2019 Champions League Deploys FOR-A FT-ONE-SS4K Super Slow-Motion Cameras During Final Match

During the 2019 Champions League final in Madrid, several FOR-A Ultra High-Speed FT-ONE-SS4K cameras were utilized for critical slow motion replays as part of the live broadcast. The same camera will be on display within the FOR-A booth (Hall 2, Stand A51) during IBC 2019 at the RAI Amsterdam this week. The FT-ONE-SS4K will be demonstrated with the ZE-ONE 4K zoom extractor during IBC.

FT-ONE-SS4K camera
FT-ONE-SS4K camera

Specially designed for live, instant replay in ultra-slow motion, the FOR-A® FT-ONE-SS4K supports UHD shot at up to 1000 frames per second. It provides a continual, real-time 4K live output. A native 2/3-inch image sensor enables the use of a B4 bayonet broadcast lens directly on the camera. With a 2.5 stop light advantage over previous generations of super slow-motion cameras, the FT-ONE-SS4K offers higher frame rate image capture than was possible before. It supports HDR/SDR and WCG. The camera also features 24 axis color correction. Canon’s OLED viewfinder is compatible with the FT-ONE-SS4K and can be used as an option. Flicker Correction is also available as an option. FT-ONE-SS4K camera systems have been used during many high-profile live sports events from all over the world.

ZE-ONE 4K extraction system
ZE-ONE 4K extraction system

The ZE-ONE 4K extraction system allows FT-ONE-SS4K users to frame and extract desired 4K image areas to capture the action for HD replays. The system provides operators with an intuitive touch-screen interface to frame and extract specified HD scenes at any size from 4K sources. The ZE-ONE allows operators to smoothly zoom in or out and includes an embedded audio delay processor.

Anevia Partners with NVIDIA to Achieve Highly Cost-Efficient 4K UHD HDR Encoding

“This new development secures Genova as one of the most powerful ranges of video encoders in the OTT business – not just for SD and HD channels, but for the rapidly expanding world of UHD HDR,” says Jerome Blanc, EVP of Compression Products at Anevia. “We have been working with NVIDIA to integrate its latest-generation T4 which is one of the most recent graphics processing units on the market. 4K needs huge computing resources which T4 acceleration now makes more affordable.”

“The improvements we have achieved compared to the NVIDIA P4 card are nothing short of astounding, with video quality gains of over 30 per cent, and still enabling nine multi-rate 4K UHD HDR channels to be delivered from a single server. This level of performance brings 4K UHD HDR well within the compass of internet-based content delivery networking.”

“Television display standards have advanced dramatically since the days of 525-line and 625-line standard definition,” adds Anevia CEO Laurent Lafarge. “Each evolutionary stage represents a major challenge for terrestrial, satellite and OTT network operators alike. Our role is to turn these challenges into opportunities so that our customers can deliver the increased video quality their viewers appreciate as they invest in ever higher-quality display devices. This latest progression in the performance of the Genova encoders reflects very well on the skill and experience of both our technical development team and solutions partners such as NVIDIA.”

 

“The NVIDIA T4 GPU, which is ideal for UHD signal processing, has achieved great results with Anevia’s Genova encoders,” says Serge Palaric, Vice President of Alliances, OEMs and Embedded at NVIDIA. “The T4’s breakthrough video capabilities are enabling new AI-based experiences, products and services.”

Anevia’s Genova range of Linux-based high-definition video encoders can be deployed across both private and public IP networks. Supporting a range of encoding modes, they allow operators to choose whether to prioritise quality or speed.

Based on the NVIDIA Turing™ architecture and packaged in an energy-efficient 70-watt, small PCIe form factor, the NVIDIA T4 GPU accelerates diverse cloud workloads, including high performance computing, deep learning training and inference, machine learning, data science and analytics, and virtual graphics.

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Cobalt Digital Signs Distribution Agreement with Plura MEA for Middle East Sales, Support

Plura MEA will provide sales and support for Cobalt’s extensive product line of video and audio conversion, processing, and monitoring standalone modules and card-based solutions for openGear® frames.

“This is a major step in the continued expansion of our efforts to provide Cobalt Digital product sales and support across the world,” said Chris Shaw, executive vice president of sales and marketing, Cobalt Digital. “Plura MEA is an ideal company to promote the Cobalt brand in the Middle Eastern region, and we are pleased to work with them to expand our global footprint in this growing market.”

Based in Dubai, United Arab Emirates, Plura MEA is a subsidiary of Plura Broadcast, Inc., which also has offices in Germany, South Korea, and the United States. Plura is a leading international manufacturer of high-performance video monitors, sync and timing, and calibration solutions for professional media markets.

“This is a tremendous addition to the Plura MEA portfolio of products, backed up with more than 30 years of market experience,” said Hassan Salamah, business development manager, Plura MEA. “Our new alliance with Cobalt presents substantial opportunities for both companies to offer extensive and interconnected solutions to a wide spectrum of market segments.”

 

“As a big advocate of long-term strategic alliances, I’m convinced this agreement will lead to collaborative prosperity and market development,” added Ray Kalo, president and CEO of Plura. “Our work with Cobalt will provide strength and cohesion in our international business philosophy.”

Cobalt’s product line, including a number of new 4K and HDR card-based workflow solutions, will be displayed next week in Stand 10.B44 at IBC2019 in Amsterdam.

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Ikegami UHK-430 4K UHD HDR Camera Chosen for Multiple Award Winning EVI Project

The university’s Enhanced Video Imaging (EVI) project involved the development of an automatic process to detect and brighten dark sections of video while at the same time sensing and enhancing detail in over-exposed sections.

“One of the main issues involved in progressing from standard dynamic range to high dynamic range television is the need to provide good downward compatibility with the huge number of SDR television receivers already installed and in current use,” says Mike Christmann, Professor of Media Technology at RheinMain University of Applied Sciences.

“The new generation of broadcast cameras can provide a much wider scene contrast range than conventional displays and it is obvious that converters are needed to handle the different formats. A highly dynamic sensor with low noise is key to obtaining the best results from EVI.”

“The more image information we can collect from the camera, the better our system will perform. We chose the Ikegami UHK-430 because it is an excellent-performing 4K UHD HDR broadcast studio camera combined with superb image quality and sensor performance.”

Mike Christmann (mid right) and EVI Project team colleagues with the Ikegami UHK-430 HDR camera

“We are very pleased that the RheinMain University of Applied Sciences chose our technology for this highly successful project,” adds Michael Lätzsch, Broadcast & Professional Video Division Manager at Ikegami Electronics Europe. “EVI has already earned multiple awards and was designated ‘Product Of The Year’ at the NAB 2019 fair in Las Vegas. The UHK-430’s modular design will ensure an easy transition to future transmission standards, supporting ongoing educational and research activity at the highest level for many years to come.”

 

“Our studies demonstrated beyond question that scene luminance values should not always be reproduced one-to-one on an HDR display”, details Lucien Lenzen who managed the project. “Non-uniform scenes can actually look worse in HDR than in SDR due to the effects of glare. Homogenisation techniques, such as using different windows in colour grading, can help to compensate for these effects but are not practical when transmitting live. EVI is designed to produce better images on an automated basis in real time, optimising lighting balance and exposure as well as correcting hue and saturation.”

A prototype EVI HDR to SDR downconverter is currently being evaluated by German broadcasters BR and WDR. It runs on a 1U server processing one UHD or two HD streams in real time. The camera feeds directly to the converter. After conversion, the resulting ‘normal’ SDR signal can be treated in exactly the same way as usual.

The UHK-430 is a 4K-native camera system with simultaneous HDR/SDR processing. Its three 2/3 inch CMOS sensors provide full 3840 x 2160 UHD resolution plus the depth of field needed for studio and outdoor production. The camera is equipped with a B4 bayonet mount compatible with 2/3 inch HD lenses. An optional SE-U430 expander accommodates large studio or OB lenses.

An integrated Ikegami AXII processor enables the UHK-430 to deliver 40 gigabit/s uncompressed full bandwidth video transmission plus a wide range of features including 16-axis colour correction and focus-assist for 4K and HD video modes. An optional MoIP module for the UHK-430 allows 4K UHD video plus additional signals such as intercom and return-video feeds to be exchanged between the CCU-430 and a local IP network hub along a light weight optical fibre instead of requiring multiple SDI cables, enabling easy and low latency signal distribution.

In its standard form, the UHK-430 weighs just 4.6 kg. Dimensions are 149 mm wide x 243 mm high x 340 mm front-to-back.

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Telestream Announces 25GE Network Support for PRISM Media Processing Platform

At IBC 2019, Telestream® (Booth 7.C16 & 7.C14), a global leader in file-based media workflow orchestration, media streaming and delivery technologies, will showcase major new functionality in its PRISMmedia processing platform. Telestream acquired PRISM recently when Tektronix’s video test, monitoring and quality assurance solutions for the broadcast and digital media markets were integrated into Telestream.

PressImage-PRISM
Image courtesy of Mission Digital / Pablo Garcia Soriano

PRISM is the industry’s first hybrid IP/SDI media processing platform that bridges the gap between traditional SDI and IP media networks and now comes with a new mixed media card that enables support of 25GE networks. This approach allows existing installed units to be easily upgraded in the field with simple to install hardware, and new units with the new mixed media card an even simpler software update. Both upgrade routes are available at the same affordable price.

The addition of the 25GE interface within PRISM provides support for a variety of media networks from SD all the way to 4K HDR and WCG – enabling the transmission of the new generation of super high-resolution video and audio signals.

“PRISM has led the way through the SDI to IP transition. The new 25GE capabilities of PRISM allow users to directly connect to, and look at, uncompressed 4K signals being carried on IP networks,” commented Tsuyoshi Kitagawa, Product Manager at Telestream. “Users can transition to this 25GE capability at any time which de-risks initial purchase decisions and protects their investment.”

PRISM has been designed to meet the needs of engineering, operations and content creators on a single platform. A choice of software options allows greater flexibility on configuration and ease of future upgrades. PRISM is a single box solution from SD to 4K regardless of it being carried on SDI or IP. Using the same platform, UI and measurements across the whole team enable collaborative working and faster times to resolution.

Telestream offers the 25GE option in both PRISM form factors – the 3RU 9” full touchscreen, MPI2-25 as well as the 1RU rasterizer, MPX2-25. The proven PRISM IP measurements available in all models. All HDR /WCG features such as STOP waveform, CIE Charts, and a variety of False color displays can be used for the 4K content creation that carried through 25GE.

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Harmonic Brings Real-World OTT and Broadcast Success to IBC2019

At IBC2019, Harmonic will demonstrate real-world deployments of its unified OTT and broadcast delivery solutions. A variety of deployment strategies will be showcased, including cloud, on-premises and hybrid environments, to demonstrate how service providers, broadcasters and content owners originate and distribute video channels smarter, faster and simpler. Harmonic’s unique approach to video delivery includes cloud-based SaaS solutions that dramatically speed up the launch of new services, including live OTT channels, increase business agility and enhance video experiences.

“At IBC2019, we’re drawing from our extensive deployment experience and showcasing concrete solutions deployed in the field by leading service providers, broadcasters and content owners,” said Tim Warren, senior vice president and chief technology officer at Harmonic. “The video market is highly dynamic, and consumer demand for live OTT services is growing. Harmonic’s expansive solutions portfolio and enhancements in cloud, targeted advertisement and 8K technologies, with a SaaS business approach are designed with a sharp eye to help our customers stay one step ahead of the video evolution.”

Harmonic_vos360-211018

Unified OTT and Broadcast Delivery

Unified delivery workflows running in the cloud and on premises will be demonstrated, which offer service providers a low-latency OTT solution for multiprotocol environments to provide the same delay between broadcast and OTT feeds — key for delivering live sports. In addition, Harmonic will showcase a range of unique workflows for VOS®360 SaaS to launch skinny bundles, create new pop-up channels, deploy disaster recovery and stream live sports in UHD.

Maximize Efficiency & Flexibility with Virtualized, Software and Cloud Playout Solutions

At IBC2019, Harmonic will demonstrate real-world deployments of hybrid SDI/IP, UHD and HDR playout and on-premises/cloud-based channel origination for OTT and broadcast workflows powered by its virtualized Spectrum™ X media servers and VOS360 SaaS. By supporting the SMPTE ST 2110 suite of standards and AMWA IS-04 and IS-05 specifications, Harmonic enables video content and service providers to make a smooth transition to all-IP workflows.

Simplify Live Content Distribution with CDN-Enabled Primary Distribution SaaS

Harmonic’s CDN-enabled Primary Distribution solution, a powerful workflow supported by the company’s VOS360 SaaS, will also be highlighted. With the Primary Distribution SaaS solution, programmers can deliver linear channels to distributors, whether they are traditional pay-TV operators, virtual MVPDs or local broadcasters, anywhere in the world via CDN.

Increase Monetization with Video SaaS for OTT and Broadcast Services

Harmonic will also showcase the powerful dynamic ad insertion (DAI) capabilities in Harmonic’s video SaaS solutions. With the company’s video SaaS solutions, operators can deliver advanced targeted advertisements and optimize ad campaigns to deliver personalized advertisements to viewers in real time. Harmonic’s solutions provide operators and advertisers a unified approach to reach audiences over hybrid broadcast and broadband delivery networks.

Future Zone Brings 8K, AI Technologies to the Forefront

The company will demonstrate high-quality 8K video delivery on 8K connected TVs and legacy mobile devices with EyeQ™ content-aware encoding (CAE), which reduces the required bandwidth by up to 50% while improving quality of experience. AI-based video compression will also be demonstrated, showing how it can reduce bit rates for broadcast and IPTV delivery, improve QoE for OTT and increase density for all applications.

Thought Leadership on AI Video Compression, 8K and 5G at the Future Zone Theatre

Thierry Fautier, vice president of video strategy at Harmonic, will outline the opportunities that 5G networks promise and the challenges ahead for 8K in his “Taking a Look at 8K and 5G Technologies” presentation on Sept.14 at 1:50 p.m. in the Future Zone Theatre (Hall 8, Stand F40).

Also in the Future Zone Theatre, Stephane Cloirec, senior director, video appliances at Harmonic, will speak on how “AI-Driven Video Compression Brings New Revenue Opportunities and Cost Savings for Service Providers” on Sept. 16 at 4:10 p.m.

Harmonic is showcasing its innovative solutions for OTT and next-gen TV delivery, along with real-world deployment examples, at IBC2019, Sept. 13-17, in Amsterdam at Stand 1.B20.

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SMPTE’s Latest IMF Plugfest Makes Significant Progress Toward Interoperability

IMF is the family of standards for the exchange of component-based audio-visual masters intended for worldwide distribution — from movies to TV shows to advertisements. The format is specifically designed to efficiently handle multiple-territory distribution and advanced content such as high dynamic range (HDR), wide color gamut (WCG), immersive sound (object-based audio), and access services (subtitles, captions). Organized by the SMPTE Technology Committee 35PM (Media Packaging and Interchange), IMF plugfests provide implementers with opportunities to interchange test content with the objective of improving interoperability and identifying areas of improvement in the standard.

“Following the publication of SMPTE TSP 2121-1 last year, the DPP is committed to supporting the adoption of IMF more widely across the broadcast and online content communities,” said Rowan de Pomerai, DPP head of delivery and growth. “Participation in the IMF plugfest forms an important part of that commitment, and we’re thrilled to see so many vendors testing their support for our specification.”

The SMPTE IMF plugfest included the following areas of focus:

  • Packaging of World Wide Web Consortium (W3C) Timed Text Markup Language (TTML) Profiles for Internet Media Subtitles and Captions 1.1 (IMSC1.1), which is the subtitle and caption format in IMF that enables worldwide and accessible experiences.
  • SMPTE ST 2067-50:2018 (IMF Application #5 ACES), which is intended for long-term archive of uncompressed Academy Color Encoding System (ACES) image essence.
  • SMPTE RDD 45:2017 (Registered Disclosure Document IMF Application ProRes), which adds support for ProRes image essence and is intended to test HDR ProRes IMF packages.
  • SMPTE TSP 2121-1:2018 (IMF Application DPP), which creates a profile of IMF designed for broadcast and online content use cases, meeting requirements expressed by DPP member companies.

“IMF is an essential standard for the exchange and archiving of movie productions that use ACES,” said Wolfgang Ruppel, RheinMain University of Applied Sciences. “Plugfests are a great opportunity to work with manufacturers and the SMPTE community on interoperability.”

Implementers included Amazon, Dalet, Visible Light, Fraunhofer, Marquise, MTI, Ownzones, Rohde & Schwarz, and Venera Technologies. Test content was provided by Paramount, Universal, Turner, the BBC, and 20 Century Fox. Amazon hosted the event at its UK headquarters.

“SMPTE IMF plugfests are the cornerstone of bringing immediacy and relevance to our standards. They remind us that standards are living examples of technology being used to build global platforms upon which agile applications are developed,” said Bruce Devlin, SMPTE standards vice president. “The lively discussions of real implementers and users solving multivendor business problems in real time show that standards can be relevant and dynamic in today’s disruptive technology world.”

SMPTE is currently organizing the next IMF plugfest, scheduled for the first half of 2020, and the Society encourages interested parties to join the effort by contacting Thomas Bause Mason at SMPTE.

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