In Broadcast - June 2018 - 55

55

www.inbroadcast.com | Vol: 8 - Issue 6 | June 2018

Live Production

InStudio
cont'd...

JVC ProHD Studio 4000 compact live production server pictured with optional monitor

and vice versa. This comes with
audio comms capability, facilitating
communications between camera
operators and production staff during
live broadcasts. BirdDog Studio NDI's
audio comms (also sold separately) is
free for Studio NDI customers.
The company is also claiming the
industry's smallest full bitrate HDMI to
NDI encoder; the BirdDog Mini which
has built-in Tally display.
NewTek itself has LiveGraphics, a
new approach to creation of real-time
motion graphics that does not require
a proprietary hardware graphics
engine. Content authored in Adobe
(Photoshop CC and After Effects CC) is
available for live output from TriCaster

TC1 and NewTek IP Series with fully
replaceable text and images that can
be driven by live data and web content.
JVC has a new compact live
production and streaming server
for NDI. The ProHD Studio 4000
includes four SD/HD-SDI inputs, four
IP stream inputs, and four NDI inputs.
An additional HDMI/NDI input with
keying can capture an external screen,
so users can include content from a
smartphone. Users can record the
programme output and the streaming
output, along with simultaneous ISO
recordings, direct to the appliance.
A claimed unique feature includes
automatic motion tracking for JVC KYPZ100 PTZ cameras, as well as Zero

Config, which provides automatic,
one-click configuration of any IPenabled JVC camera when it joins the
same LAN as other JVC cameras. A
H.264 encoder supports up to 1080p
streaming at up to 10 Mbps, with RTMP
and MPEG-TS simultaneous output
and direct streaming integration to
Facebook Live and other CDNs.
There is a sports version of the
server too which has automated multichannel instant replay and slo-mo,
as well as an integrated sports CG for
scores and timers.
Sony has a new flagship live
production
switcher
supporting
broadcasters transitioning between
legacy and new IP workflows. The XVS9000 supports SMPTE ST 2110 and
AMWA NMOS Device Discovery as well
as12G-SDI interfaces. Due in October,
the unit offers up to 80 inputs and
40 outputs in 4K and up to 160
inputs and 80 outputs in
HD and features an OLED
display.
The
XT-VIA
server
marks a significant shift
for EVS away from bulky
on-site
hardware
and
toward a software-defined suite of
applications. The platform is part of
a technology foundation supporting
all EVS products going forward and
Software move:
EVS XT-VIA server

those such as Xeebra
and Divi which are
already software
based.
The server itself
offers six channels
of 4K (the existing
XT server has four
channels of 4K);
also 12 full 1080p
HD channels, and
support for HDR.
The server now
natively supports
the SMPTE 2110
standard.
Feature packed: ATEM Television Studio Pro 4K
In terms of the
underlying VIA platform this is split for 4K (UHD) production workflows
into three components: VIA Flow, this server is equipped with universal
facilitating the management and flow 12G/3G/HD/SD
video
interfaces,
of media within the EVS ecosystem enabling just one (BNC) connector
to be able to monitor and manage for all standards," explains Igor
traffic of media, and to be able to Vitiorets, CTO. "This perfectly fits
customise workflows. VIA Mind makes modern cameras and switchers and
use of machine learning which is being significantly reduces the number of
incorporated into EVS products; VIA connecting cables."
Open Gate is the third component
Blackmagic
Design's
ATEM
and is basically a centralised API that Television Studio Pro 4K is now
allows third parties to integrate their shipping. It features eight standards
systems with the EVS ecosystem.
converted 12G-SDI inputs meaning
It also facilitates remote production, you can plug in any HD or UHD source
because with X-Net VIA you don't have all with full re-sync and independent
to tie the remote control panels to the format and frame rate conversions.
server in the same location.
It's a powerful appliance which now
While EVS is still the gold standard onboards audio processing via the
for replay servers (SAM's LiveTouch Fairlight audio mixer and features the
giving it a run for its money) there is a new ATEM Advanced Chroma Keyer
budget solution from SloMo TV offers which Blackmagic thinks can help
10 replay channels (four record, four move live production into UHD. It's
search, two play) in 4K from 50,000. portable too, fitting into a standard
It has a built-in multiviewer and equipment rack or fly away kit.
stores to SSD. Search is available on
When used with Blackmagic Studio,
all recorded channels simultaneously URSA Mini, URSA Broadcast and
with recording and playing back of Micro Studio cameras, customers get
two channels with transition effects. a complete remote control solution
The automatic creation of clips that includes talkback, tally, colour
during instant replays is a Slomo.tv correction and camera control,
proprietary feature, allowing quick without having to add any additional
creation of summary packages while cables or proprietary control boxes.
working in instant replay mode.
Compositing tool Ultimatte has also
"Since many manufacturers use been upgraded with new dynamic
12G SDI interfaces new lighting effects, support for
Rec. 2020 colour, non-rectangular
masks, and embedded audio
and timecode via foreground
inputs in a downloadable
tweak to version 12. Rather
than working with the same
chroma keyer for all cameras,
Ultimatte adds a dedicated
keyer to every camera, which
Blackmagic says eliminates
the
variations
typically
caused from live multicamera green/blue screen
productions.


http://www.inbroadcast.com http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102488 https://www.blackmagicdesign.com/products/atemtelevisionstudio http://www.bird-dog.tv/ http://www.Slomo.tv https://evs.com/en/product/xt-via

Table of Contents for the Digital Edition of In Broadcast - June 2018

Contents
In Broadcast - June 2018 - Intro
In Broadcast - June 2018 - Cover1
In Broadcast - June 2018 - Cover2
In Broadcast - June 2018 - Contents
In Broadcast - June 2018 - 4
In Broadcast - June 2018 - 5
In Broadcast - June 2018 - 6
In Broadcast - June 2018 - 7
In Broadcast - June 2018 - 8
In Broadcast - June 2018 - 9
In Broadcast - June 2018 - 10
In Broadcast - June 2018 - 11
In Broadcast - June 2018 - 12
In Broadcast - June 2018 - 13
In Broadcast - June 2018 - 14
In Broadcast - June 2018 - 15
In Broadcast - June 2018 - 16
In Broadcast - June 2018 - 17
In Broadcast - June 2018 - 18
In Broadcast - June 2018 - 19
In Broadcast - June 2018 - 20
In Broadcast - June 2018 - 21
In Broadcast - June 2018 - 22
In Broadcast - June 2018 - 23
In Broadcast - June 2018 - 24
In Broadcast - June 2018 - 25
In Broadcast - June 2018 - 26
In Broadcast - June 2018 - 27
In Broadcast - June 2018 - 28
In Broadcast - June 2018 - 29
In Broadcast - June 2018 - 30
In Broadcast - June 2018 - 31
In Broadcast - June 2018 - 32
In Broadcast - June 2018 - 33
In Broadcast - June 2018 - 34
In Broadcast - June 2018 - 35
In Broadcast - June 2018 - 36
In Broadcast - June 2018 - 37
In Broadcast - June 2018 - 38
In Broadcast - June 2018 - 39
In Broadcast - June 2018 - 40
In Broadcast - June 2018 - 41
In Broadcast - June 2018 - 42
In Broadcast - June 2018 - 43
In Broadcast - June 2018 - 44
In Broadcast - June 2018 - 45
In Broadcast - June 2018 - 46
In Broadcast - June 2018 - 47
In Broadcast - June 2018 - 48
In Broadcast - June 2018 - 49
In Broadcast - June 2018 - 50
In Broadcast - June 2018 - 51
In Broadcast - June 2018 - 52
In Broadcast - June 2018 - 53
In Broadcast - June 2018 - 54
In Broadcast - June 2018 - 55
In Broadcast - June 2018 - 56
In Broadcast - June 2018 - 57
In Broadcast - June 2018 - 58
In Broadcast - June 2018 - 59
In Broadcast - June 2018 - 60
In Broadcast - June 2018 - 61
In Broadcast - June 2018 - 62
In Broadcast - June 2018 - 63
In Broadcast - June 2018 - 64
In Broadcast - June 2018 - 65
In Broadcast - June 2018 - 66
In Broadcast - June 2018 - 67
In Broadcast - June 2018 - 68
In Broadcast - June 2018 - 69
In Broadcast - June 2018 - 70
In Broadcast - June 2018 - Cover3
In Broadcast - June 2018 - Cover4
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