theibcdaily
Colour-critical evaluation Opinion
The broadcast monitor is now a key indicator for how workflows are changing argues Bram Desmet, general manager, Flanders Scientific
More of us have greater access to professional tools than ever before. This is in itself not a new trend, but what has changed rapidly is the notion that affordability must mean significant compromise. Cameras and monitors are just two of many areas where it has become increasingly clear that truly affordable first-rate professional equipment is now not only available, but has also become largely expected. This wide access to no- compromises professional equipment benefits content creators at all levels by allowing them to easily and more reliably
bring their vision to life. On-set or near-set colour- critical evaluation has become an integral part of many workflows and post production grade monitoring for the production environment has become a crucial part of such workflows. Advances in display technology mean that a true reference grade post production monitor can now be made light enough, durable enough, and affordable enough to also be used in even the most dynamic production environments.
This often means that the same exact monitoring solution
Meter tweaked to retro-check loudness DK-Technologies
their loudness target value. “Every engineer working
By Michael Burns
The DK T7 audio, loudness and logging meter from DK- Technologies has been boosted by adding loudness automation. Based on SMPTE timecode, this can instantly recalculate the integrated loudness value up to four hours back in time. The company said the enhancement, free of charge to existing and future DK T7 users, would save audio engineers from having to re- run programme material to hit
with broadcast audio knows that hitting the loudness measure bullseye can be a very tedious and time consuming process,” said Uffe Kjems, DK-Technologies' product marketing director. “Loudness automation adds a cool and practical feature to the DK T7 — at no additional cost.”
The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. It offers 8 AES/EBU input/output channels, 2ch analogue input channels, headphone and HDMI monitor output.
Celeb 400Q LED turns heads
Kino Flo Lighting Systems
By David Fox
The Celeb 400Q DMX softlight joins Kino Flo’s Celeb 400C and Celeb 200 DMX LED lighting range, which is claimed to offer “the only stable, colour-variable LED to ride the spectral sensitivity curves of digital cinema cameras.”
The LED lights have been designed to offer peak lumen output without sacrificing Kino Flo’s signature True Match colour and soft light aesthetic.
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Special thermal dynamics (no metal fins or fans) are claimed to ensure the colour temperature will remain stable for 50,000 hours and output won’t fade. Like all Celebs, the 65x65cm DMX Celeb 400Q comes with on-board and remote control features. Users can dial in variable Kelvin temperature from 2700K to 5500K (saveable as five presets) without affecting the light output, while dimming (100-0%) won’t change the colour temperature settings. The Celeb 400Q produces a soft, flattering key and fill source that matches the light output of a 1500 Watt tungsten softlight,
LED beauty light: Kino Flo’s latest Celeb 400Q DMX softlight
but uses only about 1 Amp of power. It comes with: gel frame, 90º honeycomb louver, yoke mount or pole operated yoke mount, and corner accessory mounts, plus 16 adjustable accessory mount points on the frame for securing barn doors, yoke mounts and rigging plate accessory. 11.E33
Automated loudness: A free upgrade to the DK T7 aims to eliminate tedious loudness tasks
A number of other new
improvements have also been incorporated into the DK T7, including headphone volume control and more screen setup functions. It has also added USB mouse operation, allowing for fast onscreen access or operation with an external HDMI monitor. 8.E60
used in the colour correction suite is now used in the field. This trend in monitor
technology has become one of the key ingredients in further narrowing the gap between production and post ensuring better and clearer collaboration. As the reference monitor no longer lives in just the post environment, customer expectations for what a reference grade monitor is and should be have also evolved rapidly. Integrated monitoring toolsets like scopes and audio level meters have become almost ubiquitous throughout professional video displays, but
users continue to expect more and broadcast monitor manufacturers will continue to respond as professional video monitors evolve into largely all- in-one solutions offering much more than just a picture. At IBC we will rightfully see a continued focus on 4K technologies, but what I see as an even more significant undercurrent is the continued evolution of workflows. In- monitor look management and other advanced in-monitor toolsets show us that customers want more control than ever early on in the process.
Monitors do more now because customers need them to do more. Just a picture is rarely good enough these days as DITs, camera operators, directors, and producers seek to eliminate much of the guesswork between production and post. The broadcast monitor, in the past often an afterthought for content creators, is now perhaps one of the single best indicators of how workflows are changing and IBC is a great showcase for evolving monitoring solutions. 10.A12
Visual approach to radio Pluxbox
By Michael Burns
A full suite of multimedia applications for making, managing and broadcasting radio is being showcased at IBC. Pluxbox's Visual Radio range is fully integrated with websites, apps and other points of user access, which the company claims will help create multimedia radio experiences to grow and interact with audiences. These can be accessed on TV, via internet streaming, on RadioVIS, using DAB streams, on-demand and as slideshows.
Among the tools on display is pbRadiomanager which enables programme makers and presenters to create visual slideshows for digital radio
through DAB+ and RadioVIS. Controllable at the push of a button, these are effectively apps – for weather, amber alerts, traffic information, and so on – made with HTML5, CSS3 and Javascript. With the ability to contain dynamic data and be automatically generated in realtime, Pluxbox said they allow the presenter to develop a rich interactive relationship with the listeners. It has also developed tools to help automate a complete radio workflow, schedule programmes and items, distribute audio and metadata over IP in a scalable fashion, and manage on-demand content.
Pluxbox looks after
prominent Dutch radio clients such as 3FM and Radio 1 as well as a growing international client base. 8.A12
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