In Broadcast - May 2013 - 60

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

WWW.INBROADCAST.COM | ISSUE 19 - MAY 2013

N E W S

InMEDIA

What’s New In Sports Production
Sports production has kept the broadcast business on its mettle – the twin attractions for producers
were a guaranteed stream of live action and no danger of the performers forgetting the script…

By David Kirk
Contributing Editor

he technology of spor ts
television has developed
enormously over the years to the
point where it is now almost an
industry in itself. So what was new
in this broad industry sector at the
2013 NAB Show? A very mixed bag:
ATEME announced at NAB that a
major US sports cable programmer
had adopted its Kyrion CM5000
encoder for processing some
live sporting event coverage.
Additionally, a new pay TV operator
in the Caribbean is about to launch
using a turnkey video head-end
centred on the TITAN transcoding
platform. The company’s latest
CM5000 encoder and DR5000
encoder were demonstrated as
part of the QuickSPOT service and
solution in On Call Communication’s
satellite uplink truck during the
exhibition. The Kyrion CM5000
modular encoding platform handles
all MPEG-2 and MPEG-4 AVC ﬁle
formats from standard deﬁnition
to 1080p50/60 and from 4:2:0
8-bit processing up to 4:2:2 10bit processing.
AVIWEST and Panasonic have
collaborated to create a fully
integrated camcorder and cellular
live video uplink transmitter. The
result combines the new Panasonic
AG-HPX600 P2 camcorder with the
AVIWEST DMNG PRO 3G/4G-LTE
video uplink platform. Connecting
the DNMG PRO to the camera’s
USB port enables the camera
operator to control the transmitter
through the camera viewfinder.
The DMNG PRO is designed to be
used with a shoulder camcorder
via standard V-Mount, Anton
Bauer or PAG-lok battery plates.
The attached battery then powers
both the camcorder and the low
power consumption transmitter. The
DMNG PRO is available with up to

eight internal 3G or 4G modems
feeding an array of eight high gain
custom antennas. These antennas
have been designed speciﬁcally
for this platform to strengthen
signal reception and transmission
in critical areas while complying
with international SAR (Specific
Absorption Rate) recommendations.
AVIWEST’s DMNG PRO platform
offers television content producers
an efﬁcient way to deliver urgent
content back to headquarters from
any location. It is able to stream
1080i live video to the receiver with
a latency that is short enough to
allow seamless interviews.
The transmitter incorporates
dual video encoders to enable
simultaneous streaming at one
video resolution while recording in
higher quality for subsequent editing
or replay. Up to eight 3G/4G-LTE
internal modems and two USB
interfaces can be accommodated.
The transmitter configures itself
automatically according to available
network capacity and is on air
within a few seconds. The DMNG
PRO is produced in four versions
with almost identical features and
speciﬁcations: 100, 110, 140 and
180. Model 140 incorporates four
3G/4G-LTE modems and four highefﬁciency custom antennas; model
180 has eight of each. An integral
ASI-TS output and high-quality
encoder enable the DMNG PRO 100
(2 USBs, Ethernet and wi-ﬁ) to be
used as mobile encoder for satellite
(BGAN, Thuraya, KA-SAT). The
DMNG PRO 110 is a core-version
without internal modem or custom
high-gain antennas. Introduced at
NAB 2013, it incorporates 8 + 2 USB
slots and an internal battery.
BMS in cooperation with Schiebel
Corporation exhibited remotely
controlled aerial platforms for video

Flint offers live video production and HD streaming

Catve in Brazil recently invested in three EVS XT3 production servers and an
EVS XTnano server for its Master TV mobile production vehicles

capture employing BMS microwave
link technologies. These allow air-toground video communication via the
Schiebel S-100 Camcopter using a
BMS NTxx23 RF transmitter inside
a Sony camera plus BMS’ DR2957
two-way multichannel monitorback receiver.
Broadcast Pix Flint is a live
video production system with HD
streaming. It allows operators to
include internet-based content
such as Skype, Twitter, RSS
feeds, Dropbox, Google Drive, and
Microsoft SkyDrive, in addition to
cameras and ﬁle-based graphics
and video, during live productions.
Available in April, Flint integrates
the entire production workflow,
from ingest to distribution. Flint
ingests and scales all sources while
maintaining lip sync, and provides
up to seven simultaneous outputs.
Operators can deliver streaming
with Adobe Flash at HD resolution,
plus video content for broadcast
in various formats, as well as
recording internally.
The Flint multi-format production
switcher supports up to six HD/
SD-SDI, HDMI, and analogue
cameras, plus eight channels of
clips and graphics. It
includes three keyers for
layering, each with PiP
and customisable DVE.
An internal Harris Inscriber
character generator provides
six graphic channels, while
a built-in, two-channel clip
server stores up to 30 hours
of clips and animations in a
variety of file formats,
i n c l u d i n g P ro R e s ,
H.264, DNxHD and
QuickTime animations.
Camera Corps (a Vitec
Group company) demonstrated

at NAB 2013 its new RF Q-Ball, a
complete wireless remote camera
system which the company can
install for any hire. RF Q-Ball
comprises an HD-SDI transmitter,
control data receiver, batteries and
camera in a single portable unit. It
gives the operator full control of
pan, tilt, zoom and focus, capturing
broadcast quality video plus four
channels of embedded audio.
Transmission range is more than a
mile from the camera, depending on
the terrain. The PTZ camera head
mounts directly onto the transceiver
or can optionally be linked via up
to 30 metres of cable. Four audio
channels can be embedded into the
HD-SDI feed. The camera head and
RF link may be powered for up to four
hours from the transceiver’s internal
battery. This can be extended to
eight hours by attaching an Anton
Bauer battery on an external Gold
mount or switching to an auxiliary
12 to 18 volt direct-current supply.
CONTINUED
ON PAGE 62

Demonstrated at NAB,
Camera Corps RF Q-Ball

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