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Bluebell at IBC Stand 10.F24

At IBC 2014 Bluebell will be demonstrating complete cameras chains multiplexed onto SMPTE Hybrid cable for easier on-site deployment. Based on the popular BC Series footprint we can offer a complete Wavelength Management facility while also providing all the Camera and CCU communications. The Bluebell solution allows multiple cameras to be deployed during an event and connected over a single SMPTE cable thus reducing rigging time. This solution is particularly compact and while 4 cameras can easily be deployed over one cable, 8 or even 16 cameras are readily achievable. Based around the new BC364 cards and BC160 frames this solution can also be used to ensure all signals are available when the fibre count is reduced due to unforeseen circumstances e.g. damaged fibres unreported prior to arrival on-site. Based around an extremely compact 1RU frame, at less than 150 mm (excluding connectors), it is particularly attractive in any flyaway system. All key signal and card parameters can be remotely monitored via the optional BM102 network card.

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Elemental Insights Newsletter

 Welcome to the Elemental Insights Newsletter, a regular look at news and events from the leader in software-defined video solutions for multiscreen content delivery. In this edition, we preview what Elemental has in store at IBC 2014 and welcome Deutsche Glasfaser in Germany as a customer.

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GatesAir Strengthens Global Sales Team with Regional Sales Manager Appointments

Jason Mak, Jhonny Maroun and Xavier Collet bring leadership and experience to key business development roles across international regions 

GatesAir, a global leader in over-the-air television and radio, has hired three seasoned broadcast industry experts to strengthen its global sales team.  The new regional sales manager appointments amplify GatesAir’s customer-first approach across the Middle East, North Africa, Eastern Europe and the Asia-Pacific at a time when many countries in these regions are undergoing digital TV and radio transitions.

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Imagine Communications Introduces Magellan SDN Orchestrator for Managing Hybrid Baseband and IP Facilities

 Provides crucial software control layer for transparent hybrid network operations and managed migration to IP

 Imagine Communications, a market leader of media software and video infrastructure solutions serving the global broadcast, multichannel video programming distributor and enterprise markets, today introduced the Magellan™ SDN Orchestrator, a software control system for managing hybrid baseband and IP facilities. An anchor component of Imagine Communications’ Software-Defined Networking (SDN) portfolio, the Magellan SDN Orchestrator enables seamless integration of baseband and IP networks, protecting customers’ existing technology investments while providing a clear path to an open, interoperable and IP-based future.

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Imagine Communications Unveils Industry’s First Integrated “Playout in the Cloud” Solution, VersioCloud, at IBC2014

 Cloud-based playout platform defines next paradigm for broadcast operations

Imagine Communications, a market leader of media software and video infrastructure solutions serving the global broadcast, multichannel video programming distributor and enterprise markets, today introduced VersioCloudTM, the industry’s first IP-enabled, integrated cloud playout platform, at IBC2014. This pioneering solution allows media companies to manage video operations and channel playout from the cloud, enabling them to accelerate new channel launches and extend their brands and content with more freedom, visibility, and control than ever before.

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Megahertz Showcases BT Media & Broadcast 4K Ultra HD Outside Broadcast Links Truck at IBC2014

New link truck delivers multiple HD or 4K signals over fibre and satellite

Megahertz Ltd, a leading systems integrator and mobile broadcast production specialist, has reconfigured an HD-built link truck into what is believed to be the first 4K Ultra HD truck in the UK and probably Europe, for BT TVOB, the service provider arm of BT Media and Broadcast. The truck, which has been on the road since April this year, has been used to cover numerous HD sports productions including the Premier League football, rugby and cricket, as well as running 4K UHD trials.  It will be on show for the first time on the Megahertz stand 11.F20 at IBC2014 (September 12-17, Amsterdam RAI).  

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RRsat partners with Pebble Beach Systems at IBC to show One-Stop Multichannel Playout Solution

RRsat Global Communications Network Ltd., a leading global provider of end-to-end digital media services and content distribution, will partner with automation specialist Pebble Beach Systems at next month’s IBC to demonstrate a new implementation of Marina automation as a one stop multichannel playout solution for channels of all levels of complexity. From the remote virtual  management of channels via the Marina Web Client, to full service playout services for premium reactive channels, Marina automation will be shown on the RRsat stand handling all channel types from within the same system, and with the capability to adapt to additional complexity as the broadcaster’s requirements evolve. 

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TC-Electronic Creates Dedicated Stereo Loudness Solution for TV, Radio & Mobile

Leading loudness authority TC Electronic announces the arrival of Loudness Pilot, a new multiple stereo and mono loudness controller and true-peak limiter.

Loudness Pilot has been designed specifically for TV and Radio stations with a fit-for-purpose design featuring two stereo audio tracks. Now, busy broadcasters can find peace of mind on a focused unit, fully compliant with all major loudness and broadcast standards. TC Electronic has priced Loudness Pilot so that uncompromised audio processing is within reach of all users.

“With our new Loudness Pilot you get outstanding loudness processing for stereo and can evolve with the standards without breaking the budget.” –Thomas Valter, V.P. of Business Management, Broadcast & Production at TC Electronic

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CueScript, a provider of creative prompting solutions with feature-rich designs for all broadcast production needs, is pleased to bring on Visual Technologies India (VTI), a major supplier and systems integrator of broadcast equipment brands in India, as a distributor. The agreement expands CueScript’s global reach, giving customers in this region local access to the company’s growing portfolio of prompting products.

Established in 1996 as the exclusive distributor of Panasonic’s professional broadcast and audio product lines, VTI quickly grew into the trusted distributor and systems integrator for more than 40 international broadcast equipment brands. Today, it serves as a one-stop shop for much of the Indian broadcast industry’s professional audio and video needs. ISO 9001-2000 Certified, it has an extensive network of broadcast clients in India, including DOORDARSHAN (India’s national broadcaster), ETV, NDTV, STAR, ZEE TV and News Express, among other prominent broadcasting and media companies.

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SGL, a leading provider of content archive and storage management software for media and entertainment, has announced two new key appointments as it continues to develop its marketing and engineering strategies. Nicola Kay joins as Marketing Manager and Joon Wong as Support Engineer.

Kay will be responsible for supporting SGL’s marketing efforts globally. She joins SGL from Molex Premise Networks, where she held the post of Marketing Executive and was responsible for organising trade show-related activity and overseeing global PR. She has experience of providing PR and marcomms support to companies in the IT networking and maritime sectors and holds a BA (Hons) in Fine Art from De Montfort University. 

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Looking for something new to do at IBC this year? Interested in participating in something fun and healthy? Join Elemental and co-founding sponsor Ericsson for the first annual 4K 4Charity run on Saturday, September 13, 2014 in Amsterdam. Open to all IBC attendees, this event celebrates 2014 as a year of major Ultra HD achievements while raising money for a great cause. 

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Bluefish444, manufacturer of the industry’s highest-quality uncompressed 4K/2K/HD/SD SDI video cars, announced the release of a new Windows installer, 5.12.0 adding support for ASSIMILATE SCRATCH V8.

“Bluefish444 is committed to bringing our customers the highest level of support available, and this update for ASSIMILATE SCRATCH v8 is an important part of that support,” said Tom Lithgow, Bluefish444 Product Specialist. “Our customers can now monitor high frame rate outputs in 4K/UltraHD SDI modes for true professional monitoring and cements our position as the leading SDI solution for ASSIMILATE SCRATCH users”

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Latest editorial:

On-the-Go Video Viewing is Still in Front of the TV

“You think the more demons you kill the more human you become don’t you?” – Onigen, “Blood: The Last Vampire,” EastWing Productions, 2009

I don’t bother watching vampire, werewolf or zombie TV shows because they’re myths, folklore passed down for generations. I do watch alien shows because everyone knows those suckas are real! And I watch them on my TV OTT (over the top) because it’s real. But Cisco, Ericsson, Alcatel, AT&T, Verizon and all the bandwidth lustors say bunches of people are running around watching TV on their smartphone … the rest want to.

Videos on my smartphone? You bet. The three-minute wonders on GoPro, YouTube, Red Bull and other channels are fantastic!


TV shows on the smartphone?


NAB 2014

click for more images



AJA Catches Eyes - Images in 4K at NAB

With the content industry in an era of rapid transformation, AJA Video Systems showed NAB attendees it isn’t just one of the best disk recorder producers around, it’s also destined to be on the cutting edge for cinematographers.  

At its press breakfast, Nick Rashby, AJA President, proved that he and his team have been listening to customers by unveiling the company’s new CION 4K cinema camera, which should be available for delivery mid-year.

Priced at $9,000, the CION sits between BlackMagic’s new URSA and the 6K Red Dragon Scarlett; but it offers the best features of both cameras and even outshines them in a number of ways. 

Rashby explained that the elegant camera cradled on his shoulder was the result of several years of development that enabled them to not only incorporate the features and capabilities production people want but also some of the latest advances in camera design/manufacturing. Ultimately, they were able to make the CION a long-term solution for folks in the studio and in the field.

While you wouldn’t call it rocket science, one of the first things you notice is that the camera’s built-in shoulder mount looks as though you could carry it for hours. With the ULTRA HD CION’s 6.4 lb. magnesium chassis, it’s also remarkably light and should stand up very well in the most rugged field use.  

The CION features an internal Apple ProRes 444 to directly record 4K video and also enables slow motion shooting at frame rates up to 120fps via 3G-SDI.  

That’s thinking like filmmakers, broadcasters, content creators who simply want to point-and-shoot.

Designed for people who make their living staring through the viewer, the CION features 12-bit recording, a PL lens mount, APSC-sized global CMOS sensor and 12-stop dynamic range.

Showing they gave a lot of thought to the real world user, all of the interface controls are on the side of the camera, facing the operator so you have full control of all of the camera’s functionality.  

The AJA software is also very elegant and doesn’t have the old-fashioned sub-menu navigation you usually had to wade through, which is a refreshing change for a seasoned camera person and logical for today’s up-and-coming indie filmmaker.  

CION’s confidence monitor is nicely integrated so it not only displays the menu information but also real-time imaging, putting the camera person in full control of all of the operations.  

The camera also offers some impressive network-based control with the LAN (local area network) connection and web-browser UI (user interface) for complete remote configuration/control whether you’re shooting on a crane, jib or car mount.  

The camera will output AJA Raw video at up to DCI 4K at 120 fps, via quad-link 3G-SDI output; and up to 30 fps over the new high-speed Thunderbolt connection. 

There are a number of subtle but important design features that show the company really thought about the end users rather than just their environment/control as so many seem to do today.

For example, their integrated steel rosettes allow for mounting industry-standard accessories such as handgrips and handle extensions directly to the camera body. The open approach to design also includes integrated cheese plates with standard tapped holes. These cheese plates are fitted to both the top and the bottom of the chassis, to provide easy mounting of accessories from both AJA and third parties.

Introducing the CION just two years after their main competitor Blackmagic, Rashby noted the new camera was a logical progression for the firm because they were already doing a great job of delivering the back half of the cameras.  

It often escapes many people when they’re talking up a new camera, but one of the things we understand is that it’s not just about capturing great images, it’s also about storing them and moving them easily, securely to post production.   

That’s one of the reasons we are really impressed with AJA’s CION.

The CION uses AJA’s proven SSD-based Pak storage, while some cameras have opted for smaller, more expensive and arguably faster Cfast flash memory storage. 

Big deal?


Recording RAW with Cfast at 380mb/s would mean you can record five minutes of 30fps material to a single 120gb card. Recording 60fps would need two cards. 

You end up spending about $2,000 for storing five minutes with 60fps.  

Do 30 minutes of content and you have a stack of 12 cards costing about $13K, which doesn’t make a whole lotta’ sense for a camera that was cheaper.

Suddenly the CION is “a little less” expensive to own/use.  

Currently, the AJA Pak 256 and 512GB SSDs are only available from the company; but hopefully, they’ll do like Blackmagic did with  their earlier cameras (and others do, as well) and certify third-party suppliers.  

That will make the storage of more 4K/UHD and 2K/HD content a lot less expensive and you can easily transfer footage over high-speed Thunderbolt or USB 3.  

The people at SanDisk, Micron, OWC and others offer 10s of millions of general- purpose, high- performance SSDs every year and when camera manufacturers work with them to develop higher-capacity storage solutions for cinematographers, it sure has a positive impact on the project budget.

Just saying CION might be a more economic, more open solution to consider.

More to Offer

While Rashby was justly proud of the soon-to-be delivered CION, AJA had a couple of other impressive announcement for behind the camera.

For those folks who do more than just shoot great stuff, AJA released a new mini-converter – LUT (look up table) box for precise color and look management.  

The new units allow monitors to display accurate color and look for any SDI video signal.  

As Rashby noted, it is becoming increasingly important that post people know they are displaying the right color space because of the high dynamic range capture and post workflows.  

Users can load 3D LUTs at up to 17X17X17 points using the device’s integrated USB connection and free MiniConfig software on either a Mac or Windows-based post production system.

A single AJA LUT-box can simultaneously support outputs from both HDMI and SDI monitors.  

Available next month, the AJA 3D LUTs are essential to map one color space to another to ensure the preview colors are the same as will appear on the final digital image or release print.  

Using the company’s technology for broadcast and post production workflow, the company also introduced their new Hi5-Plus and HA5-Plus Mini-Converters for HDMI and SDI monitoring. 

Frame Rate Control

To show the post production team that AJA hadn’t lost sight of its roots, the company also unveiled what they called the next-generation frame sync and FRC rack.

The new FS1-X is a compact single-rack mount frame synchronizer, converter.  It allows you to match up disparate audio, video formats in your workflow.  

Using the company’s conversion algorithms, the unit supports up-down and cross-conversion between SD and HD signals to deliver the best output possible.  It works simultaneously with 3G/HD/SD-SDI 10-bit video as well as a large number of embedded audio, AES, MADI and analog audio channels.  

Dolby’s success with 5.1, 7.1 and beyond audio is significantly increasing the number of audio channels that need to be efficiently/effectively managed in a production and the MADI standard,  an easy solution to transporting up to 64 audio channels over a cable, streamlines and speeds audio processing.  

All in all, Rashby and his crew were kept busy talking to a lot of seasoned and indie shooters and producers at NAB. 

For a guy who cut his teeth as a camera assistant, you could see he was pretty proud of the new CION and the other products they unveiled. 

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Panasonic ET-DLE030



Until now, short throw and ultra-short throw projection has typically been limited to smaller, lower brightness, fixed lens projectors used in education seminar rooms and in corporate meeting room environments.  Panasonic is about to change that with the arrival of the new ET-DLE030 short throw lenses for larger format single chip DLP projectors.  With prototype models shown earlier this year at ISE 2013 and at Prolight + Sound shows, engineers in Panasonic R&D operations have since been finely crafting an impressive solution that vertically redirects light cast from projectors at a distance of just 370mm from the projector to produce a bright, perfectly symmetrical sided image directly above it.  This is achieved by a cleverly designed mirror system and brings about new and exciting possibilities, unachievable with front projectors especially for applications in digital signage, retail, rental and staging.

The ET-DLE030 lens is the worlds first ultra-short throw lens for high brightness projectors integrating geometric adjustment.  The lens is also the first exchangeable ultra-short throw system meaning that great flexibility is added to the latest range of Panasonic high brightness projectors. “We have also taken care to ensure backwards compatibility” explained Kulessa “even with 1 chip and 3 chip projectors, we make sure that they are compatible with whole lineup of lenses to give installers, integrators and end users the widest possible backwards compatibility and value”.  “Since the first showing of the prototype models earlier this year there has been a lot of attention on this small but exciting solution for projection specialists’’ explained Kulessa.. Further information on the ET-DLE030 and other projection solutions is available on the Panasonic website      


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Ki Pro Quad

 Ki Pro Quad 4K/QuadHD/2K/HD Solid State Recorder - Now Shipping

Get ready for 4K, Ki Pro Quad is a revolution in 4K production.

Ki Pro Quad enable a manageable 4K/Quad HD/2K/HD workflow with the efficiencies of Apple ProRes and the flexibility of RAW data in a compact, solid state recording and playback package that easily mounts directly on a variety of cameras.

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Blackmagic Pocket Cinema Camera

The new Blackmagic Pocket Cinema Camera is incredibly tiny. It's a true digital film camera with a Super 16 size 1080HD sensor with 13 stops of dynamic range. The images look virtually identical to their current camera! 

It features a Micro Four Thirds lens mount so you can use low cost lenses, but also Super 16 cine lenses via an adapter. If you use a Super 16 cine lens, combined with the Super 16 sensor size and the 13 stops of dynamic range, it's just like shooting to Super 16 film! Of course you can rig it up with large lenses so it's perfect for large jobs too! 

They have worked incredibly hard to build the smallest camera design they could, while retaining the ability to comfortably use it hand held. It's an attractive design with built in stereo mic's, LANC, micro HDMI with overlays for monitoring, solid grip handle that holds a removable battery and built in recorder to SD cards. It records lossless CinemaDNG RAW and ProRes 422 (HQ), so the image quality is amazing. 

The small design lets this camera be used for all kinds of tasks a normal camera would be too large to handle. My feeling is a small camera can always be bigger, but a big camera can never be smaller. I think its going to be very exciting to see what kind of work is done with this camera.. For myself, it's nice to have a camera I can use personally for shooting my family, which gives a timeless film look. 

The Blackmagic Pocket Cinema Camera will be shipping in July for $995.

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AJA Ki Pro Quad

AJA Video System announced immediate availability of its Ki Pro Quad, a new solid-state portable video recorder enabling true 4K camera-to-editorial workflows. Ki Pro Quad enables a breakthrough 4K/Quad HD/2K/HD workflow with the efficiencies of Apple ProRes and the flexibility of RAW data in a compact, solid state recording and playback package that easily mounts directly onto a variety of cameras supporting workflow needs today and into the future. 

Ki Pro Quad has many unique features that enable new was of working for creative professionals and delivers: 

  • Breakthrough 4K Workflows--Ki Pro Quad serves as a central gathering point for the main needs of 4K production; bring camera signals in and simultaneously create edit-friendly 4K ProRes files, output to 4K and HD monitors and record RAW data directly to a Thunderbolt-enabled computer/storage system.
  • 4K and Quad HD Support-- Help ease the transition to 4K with a recorder that creates efficient file sizes while still retaining pristine quality.
  • More than 4K and Quad HD--Support for 4:2:2 and 4:4:4 recording even at HD and 2K resolutions, and real time scaling from 4K/Quad HD to 2K/HD. HDMI output allows connection to HD consumer monitors. HD-SDI output provides professional connectivity to high-end monitors.
  • Debayering and Scaling--New hardware-based features include real time, high-quality RAW debayering, recording directly to 4K resolution Apple ProRes 444 or ProRes 422 files and real time scaling from 4K to HD.
  • Streamlined Camera to Post--With the Canon C500: enable live debayering for immediate Apple ProRes 422 and ProRes 444 onboard recording and RAW pass through over Thunderbolt to compatible storage connected to a Mac system. With Sony F55: enable 4K 4x 3G-SDI baseband input and recording to 4K ProRes. With any SDI-capable HD camera: enable HD recording with cameras such as the Canon C300 with the added advantage of 10-bit 4:4:4 support for cameras like the Sony F3.
  • Affordability--Ki Pro Quad is priced substantially less than other 4K recorders but still has the power and functionality for the demands of 4K productions as well as functionality not found in competitive recorders of ANY price.
  • Proven Performance--Ki Pro Quad was built on the same performance principles and reliability that have made the rest of the Ki Pro family successful, and creates low-bandwidth ProRes files up to 4K resolutions, that can be easily offloaded to any Thunderbolt-enabled Mac via AJA's new PAKDock Thunderbolt and USB3 reader. With the same capabilities of Ki Pro Mini for remote control, automation, ease of use and mounting options, the transition to Ki Pro Quad is virtually seamless. 

    For a complete set of features and technical specifications, please visit . 

    Ki Pro Quad is available now worldwide through AJA's network of resellers and distributors at a US MRSP of $3995. AJA PAKDock, AJA Pak SSD media, and Ki Pro Quad mounting options, are now also available.

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