a single, intelligent device.

“Professionals in live production are constantly challenged to maintain a flawless video feed under tight budget constraints,” Derek Nickell, product manager at Teradek said. “Why rely on manual switching or expensive, complex failover solutions? RF-X eliminates this pain point by delivering built-in intelligence that automatically manages signal integrity, radically cutting down on labor and travel costs while guaranteeing the highest quality feed for clients.”

Key features include:

• Hitless fail-over: The device seamlessly ingests up to six feeds from Teradek Ranger or Bolt receivers. Its built-in intelligence automatically detects and selects the absolute best available signal path.
• Guaranteed quality output: As a Feature Highlight, RF-X outputs a single, clean 12G-SDI feed, delivered via BNC or SDI fiber SFP.
• Cost savings: The system enables Ranger and Bolt users to replace costly manual video switchers and eliminate associated labor cost.

RF-X significantly reduces complexity and labor while ensuring an uncompromising signal, making it well-suited for high-end cinematic and broadcast applications.

More information is available on Teradek’s website.

No matter how good your current gear is, there’s always new equipment that’s better, lighter and easier to use in the field. Today’s gear for news production is lighter and more compact yet more powerful than ever, thanks to an improved form factor and faster processing.

Better Livestreaming via 5G
The quest to improve video transmissions from the field is never-ending and Teradek, a Videndum plc brand, has taken a step forward with its new Prism Mobile 5G cellular bonding unit, the lightest 5G-enabled camera-back video encoder on the market, according to Derek Nickell, Teradek’s technical product manager.

“The system is designed to provide the best possible cellular connectivity for live video streaming without compromising on size and weight, allowing field operators to stay agile for longer while live streaming over public and private networks,” he says.

Nickell says Prism Mobile enables camera operators to stream HD and 4K video over cellular networks and Starlink with latency rates as low as 250 milliseconds. It also allows them to securely share encrypted, color-
accurate live video feeds and recordings with stakeholders globally and expedite postproduction with several natively integrated camera-to-cloud platforms such as Frame.io and Sony C3 Portal.

This last capability lets editors access camera proxies as soon as they’re captured, and allows marketing teams to post highlights and playbacks in near-real time.

Lightweight, Versatile Camera Head and Tripod
As anyone who’s ever shot video knows, a lightweight yet solid camera head and tripod is your best friend on the field. The Sachtler Ace XL Mk II fluid head and flowtech tripod combination is worth inviting into the friend zone. Designed to handle payloads weighing up to 17.6 pounds, the 3.75-pound Ace XL Mk II head adds minimal weight to a tripod, yet can handle most of today’s video cameras. (The Ace XL Flowtech 1016MS tripod weighs 11.7 pounds.)

According to Sachtler Senior Product Manager Barbara Jaumann, the Ace XL Mk II head/flowtech tripod combination was designed in collaboration with TV crews to meet their demands for robust, lightweight, and quick-to-deploy equipment.

“One of its standout features is the placement of brake levers at the top of the tripod,” she says. “This design allows for exceptionally fast setup—just flip the levers and lift the tripod in a single motion. This top-mounted lever system also makes height adjustments quick and easy, even when working solo, such as adapting to different interview subjects on the fly.”

Another key focus in the Ace XK Mk II’s development was ergonomic portability, Jaumann adds. “The tripod is not only quick to deploy but also simple to fold down, with integrated magnets that keep it securely closed during transport,” she says.

Weatherproof Lighting for Tough Environments
Lighting can be a real challenge in field video shoots, which is why Litepanels has introduced the Astra IP line of weatherproof portable LED light panels. The lineup includes the Astra IP Half, 1x1 and 2x1 units, all with an IP65 rating that ensures protection against rain, dust, snow and humidity.

These bicolor LED panels offer a color temperature range of 2,700 to 6,500 kelvin and feature high color accuracy, with CRI/TLCI ratings around 95. They deliver a focused 30-degree beam angle, provide flicker-free dimming and support both Bluetooth and optional DMX control, with an onboard LCD for easy adjustments.

“The standout feature of the Astra IP is its IP65-rated weather resistance, making it ideal for use in challenging outdoor environments where crews often face unpredictable weather such as rain, dust, or snow,” Michael Herbert, head of product management at Litepanels, says. “In terms of performance, the lights are exceptionally bright. The 1x1 model delivers around 3,000 lux, while the 2x1 reaches up to 5,500 lux at 3 meters, ensuring strong illumination in any setting.”

Designed with portability in mind, each Astra IP unit is lightweight—ranging from 6.8-15 pounds, making them easy to carry and set up on the go. Each unit comes with an integrated power supply, and users can choose from optional battery plates including Gold Mount, V-Mount, and BP-U for greater flexibility. Available in Duo and Trio configurations, Astra IP Travel Kits pack multiple Litepanels, battery brackets and support stands into durable Pelican cases for convenient transport and rapid on-set setup.

Compact Tripod for Mirrorless Cameras
These days, many camera operators are using SLR-styled mirrorless digital cameras to shoot stills and video content in the field. Manfrotto is addressing their need for a single compact support solution with the new ONE Hybrid Tripod.

Weighing from 6.9 pounds, “the ONE Hybrid tripod includes XTEND, a patented mechanism that allows all leg sections to be deployed simultaneously in a single action for fast setup and quick adjustment on the fly with no downtime,” says Sofia Braccio, Manfrotto’s senior product manager, video. “It features a modular sliding center column with a removable lower section for ground-level shots and an integrated leveling mechanism for quick framing. The column also features a Q90 mechanism that allows shifts from vertical to horizontal instantly enhancing the variety of shots possible.”

The ONE Hybrid Tripod also comes with XCHANGE, Manfrotto’s new quick-release system that allows users to swap heads, sliders and accessories in seconds. “When paired with the new XCHANGE-ready 500X Fluid Video Head, the ONE Tripod becomes a professional system ready for modern content requirements,” Braccio said. “It includes a Fluid Drag System (FDS) on both pan and tilt, a selectable Counterbalance System optimized at 5.3 pounds and a hinged camera plate, making it easy to switch between horizontal and vertical orientations when supporting social content is required.”

Remote Camera Operations
Shotoku Broadcast Systems has recently combined its TG-27 pan and tilt head with the company’s TR-HP Hot Panel control panel into a powerful package.

“Together, they offer a lightweight and flexible system that’s ideal for mobile production environments such as news, sports or events,” James Eddershaw, the company’s managing director, says. “The TG-27’s compact design and high payload capacity make it suitable for a variety of camera types—including ENG models and small teleprompters—while the TR-HP enables intuitive, direct control without the need for a full-size panel.

This combination delivers Shotoku’s trademark precision and reliability in
a footprint that suits fast-moving news teams, pop-up studio setups and remote
production workflows.”

IRVINE, Calif.—Teradek will launch its new Prism 877 4K HEVC encoder/decoder cards at the IBC 2024, Sept. 13-16, at the RAI Amsterdam Convention Center.

The cards allow users to switch between encoding and decoding modes on- demand, enabling them to customize their workflows on an event-by-event basis. With an optional license for simultaneous encode and decode processing, the 877 card can effectively double Prism Rack’s working capacity from nine to 18 bi-directional channels, Teradek said.

“The Prism 877 cards are a first in our segment of the market,” said Tyler Riddle, live streaming product manager at Teradek. “Teradek is one of the few companies offering a dedicated hardware device capable of seamless encode and decode switching, simplifying your setup by eliminating the need for single-purpose cards.”

The company also will demonstrate the Prism Mobile 5G and Ranger, live video solutions that have been streamlining mobile production workflows across the globe, at IBC 2024.

Launched earlier this year, Prism Mobile 5G is a video encoder and cellular distribution solution for sports broadcasters, news teams and live production crews. It provides the best possible cellular connectivity over public and private networks. The lightweight, compact solution allows camera operators to remain agile for longer while capturing action, the company said.

Since being introduced, Prism Mobile 5G has streamed content for NBA and NFL teams, NBC Universal and Fox. The solution seamlessly streams across remote terrain without a single drop, it said.

Ranger, a true zero-delay wireless video system for live events and broadcast, has been used for everything from commencement ceremonies to major league sports, delivering visually lossless IMAG over the newly opened and uncongested 6GHz frequencies. Available in the Mk II and Micro form factors, Ranger is designed to accommodate productions of any size and complexity. Both systems will be available for hands-on demos at IBC 2024. 

See Teradek at IBC 2024 Stand 13.A05.

More information is available on the company’s website.

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

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

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

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

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

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

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

IRVINE, Calif.—Teradek has launched Teradek TV, a production and post-production review platform that makes it possible to share encrypted, low-latency, high-quality video feeds with executives, creatives and other stakeholders collaborating on projects in real time.

“Teradek TV enables any production team, project or even an entire studio to drag and drop their video village or post suite into the cloud,” said Greg Smokler vice president and general manager of Cine Products at the company. “The platform is quick, intuitive and scalable because it’s built on the powerful video streaming technology stack that Teradek has developed over the last 15 years.”

Teradek TV offers permission-based visibility across studio-level production slates in real time, enabling live feeds and downloadable instant proxies for dailies, editorial, VFX, cross-platform color management and metadata support, the company said.

The scalable solution features color-accurate 4K HDR, support for multi-camera live feeds, instant recording playback, voice and text chat, privacy and visibility across multiple productions, it said.

Designed to break the siloed approach to production, Teradek TV offers native viewing apps for popular devices: iOS, Android, Apple TV, Mac and Windows that allow key crew from video village to post-production to see live feeds and collaborate in real time, it said.

More information is available on the company’s website.

IRVINE, Calif.—Teradek is now shipping their latest wireless video solution for live production: Ranger Mk II and Micro. Announced at NAB Las Vegas in April, the new generation of Ranger introduces 12 new 6 GHz (U-NII-5) channels and two newly designed form factors to suit cameras of any size.

“Our customers in the live production space have been patiently waiting for their pre-ordered Ranger Mk II and Micro units, and we can now deliver,” said Derek Nickell, technical product manager at Teradek. “Ranger’s expanded frequency range and form factor variations have already proven to be key game changers for improving live video workflows. By giving production teams the flexibility to use Ranger on any camera size, with incredible range, and optional licensed band operation, our goal is to help provide the ultimate freedom and peace of mind to capture stunning visuals for your audience without limitations or compromises.”

With the integration of U-NII 5 support, production companies and broadcasters can now harness the untapped potential of a virtually unused wireless spectrum, ensuring interference-free operation in any environment, Teradek said. The enhanced wireless radios take Ranger’s remarkable frequency support, spanning licensed and unlicensed bands, to new heights, extending from 4.9 GHz up to 6.425 GHz.

Ranger’s feature sets include:

• Expanded frequency range: from 4.9GHz to 6.4GHz on licensed and unlicensed bands
• Intercompatibility: pair any previous and current Ranger system together
• Zero-delay: from TX to RX in .001 seconds – perfect for broadcast, situational awareness, and live event production
• Visually lossless 4K HDR: Transmit video in exceptional detail – superior to HEVC and H.264 solutions

The Ranger Mk II and Ranger Micro are available for purchase; more information is available at http://tdek.co/ranger-pr.

LOS ANGELES—Most, if not all, of my shoots require monitoring multiple cameras at the same time and SmallHD OS5’s addition of multi-view in late 2022 streamlined huge aspects of my work for both myself and my AC (assistant cameraperson) and video village techs. 

Prior to OS5 we relied on third party devices that require their own power, mounting hardware and cable support and thus were adding additional failure points to a critical part of the set infrastructure that most department heads rely on to do their best work: "video village," where monitors and playback have been set up for the director and other members of the production team.

Having integrated multi-view means as many as four cameras can be viewed on the same SmallHD monitor, which saves time and removes the need for additional (sometimes heavily used) camera feed splitter rental equipment. 

4K Cine 13 For Mobility
I became an early adopter of the Cine 24 High Bright monitor from SmallHD and only recently added a SmallHD 4K Cine 13 for the added mobility in the field. Monitors and the accompanying technology have never been an area where I like to cut corners — you should have a great deal of confidence in the image you’re capturing and thus I’m quick to jump on the latest and greatest tech when it comes to monitors especially. 

Both monitors have a gorgeous UHD 4K 10-bit display that I depend on for every shot and I often turn to the multitude of built-in exposure tools like Waveform and False color to make sure my shadows and highlights are landing where I need them. The streamlined exterior design of the Cine 13 and Cine 24 gives us plenty of mounting points alongside the variety of 12G and HDMI inputs and outputs. 

Several of my most recent shows have required me to utilize multi-view on projects like “Dimension 20” and “Game Charger” for College Humor and also the “Informer” series for VICE. We tend to use a combination of both Teradek 6 Bolt wireless and wired inputs into the back of our SmallHD monitors and we rely on wireless for movement heavy handheld, gimbal or Steadicam shots and stationary cameras are often fine utilizing 12G BNC cables. 

It's the Ecosystem
The multi-view feature on the SmallHD 4K production monitors is excellent, but it is the overall SmallHD and Teradek ecosystem that keeps me coming back to this hardware again and again. Having integrated distance markings in the form of RT Overlays with the Teradek RT has been a huge hit with my assistant camera team and lately I’ve also been impressed by the newly released EL Zone exposure tool and how useful it is for making tricky exposure calculations on the fly. 

For me, I’ll be using multi-view long into the future as production schedules become truncated and we’re gently pushed to capture more shots faster. More shots means more cameras and SmallHD’s production monitors alongside their accompanying digital toolset is helping keep my job as a DP as stress free as possible. 

For more information visit https://smallhd.com/

The role of the cloud is now well entrenched in broadcast and cinema production, but some traditional tools remain. This gives flexibility to production workflows that would have been unthinkable 15 years ago, when everyone’s attention was focused on the digital/HD transition.

At the 2023 NAB Show, April 15-19, there will be something old and something new. One of the latest technologies is the use of “volumes” to provide hyper-realistic backgrounds for live and cinema production.

The following is a sample of new production gear that will be shown in Las Vegas next month. 

Knocking Down Barriers
Pixotope, a provider of virtual production software solutions, will showcase its Graphics XR Edition, which includes a range of tools that simplify setup and operation in connection with the use of LED volumes, by reducing the technical complexities and associated resource costs of XR workflows and environments.

“With XR Edition, Pixotope is knocking down a major barrier to virtual production adoption by addressing the challenges that have previously made it difficult to leverage XR outside of major blockbuster productions,” said David Dowling, chief revenue officer of Pixotope. “It effectively removes the need for proprietary hardware, bringing users an off-the-shelf XR solution that enables bigger, better stories with greater ease.”

Blackmagic Design will roll out its line of network storage solutions, including Cloud Store, Cloud Store Mini and Cloud Pod, all of which let users share media files between multiple users on a global scale. The devices also understand proxy workflows, allowing a whole timeline and its media to be shared in minutes with responsiveness similar to a directly connected drive.

“We noticed how other storage solutions on the market didn’t offer the performance needed by the feature film and TV industry, so we took it upon ourselves to build something for our customers that’s not only fast but also reliable, portable and accessible in terms of costs,” said Bob Caniglia, director of sales operations for the Americas at Blackmagic Design. “The resulting Cloud Store, Cloud Store Mini and Cloud Pod are easy to set up and use, while providing secure access to media files globally with syncing and sharing media via Dropbox and Google Drive, allowing users from around the world to collaborate.”

Open Architecture
Panasonic will feature its Kairos line of IP-based production switchers. Kairos is an IT-based open architecture platform that enables functional enhancements and control linkage with external devices by adding software. At the show will be the next-generation Kairos Core 200 and Kairos Core 2000 mainframes, which offer improved functionality and performance, including many more inputs and outputs, improved video-processing performance and enhanced file-storage capacity.

Avid will be on hand to demonstrate its Maestro suite of graphics design and production tools for broadcasters. From news tickers and data-driven visuals to interactive and augmented reality content, Maestro provides solutions and tightly integrated workflows to add content on-screen in a coherent and engaging way.

LiveU will focus on flexible workflows such as remote/decentralized production, and cloud-based management and distribution help to allow delivery of high-quality, dynamic live content. LiveU will also showcase its latest 5G offerings and cloud-based solutions, which use the company’s low-latency, high-quality transmission protocols.

Rolling out its latest NDI-capable switchers is For-A, which will introduce the HVS-190, a 1-M/E version of the company’s flagship HVS-490 video switcher. As with the HVS-490, the HVS-190 also supports high-bandwidth NDI and NDI HX input and output. In addition to these switchers, FOR-A’s MFR-3100EX all-in-one production center, ClassX graphics, Insight media server, and SOAR-A live production platform are all upgradeable to NDI.

Ross Video will feature its 12G ready Ultrix FR12, the latest version of its award-winning Ultrix Router. The FR12 router has an integrated production switcher that allows customers to build an infrastructure with greater flexibility, performance and integration. The Ultrix FR12 is targeted at studios, OB vans and flypacks.

Monetizing Content
Dalet will highlight its Dalet Flex media asset management and workflow solution, which lets users seamlessly produce, curate, orchestrate, archive, deliver and monetize content. With its new mobile app, FlexMOBILE, you can bring the power of Flex to your fingertips with the ability to find, preview, comment, review and approve your assets from anywhere.

TVU will demo its RPS Link Encoder and Channel Plus. The RPS Link Encoder provides multicamera, synchronized remote production capability, targeted for use in remote locations where reliable wired IP connections are unavailable or inadequate. Channel Plus, a cloud-based playout service with integrated ad sales support, enables broadcasters to create live and VOD channel programming from a simple web browser with minimal training and experience.

Matrox will spotlight its ConvertIP line of 4K distribution products that can send zero-latency 4K over 1, 10, and 25 GbE cabling systems. Built on Internet Protocol Media Experience (IPMX), ConvertIP encoder/decoder line supports 4K60 4:4:4 IP signal transport.

Vizrt will highlight its AR and virtual studio capabilities in live production through Viz Virtual Studio and Viz Engine 5. Together, Viz Virtual Studio and Viz Engine 5 enable the creation of interactive 3D virtual sets, AR graphics, and mixed reality presentations, elevating audience experience through XR with hyper-realistic quality.

“Viz Virtual Studio in combination with Viz Engine 5 is a game changer for visual storytellers,” said Chris Black, head of brand and content at Vizrt Group. “Presenters can simply walk through 3D spaces, while the camera follows them and captures the interaction with XR infographics in an XR set that illustrates the story.”

NewTek will showcase the latest in its TriCaster line at the 2023NAB Show. On display will be the new Flex Control Panel, TriCaster Mini X, its sports replay solutions, and more. CaptureCast, the company’s flagship lecture capture solution for enterprise and education technology, will also be available.

Teradek, which will exhibit as part of the Creative Solutions Group in the North Hall, will focus on 4K with the debut of Prism Mobile, a camera-back video encoder with integrated cellular bonding, delivering 4K HDR live video from the toughest network environments. 

Teradek says it developed Prism Mobile “to provide better connectivity, seamless portability, and more reliable video contribution for professionals in the field.” It features two built-in high-performance cellular modems, and support for nine simultaneous network connections across WiFi, Ethernet, and Cellular offering the connectivity required for going live at sporting events, political rallies, and conferences. 

IRVINE, Calif.—Teradek has launched Prism Mobile, a camera-back video encoder with integrated cellular bonding, delivering 4K HDR live video from the toughest network environments.

Teradek says it developed Prism Mobile “to provide better connectivity, seamless portability, and more reliable video contribution for professionals in the field.” It features two built-in high-performance cellular modems, and support for nine simultaneous network connections across WiFi, Ethernet, and Cellular offering the connectivity required for going live at sporting events, political rallies, and conferences, the company said. 

“Prism Mobile solves three of the most common complaints we’ve heard from camera operators in the field: product size, power usage, and feature set,” said Michael Gailing, General Manager of Teradek’s Live business. “This is a no-compromise solution, allowing camera operators to stay nimble without sacrificing quality and functionality.”

Prism Mobile’s milled aluminum chassis weighs 1.9 lbs (864g) with Gold- or V-mount battery plates, which Teradek says is the lowest-SWaP (Size Weight and Power) encoder in its class, allowing camera operators to go live for long periods of time without the additional strain that heavy backpacks can produce.

When paired with Teradek’s Core Cloud orchestration platform, Prism Mobile enables users to remotely collaborate, control, archive, monitor, and distribute streams from virtually anywhere for quicker and more efficient production workflows.

Prism Mobile + Core Key Product Features and Benefits: 

• Integrated Cellular Bonding. 2 internal modems, with support up to 9 total connections. 
• C2C Integrations. Record content locally and upload footage to multiple camera-to-cloud platforms like Teradek Core, Frame.io, Sony’s Ci, and PIX. 
• Up to 4K HDR: Deliver 10-bit broadcast-quality video and audio at a fraction of the cost.
• Remote Management. Remotely control device settings, monitor, and route your video feeds to unlimited destinations. 
• Ultra-Low Latency Monitoring. Core TV allows stakeholders to monitor live video feeds in real-time on iOS, Android, Mac OS, and AppleTV devices.

 IP transport of video, audio and related metadata is transforming television production workflows and enabling new possibilities for all users of video that only a few years ago were inconceivable.

However, a nagging issue continues to vex those hoping to replace various traditional contribution and transport technologies with IP alternatives—the problem of latency. 

This new White Paper from Teradek and TV Tech examines how Teradek has solved the latency problem common to IP-based video workflows with the new, proprietary Adaptive Reliable Transport (ART) protocol at the heart of Teradek’s new ART 2U encoder-decoder combo.

Major topics covered by the White Paper include: 

• The key technologies used to deliver ultra-low-latency (250ms or less) performance.
• Why it is impervious to high packet rate errors.
• Teradek’s strategy that removes retransmission delays.
• The ingenious way ART leverages H.265 coarse and fine streams to ensure low latency.
• What this level of performance means in practical terms for video workflows.

Download this informative white paper and learn more about ART here.

IRVINE, Calif.—Teradek and Sony Electronics have announced the native integration of Sony’s Ci Media Cloud with Teradek’s Serv 4K and Prism Flex 4K HDR encoding solutions.

The move means any camera used on-set, in-studio or remotely will be able to upload footage to Ci directly from Teradek’s encoders, Teradek said.

The integration gives film and broadcast teams the ability to review, edit and deliver proxy files in a matter of minutes. 

While accelerating the content acquisition workflow, the integration also delivers frame-accurate files for cutting, color grading, frame grabbing, commenting and annotating. Content can be clipped, reformatted and shared without ever leaving the cloud, it said. 

As a cloud solution, this workflow will avoid duplicating content across multiple systems, which allows processing to come directly to the content. It also enables collaboration among internal and external stakeholders, enabling them to work seamlessly together while maintaining secure boundaries, it said.

Sony’s Ci provides content acquisition portals, real-time collaboration, automated transcoding, rough cut editing, QC and archive functionality in a single SaaS offering. The new integration will provide fast on-set configuration, allowing productions to onboard team members without user limits and create a fully customizable target folder structure, giving teams the freedom to work the way they like, it said. 

Files can be optionally stored in users’ own AWS S3 buckets so they always maintain control of their content. Automatic notifications will let teams know the second new content is uploaded, it said.

“Sony and Teradek are industry standards in the content creation and production space,” said David Rosen, vice president of cloud applications and services at Sony Electronics. “Leveraging our combined strengths, this integration will enable a reliable and effortless workflow that allows content creators to work with the tools they love and stay focused on their vision with full confidence in the underlying technology.”

Teradek Serv 4K and Prism Flex will connect to Sony’s Ci with a unique 8-digit code, making connection simple with no additional apps required. Serv 4K also provides local iPad client monitoring and a Gold/V-mount solution for camera-back setups. Prism Flex offers live streaming and point-to-point decoding, it said.

“The future is cloud-based production,” said Derek Nickell, product manager for Teradek Live Production. “We are positioning ourselves to accelerate the market towards collaborative remote production.”

The new integration will be available in fall 2022.

More information is available on the Sony and Teradek websites. 

IRVINE, Calif.—Teradek has announced Serv Micro, a new HDMI-only wireless video and production-streaming solution at the 2022 Cine Gear Expo. 

Serv Micro will be on demonstration from June 9–11, 2022, in booth 565 in the West Hall of the Los Angeles Convention Center.

“Serv Micro is our most accessible Serv product, integrating WiFi-based wireless video with off-set streaming setups for real-time collaboration, no matter the size of a production budget” said Greg Smokler, general manager of Cine at Creative Solutions. “With an easy-to-use cloud workflow and simple tools for sharing and viewing, collaboration has never been simpler.”

Serv Micro is a WiFi-based wireless video transmitter system that works with or without an internet connection, a local solution that supports up to 10 local device streams and a cloud-enabled solution that manages and shares live camera feeds on unlimited devices anywhere in the world.

Up to 10 devices can stream on a local network using Teradek’s Vuer app, with iOS, Android, PC, and MacOS support, the company said. 

Unlimited devices can access live streaming and instant recordings via the Teradek Core cloud streaming platform. If internet connection is lost, recordings are saved to an SD card for secure upload once connection has been restored. Streams are compatible with MacOS, iOS, Android, and web browsers.

Serv Micro also comes equipped with HDMI in and loop-through, ethernet and WiFi connectivity, an auxiliary audio input, USB type A connection for easy connection to cellular bonding options and a built-in L-Series battery plate, the company explained. 

“Serv Micro is built to deliver quality camera feeds and playback quickly and easily with intuitive tools and powerful platforms like Core and Vuer,” said Colin McDonald, Cine product manager at Creative Solutions. “It’s an all-in-one integrated solution giving creative stakeholders content visibility at every stage of production, wherever they are.”

More information is available at http://tdek.co/servmicro-pr.

WASHINGTON—So many things have changed in the television industry in the last couple of decades, and the pace of change only seems to accelerate. What seemed highly unlikely five years ago becomes commonplace today, and producing content in the cloud is one of those things.

The acceptance of at least some new techniques and processes can be attributed to COVID-19, which overnight forced us to get things done without actually being in the same place. And “getting things done without actually being in the same place” could be the dictionary definition of cloud production.

If your only concession to COVID is to do an occasional Zoom meeting, you may get the impression that video in the cloud is convenient but nothing special. However, with production in the cloud, you can get the quality you want to get.

“It is no longer accurate to assume that a cloud-based production is of lesser quality,” said Martin Jolicoeur, director of product management for Grass Valley. “One of the things we have learned from being forced to work remotely is that cloud technology is capable of handling top-tier live events.”

Keep An Open Mind
Jolicoeur said that keeping an open mind—and an open system—is the way to build a successful cloud production strategy.

“The global pandemic forced us to adopt new ways of working,” he said. “This has expanded our range of possibilities: SDI, IP and cloud all have applications for which they are best suited, both in terms of production capability and cost. We need to master the entire range of production options so that we aren’t locked into a single model. By being open, we can ensure that we are applying the best business and operational model for every production that we do.”

Like so many things where the internet is concerned, what you can do in the cloud is mostly limited by your imagination. You could use production talent from anywhere there is an excellent, stable connection—which brings up the subject of what the concerns can be for creating a production workflow in the cloud.

“The cloud offers unique opportunities for production workflows, but it also adds some new challenges that need to be considered,” Chris Brähler, vice president of product at SDVI. “Connectivity and latencies are certainly factors that play a bigger role in a cloud-based environment than when everything is available ‘next-door’ on premise.”

Relearn Some Techniques
Those of us who grew up in the industry and learned our roles by actually handling physical equipment and cables need to relearn some techniques and processes that we thought were the basics of production workflow.

“Ensuring that the entire organization understands the strategy and the benefits that will accrue to them is probably the most important factor in determining success,” said Grass Valley’s Jolicoeur.

Getting your head around how assembling a production in the cloud is key to making it work for your organization. A look into one company’s product—SDVI’s Rally—is one example of cloud production workflow.

Rally can automate content verification and metadata enhancement processing, which can assist an operator in the production supply chain. This can include steps as typical as creating proxies or daily renders. Rally Access, available as a plugin for Adobe Premiere and accessible via browser using a cloud-services provider such as Accurate.Video, can be used to both edit content, and also to review and approve edits and sequences. 

Sometimes it seems like you need a “spirit guide” to appreciate how cloud production can benefit your creative and distribution processes. If you step back and think about it, the benefits make sense.

“Designing a unifying workflow is key to getting your content accurately and securely distributed to all stages of production,” said Colin McDonald, product manager for cine products at Teradek.

The company’s Teradek Core is a control platform that allows productions to securely manage, distribute and collaborate with live camera feeds, instant proxy files for editorial, high-quality recordings for dailies, and low-latency HDR streams for post-production.

Using a hybrid cloud approach to media asset management is at the heart of Tedial’s introduction of its smartWork Media Integration Platform.

According to Julian Fernandez-Campon, Tedial CTO,  “a hybrid-cloud architecture offers broadcasters the ability to move operations in-line with business objectives quickly while maintaining current systems in operation ensuring a low-risk transition into the cloud. Customers retain full control of their critical workflows and operations while benefiting from the latest cutting-edge cloud features, technologies and infrastructures. 

“smartWork is based upon no-code architecture, follows Infrastructure as a Code (IaaC) and can be deployed on-premises, on any cloud or in a hybrid architecture seamlessly, allowing customers to integrate the more suitable systems for each deployment.”

Your Team Has the Skills
Just what sort of skills are needed to make all of this work? Look around at your team—it already has the skills.

“We worked with a group of top news and sports media companies to create cloud-native, microservice-based, media services,” said Paul Shen, CEO of TVU.

Shen said that one of these micro-applications is TVU Producer, a cloud-based live-production service. With its sync technology, the entire production team can all work from their home offices with their laptops and a normal home internet service. The application enables an audio engineer to have his own audio mixing panel and the video production engineer has his own live production panel. 

All production crews can communicate with each other in real time, as if they are working in the same physical space, and all the commands and instructions are executed precisely at the intended time without any misalignment introduced by network delay.

As well-formed as some of these scenarios sound, there is room to improve the processes and iron out the wrinkles.

“We are merely in the infancy of cloud-based production,” McDonald said. “Right now, content is being pushed to all levels of production without a direct form of feedback.  But soon, each of those departments and stakeholders will be able to push information back. This constant flow of information on a single platform will mean productions can work faster and with more accuracy.”

Increased Acceptance
Interestingly, the Covid crisis of the past two-plus years played a role in the increased acceptance of working on a real production using virtual tools.

“The biggest take-away has been that it works,” said SDVI’s Brähler. “Obstacles that were thought to be too big to overcome now had to be worked through, as there was no alternative.”

It looks like there is still a place for content creators to have their own facilities, even as the capabilities of “virtual” facilities are expanded and allow for greater flexibility.

“We believe completely in the cloud and IP’s ability to transform live production in a way that dramatically expands who and how video is produced and delivered,” said TVU’s Shen. “It’s what drives us to keep creating.”

The hesitancy from just a few years ago to shift to a cloud-based workflow has been replaced with urgency. The many improvements of a cloud production model became clear as COVID restrictions forced producers into a remote production model, Shen said. 

IRVINE, Calif.—Creative Solutions, the Vitec Group division that includes Teradek, SmallHD and Wooden Camera, will feature its diverse lineup of new cine and live production technology and will offer attendees hands-on demos at the NAB Show, April 23-27, in Las Vegas. 

Teradek will feature its streaming and cloud solutions for cine and live production. Highlights include its new 4K HDR production streaming solution from set to post. Teradek will also show new additions to its RT lens control family for the first time. Bolt 4K users can find out how to unlock wireless camera control with their existing setup as well, Creative Solutions said.

For broadcasters, Teradek will spotlight Wave, a seven-inch live streaming monitor; Spark 4K, a wireless transmitter and receiver; and Prism Flex, its portable 4K HDR Prism Flex encoder/decoder system. A live demo of ultra-low latency IP video built on Bolt 4K’s zero-delay technology also will be featured.

SmallHD will demonstrate several 4K and HDR production monitors, including the new Cine 18 OLED display, a lightweight, rugged on-set monitor offering post-production image quality and color accuracy. The latest PageOS operating system and a dedicated HDR suite highlighting SmallHD’s premium Vision Monitors will round out the offerings, it said.

Wooden Camera will show is latest pro-camera accessories that reflect a new unified camera-specific systems focus. Demos will include setups for Sony VENICE 2 and Blackmagic Pocket Cinema Camera 6K Pro and the redesigned Ultra Arm V2 and Ultra QR articulating monitor mount.

See Creative Solutions at NAB Show booth N212.

More information is available on the company’s website.

IRVINE, Calif.—The Teradek Core cloud video platform has received a successful assessment from the Motion Picture Association (MPA) Trusted Partner Network, recognition that the cloud service meets the network’s content security and encryption standards, the company said.

The assessment recognizes Teradek Core as a trusted platform that meets the highest security standards and is capable of protecting pre-released motion picture content. If breached, pirating of pre-release content could cause severe economic damage to the entire production effort, the company said. 

The cloud platform’s security features include end-to-end encryption across sharing and streaming protocols, individual viewer access control lists for securing content on a per user basis, content watermarking across Teradek applications and video hosting in secure Amazon Web Services (AWS), it said.

“Teradek has been building secure video transmission systems for over a decade, so we are keenly aware of the grave damage a security breach could inflict on a production,” said Colin McDonald, cine product manager for the company. “We built Core from the ground up with security at the forefront, and this assessment is the measure of that commitment to protecting our clients’ content.”

More information is available on the company’s website. 

IRVINE, Calif.—Thanks to a recent collaboration with Verizon and Amazon Web Services Teradek has announced a new ultra-low latency monitoring server for their Core cloud service: Wavelength Sputnik. Teradek is a member of the Vitec Group’s Creative Solutions division.

Wavelength Sputnik is a new integration that puts Teradek’s streaming video server (Sputnik) on the Verizon 5G network, dramatically reducing streaming video latency when paired with Teradek hardware, software, and Core Cloud platform. The integration provides a 50% performance improvement over Teradek’s existing low latency options, coming in at a lightning fast 160ms glass to glass.

“This improved monitoring solution works anywhere Verizon 5G service is offered, via AWS Wavelength Zones, which covers the entire United States,” says Tyler Riddle, live streaming product manager for Teradek. “It is the ideal solution for applications in production monitoring, law enforcement situational awareness, drone to cellular monitoring where local monitoring solutions can’t reach, and remote industrial oversight that lack a direct line-of-sight, such as remote monitoring of cranes, businesses, construction sites, or other applications where high quality, low delay video is required.”

For more information visit www.teradek.com

IRVINE, Calif.—Teradek has launched the Bolt 4K Monitor Modules 1500 TX and 1500 RX, giving users a long-range option with the 1500 monitor modules and a short-range option with the original 750 monitor modules.

“Scalability has always been a huge benefit of the Bolt 4K family,” explained Colin McDonald, product manager for Cine Products at Teradek. “With the launch of the 1500 monitor modules, Bolt users have even more kit options and, for the first time, long range camera control over the Bolt wireless link.”

Both the Bolt 4K Monitor Module 1500 TX and 1500 RX can seamlessly integrate with SmallHD Smart 7 Monitors and the entire Bolt 4K product series, the company said. 

When paired, they transmit and receive zero-delay wireless video signal from 1080p up to 4Kp30. The new longer-range devices offer 1,500 feet of line-of-sight range and support for 10-bit 4K and HDR.

The Bolt 4K Monitor Module TX 1500 has an integrated hardware connector for SmallHD Smart 7 Monitors (Cine 7, Indie 7, and 702 Touch), optional wireless camera control with a Smart 7 Monitor and SmallHD license (sold separately), easy setup and signal management with the Bolt App for iOS and Android, and supports Broadcast Mode to unlimited receivers. Wireless camera control is available now for ARRI cameras, and a beta can soon be downloaded for RED KOMODO.

The Bolt 4K Monitor Module RX 1500 includes a V-Mount or Gold Mount Battery Plate for power pass-through and an integrated hardware connector for SmallHD Smart 7 Monitors. It can receive metadata, timecode, and start/stop flags from most camera manufacturers and can also be managed via the Bolt App for iOS and Android.

For more information visit http://tdek.co/bolt4k1500modules

IRVINE, Calif.—Teradek has introduced the Bolt 4K LT Max, a 4K HDR wireless video transmitter-receiver solution offering more than 5,000 feet of line-of-sight range in a compact, rugged form factor.

Bolt 4K LT Max is powered by the third-generation Amimon 4K chipset and is interoperable with the entire lineup of Bolt 4K, Bolt 4K LT and Bolt 4K Monitor modules.

“The Bolt 4K LT line is the onramp to 4K and HDR on-set monitoring, but it has been missing an ultra-long-range powerhouse,” said Greg Smokler, GM of Cine Production at Creative Solutions. “We’ve taken the pocket-sized envelope of the 4K LT and packed in the incredible long-range performance of the full Bolt 4K Max, resulting in the perfect balance of size and performance.”

With a redesigned wireless chipset and RF hardware sending 10-bit 4:2:2 video at up to 4Kp30 via HDMI and 1080p60 via SDI, Bolt 4K LT Max provides sharper images and richer color detail. Bolt 4K LT Max offers built-in connectivity to Android and iOS devices. The Bolt Manager app allows for quick pairing and configuration as well as enhanced encryption, the company said.

More information is available on the company’s website.

IRVINE, Calif.—Teradek is now part of the NDI ecosystem, which it will incorporate with its line of Teradek Cube 700 series encoders. Teradek Cube 705 and Teradek Cube 755 users can now purchase an NDI license for sending video over IP.

NDI (Network Device Interface) was developed by NewTek and is able to move live digital media around with a user’s existing software applications, computing devices and networks. It is designed to preserve visual quality, frame accuracy and sound synchronization while merging stages of production.

With the addition of NDI, Teradek says that Cube owners no longer need to rely on HDMI or SDI long distance cables. NDI also integrates with vMix, Tricaster and other switchers. Cube owners can still use SRT for remote feed transport to a TriCaster, while using NDI for local ingest, Teradek says.

“Software-driven IP workflows have become ubiquitous in video production,” said Michael Kornet, vice president, NDI. “NDI-enabled devices like Teradek Cube 705 and Cube 755 exponentially increase the video sources available for live production creating efficiencies and opportunities for customers that did not previously exist.”

Exclusive Teradek NDI licenses can be purchased through the Teradek website. 

IRVINE, Calif.—Teradek has partnered with Frame.io to support the Frame.io C2C (Camera to Cloud) cloud-based workflow, bridging camera capture with post-production non-linear editing (NLE) systems, Teradek owner Creative Solutions said.

The Teradek Cube 655 video encoder will capture color-accurate proxy files directly from camera video feeds and upload them to the Frame.io cloud system via Wi-Fi, LTE or 5G, the company said.

“Teradek and Frame.io engineers have been working together to integrate the two platforms and achieve seamless handover from the camera to the cloud,” said Creative Solutions CEO Nicol Verheem of the collaboration with Frame.io. “You just hit ‘Record’ on the camera, and when you hit ‘Stop’ the file shows up in the cloud.”

When connected to a C2C-compatible camera, such as those from RED, ARRI and Sony, Cube 655 uses the camera’s record trigger to capture and store color-accurate H.264 (AVC) proxies in manageable file sizes, the company said. 

The proxies are an exact match of the original camera files when it comes to file name and timecode.

At the end of a take when stop-record is triggered, Frame.io automatically uploads Cube 655’s proxy file into the cloud storage system via a proprietary link over Wi-Fi or a compatible cellular modem, such as the Teradek Node LTE Modem, it said.

Proxies are uploaded to the cloud at a continuous rate. In post, they can be used to generate dailies, and editors can begin work on the NLE timeline moments after the shot is taken on a set anywhere in the world, it said.

Recorded proxies are stored locally on Cube 655, making it possible to upload files later or to continue from a hotel room on location, the company said.

Teradek-Frame.io C2C workflow compatibility will be available next month. The Teradek Cube 655 encoder is priced at $1,990 and the Teradek Node LTE Modem costs $699.

More information is available on the Teradek website.

IRVINE, Calif.—Teradek has introduced the Vidiu X, a HD streaming encoder designed for live streaming videographers and content creators. With Vidiu X, users can capture and encode live video via H.264 video compression to broadcast it in HD to streaming platforms.

The Vidiu Xm which is designed for 1080p60 video, is HDMI compatible, able to plug into cameras, hardware switchers and media players with HDMI outputs. It also works with Teradek’s Sharelink cloud streaming platform, enabling users to broadcast to multiple streaming destinations simultaneously, as well as to combine bandwidth from Ethernet, Wi-Fi, USB modem and several LTE connections to create a single uplink to broadcast from any location.

The encoder also works with Vidiu app for iOS and Android so users can locally configure their destinations, streaming settings and network connections from their smart devices. The app also allows for monitoring of live feeds.

Additional features include the ability to mount Vidiu X on a camera; USB-C power; and Wi-Fi6 capability.

Teradek has priced the Vidiu X at $699. For more information, visit www.teradek.com.  

IRVINE, Calif.—Teradek has unveiled its compact Bolt 4K LT and integrated Bolt 4K RX Monitor Module, new additions to the company’s Botl 4K wireless HDR video platform.

The Bolt 4K LT features the same 4K chipset found in the Bolt 4K to help it deliver image quality and performance enhancements to the prior HD generation of Bolt products, per Teradek. Bolt 4K LT and the Bolt 4K RX Monitor Module are cross-compatible with the Bolt 4K to create a wireless video ecosystem.

The Bolt 4K RX Monitor Module is a removable attachment for the SmallHD Cine 7 and 702 Touch monitors, creating an integrated wireless handheld unit. Both the Bolt 4K RX and Bolt 4K LT devices can also transmit and receive 10-bit 4:2:2 video.

The rest of the offerings for the Bolt 4K LT include 750- and 1,500-foot models; zero-delay wireless video; up to six receivers; HDMI 2.0 up to 4Kp30; 3G-SDI up to 1080p60; 13x 40 MHz frequencies; the ability to transmit metadata, timecode and record flags; and smartphone management with the Bolt 4K Manager app.

“Combined with our new 4K Production Monitors from SmallHD, we believe the 4K LT wireless line offers an affordable on-ramp to the world of 4K and HDR on-set monitoring,” said Greg Smokler, creative solutions vice president of Product. “The ability to freely mix and match transmitters, receivers and monitor modules across any Bolt 4K model really opens up possibilities for users at all levels of production.”

Teradek expects to launch the Bolt 4K LT in September. For more information, visit tdek.co/bolt4klt.  

IRVINE, Calif.—Teradek has announced that its new Orbit PTZ product is now available, which is designed to give HD/4K zero delay wireless video and camera control for PTZ cameras.

Teradek’s zero delay wireless video technology transmits uncompressed HD or 4K video up to 1,000 feet line of sight. Orbit PTZ can also transmit at less than 1ms of delay.

In addition, Orbit PTZ passes VISCA and Panasonic camera control commands over the same wireless link. This enables users to monitor and control PTZ cameras wirelessly with no latency using the same transmitter and receiver system.

Orbitz PTZ includes a built-in tally light and optional battery plates.

Teradek is offering two models of Orbit PTZ: Orbit PTZ (HD) for $3,990 and Orbit PTZ (4K) for $4,990.

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

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

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

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

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

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

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

More information is available on the Teradek website.

See Teradek at IBC 2019 stand 12.E65.

KENNEDY SPACE CENTER, Fla.—Millions of people watched the grainy black and white footage of Neil Armstrong taking his first steps on the Moon in 1969; in a special commemorative livestream produced by NASA, millions more people celebrated the Moon landing’s 50th anniversary on July 20 with a helping hand from Teradek and its Cube encoders.

The live, multi-site two-hour TV special from NASA TV and The Science Channel featured Teradek’s Cube encoders as part of a mix of transmission technologies to help send high-quality video over IP from different regions in the country to the broadcast facility in at the Kennedy Space Center in Florida. In addition, the Teradek Core management platform was put in use to remotely route and configure encoders in the cloud.

Program feeds were delivered from Seattle, Houston, Huntsville, Ala., Washington, D.C., and Neil Armstrong’s birthplace, Wapakoneta, Ohio. All the feeds were managed, produced and distributed from the Kennedy Space Center to TV networks.

NASA had previously used Teradek technology for its 2017 live coverage of the Great American Eclipse across Facebook, YouTube, Twitch and NASA.gov.

LONDON—Featuring 40,000 runners and reportedly millions watching on traditional TV, production company Sportsbeat sought to expand the audience for the London Marathon to social media channels via a livestream. A combination of equipment was used to bring a high-quality production to platforms like Facebook, Twitter and YouTube, including the VidiU Go live streaming encoder and Link Pro bonded cellular Wi-Fi router.

A Blackmagic Ursa Mini Pro, featuring a B4 lens, sent video to the VidiU Go. As part of the VidiU Go setup was two nodes that provided bonded 4G LTE data for extra redundancy in an area that featured many people trying to access the available network.

One of Sportsbeat’s producers carried the Link Pro Backpack, with six SIM cards from a combination U.K. carriers—EE, Vodafone, Three and 02. The bonded Wi-Fi signal from Link Pro served as an extra connection for the VidiU Go, giving it a total of three.

The team used VidiU Go, Core and Cube 625 to deliver video to a Blackmagic ATEM TV Studio to add graphics and perform mixing. This would feed the stream to a Blackmagic ATEM TV Studio to add graphics and perform mixing. Another VidiU Go would then send out the program to the Facebook, Twitter and YouTube pages for the London Marathon.

“With six different SIM cards on it, the Link Pro provided the crux of the bandwidth,” said Ric Sumner, head of broadcast and social and Sportsbeat. “The nodes on the VidiU Go also gave us extra backup just in case the data from the Link Pro dipped. The bonding was very consistent and reliable, and having two independent systems fully backed up with 4G modems gave us the peace of mind that we could broadcast from the crowded streets of the marathon without any issues.”

LAS VEGAS—Teradek is sharing what attendees can expect to find at its booth during the 2019 NAB Show, announcing that it will feature its next-generation ecosystem for Teradek RT wireless lens control. The two main products that make up these offerings are the CTRL.3 three-axis controller and MDR.X compact three-axis smart receiver.

The CTRL.3 offers precision lens mapping, allowing users to store and recall lens maps and display the information in real time on SmallHD monitors. This integration is available on all of the latest SmallHD monitors running OS3. The device also has integrated Bluetooth for additional connectivity between Teradek receivers and allows sharing of lens-mapping information and rapid configuration with the new, free RT iOS app.

The MDR.X is a lightweight three-channel receiver that is camera agnostic. It also has integrated Bluetooth as well as a built-in OLED display that allows for quick configuration and real-time status updates.

Both the CRTL.3 and MDR.X are compatible with previous generation Latitude and MK3.1 RT products. In addition, the MDR.X offers RED camera control integration via Foolcontrol.

Teradek will begin shipping the CRTL.3 and MDR.X in May. Check them out beforehand at the Teradek booth, C5725, at the NAB Show.

LOS ANGELES--About a year ago I wrote about REMI (REMote Integration) sports production (also known as “At Home”), which is a trend for covering live sports that requires less equipment and personnel on-site and shifts much of the live production activities to the broadcaster’s central production center/network center.

Enabled by robust and affordable telecommunications capabilities from the stadium/arena, the camera (and microphone) signals are sent back to the central production center, integrated with graphics, replays, effects and b-roll materials. Usually a small utility truck is sent to the remote site, with cameras and microphones as well as video encoders.

Local camera operators and utility crew roll out the cameras and microphones while an A2 is usually on-site (and may have driven the truck) to set up coms and in some cases provide a sub-mix of the natural sound (crowd). Examples of this type of production are used extensively in college sports (except football and men’s basketball) as well as some professional sports. In smaller productions (1-5 cameras) the truck is replaced by a portable field pack.

BEYOND THE CENTRAL PRODUCTION CENTER

However in many cases REMI still uses first-class professional cameras and production gear. These require operators who are well trained in the use of this equipment. For some sports, this is still a high bar in terms of cost, especially the huge capital cost to build such facilities.

In response to REMI, a new type of live sports production has evolved, one that does not need a central production facility and therefore can be produced anywhere there is a solid internet (IP) connection. Further, instead of hard-wired cameras and microphones, this new production called “Virtual Production” by Sony uses wireless connectivity from camera (and microphone) to a cloud-based production service. No heavy production equipment, no wires!

The sports event can be produced via an app on a tablet, laptop PC or even a smartphone. The “control point” can be augmented with multiple video monitors and audio speakers/headsets. The solution even includes return channels for communications (IFB) and video returns. Further, there can be multiple productions simultaneously using the same camera and mic feeds but outputting specialized line cuts. Finally, this may not be limited to just a professional producer, the same cameras and audio can be available to fans to generate a personalized feed that can be shared via social media.

Taking advantage of this freedom of wires and professional gear, even professional productions can cover parts of an event that are near impossible to cover using conventional TV coverage techniques. For instance, at the Red Bull Alpenbrevet alpine motorcycle race where there isn’t space or room for a production vehicle, a roving camera operator--connected via 4G wireless modem--can cover any part of the event that is accessible.

REQUIREMENTS

Is this Virtual Production (VP) the future of live sports coverage? What are the challenges and downsides of going virtual in the cloud? Some necessary technologies that enable Virtual Production are large wireless bandwidth on site with low latency, connectivity to the internet that is reliable and high bandwidth, and a VP service available and affordable in a data center relatively close to the event (to minimize delays). Finally, what is also needed is a production client app that can enable all the features needed by a production, with low latency of both signals and commands, that can run on typical laptops/tablets/smartphones with online support during the production in case of problems as well as help in setting up the VP service.

For now the offering from Sony is somewhat limited to switching up to six camera feeds, graphics insertion, limited effects (picture in picture, transitions) and audio mixing. Camera synchronization--and to some extent error recovery--requires around 2 seconds of delay, which is deemed to be acceptable for some productions. The other unique advantages that VP provides is a “pay as you go” approach to cost, thanks to implementing VP on the Amazon AWS cloud. For those interested in delivering via the internet using social media live features, this approach has a clear advantage of already being in the cloud. In addition, new features and functions can be rolled out without bringing the truck back to base and wait for the retrofit. Once upgraded on the hosted servers, the new features are immediately available.

[Read: HPA 2016: Remote Live Production]

The costs associated with VP are based on a monthly subscription for a certain number of hours of production. Included are up to six camera feeds, two playout servers, two logo keyers as well as the VPS production user interface. Additional costs may occur due to the wireless camera feeds that use wireless carrier 3G/4G (and in the near future 5G) data services. Finally, there is the cost to distribute the live feed over the internet, which could be free for some social media services (i.e. YouTube Live) or if using a commercial grade CDN such as Akamai, the cost is typically based on the number of concurrent streams. In addition, if the show is archived there will be costs to store the content and cost to retrieve it later.

OTHER VARIATIONS ON THE VP MEME

While the Sony VPS is a full IP/cloud-based approach using wireless cameras, there are other applications that take advantage of the new video technologies. NEP in their facility outside Amsterdam, offers a production facility for REMI production using their own data center, connected via fiber to major stadiums and arenas. The production facilities are rented (much like a remote truck) but only charged for the time used by the production. NEP has also used wireless IP cameras using point-to-point links (Ubiquiti Wireless) at the Coachella music festival to enhance coverage of the event. The use of IP connectivity allowed the production to remote control the cameras (Panasonic PTZ type). This obviated the need to run fiber optic cables to each camera in order to cover the sprawling event.

Teradek has a live production solution called Live: Air Action. Using their bonded wireless encoder/modems(VidiU or CUBE), connecting cameras (including iPhones/Android Smartphones) via a cloud server (Teradek CORE Integration) the Live:Air Action application lets a producer switch cameras, with limited effects, add graphics, record and playback, and has an audio mixer. Stream live over social media sites or via CORE.

Globo TV, the biggest TV network in Brazil, wanted to cover The World Surf League 2017 finals from Honolulu. Using three Sony FS5 cameras with VidiU Pro encoders with 4G LTE modems, Globo integrated with Live: Air Action to switch the cameras and stream using a Bond 4G/LTE modem to connect to Facebook live. Live:Air Action enabled the producers to add graphics including stats as well as integrate commentary and interviews with the third camera feed. Using the iPad app for Live:Air Action meant the producers could be close to the beach and the live event.

Newtek Tricaster has been used for years to provide alternative coverage, usually for social media or OTT streaming. They have developed an IP video networking environment, NDI, which allows for the use of IP cameras as well as interconnecting third-party equipment.

Recently Thaler Media used Tricaster and NDI along with LiveU wireless camera systems to cover the 2018 Western Amateur Championship in Northridge Illinois (near Chicago) while producing the live feeds at their facilities located in North Palm Beach Fla. The streams were sent to the Golf Channel’s digital platform.

On site at the Sunset Ridge Country Club were a producer, editor, four camera operators and sound mixer. Three of the cameras were mobile and used LiveU’s LU600 HEVC and LU500 IP-based transmission system to send the camera signals back to a LU2000 server located at the master control facility in Palm Beach.

The camera of choice was a Sony F55, which provided first class imagery. They set up a talk show set in the Sunset Ridge clubhouse and had the program’s co-anchors provided commentary and analysis, while a virtual set (greenscreen) provided the set background. An additional third anchor position was set up at the master control room in Florida, where the local program anchors could throw to the anchor at the main control studio. Tying it all together was a NewTek TriCaster TC1 IP production switcher with 16 inputs and 4 M/E decks, chromakey, graphics/titles, transitions, video server and virtual set support. NewTek 3Play replay systems provided SLOMO replays as well as aerial footage captured by camera flying on a drone over the course. Four Skype channels were used to provide return feeds to the Chicago on-air announcers including mix-minus and IFB.

While not up to the level of a major PGA event broadcast coverage, for the first time the Western Amateur Championship was covered live in HD, an event that in the past drew future golf greats including Tiger Woods, Jack Nicklaus, Phil Mickelson and Ben Crenshaw.

HOW WILL SPORTS BROADCAST PRODUCTION EVOLVE?

Clearly today there are many choices to capture live events in video, from big broadcast TV trucks to REMI to REMI in the cloud and finally, smartphone cameras and live video apps. For large events, with commensurate rights fees and audience sizes, professional broadcast OB vans, connected via satellite and/or fiber-optic telecom, will be the choice of live production for the foreseeable future.

On the other end, with all the available tech available in our hands (smartphones) coupled with social media sites providing distribution for live video, your child’s AYSO soccer match can be covered with multiple cameras, graphics and replays (and sound) to be seen by your friends and family on YouTube or any of the other social websites. In between big time pro sports productions events and Little League games, productions are using lower-cost solutions that use mobile wireless networks or WiFi networks, along with cloud-based apps to produce a video program that has many of the aspects of the big pro productions as well as providing professional level tools such as graphics and stats, IFB, and replays. Ingenious production teams, motivated to cover events that in the past were not economically viable for live coverage, are leveraging these new tools and providing to modest sized audience, content that in the past would have been just highlight clips in the evenings sportscast.

The keys to success is finding the right balance between cost and coverage, having robust wireless connectivity, reliable and deterministic Internet bandwidth, and a team able to adapt and learn this new way of producing live content. 

Jim DeFilippis is CEO of TMS Consulting, Inc., in Los Angeles. He can be reached atJimD@TechnologyMadeSimple.pro. See more at hisauthor archive.

CARY, N.C.—SmallHD and Teradek recently put their heads together and came up with the 703 Bolt Wireless Director’s Monitor. This wireless, full-HD monitor allows users to view live takes, previews and playbacks with full stereo audio headphone output from anywhere on set.

The 703 Bolt features a 3,000nit, daylight viewable 7-inch 1920x1080 display, with a built-in Teradek Bolt receiver. The monitor is compatible with Teradek Bolt 500, 1000 and 3000 transmitters. It is capable of receiving and display video up to 300 feet away from the transmitter and can run for more than four hours on a single 90 W-hour battery.

The new monitor is built with a milled aluminum frame and a Gorilla Glass screen. It measures 8.4x4.8x1.21-inches (not including antennas) and weighs 4.35 pounds, including the 90 W battery and handles, which are included.

In addition, the 703 Bolt features SmallHD’s OS3 operating system, which allows the monitor to display two input sources simultaneously for A/B cam monitoring. There is also OS3’s image gallery, which provides quick access and organizes screen captures and other images on an SD card with a thumbnail preview of each image file. The monitor can also handle two SDI inputs simultaneously or a SDI input and SDI output.

SmallHD is offering the 703 Bolt at a starting price of $3,499. A director’s kit, featuring handles, a neck strap, battery bracket and both matte and transparent screen protectors is available for $3,699.

SOUTH FLORIDA—I’ve been covering severe weather events and natural disasters for many years and Hurricane Irma was one of the most intense I’ve ever experienced. Storm surge, flooding, 100 mph winds and the mass exodus of residents evacuating southern Florida—it was something the world had to see.

SvrWeather.com delivers live video from extreme weather events to local and major TV news networks for broadcast. You will find us in tornado alley during spring, in the Midwest covering intense winter storms and anything that involves extreme weather conditions. For Hurricane Irma, we were in South Florida covering the preparation, event and aftermath of the hurricane for our ABC affiliate in Kentucky, then redistributing the feeds to The Weather Channel, social media and other major news networks.

Teradek’s Bond+Cube system delivered live coverage of Hurricane Irma.

EYE OF THE STORM
From South Florida, we needed to broadcast a feed from remote locations in the city and on the beach back to the station in Kentucky. We knew this wasn’t going to be an easy task; with a huge hurricane headed right for us, RF signals were going to be an issue. Without industrial satellite trucks, there’s no guarantee our feeds would even reach the destination.

Having used Teradek gear for years, I knew their internet-bonding cloud solution was the answer. I brought a Teradek Bond+Cube system with me—a device that lets us broadcast from the field using 4G/LTE-enabled USB modems. I decided to use two of Teradek’s new Node industrial-strength 4G/LTE USB modems, so when we were ready to broadcast, I’d connect the Bond+Cube/Node to our Canon XA20, plug in the microphone and start reporting.

This is where Teradek’s cloud solution stands apart. Bond streams directly to Teradek’s cloud-based server, Core, which is a platform that enables many options for the video feed. The biggest feature here is it can push the feed to several destinations simultaneously. Using Core, we distributed the feed to the station in Kentucky, You-Tube, Facebook Live and Severestudios.com all while only using the bandwidth of a single stream.

CLOUDY TO CLEAR
From start to finish, the Bond/Node system held up in the most extreme weather conditions. Before the hurricane, we were broadcasting interviews from the beach and other remote areas without a solid internet source. As the hurricane rolled in, we were still able to broadcast HD video to the station and to our partner networks using cellular. Even after the hurricane, when all of our phones lost 4G signals completely, the Node was still picking up a strong 4G/LTE connection, allowing us to provide live coverage of the aftermath.

But the most critical parts were the destinations. Teradek’s Core platform allowed us to send the stream wherever we wanted, giving us full control to manage every aspect of our video. Using Bond/Cube, we were able to use a single stream to get the video to the station. Core was then able to push the stream to several destinations simultaneously, allowing us to cover more networks and reach more eyes.

It was the perfect low-cost solution to provide live coverage on an important breaking news event. As I’m always in the middle of extreme weather situations, I know I can depend on Teradek to help me deliver the news wherever I am.

John Humphress is an extreme weather journalist for SVR Weather. He can be reached atjohn@kycities.com.

 For more information, please visitwww.teradek.comor call (888) 941-2111.

SANTA ANA, CALIF.—The esports community thrives on energy, and here at the Esports Arena we do our best to capture it in ways that provide a unique and thrilling experience for our viewers. For one of our biggest tournaments of the year (2GGC: Civil War), mobility was key to getting the best shots possible and immersing our viewers in the heart of the action.

VIEW FROM ABOVE
The Esports Arena has its own media production department that captures, edits and broadcasts live events. For 2GGC, we knew everyone in the community would have their eyes on us. We decided that, for this and future events, we wanted to change up our normal Twitch videogaming broadcast.

For our outdoor stage setup, we decided to incorporate a Dactylcam Pro system that would run on an overhead cable system and capture aerial footage of the entire stage and audience. This introduced some challenges: every part of our old production system was tethered, which limited the angles and shots we could get. With the new Dactylcam setup, having more wires would only add to the mess.

The Teradek Bolt allowed Esports Arena to go mobile in capturing its outdoor stage.

Knowing this, I decided to go wireless with the Teradek Bolt, a wireless video system that uses RF to send feeds from a camera source to a receiver up to 3,000 feet away. With the ability to transport 1080p60 video instantly, it was the perfect solution for our ambitious production needs.

In the air, we mounted a Sony A7S digital camera to the Dactylcam Pro for aerial acquisition. We then connected the Teradek Bolt 3000 transmitter to the camera, which sent a live 1080p feed to a receiver down below. This was transferred to our Blackmagic Video Assist at video village, where an operator monitored the feed and controlled the pan & tilt of the camera as well as the speed/direction of the Dactylcam. This signal was then routed back to the production room to be incorporated into the show.

On the ground, we mounted a Sony FS5 cinema camera with a Bolt 1000 to a Ronin MX gimbal stabilizer. This also sent wireless video to our professional switcher in the back, which switched between multiple feeds, added graphics and edited scoreboards before sending the stream off to Twitch.tv.

RAW PASSION
As the cameras captured footage from the players and audience, the Bolt transferred the feeds over to the video village instantly, allowing us to update scores, switch camera feeds and switch ads whenever we needed.

Since the Bolt made our camera wireless, our camera operator could be completely mobile in the facility, unlocking all kinds of wide shots and close-ups we could never do before. The Bolts made it possible to get right up in the action of the players.

There’s a lot of passion in the esports community, and it’s up to organizers like us to capture the essence of being there. Thanks to our Bolt systems, we can make our tournaments way more immersive than ever before and deliver the type of quality our fans deserve. It’s all about the hype, and we’ve found a great way to make it better.

John Todd Christensen is the broadcast director at Esports Arena in charge of all production elements. He can be contacted atjohntodd@esportsarena.com.

For more information, please visitwww.teradek.comor call 888-941-2111.

LAS VEGAS—Live X is a streaming production company that provides live streaming services to promoting companies, live shows and major events. For CES 2017, we needed a bonding device with automatic failover that could confidently keep our stream up.

STARTING THE SHOW
We were the technical production team tasked with providing all of the live web streams for The Vergecast Live. The show was to be streamed exclusively on Twitter live player, a rare occasion because Twitter has no public API for normal broadcasting. The pressure was on to maintain a healthy stream with no drops in connectivity and provide quality streams that The Verge expects.

We needed a full-proof way to bring video feeds from video camera/switcher to Twitter with maximum redundancy. We also needed the video to be visually superior. As a longtime Teradek user, I chose Teradek’s Bond Pro for the job.

The Bond Pro is an H.264 encoder that has six built-in USB ports to bond multiple cellular connections together, as well as an Ethernet port and Wi-Fi capabilities. Streaming up to 10 Mbps at 1080p, its superior video quality and bonded cellular connections made it reliable for our fallback needs.

The set of Live X’s streaming efforts at CES 2017, which were aided by the use of Teradek’s Bond Pro system.

BONDING THE CONNECTIONS
We had two separate Bond Pros on the set. The first Bond Pro we equipped with six 4G modems: two AT&T, two Verizon, and two T-Mobile USB modems. Because USB modem connections often fluctuate between providers, the diversity of three carriers allows for utilizing the maximum bandwidth available in the Bond Pro, at the same time providing automatic failover should one carrier’s connection drop.

We connected the first Bond Pro to a Ross Carbonite Solo switcher, which sent 1080p/29.97 fps feeds via HD-SDI from two Sony FS5s and three Panasonic AWHE130s. We then added our own Live X custom GFX system based on The Verge’s After Effects artwork to this feed as well. After, we configured the Bond Pro to transcode the signal to 720p/59.94 fps, maximizing visibility of the stream for The Verge’s audience. This feed was sent directly from Bond Pro to Twitter live player via RTMP format.

We equipped the second Bond Pro with six USB modems and Ethernet to stream directly to Teradek’s CORE service. CORE is an IP-based management system that can route the Bond Pro feed (and other Teradek encoders) to unlimited RTMP destinations, while monitoring stream upkeep.

From CORE, the second feed was distributed to two destinations: Twitter live player and SnappyTV, a Twitter subsidiary. These were backup streams if the direct RTMP failed. It was not necessary.

The bonded cellular connection we broadcasted with allowed us to stream the entire show in professional-grade 720p/59.94fps for transmission at four Mbps. This allowed the majority of our viewers to watch the stream seamlessly.

The peace of mind that the Bond Pro provides my team is priceless. It allows me to keep my streams up so that my team and I can focus on other responsibilities on set. With this device in my arsenal, I know I can always stream with confidence.

Corey Behnke is founder and president of Live X. He can be contacted atcorey@livex.tv.

For more information, please visitwww.teradek.comor call 888-941-2111.

Teradek is featuring its Sphere SDI, a four-channel 4K (1080 x 4) HD-SDI encoder for live streaming and monitoring 360-degree content.

Sphere SDI is built on the same platform as the Sphere HDMI encoder. At its core, Sphere operates as a wireless monitoring solution for 360-degree camera rigs, which allows content creators to view their live footage on iPads from areas out of view of what is being shot. Since Sphere utilizes the processing power of iPads for live stitching several camera feeds together, production crews can be far more mobile than PC-based systems.

Like Sphere HDMI, the SDI model is also capable of streaming to any compatible 360-degree online video platform, such as YouTube or Wowza-based offerings. For rigs that consist of five to eight cameras, a second Sphere can be attached via an Ethernet cable to expand connectivity.

The product’s free patent-pending iOS stitching software allows users to view their content at just four frames of latency in several different ways. Rectilinear allows you to explore your live 360-degree content as if you were wearing a VR headset. Move the iPad around you to visualize the experience you are creating for your audience. Panoramic displays your live 360-degree footage as a single panoramic image. Little Planet turns your content into a stereographic projection, allowing you to view it as if it were a tiny planet.

IRVINE, CALIF.—The Teradek Sphere hit the dance floor before its upcoming release to help stream 360 video of the “Dancing With the Stars” season finale. The Sphere, which is designed to compress, stitch and stream 360-degree video to the web, offered online viewers a 360-degree view of the main stage during the broadcast.

The footage was shot with four GoPros mounted on Teradek’s proprietary rigging system, allowing fans to pan all around the studio.

Sphere is a four-channel H.264 encoder that compresses and streams 4K footage to an iOS or OS X device for real-time stitching. The content can then be streamed to an online platform that supports 360-degree video. A second Sphere unit can be connected to additional camera rigs through a Gigabit Ethernet port.

Teradek plans to release the Sphere on July 1 at a starting price of $2,990.

SEATTLE—I still remember a visit from a cellular phone company in the late 1990s to the affiliate where I worked, offering us liveshot capability over their wireless network.

I remember the images being black and white, a few frames a second with considerable delay, and resolution that made ATSC’s standard definition look like IMAX. And those liveshots, such as they were, were possible only if your news story happened within a narrow footprint of cellular signal coverage.

I remember we didn’t bite.

Cellular liveshots have come a long way since then. Camera makers targeting their wares at news departments are building cellular liveshot wherewithal in their equipment, and some companies that pioneered modern cellular liveshot technology are using cellular wireless for more than just transporting news stories.

“Our user behavior has moved way beyond its use as a newsgathering tool,” said Paul Shen, CEO of TVU Networks in Mountain View, Calif. “We’ve begun to see [this technology] used regularly as a transmission means for various different programs. That’s a fundamental paradigm shift.”

Shen said that the ability of his company’s system to regularly and reliably send 10 MBps over cellular networks gives customers confidence that complete programs can be transported without a hitch. “With our TVU Grid, we’re moving to TV studio operations, and looking to TV distribution, looking at how to share the content among TV stations.”

He assures that this is not to take away from a thriving business TVU Networks is doing with the its TVUPack liveshot gear.

Dejero Live+ Control Live+ Control is the company’s next-generation cloud-based management, monitoring, and reporting tool that simplifies IP video workflows used in remote broadcasting productions. Dejero Founder and Chief Technology Officer Bogdan Frusina noted that his company will continue to improve the reliability and quality of its cellular liveshot equipment that gets news stories from the field to the studio. “And as we have more and more of these assets in the field, you need to be able to manage them, get reports on them, get analysis on them.”

On a parallel track, the company has also tightened the integration of Dejero receive gear with Grass Valley’s GV Stratus video production and management system.

“We’re going to start working towards workflow integration and managing file-based workflow, from the field into the studio, and assuring that it is as seamless as possible for our users,” said Frusina. “We’re going to be able to enhance that ability to edit in the field and be able to move files quicker. That becomes very powerful, quicker to air, faster to air, delivering in multiple formats, delivering for the Web and for the studio as well.”

LOOKING FORWARD
Jon Landman, vice president of sales at Teradek in Irvine Calif., says it’s time to look at what’s next for cellular bonding technology.

“Bonding is no longer bleeding edge, it is accepted, everyone’s using it, there’s no magic in it,” he said. “So then you say to yourself, what’s the future of bonding?”

The company answered that question when it implemented the latest version of ShareLink, technology. “Until now there’s been no such thing as bonding for the masses,” Landman said. “[Because of the cost of sending data over cellular networks,] it’s pretty much been an exclusive kind of group of TV stations that get into the bonding game.”

Teradek’s VidiU Pro uses the company’s ShareLink technology maximize bandwidth and reliability by bonding multiple Internet connections from different sources. ShareLink allows the achievement of maximum bandwidth and reliability by bonding multiple Internet connections from different sources. It can combine a variety of interfaces, Ethernet, WiFi, USB modems, and even up to four iPhone cellular connections. “Anyone that streams, anyone that wants to move video from A to B is a potential customer for us,” Landman said. At the same time, Teradek continues to develop its bonded cellular technology around its Cube product.

All cellular liveshot systems utilize some form of compression, but not all of them use the same version of compression. According to Chris Crump, senior director of sales for Comrex in Devens, Mass., the version of H.264 Comrex implements “takes advantage of all the profiles within H.264’s specification. And so within our device, you can create a customized profile.”

He pointed to the advantage this brings. “So if you know you don’t want to do full HD, you could use a streamlined profile that would give you good SD at a certain bit-rate. But if you’re wanting to do full HD and you had more than enough bandwidth, you could use a six meg or eight meg profile.” Comrex supplies some profiles as a starting point, but Crump said customers frequently develop their own for specific challenges.

Avi Cohan, co-founder and chief operations officer of LiveU, said they’re “continuing to improve the video quality of our bonded cellular products. We’re going to improve the bootup time, and in the next year we have a lot of interesting stuff.”

But in addition, the company has undertaken the development of “some very tight integration with NewTek, which means LiveU is more tightly integrated with the NewTek switchers, both in the cloud and in the facility.”

Cohan said this allows LiveU to work with NewTek’s Network Device Interface protocol, which allows replacement of a SMPTE cable infrastructure with network cabling utilizing video over IP. “Let’s say that we’re out in the field and right now we’re covering some event, we send the video to the headquarters, and now the decoder gets it and takes it out through data cable over IP,” Cohan said. “In the NewTek switcher, you edit and add commercials, titles, whatever you’re doing with the video. And then send it out the appropriate channel.”

For a number of years, JVC has simplified cellular transmission by building the technology into its news camcorders, most lately in its GY-HM890 studio and field capable camcorders. The company also took on the challenge of working around congested cellular networks at large-crowd events with its Private MESH Video Network, which provides bandwidth up to 85 Mbps, significantly more than traditional cellular and bonded cellular transmission systems. Designed for single and multicamera shoots, the IP-based network solution combines JVC’s advanced camera encoding technology with the Silvus Bi-Directional Radio System to transmit very high quality HD video while avoiding bandwidth congestion issues from the use of public Wi-Fi or broadband networks.

Introducing the MESH network at the 2015 NAB Show, Dave Walton, JVC assistant vice president, marketing communications, said: “This is the future of ‘first mile’ contribution for live multicamera coverage of remote events. Broadcasters are going to love the reliability and simplicity of our private wireless network system, because it resolves any issues of access or bandwidth in the field.”

Walton said that sports producers expressed interest in the technology, and said it has huge potential for government and security applications as well.

Vislink, a long-time supplier of liveshot technology to broadcasters via its microwave and satellite products also offers cellular liveshot capability as well.

“We’re not a typical cellular equipment supplier, which are usually pure-play cellular liveshot vendors,” said Michael Payne, Vislink Communications president and chief technology officer. “We don’t just bond cellular channels together. We bond cellular and microwave, cellular with satellite, any combination. And we don’t force any one path back on the customer. If the customer is interested in the lowest cost path, which is usually microwave because they own that path, that’s what our system will give them. If they’re interested in the most flexibility to move around, that might be cellular.”

NETWORK INSIDE
The 2015 NAB Show saw Sony introduce network connectivity into many of its camcorders, allowing them to deliver video wirelessly through a cellular modem or over network data cables. Jeanne Lewis, marketing product manager for Sony Electronics Professional Solutions, pointed out that this not only allows delivery of video from the camera, but offers certain advantages because it’s a two-way data connection.

“One feature is that it allows the operator in the station to access many of the features in the camcorder. With the network built inside the camera, they have more features that you can access. For example, the operator at the station can access focus, zoom, or even the white balance.”

At the 2015 NAB Show, Panasonic launched the AJ-PX380 AVC-ULTRA shoulder-mount camcorder with integrated LiveU technology. Lewis noted that this is increasingly important with journalists becoming “one-man-band” video journalists, where the technical aspects of the camera were not part of their training. The VJ gets the camera on the tripod and turned on, “but he doesn’t know how to set up the camera,” she said. Back at the station a more technically oriented crew member can remotely access the camera, and make adjustments to optimize the pictures and signal.

Cellular connectivity went 4K this autumn at the IBC Show when Panasonic integrated LiveU technology into the AJ-PX380 AVC-ULTRA shoulder-mount camcorder. “[This supports] 4G/ LTE, wired LAN and wireless LAN connections, enabling on-site preview, streaming and uploading data to a server quickly and easily at low cost with a PC/Mac, tablet or smartphone,” said Steve Cooperman, senior product manager for Panasonic.

Alternatively, users can connect to the camera via Wi-Fi to control, add or edit metadata, view proxies, or watch live streaming for logging or monitoring.

“Unique to Panasonic’s live streaming protocol is a quality-of-service layer that rapidly and dynamically adjusts the bit-rate of the streaming signal to optimize the transmission speed as bandwidth of the cellular network changes,” Cooperman said.

The cellular liveshot technology is certainly omnipresent in the television news world, but shows no slowing down in developing new capabilities.