The disappearance of the daughter of an important businessman and the arrival of a new drug on the streets are keys to this southern noir. Antonio Gil, Cuca Escribano, Laura Baena Torres and Susana Córdoba, among others, complete the cast of the series shot on location in Malaga.
An unexplained disappearance, an extremely diverse group of protagonists, all with a painful past, and the city of Malaga. The three keys to “Malaka”, the latest reality thriller from La 1 which has been chosen to open the XI edition of the Vitoria FesTVal, getting underway today, Monday 2nd September. Maggie Civantos, Salva Reina and Vicente Romero head up the cast of this hour long serialized drama in which our protagonists strive to settle old scores with their pasts… and with their present.
Produced by RTVE in association with Globomedia (THE MEDIAPRO STUDIO), Malaka begins with the disappearance of an important local Malaga-born businessman’s daughter. The Andalusian city takes on the role of an additional cast member in what has been described as a ‘warts and all’ look at the city, with everything from the bright lights of high society to the very underbelly of the underworld producing the drug.
The series features a formidable cast, a great many of who are native Andalusian’s: Cuca Escribano, Antonio Gil, Laura Baena Torres, Susana Córdoba, Alejandro Casaseca, Manuel Morón, Víctor Castilla, Emilio Palacios, Ignacio Mateos, Héctor Medina, Pilar Gómez, Helena Kaittani, and Naomi Ruiz. The nuts and bolts of society’s landscape; wealthy businessmen and young people, mafia clan capos and petty criminals.
Created by Daniel Corpas (Yo soy Bea, Lo que me contaron los muertos, Bajo el mismo techo) and Samuel Pinazo (Topos, Las tetas de mi madre), directed by Marc Vigil (The Ministry of Time, Red Eagle, Locked Up, Aída, 7 Lives), Malaka originated in the 2018 SGAE Workshops. The drama is supervised by Javier Olivares (The Ministry of Time), showrunner and co-producer, and with Jordi Calafí as script coordinator.
Characters with a painful past
Blanca Gámez (Maggie Civantos), only child and daughter of legendary Police Chief Gámez, poised, intelligent, calm and straight-talking. But nobody in Malaga knows why she has decided to return to her hometown after spending her entire working-life in Madrid. She may be an elite Inspector, but she’s got a lot to learn about what the real world is like.
Darío Arjona (Salva Reina) has no doubt in his mind “Someone has to get dirty to keep everything clean”, the soundbite that best defines his moral compass and its flexibility. Dario is a Police Inspector who navigates skillfully around the city’s grimiest neighborhoods that spawned him and his type. With one foot in the world of corruption, he fights to maintain the status quo in the drug market.
These are two very different Police Inspectors, but who share a complicated past as more is revealed to us in each episode.
Joaquín Romero ‘Quino’ (Vicente Romero) joins Blanca and Darío in their inquiries into Noelia’s disappearance. The ex-cop turned private detective handed in his badge a long time ago. A murky affair he prefers not to discuss.
An unexplained disappearance…
Noelia’s disappearance is the starting point for Malaka. A young loner, in love with oriental mysticism and nature, the daughter of Germán Castañeda, an important local businessman. The investigation into her disappearance begins to reveal unimaginable connections and secrets.
Oro, a new drug that comes in the form of a gold ingot, unleashes a gang-war between rival clans who run drug trafficking. Among these, boss of the Los Cucos clan, La Tota rules with an iron fist.
But, who really is Noelia? Who benefits from flooding the streets of society’s underbelly with the strange yellow pollen? These are just some of the questions Inspectors Darío and Blanca with Detective Quino will be forced to find answers to.
Malaga, an additional member of the cast
Filming for Malaka took place in partnership with the City of Malaga between April and July of this year. The capital of the Costa del Sol was host to and backdrop for scenes filmed on location at some of Malaga’s best-known natural interior and exterior beauty spots, taking in a varied route including emblematic spots like the Paseo de los Curas, the Alameda Principal and Avenida de Cervantes, in addition to the Puerto del Condado and the Cerrado de Calderón district.
Other well-known locations featured include the Perchel bridge over the Guadalmedina river, Balneario Los Baños del Carmen, former Provincial Prison, and the area surrounding the Albéniz cinema in the Alcazaba neighborhood.
Product highlights will include its new decoders and encoders, RIST Main Profile, bi-directional SDR/HDR conversion solution for live production, and new multiviewers and distribution amplifiers. Plus, the company will debut a new 12G openGear router and RIST gateway solution.
The new 9992-DEC Series of HEVC/AVC/MPEG-2 decoders for openGear frames will be introduced at the show. Like the company’s 9992-ENC series of encoders, the flexible 9992-DEC features pay-as-you-go licensing, so users only pay for required features when needed. Designed to meet the most stringent requirements for today’s broadcasters, the 9992-DEC supports up to 4K resolution and offers a full complement of audio decoding capabilities. The series also includes the 9992-2DEC dual-channel decoder, as well as the 9992-DEC-4K-HEVC with single-channel 4K or dual-channel 2K and support for H.265.
Earlier this year, Cobalt was one of several companies to receive an Emmy® Award for its collaborative work on ARQ, the underlying technology powering RIST. At IBC, Cobalt will debut support for the RIST Main Profile, which adds features such as encryption (DTLS or PSK), tunneling, NAT traversal, point-to-multipoint distribution, low bit rate optimization, and reliable ST-2110 transport.
New advancements in HDR at the show include a complete end-to-end HDR workflow within Cobalt’s 9904-UDX-4K up/down/cross converter. Utilizing Technicolor’s suite of HDR tools, which can be bundled into a single ordering option, the 9904 can generate dynamic metadata when converting from HDR to SDR and back to HDR, preserving the full HDR picture information.
Cobalt continues to develop its popular 9971 Series of multiviewers, adding dual outputs and user controls. Delivering uncomplicated monitoring of asynchronous 4K and HD signals, all three models accommodate a variety of signals and applications. All models also include HDMI outputs for economical viewing on consumer-grade 4K monitors. One-button template presets simplify setup, but users can also create and save customized layouts. Up to five 9971 can be installed in one 2 RU openGear frame – and multiple cards in a cascaded chain can provide multiviewer layouts of up to 64 sources.
The new 9915 Series of DAs support 4K 12G-SDI sources and allow for copper runs long enough to reach most equipment within master control. One of four models in the series, the 9915DA-4×16-XPT-12G, includes four input channels that can be crosspoint-routed to 16 DA outputs in several configurations. Up to 10 cards can be installed in one openGear frame, allowing for up to 40 channels of input and distribution to up to 160 outputs.
“Broadcasters now accept 4K as the production norm, and Cobalt has an extensive menu of openGear-based solutions for studios and mobile production,” Chris Shaw, executive vice president of sales and marketing, Cobalt Digital. “Our products provide flexible and affordable ways to process, monitor, and distribute 4K and HDR content.”
Other products at the Cobalt booth will include a new 12G-SDI openGear routing card with a 12×12 routing matrix. Designed to fit into legacy frames, the card helps customers use 4K islands cost effectively. Demonstrating leadership of RIST technology, Cobalt is also launching SafeLink, an openGear solution that can take in multiple transport streams and provide a RIST wrapper to protect video links between two points.
Flashback on the first IP-based broadcast centre with state-of-the-art platforms and numerous innovative production and distribution applications to answer the needs of today and tomorrow media players.
The 36,000 square meter IP-based facility supports 24/7 broadcasting of more than 35 channels, among those RTL Télé Lëtzebuerg, Chamber TV, Luxe.TV (Luxembourg), RTL TVI, Club RTL, Plug TV (Belgium), RTL4, RTL5, RTL7, RTL8, RTL Z, RTL Crime, RTL Telekids, RTL Lounge (Netherlands), RTL9 and AB Groupe movie channels and Altice Group channels (France), RTL Hungary (Hungary) and Love Nature, Love Nature 4K, Blue Ant Extreme, Blue Ant Entertainment (Singapore).
The broadcast centre was three years in the making and features an end-to-end IP infrastructure and well-conceived data IT network that manage mostly HD (and some 4K) content and channels.
“IP-based platforms allow us to rapidly setup new channels,” comments Costas Colombus, Technology Projects & Support Director at BCE. “Whereas it is for continuous or ephemeral channels, we are able to give a fast answer and start broadcasting the content worldwide.”
The new broadcast centre is located in in the centre of Europe. All the radio and television production facilities and playout centre operations employ the latest IP-enabled equipment from technology suppliers like Arista, Grass Valley (GV), Isilon, Juniper, Lawo, Harmonic.
Advanced research and systems integration
All of the equipment and systems were installed and tested by BCE. When plotting out goals for the new building, BCE engineers wanted the new infrastructure to be both future-proof and able to adapt to new workflow challenges as needed.
When it first began to consider replacing its traditional SDI systems in 2014, the available IP technology wasn’t suitable for real-world deployments or mission-critical broadcast use, and most solutions were proprietary. The process resumed in 2015 with six months of intensive interoperable testing. For BCE it was critical that the IP solution had the same quality of service and reliability achieved in the SDI world, but with an increased level of scalability, stability, propagation delays and synchronization.
Working with engineers at The Institut für Rundfunktechnik GmbH (IRT) research centre, BCE began looking at the SMPTE 2022-6 IP spec as a way to connect all of the disparate systems and have them communicate as a fully networked system. This would streamline the production of content and get it to the right TV, radio, and web platform for its own purposes, as well as support the numerous playout and other services it provides for major U.S. content distributors like CBS, NBC Universal, Warner Brothers Television and others.
Laurent Seve, Marketing Manager at BCE, said that when their team began researching different ways of implementing IP technology, they recognized that what was needed was a facility that was significantly different to what had been done in the past.
“The new facility is flexible enough to handle all types of content creation and distribution projects,” Laurent Seve said. “The collaboration between the IT and broadcast teams led to new types of workflow methods and allowed to get the most out of the systems.”
Technology provider Grass Valley was brought in to help test a series of IP workflows. Fiber-optic cabling, which is bandwidth-friendly, supports the various systems and connects all floors of BCE. There’s also lot of Cat6 cable installed throughout the building for things like data networks, online access and a variety of control (KVM) functions.
“The IP-technology allowed the move to a fiber-based cabling infrastructure,” said Alain Prim, Technology Projects Manager at BCE. “All the areas of the building are connected through a reduced amount of cables which are able to transport a far higher number of services. The multiple changes in media services are now easier to manage without the need of modifications in the basic cable or hardware structure.”
Indeed, BCE is now responsible for the playout of over 35 regional and international channels, from its Luxembourg Network Operations Centre (NOC). This NOC also manages transmission sites, located on remote sites in Luxembourg and Germany. Online and available 24/7, the NOC team ensures the continuity of BCE’s and its customers activities by answering all queries and taking targeted actions.
Thanks to the IP solution implemented, the NOC can fully operate, and control BCE’s Teleport located miles away. All the antennas, uplinks and downlinks, receivers, etc. are remote controlled over IP by the NOC.
The core of the production activities features a 1,000 sqm datacentre with one-megawatt capacity and 366 floor-to-ceiling equipment racks that store and distribute the content (and metadata) internally and outside the building. In-row water-cooled airflows keep the systems at optimal temperatures.
“Numerous customers selected our datacentre for its flexibility, its advanced infrastructure and the access to numerous services,” comments Xavier Boschian IS&T Director at BCE. “As a result, we have already built a second datacentre and are looking to extend the platform to welcome more customers.”
System and content security
Securing the operations of its customers is BCE’s priority, the new IP workflow of RTL City facilitates connections setup to remote sites for disaster recovery (DR) platforms.
Data is handled with the utmost care and stored in BCE’s storage facility. Whereas it is administrative, financial or media content such as videos and audio, BCE holds several solutions including a 20 Petabytes nearline Digital Library, online and offline solutions as well as S3 cloud backup and storage (through its flagship solution: itstored).
There are also three diesel generators for backup power, with UPS technology everywhere for system resilience. In fact, every piece of equipment is connected to two independent electrical power supply paths—with intelligent sensing and monitoring that will automatically connect the device to a third backup supply if two live and active electrical supplies are not detected.
Linked via dark fibre to BCE’s headquarters, the DR site features emergency workstations, playout platforms for the premium channels, a digital library with several Petabytes and a datacentre.
Flexible production and remote control
Due to its IP backbone, several production studios can share control rooms if necessary, with one control room controlling various productions at once. There are also several audio mixing rooms, and advanced lighting grids in the production stages.
About 30 post-production suites support a number of radio and TV channels as well as other outside client needs. These are based around GV edit stations with networked Isilon storage.
All the radio studios have voice-activated broadcast cameras in them so that when a particular on-air talent is talking, the appropriate camera goes live. The system has proved to be very flexible for full spec broadcasting on a main channel as well as generating a web stream.
“We have always anticipated the merge between IT and Broadcast technologies and decided to stop talking about new solutions and change the complete workflow of our activities to IP,” said Andreas Fleuter, Technical Infrastructure & SLA Director at BCE.
IP backbone makes the difference
While the internal network can be expanded as needed, the initial deployment is based around the VSF TR-03 protocol for distributing video over IP, using SMPTE ST 2022-6/7 and AES67 redundant IP streams. This includes multi-level routing support of the VSF TR-03 protocol for audio breakaways.
The building’s architecture supports 10Gbe, 25Gbe and 40GbE connectivity. GV provided an end-to-end IP routing system to meet this, complete with full SMPTE ST 2022-7 redundant hitless operation and seamless recovery from interruption to one IP link. GV also supplied a massive routing matrix that can handle 1036×1584 2022-6 video flows and 1180×1728 AES67 (each x8 AES3) audio flows.
Other GV IP technology in use includes its Kahuna IP production switchers, IQ-Edge IP processing systems, IP routing control systems and multiviewers. These are fully networked to a Lawo Virtual Studio Manager (VSM) control layer that manages all of the IP signals and tells the routers where (and when) to send them. There’s also a GV monitoring system that collects data from the IP sub-system, along with a direct interface to a Skyline Communications DataMiner network management and monitoring layer.
Evolution and Revolution
With the new IP infrastructure in place, any room or machine in the building can be accessed and used by any other with just a few router settings. In addition, operators at RTL City can now launch a new channel in a few days, as opposed to the 4-5 months it took previously.
“Technology and innovation are in BCE’s roots,” comments Tun Van Rijswijck, COO at BCE. “This all-IP infrastructure was meant to break the barriers and open to new linear and non-linear developments. Our recent acquisitions and innovations strengthen our conviction that we are on the right track.”
As a matter of fact, since the opening of RTL City, several channels selected BCE as their technological partner: Altice launched a multiplayout control room broadcasting numerous channels over Europe including a Live sport channel in 4K over IP and Blue Ant Media (BAM) launched Love Nature in HD and 4K in multiple languages.
With the acquisition of Freecaster, BCE enriched its portfolio with new hybrid solutions directly connected to the Cloud. Freecaster’s platform was perfectly integrated in BCE’s IP workflow, granting access to live streaming solutions, reaching new horizons with social network but also delivering OTT solutions, VoD portals, replay platforms and more.
“Freecaster is a strong asset for BCE, on one hand it answers our customers’ expectations for new OTT solutions and extension of our content delivery network and on the other hand it opens new markets like sports, institutional, music and fashion related customers.” Adds Tun Van Rijswijck.
On the production side, BCE created a new solution (StudioTalk) facilitating the launch of new programs. StudioTalk is geared up with PTZ cameras, microphones, digital branding and a touchscreen interface to manage the content, the production and the delivery. The solution gives an affordable alternative to cover events that were not financially viable before.
The results are clear, radio goes visual, television shows production is easier, events are covered anywhere, ephemeral studios are installed everywhere… BCE is steering the market to video and screen multiplication.
“Innovation has always paved the way of BCE activities. The all-IP infrastructure leaded our company to hybrid and cloud while increasing the distribution of media content on a global scale. The acquisition of Freecaster and its integration in our workflow was a significant move to the non-linear market. Tomorrow, the engineering of new solutions will enhance the development of BCE in the digital media world.” Concludes Frederic Lemaire, CEO at BCE.
MultiDyne Fiber Optic Solutions will bring its first innovations specific to video compression to international audiences for the first time at IBC2019, where the fiber transport leader will demonstrate its now-shipping MD9200 range of encoders and decoders. MultiDyne exhibits at Stand 11.D40 from September 13-17 at RAI Amsterdam.
Ideal for linear broadcast/production and streaming media workflows (notably OTT and IPTV systems), the MD9200 series extends MultiDyne’s reach deeper into the signal processing chain. This strengthens MultiDyne’s value proposition as a core supplier of multi-purpose solutions from the content acquisition stage through to the studio/headend delivery point.
“The MD9200 series brings MultiDyne firmly into the compression world, which gives our core customers compelling end-to-end options to encode, compress, transport and deliver live HD, 4K and 8K content when paired with our fiber transport systems,” said Frank Jachetta, President, MultiDyne. “We also see many opportunities to expand our customer base with OTT/IPTV and ISPs that require high-end compression for IP-based contribution and distribution applications, and even service digital signage networks and CDNs that exist outside our core broadcast and production markets.”
The MD9200 Family
The initial MD9200 series consists of encoders and decoders in stand-alone desktop configurations, and in the popular openGear card module form-factor. All MD9200 series products deliver exceptional bandwidth efficiency while maintaining signal integrity and visual quality. The openGear encoding and decoding modules unlock potential to reach an even broader customer base due to its compatibility with the entire openGear community of infrastructure products.
Both encoder models enable highly secure streaming from one to many destinations, supporting virtually any mix of streaming protocols. Each independent encoder accommodates unique frame size, frame rate, video/audio codecs and data configurations, and can independently encode separately HD and SD streams at high and low bit rates from a single SDI input.
Both decoders optimize 1080P AVC (H.264) and 1080i MPEG-2 compression, with optional support for very high bit-rate 2160P HEVC (H265) UHD streams. When using the OpenGear decoder (MD9200-DEC-OG), customers can house up to 20 decoding modules in a single 2RU openGear chassis for high-density signal de-compression to SDI and HDMI. The standalone MD9200-DEC delivers the same operational benefits and visual quality for point-to-point streaming.
The MD9200 series will provide exceptional value in IP-based contribution applications for news, sports and studio links, according to Jesse Foster, MultiDyne’s Director of Product Development and Western Region Sales. Foster adds that MultiDyne’s engineering team has emphasized network security in the product design, providing systems integrators and IT professionals with peace of mind that their networks and content are safe from outside intrusion. That security, plus an attractive price point and broad feature set, provide outstanding value and flexibility for any customer.
“The MD9200 line-up brings together a very broad array of streaming and protocol transmission capabilities while addressing visual quality, signal latency and total cost of ownership,” said Foster. “This series represents an important new direction for MultiDyne that will continue to grow yet interoperate with our core fiber transport systems. Furthermore, these compact, lightweight, and low-power products will solve problems for broadcast engineers, IT technicians and other users, especially as more broadcasters and service providers adopt HEVC compression.”
ChyronHego’s CAMIO® offers an end-to-end, all-software solution for multiplatform news content creation and delivery. The CAMIO Universe drives template-based, unified news workflows and places the industry’s most powerful storytelling tools at producers’ fingertips. At the heart of the CAMIO ecosystem is ChyronHego’s award-winning CAMIO graphic asset management system.
At IBC2019, ChyronHego will highlight CAMIO’s extreme versatility and flexibility for news producers. CAMIO 4.7 includes new features for the CAMIO Interface — the company’s HTML5-based user interface for newsroom producers — such as the ability to save items, swap templates, and create streaming proxies. CAMIO now delivers enhanced support for playout using PRIME Graphics, the company’s universal graphics platform. The CAMIO Interface now includes new PRIME features such as XMP, autofill, layers, and GTC movies, and the CAMIO Rundown now enables PRIME Graphics scene playout on screens of all sizes and shapes, including studio walls. CAMIO also now includes the powerful and scalable new Media Engine architecture for rendering stills and animations in numerous media workflows to maximize every pixel.
Maximizing Every Pixel
Also, on display at IBC2019 will be version 3.5 of PRIME Graphics, which delivers a single, easy-to-use 4K- and IP-ready graphics design and playout platform for better visual storytelling — whether producers are looking to deliver a simple lower third or news ticker, a sophisticated and eye-catching video wall behind the anchor, or a touch screen that a reporter can use to illustrate the story. At IBC2019, ChyronHego will showcase a new G-Sync/command scheduler that synchronizes outputs between channels of the same server or between different servers — giving operators the seamless and scalable ability to synchronize graphic events to multiple screens.
LyricX 4.1 is the latest release of ChyronHego’s award-winning graphics creation and playout solution. At IBC2019, ChyronHego will display new features in LyricX 4.1, including enhanced auto-hide features for building more logic into a scene and an all-new advanced keyboard with flex keys that deliver ultimate flexibility with application and scene-based control. The new keyboard can be configured to support over 300 commands and supports modifier keys. LyricX now enables users to create warp clips built in Adobe After Effects and attach them to any object in the scene for highly creative transformations of a scene object’s pixels.
Supercharging Broadcast Sports
Sophisticated on-screen graphics for highlighting sports plays and illuminating the action are now a fixture of sports broadcasting, and viewers have come to expect features such as virtual first-down lines in football or replays in which analysts circle players and draw their movements on the screen. Broadcasters need tools that streamline graphics creation and deliver enhanced fan engagement while increasing sponsor visibility and revenue during live production and replays. Designed with these specific goals in mind, ChyronHego’s Paint and Virtual Placement solutions for real-time data visualization in live sports broadcasting will both be highlighted at IBC2019.
With the Paint telestration and analysis tool, broadcasters are able to generate sophisticated Illustrated Replays™ by visually analyzing game play and graphically highlighting replay clips. At IBC2019, ChyronHego will showcase key new features in Paint 8.1, such as an automatic chroma keyer for clips that will save users hours of time, as well as style and UI updates. In addition, the tool now enables ancillary data for clips and footage to be viewed on a secondary output when Paint is used as the replay device. Now controllable via mobile app, Paint gives users the ability to stream their output, tools, or UI over a network and use Paint’s open control API to power remote production.
ChyronHego’s Virtual Placement adds robust, tied-to-field virtual graphics to live productions without the need for a specialist operator, expensive camera sensors, or lengthy calibration processes. At IBC2019, ChyronHego will preview powerful new capabilities in Virtual Placement 7.3 — such as an automatic chroma keyer for live, field-based sports that completely removes the need for rekeying. An all-new, built-in Red Zone feature enables users to drive more in-game advertising for enhanced revenue generation. ChyronHego is rolling out an improved user experience with Virtual 1st. The “down and distance” application of Virtual Placement designed for American football, features add-ons in the user experience such as a two-point conversion line.
Enhancing the Stadium/Venue Experience
With ChyronHego’s Click Effects PRIME, stadiums can easily deliver AV presentations to any canvas size and any number of outputs in any resolution. At IBC2019, ChyronHego will demonstrate new features that make the product even more versatile. Click Effects PRIME now combines SDI and GPU workflows to drive more screens and aspect ratios from a single system — giving operators the seamless ability to synchronize graphic events to multiple screens. Also, the tool now offers the ability to customize control panels for ultimate interactivity with scenes designed in PRIME Designer, and users can configure Click Effects PRIME with PRIME’s output settings screen for optimal output and channel control.
“We had been considering the idea of streaming live high school sports on our website, and JVC’s studio-in-a-box solution seemed like an affordable way to consolidate the equipment needed for multi-camera productions,” explained Jason Gravens, news operation manager for WFIE. ”The 4000S gives you the basics of everything you need to make a ballgame happen.”
Rack mounted into one of the station’s live trucks, the system anchored three-camera productions for five high school football games and two-camera productions for three high school basketball games.
“If you’re a sports fan, you want to see replays – without it, the production is missing a key element,” Gravens added. “The built-in replay feature in the 4000S is fantastic. Just having it included in the unit itself is great.”
Although only available to streaming audiences, at times WFIE had about 1,000 people watching the games. Following its successful sports coverage, the station decided to use the 4000S to produce breaking news updates for the WFIE website and other social media platforms.
An old conference room at the station was converted into a small studio, with the 4000S and an audio mixer positioned on a small table. Beth Sweeney, WFIE evening anchor, has been trained to be a one-man band for the productions, operating the 4000S and audio mixer while reporting live news updates for the WFIE website and other social media platforms.
One of the station’s older ENG cameras is mounted on a tripod, and a mic is positioned above Sweeney on a C-stand. The small studio also includes a basic three-point lighting system, plus an extra piece of WFIE’s current news set mounted to the wall as a backdrop.
When the station wants to stream an update, the equipment is turned on and still images or graphics are loaded into the 4000S using a flash drive. The 4000S has a built-in CG, but WFIE imports its own station graphics. Sweeney makes sure the mic is off and puts a slate on the screen. When she is ready, Sweeney opens the mic, switches to the camera, and begins the webcast. Once the update is complete, she returns to the slate, kills the mic, and ends the stream.
While the sports directors tend to use the touchscreen for switching, Sweeney prefers the keyboard and mouse. Gravens said the control flexibility is a big positive, because the 4000S operator can use whatever interface works for them. He also said the built-in multi-view was helpful in training Sweeney how to use the system.
“In fact, the whole system is very user friendly for someone who’s not necessarily a trained TD,” he added.
Earlier this year, JVC introduced the CONNECTED CAM Studio 6000S, a six-input model that supports NDI® and SRT streaming protocols. Both the 4000S and 6000S offer automated multi-channel instant replay and slo-mo, as well as an integrated sports CG for scores and timers. Other features include an integrated audio mixer, four layers of DSK, production switcher with automated switching mode and choice of transitions, and full PTZ control for the JVC KY-PZ100 robotic PTZ production camera.
MultiDyne Fiber Optic Solutions’ global reputation for problem-solving has taken on new meaning for the team at Videoworks, a full-service, California-based mobile production and rental house specializing in mid-sized events. The company selected MultiDyne SMPTE HUT camera transceivers to pair with its Sony fiber camera systems following performance and service challenges with its initial choice.
The switch to MultiDyne immediately solved those problems at a much lower cost, while overall optimizing performance and return on investment for long-distance fiber-topic transport. ProFlixSales, an Atlanta-based online equipment retailer specializing in video production, recommended MultiDyne after Videoworks reported ongoing signal problems with the previous solution.
“We had consistent error and warning lights on their Sony HDC1500R cameras and companion camera control units, which correlated to the transceivers in the fiber-optic infrastructure,” said Mike Porter, owner, Videoworks. “While the transceivers were technically working, the error and warning lights nonetheless were a distraction and caused alarm during live productions. There is typically a different camera operator and shader for each project.”
The vendor’s service department also required that Videoworks replace circuit boards to fix the problem. While reluctant to do so, Videoworks engineers replaced the boards, yet the problems persisted.
“We were confident that we could find a solution for our customer and Multidyne’s SMPTE HUT fit the bill perfectly,” said Shimon Hirschhorn, vice president of sales and marketing for ProFlixSales. “Not only did MultiDyne bring peace of mind by simply delivering working transceivers; they also saved our customer $260 per device. This is a huge benefit to a smaller mobile production company like Videoworks with a limited equipment budget. They intend to order additional transceivers in the near future.”
Hirschhorn points to the Pasadena Pops Summer Concert Series and the Long Beach Pops as examples of the efficiencies that MultiDyne’s SMPTE HUT transceivers have delivered for live productions. Videoworks recently transitioned from very expensive SMPTE fiber cable to far more cost-efficient tactical cables. The Pasadena project required the Videoworks team to pull wire and fiber cables underground, with two front of house cameras outfitted with SMPTE HUT devices to move video and data to the truck. Videoworks also uses SMPTE HUT devices to transport intercom and video content for the venue screens over single-fiber connections to the Videoworks truck for the Long Beach Pops project.
“The fiber-optic infrastructure is the heart of the camera system for companies like use, and solutions from companies like MultiDyne need to solve problems rather than cause them,” said Porter. “We are sometimes moving media over distances of 3500 feet while maintaining signal integrity, and reducing labor by being able to plug the SMPTE HUT devices directly into the camera HDCU or I/O panel at the truck without additional integration requirements.
Porter notes that the streamlined architecture and maintenance of the SMPTE HUT for these and other projects saves Videoworks “a ton of money on fiber cable.” The SMPTE HUT also simplifies adaptation to different kinds of cameras when needed, with clear labeling that enables configuration changes in less than 10 seconds.
“There are no more blinking red lights causing alarm,” added Hirschhorn. “Everyone can concentrate on making video images look great for their live productions.”