The Future Of 4K From NAB (Part 2)

Continued from Part One...

Cambridge Imaging Systems, known for its content protection MAM systems and managing media for the long term, is transitioning to the cloud and had a clever new API.

"With the new API anyone can create apps to engage with content. And it extends past web interfaces," said marketing director Ian Mottashed. "We expect it to be useful in education, where you could record a classroom and upload."

He talked about Avid support for CDN networks (easier for global reach) and a big BFI archive management project involving the digitization of content that Cambridge IS has won. And this brings in the Imagen enterprise video platform, which is the heart and control for all storage apps, and has a number of new wizzywig interfaces. Imagen is also integrated with the Spectra Logic BlackPearl deep storage gateway.

DVEO added to the impetus behind 4K in TV and cinema with the very versatile Mavio 60 fps player – which plays both 3840 x 2160 and 4096 x 2160. It ingests H.264/AVC and other compression format content to its local hard drive via 10 GigE or USB.

The system outputs 4K 60 fps (8 or 10 bit video colour depth) on Quad Link 3G SDI output and DVEO offers the option for delivery to an HDMI output but this introduces an SDI to HDMI converter. This is a very good de-compression initiative, and points to cost-effective compression in the short term. It can come with an optional tri-level/bi-level genlock, and it outputs up to 16 channels of embedded audio, either PCM or compressed.

Yamaha was showing a new dual fader layout that gives you a lot more control on the same footprint, but its big attraction was a technology showcase designed to ease the migration from baseband SDI into the IP world. On the way we will have hybrid set ups. We saw seamless frame accurate switching of HD video, realised with open flow and SDN technology.

The BSM control system allowed you to toggle between sources. Two SDI sources were connected to an Arista switch: the source is source time switching so you do not set up a stream twice (double bandwidth, and it would build inertia in the IP domain). The technology had four engines working in parallel, and plenty of glue elements such as the embedding and de-embedding of audio.Yamaha see this as a process for the upcoming five years, its SDI to IP and IP back to SDI interfaces suggesting that broadcast companies might set up an IP infrastructure in parallel with existing SDI systems and create an integrated environment.

The demonstrator said: "People will start to install some IP, but to build a new facility from scratch is not very likely to happen right now. Will it save money? I definitely think so.

"Look at industries like Telecoms. There it happened many years ago. Basically it was the same setting like it is in broadcast now – a lot of proprietary technology which cost a hell of a lot of money, and they jumped to standardised IP technology with significantly reduced costs," he added. "We just need to learn how to profit from all the developments in the IT industry. The broadcast industry is some years behind other sectors because it is rather small."

Provys is adding to its main focus on media enterprise management and workflow tools with initiatives under the headings of reflecting feedback and preparing for upcoming trends. The first concerns expanding the function of report generator/editor in the administration toolkit users know with a new on-line reporting service, which effectively takes the process of customer desktops and puts it under the unique knowledge Provys has on client data – everything from cost per show and website traffic to ad revenues and content placement income. The client then downloads reports from a secure website.

The newest product is the Stream-Circle platform, essentially a cloud service for broadcasting content online to a schedule. Anyone could launch a channel, test one, or put one up for a set time. The system consists of full HD capable video play out and CG automation engine plus video CG and social-cast planning, Internet media streaming, Internet social media casting, and web browser based control app. Stream-Circle will be used as a add-on to standard streaming and VOD services, and takes the discipline of scheduling across into online services.

Vitec Group Anton/Bauer had advances to its digital battery and charger lines, and its cloud-based asset tracking. The updated Lithium-Ion Digital Battery Series first seen last year come with safety thinking Fuse Link technology, a new connection technology that vendors developed as a result of Tesla Motors' research efforts. This gives an added protection circuit within each cell pack, prohibiting damage to adjoining cells if a single cell is affected or damaged for any reason.

Anton/Bauer also had a new Asset Management System (AMS), introduced as "a game changer in the area of fleet management." People will be able to track the status of their batteries with their computers, seeing remaining run-time, temperature, voltage, and present capacity via a password. If and when an Anton/Bauer battery is placed on a Wi-Fi enabled performance charger, the AMS will automatically upload its information to a secure, cloud-based server. The digital batteries come in three sizes (90 Wh, 150 Wh, and 190 Wh).

Vitec Group brand Autoscript majored on new functionality for its WinPlus prompting software, starting with Twitter integration, cloud storage and automated closed captioning. Aimed at newsroom environments, producers and prompting operators can now automatically send tweets at specified points of the script, allowing channels to distribute their news online and in sync with their TV bulletins. Tweets can be sent directly from the corporate Twitter account, the news anchor or reporter, depending on prevailing requirements. The cloud storage feature enables talent in the field to upload or download data and scripts wirelessly without using email or Internet browsers. WinPlus is integrated with Adobe Premier Pro for automatic closed captioning support, which offers several savings to broadcasters.

Marquis had two new products that resolve small but key issues in the facility market. The EDIT BRIDGE lets you browse Avid Interplay assets within Adobe Premiere, and Workspace Parking is disaster recovery for archiving Avid work spaces. The Bridging is essentially a seamless connection for Premiere and After Effects users into the Avid Interplay environment. Marquis gives you a pair of Premiere Pro panels to control the workflow from the UI. These are import and export functions for Interplay, and the most important thing after browsing any content is that Edit Bridge will feed it into the editor. This can be by reference or transfer to a network for re-wrapping to match Premiere pro requirements. Workspace Parking is an extension of existing Marquis parking technology, and it is intelligent with regard to what projects deploy it. Workspaces do go down, and there might be a flood in your facility, so how do you get your media back. Cost wise this initiative is based on the depth of the storage. The bridge has a 10-user licence cost.

This article is also available to read at BFV online.

(JP/LM)