SMPTE members will lead a variety of sessions during the IBC2014 exhibition. The Society will offer "Laser Projectors Part 1: Seeing is Believing" and "Laser Projectors Part 2: Is the Devil in the Details?" as part of the IBC Big Screen Experience. Produced and chaired by Peter Ludé, past president of SMPTE, the session will address the impact of laser projection technology on digital cinema and provide a look at breathtaking images shown on the Big Screen Experience's 6-Primary laser projection system from Christie. SMPTE will also co-produce "Go With UHD-1, or Wait for UHD-2?" as part of the IBC Technical Stream. In this session, Dr. Hans Hoffmann, past SMPTE standards vice president, and Howard Lukk, a SMPTE standards director, will lead a discussion with major players in this space to explore strategies and standards for content creation and delivery to the home. Additional sessions featuring SMPTE members include "Trifocal Camera Systems" as part of the IBC Big Screen Experience; and "Movie-making in the Matrix," presented by SMPTE Governor Richard Welsh, who will join fellow experts in examining virtualized movie production. SMPTE will also present "EDCF Global D-Cinema Update," in which an impressive array of SMPTE panelists — including SMPTE Governor Angelo D'Alessio — will bring attendees up to speed on the latest business and technology developments in digital cinema.Read more
UHDTV will be a central topic at IBC ’14. Understanding what really makes the quality difference for the viewers is important, but if UHDTV is to become mainstream, we need to put in place the production interfaces that turn an R&D innovation into broadcasting reality. EBU’s stand will showcase the latest results from the impact of high(er) dynamic range on picture quality with recently shot sequences. This has been put together with the aid of ARRI, Grass Valley, Kamerawerk, and EBU members TPC and SRG. The stand will also showcase the experiences by EBU member BBC, L2Tek and Cisco from the Commonwealth Games on a fully networked production of a live event. Both demonstrations are part of wider EBU efforts to ensure that there is appropriate standardisation for broadcasters implementing UHDTV.Read more
Synergies between product lines present opportunities for new advanced workflows
ProMAX Systems, manufacturer of multi-functional, high-performance video storage servers and editing workstations, has announced the acquisition of Cache-A, a leading supplier of network-attached video archive appliances.Read more
Vantage to feature new DPP assembly and transcoding capabilities, automated NLE templates, enhanced transcoding formats and cloud subscriptions; Company showcases enhancements to Wirecast and Episode
Telestream® (stand 7.C12), the leading provider of digital media tools and workflow solutions, will use IBC 2014 to showcase transcode support for the latest OTT, IPTV and 4K formats plus enhanced third-party interoperability with leading vendors including Avid, Adobe and Apple. The Company will demonstrate assembly and transcoding capabilities for the UK broadcast industry's Digital Production Partnership (DPP) initiative, and cloud subscriptions for Vantage. Telestream will also showcase enhancements to the Wirecast and Episode applications.Read more
Thai broadcaster TV Pool has upgraded its PlayBox Technology transmission control and playout system to allow high-definition delivery of Thai TV (Channel 17) on the country's terrestrial digital television platform. Three additional channels also received new HD playout systems. Currently transmitting in SD, Thai TV (Channel 27) and Loca TV (Channel 15 and Channel 25) can start transmitting in high definition whenever necessary. The system is located at TV Pool's headquarters in Bangkok.Read more
Forbidden Technologies plc (AIM: FBT), the AIM-quoted owner and developer of the market-leading cloud-based video post-production platform Forscene, announced today that the product will serve as one of the core technologies behind IBC TV's expansion into year-round programming. And, for the first time, Forscene will play a role in managing video content for the prestigious IBC2014 Innovation Awards.
"We have partnered with IBC TV for the past six years to provide access to news footage during the week of the show, and now IBC TV will get even more value out of that partnership by using Forscene to make show footage available all year long," said Greg Hirst, business development director, Forbidden Technologies plc. "Now anyone who is authorised will be able to use Forscene to tap into IBC TV's wealth of content and reuse it long after IBC is over."Read more
Thomson Video Networks today announced that its industry-leading ViBE™ CP6000 contribution platform now offers advanced capabilities for broadcast-quality video transmission over unmanaged networks, including the open Internet. By enabling cloud-friendly deployments for contribution and primary distribution, the ViBE CP6000 now provides an all-encompassing media infrastructure that supports multiple codecs, multiple networks, and multiple devices for ground-to-cloud and ground-to-ground video delivery.Read more
Thomson Broadcast (IBC 8.C35) today announced the launch of a new low-power ultra-compact transmitter range. Available from 20W to 150W RMS, and designed to adapt to any field situation, the low-power range provides dualcast DVB-T/DVB-T2 coverage extension and benefits from multiple options such as a built-in 1+1 configuration.
At IBC 2014 we 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 is readily achievable.Read more
Demonstrations will feature advances that realise the company?s bold technology vision
Imagine Communications, a market leader of media software and video infrastructure solutions serving the global broadcast, multichannel video programming distributor and enterprise markets, today announced that the company will showcase the latest ground-breaking innovations in its end-to-end solutions portfolio and its bold new vision, product direction and strategy at the IBC2014 conference and exhibition, taking place 12 ? 16 September in Amsterdam.Read more
Akamai Technologies a leading provider of cloud services for delivering, optimising and securing online content and business applications, has today announced that German broadcasters, ARD and ZDF chose to stream the 2014 World Cup in Brazil over the Akamai Intelligent Platform.
Tango — Next Generation Matrix Intercom
At IBC2014 Riedel will introduce Tango. Tango is an entirely new intercom solution, breaking systems boundaries.
MediorNet 2.0, MediorNet MetroN, and MediorNet as a WAN Solution
Making its European debut, the MediorNet 2.0 is a firmware update for the MediorNet real-time media network that provides video router functionality and high-speed rerouting. MediorNet 2.0 is available now.Read more
Blackmagic Design today announced announced the immediate availability of Camera 1.8.2 software which adds three new Apple ProRes™ file formats for the Blackmagic Cinema Camera, Blackmagic Pocket Cinema Camera and Blackmagic Production Camera 4K. Camera 1.8.2 update is available now free of charge from the Blackmagic Design website.
Blackmagic Design camera customers have always been able to record in both CinemaDNG RAW or compressed ProRes 422 HQ formats, however now this new software update adds three additional Apple ProRes™ file formats, ProRes 422, ProRes 422 LT and ProRes 422 Proxy. This means customers using Blackmagic Design cameras will be able to get significantly smaller video file sizes allowing much longer recording durations on the same media card, all while preserving full frame 10-bit 4:2:2 quality.Read more
HHB Communications Ltd. is readying announcements of major new advancements in broadcast audio technology for IBC 2014.
Located at the entrance of Audio Hall 8 on Stand 8.D56, HHB and audio post subsidiary Scrub will be joined by co-exhibitors TC Electronic, Dynaudio, Mogami and Roland. Loudness experts TC Electronic will be launching several new additions to its successful production and broadcast product ranges.Read more
M&E Opens New Opportunities of Expression, New Headaches
"And that is exactly what we do here. We take the unexplained ... and we just safely tuck it away in this super-sized Pandora's Box." - Artie, "Warehouse 13, 2009 - 2012," Universal Cable Productions
When the big studios and networks were in their heyday, the M&E (media &entertainment) industry was easy to find.
It was a neatly defined marketplace where people sold cameras, production/post production systems, film and other storage as well as a dizzying array of support equipment; and thousands of folks slaved away dreaming of their big break in front of and behind the camera.
BAM!! that easily defined world has exploded into a million different directions.
NAB 2014click for more images
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.
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.
THE WORLD’S SHORTEST THROW LENS FOR SINGLE CHIP DLP PROJECTORS, THE
ET-DLE030 DETACHABLE LENS, ENABLES A NEW KIND OF ULTRA SHORT THROW PROJECTION FOR STAGING & PUBLIC DISPLAY
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 business.panasonic.co.uk/visual-system/ET-DLE030
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.
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.
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 http://www.aja.com/en/products/ki-pro-quad .
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.