Broadcast TECH NAB 2012 LESS IS MORE
This year’s NAB will have fewer product launches and more focus on streamlining workflows and reducing costs, says Adrian Pennington. But there will still be plenty to get tech buyers excited
I
f there’s a single clear trend among all the manufacturers attending NAB, it is a
response to the profound changes driven by rapidly shifting consumption habits. “Today’s technology needs to do more than
allow for technology migrations, such as the transition to HD or from manual to auto- mated workflows,” says Snell chief executive Simon Derry. “Manufacturers need to allow broadcasters to do more with smaller budgets, and yet give them the ability to create, man- age and deliver content across multiple plat- forms, and to monetise their media assets.” Translating that widely accepted assess- ment into product is tricky, with several firms saying they want closer dialogue with clients, and many seeking tighter integration between software and applications to over- come traditional silos. Expect fewer individ- ual product releases and more talk of ways to streamline workflows and costs.
North Hall Management and systems
In what is expected to be a significant NAB for Snell, Derry claims the company’s new products are not just different to anything currently around but are “truly game- changing”. Integrated Content Engine (ICE) is an integrated playout platform that is said to be the only one that can scale from a single channel to 100+ channels while maintaining the same user interface. “Unique to ICE is a content validation
feature that analyses source material as soon as it is available to prevent invalid for- mats or impaired content from getting on air,” says Derry. “This feature is critical for broadcast operations looking to avoid incom- patibilities as their file-based workflows con- tinue to change.” Another show launch is Momentum,
Snell’s media management and workflow system, and Vega, a new routing switcher that allows any combination of inputs and
www.broadcastnow.co.uk/techfacils
outputs in a mixed coax/fibre environment – something Derry believes “redefines its prod- uct category”. Harmonic vice-president, product man-
agement, Tom Lattie says the industry is in the middle of moving from the traditional “island” approach of system design and management to a more holistic, IP-based infrastructure. “We will showcase cost- effective, high-performance workflows that bridge the gap from traditional broadcast to next-generation multi-screen services,” he says, highlighting the debut of ChannelPort, an integrated channel playout device for its Spectrum servers. At Harris, the theme is
Central Hall Acquisition and production
‘deliver the moment’. Mathias Eckert, vice-president, sales and services, explains: “The evolving nature of how con- sumers digest media has trans formed the way broad- casters operate, requiring solutions that automate workflows, simplify content management and support multi- platform delivery. Harris is helping broad- casters transform signals into ‘media moments’ that inform and entertain their audiences.” Harris will introduce QuiC, a range of qual-
ity control tools for analysing video files, and HView SX Pro, a multi-display management system designed as a compact signal proces- sing and monitoring option for control rooms. “Live production has become increasingly complex as the number of signal sources rises, increasing the need to simplify monitor- ing processes across facilities,” says Eckert. Miranda Technologies is presenting new
systems to more effectively address loudness compliance and offer smarter signal man- agement, while reducing operating costs for broad casters and playout providers. It will also introduce systems that auto-
mate VoD mastering, better integrate playout and simplify social media graphics, says senior vice-president Marco Lopez.
Resolution offered by cameras from Canon, Nikon, Panasonic, Arri and Sony
4k
Unmissable in this category is Canon’s recently released EOS C300, which offers digital 35mm imaging in tandem with the Canon EF lens range loved by cinema tographers. Although the resolution is HD, the image starts life at almost 4K because of its 8.3 megapixel sen- sor. Given the way Canon derives colour infor- mation, there is little aliasing or chromatic distortion when it comes to the final image. The latest (Mark III) version of its best- selling 5D DSLR will also be on show, and could offer high enough bitrate (50Mbps) to support HD delivery. Canon has also promised to deliver by the end of the year a DSLR featuring a 35mm full- frame CMOS sensor that sup- ports 4K video, and it may be previewed at the show.
There is stiff competition from
Nikon, whose D800 has begun shipping, and a number of relatively inexpensive large- sensor cameras including Sony’s F3 and FS10, Panasonic’s AF101 and the Arri Alexa. Accord- ing to Arri business development manager Milan Krsljanin, the manufacturer will unveil “interesting developments and products that will strengthen Arri’s market leadership”. Sony is likely to row back on 3D amid
reports that it is to scale down its LA-based training facility, the 3D Technology Centre, and concentrate on developments in 4K. Like 3D, Sony has a business that encompasses not just the front end of 4K production but also the consumer side, where it hopes to promote 4K cinema systems, 4K-capable TVs and home cinema projection. Backing higher resolutions requires film-
makers to acquire content in the format, and central to these plans is Sony’s F65 4K cam- era, shipping since January with roughly 400 pre-orders worldwide.
March/April 2012 | Broadcast TECH | 23
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