In Broadcast - October 2012 - 30


I N T E R N A T I O N A L

N E W S

WWW.INBROADCAST.COM | ISSUE 13 - OCTOBER 2012

InGEAR
Evolution In Camera & Audio Links Cont.
systems instead of transmission vehicles for a lot of work,” he comments. A r t m a n and others involved in IP transmission a c k n ow l e d g e the p i c tu re s produced are sometimes not what would once have been Groovy Gecko provided transmission processing considered workstations for Channel 4’s Foxes Live: Wild in the City broadcast quality but that including coverage of Hurricane viewers are more forgiving of them Irene, the Academy Awards, the if they are showing live pictures of Royal Wedding and London 2012. a major news event. During this year’s IBC the company Another perceived advantage introduced the lightweight LU40-S of IP systems is their lower cost uplink device, which incorporates compared to more conventional LiveU’s proprietary internal antenna. broadcast links, such as satellite. LiveU’s Vice President of This thinking was behind the BBC Marketing, Ronen Artman, explains using a mobile phone based set-up that the systems are based on to cover the progress of the Olympic multiple SIM cards, with the signal Torch round the UK in the build-up split between them to get the to the London 2012 Games. best network connection. Artman TV and radio coverage of the observes that broadcasters are now procession, which was on the embracing the new technology as road for 12 hours a day, came it can give them immediacy for a from a media vehicle travelling in breaking story where they might front of the Torchbearer and the not be able to get a SNG van there accompanying security team. This in time. “They don’t need line of converted horsebox housed four sight for it to work and some of remotely controlled cameras, one our customers are now using our in a gyroscopic unit mounted on the back of the van to give the main shot of the action. Signals from the cameras were fed to a vision mixer inside the media vehicle, where they were mixed and processed ready for transmission. The video pictures were relayed through eight different 3G SIM cards linked together. These searched for the strongest local 3G signal and then transmitted the video feed on a two-minute delay for use by both BBC TV and the BBC’s Torch Relay website. The system was based on technology developed by Dutch company Mobile Viewpoint, a subsidiary of internet and mobile technology developer Triple IT. The core of the installation was the WMT (Wireless Multiplex Terminal), incorporating the SIM card array. This worked in conjunction with Continuous Picture Technology (CPT), which was developed with the BBC to produce a consistent, even video link for when the media vehicle travelled through rural areas where mobile coverage is patchy. “With the WMT it is possible to have live video connections from any place and any location as long as there is coverage of a mobile network,” comments Michel Bais, Managing Director of Mobile Viewpoint. “The Olympic Torch Relay project was a unique example because it shows the possibility to realise a live video connection even if there are difficult network coverage circumstances.”

Voice Calls
Audio for both out of picture TV and radio reports also went over a 3G link using HD Voice equipped mobile phones. HD Voice is based on adaptive multi-rate wide-band (AMR-WB) codecs delivering 7kHz or 3.5kHz audio bandwidth on 3G networks. The BBC used two Glensound Electronics GS-MPI004HD portable HD broadcasters’ phones for sound coverage of the relay. According to a BBC spokesman, HD Voice was selected because it can broadcast in “reasonable quality” from moving vehicles. Marc Wilson, sales and marketing manager at Glensound, comments: “HD Voice gives something that is better than standard phone connections but which is different to ISDN (Integrated Services Digital Network, a link technology previously used for radio reporting and audio transmission). It doesn’t sound like either, it’s something new.” The video and audio links market has always been keen to adopt “something new” over the years and with broadcasters ever more keen to get pictures and stories on-air in the shortest time possible – and for the least outlay – it promises to be a continually evolving area for some time to come. ■

30

InGEAR AJA Ki Pro Rack Eases Workflow Transition
AJA Video Systems’ new Ki Pro Rack is exciting broadcasters around the world by allowing a seamless, simple transition from tape to file-based workflows. Providing the power of the Ki Pro in a 1RU form factor, the Ki Pro Rack enables recording of high-quality, edit-ready files for the fastest path from camera to edit. It uses both Apple ProRes 422 and Avid DNxHD files, eliminating the need for timeconsuming logging and capturing, and allowing your files to plug into most editing systems without any additional transcoding or importing processes. Furthermore, its 1RU form factor is ideal for machine rooms or mobile production trucks where space is at a premium. Freelance film and video editor Claude Shires recently utilised the Ki Pro Rack to shoot Elton John’s The Million Dollar Piano show at Caesar’s Palace in Las Vegas for DVD release. An expert in tapeless workflows, Shires has worked on television specials for celebrities such as Joan Rivers and Snoop Dogg. A long-time fan of AJA’s Ki Pro, Shires used eight Ki Pros and two Ki Pro Racks on the Elton John shoot. Ten cameras and a line cut were used for the shoot. The equipment was wired into a mobile production truck provided by Sweetwater in Los Angeles. Shires said: “The distance between the different sectors of production and post-production keep getting shorter as technologies improve. I love working with the Ki Pro and Ki Pro Rack because I have complete control of footage acquisition and it goes directly into my edit workflow. Plus, with tape, we would have needed ten HDCAM decks and a haul of tape stock. “The Ki Pro and Ki Pro Rack make things so much easier and cost effective – the units are less expensive than HDCAM decks, you don’t need to spend hours digitising footage, and you don’t need to worry about changing tapes in the middle of a performance.” At IBC, AJA also announced new storage and dock accessories for the Ki Pro Rack. One is a new
The two AJA Ki Pro Rack units in-situ

The Elton John shoot utilised eight Ki Pros and two Ki Pro Rack units

line of USB3-enabled KiStor drives, allowing for faster throughput to the host computer and a significant reduction in transfer time. The drives will be available in 250GB, 500GB, and 750GB capacities. The 750GB drive allows a maximum recording time of nearly eight hours of 1080p/24 Apple ProRes 422 HQ material with four audio channels, or almost 13 hours of Avid DNxHD 145 quality. Also hitting the market is the KiStor Dock, which makes it easy to mount KiStor drives on Mac or Windows desktops or laptops. The KiStor Dock features Thunderbolt and USB3 connectivity. ■


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Table of Contents for the Digital Edition of In Broadcast - October 2012

In Broadcast - October 2012
Contents
PO Group Invest in 4k SGO Mistika Solution
BBC Entertainment Launches in Malaysia
AJA KI Pro Eases Elton John Show Workflow Transition
Bolshoi Theatre Install RTS System
Canal+ Sports Opts for Orad Power Wall
SIS LIVE Rolls Out OB 14 HD Truck
OCC’s Bill Smith Answers on the Technical Challenges
4KTV? Not So Fast!
ChyronIP Powers Graphics on Newtek Tricaster
Take Control With Rascular’s Helm
In Broadcast - October 2012 - Intro
In Broadcast - October 2012 - In Broadcast - October 2012
In Broadcast - October 2012 - 2
In Broadcast - October 2012 - Contents
In Broadcast - October 2012 - PO Group Invest in 4k SGO Mistika Solution
In Broadcast - October 2012 - 5
In Broadcast - October 2012 - BBC Entertainment Launches in Malaysia
In Broadcast - October 2012 - 7
In Broadcast - October 2012 - 8
In Broadcast - October 2012 - 9
In Broadcast - October 2012 - 10
In Broadcast - October 2012 - 11
In Broadcast - October 2012 - 12
In Broadcast - October 2012 - 13
In Broadcast - October 2012 - 14
In Broadcast - October 2012 - 15
In Broadcast - October 2012 - 16
In Broadcast - October 2012 - 17
In Broadcast - October 2012 - 18
In Broadcast - October 2012 - 19
In Broadcast - October 2012 - 20
In Broadcast - October 2012 - 21
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In Broadcast - October 2012 - 24
In Broadcast - October 2012 - 25
In Broadcast - October 2012 - 26
In Broadcast - October 2012 - 27
In Broadcast - October 2012 - 28
In Broadcast - October 2012 - 29
In Broadcast - October 2012 - AJA KI Pro Eases Elton John Show Workflow Transition
In Broadcast - October 2012 - 31
In Broadcast - October 2012 - 32
In Broadcast - October 2012 - 33
In Broadcast - October 2012 - 34
In Broadcast - October 2012 - 35
In Broadcast - October 2012 - 36
In Broadcast - October 2012 - 37
In Broadcast - October 2012 - Bolshoi Theatre Install RTS System
In Broadcast - October 2012 - 39
In Broadcast - October 2012 - 40
In Broadcast - October 2012 - 41
In Broadcast - October 2012 - Canal+ Sports Opts for Orad Power Wall
In Broadcast - October 2012 - 43
In Broadcast - October 2012 - 44
In Broadcast - October 2012 - 45
In Broadcast - October 2012 - 46
In Broadcast - October 2012 - 47
In Broadcast - October 2012 - 48
In Broadcast - October 2012 - SIS LIVE Rolls Out OB 14 HD Truck
In Broadcast - October 2012 - 50
In Broadcast - October 2012 - 51
In Broadcast - October 2012 - 52
In Broadcast - October 2012 - 53
In Broadcast - October 2012 - OCC’s Bill Smith Answers on the Technical Challenges
In Broadcast - October 2012 - 55
In Broadcast - October 2012 - 4KTV? Not So Fast!
In Broadcast - October 2012 - 57
In Broadcast - October 2012 - 58
In Broadcast - October 2012 - 59
In Broadcast - October 2012 - ChyronIP Powers Graphics on Newtek Tricaster
In Broadcast - October 2012 - 61
In Broadcast - October 2012 - 62
In Broadcast - October 2012 - 63
In Broadcast - October 2012 - Take Control With Rascular’s Helm
In Broadcast - October 2012 - 65
In Broadcast - October 2012 - 66
In Broadcast - October 2012 - 67
In Broadcast - October 2012 - 68
In Broadcast - October 2012 - 69
In Broadcast - October 2012 - 70
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In Broadcast - October 2012 - 74
In Broadcast - October 2012 - S1
In Broadcast - October 2012 - S2
In Broadcast - October 2012 - S3
In Broadcast - October 2012 - S4
In Broadcast - October 2012 - S5
In Broadcast - October 2012 - S6
In Broadcast - October 2012 - S7
In Broadcast - October 2012 - S8
In Broadcast - October 2012 - S9
In Broadcast - October 2012 - S10
In Broadcast - October 2012 - S11
In Broadcast - October 2012 - S12
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